Josh (Joshua) Smith - Fug (Mirror Painting) (2005)
Oil on canvas, ~120x150 cm

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@art-mirrors-art
Josh (Joshua) Smith - Fug (Mirror Painting) (2005)
Oil on canvas, ~120x150 cm

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Kelsey Heffernan - Vanity (2026)
Oil on canvas, ~ 50x60 cm, in artist's frame
Egbert van Heemskerck - De chirurgijn Jacob Fransz Hercules en zijn gezin in zijn barbierswinkel {Portrait of the family of Jacob Fransz Hercules in his barber’s shop} (c.1669)
The rectangular object attached to the central bar of the window is a small barber’s mirror; its placement is practical - a customer could see his face well in the daylight falling through the window:
Catherine Abel - Chez Agnes (2019)
Inge Löök - Postcard №85 (Two old ladies in the millinery shop) (2025)
This is one of the latest additions to the decade-long saga of the two babushkas, colourfully told through postcards by the Finnish illustrator.
It is also only the second postcard with a mirror - and I have a certain feeling that AMA somehow triggered its appearance :)
For years, Inge Löök had only one mirror postcard, this one:
It is №12 in her catalogue, and it was created no later than 2016.
I know it was her only postcard with a mirror because Inge Löök said so herself. Well, not to me, but to a friend of mine who once approached her at a book fair in Finland and asked if she had any postcards with mirrors.
After thinking for a moment, she said, 'Yes, this one' - and brought this card. She even signed it - and this card was eventually sent to me, so I now have it with her signature.
Apparently, she herself was surprised that she had only one card with a mirror; reportedly she murmured something like 'Perhaps I should draw another one' - at least, that is what my friend told me.
So, voilà - we now have the Second Mirror Postcard by Inge Löök!
PS: I still prefer the first one; it is the only 'garbage mirror' in my collection.

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This coin-like piece is more on the exotic side of my AMA collection; it's actually not a coin but a biblical medal. The design is attributed to the Hungarian medalist Joachim Elsholtz, and its was struck from silver in 1588 in Kremnica Mint (one of the oldest in Europe).
Its back (recto) side depicts the scene of the Sacrifice of Manoah, and the head (verso) side shows the scene of the Annunciation: We see Gabriel approaching Mary, with the dove of the Holy Spirit soaring above her. The first line of the inscriptions reads GOT · SCHICKT · D · GABRIEL, God sends Gabriel The second seems to be D · V · VERK · EMANVEL - who announces Emanuel to us. Emanuel refers to Christ, a variant of Immanuel, Hebrew for 'God with us'
The object that hangs in the Mary's bed behind her is unlikely a mirror in this particular case - most probably it's an icon, or a religions medallion of some kind.
But a) it actually could be a mirror, and b) mirrors were frequently used instead of these 'icons' (thus becoming the icons themselves).
I once wrote a large overview of these Annunciation (non) mirrors - ± 1001 Virgins, or The (alleged) Mirror of Annunciation
Leonardo Devito - Mirrorino (2025)
Oil on paper, ~ 70x100 cm Thanks to @nonhapiupareti for the hint!
Guy Yanai - Interior with a Hockney Poster (2022)
Claudio Bravo - Untitled (Interior with Colored Papers) (1986)
Oil on canvas, ~ 100x120 cm
by Richard Diebenkorn
Richard Diebenkorn - Untitled {Self-portrait in a mirror with a bare-breast model} (c.1958) Ink and graphite on paper, ~ 35x45 cm
This is actually a self-portrait in a mirror (and not a dude who peeks through the window, as I assumed) - thanks @45fthc for the hint!

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Mihály Zichy (aka Michael von Zichy) - The Emperor’s Anteroom at Tsarskoye Selo (1856) This is an example of the early style of Zichy, who became famous for these accurate, nearly photorealistic depictions of interiors and people. We can be pretty sure it's how the room of the private apartments of the Russian Emperor Alexander II at the Catherine Palace in Tsarskoe Selo, an imperial residence, looked like at this time - up to the smallest details.
We also see an accurate depiction of one of the so called 'Arabs (or Araps) of the Imperial Court' (арабы/арапы Высочайшего двора), a small, privileged group of Black servants who traditionally served Russian Tzars. Here this arap dressed in exotic livery holds a hookah - Alexander II was knowingly a heavy hookah smoker, the habit he picked up during his trip to Caucasus in 1850. All this is nice, but my main interest was the object that we see on the table:
This seems to be a small tilting table mirror, and the objects beside it look like a small grooming set, so perhaps we see preparation for a shaving session. Alexander believed that smoking helps his digestion, and he smoked it during his morning visit to the lavatory.
Mihály Zichy (Michael von Zichy) - Erotic scene (c.1890s) Zichy was an excellent draftsman who left behind a huge body of highly accurate drawings, including, but not limited to, scenes of life at the Russian imperial court (he actually lived in Russia for most of his life, and died there, in Saint Petersburg).
Yet, despite his sharp eye and skilled hand - or perhaps because of them? - he is mainly remembered as the author of erotic, often explicitly pornographic, drawings (this one, in fact, is more on the mild side).
I used to share some of them here, but Tumblr consistently bans them and eventually erases them, even from my own stream. An interesting linguistic vignette: this type of three-panel mirror - like the one we see above the washstand - was called called трельяж (treillage) in Russian (still is, to my knowledge).
The word, however, has nothing to do with what treillage means in French: lattice-like structures placed in gardens and parks (the English word for these is trellis).
Apparently, a peculiar semantic shift took place in Russia, perhaps because of misinterpreting the 'tre-' part of the word as related to three. Over time, трельяж became the standard Russian name for this type of mirrors.
In French, it was traditionally called a miroir à trois faces - literally, a three-faced mirror - or sometimes a miroir triptyque. German is even less inventive: it's simply dreiteiliger Toilettenspiegel, a three-part dressing mirror.
Mihály Zichy (aka Michael von Zichy - sometimes even Count van Zichy) - Gallant scene (aka The Seducer) (c.1891)
Oil on canvas, ~38x47 cm The painting is in the collection of the National Museum of Art of Moldova (!); apparently, they keep it as is, frameless:
This print is often described simply as Shinagawa (品川); it's one of the prints from a large series Sōhitsu gojūsan tsugi (双筆五十三次), translated as The Fifty-three Stations by Two Brushes.
All prints of the series combined landscapes along the Tōkaidō with human scenes somehow associated with each station on this road. Created in 1854, the series was a collaboration between two Japanese famous ukiyo-e artists - perhaps, the most famous Two Brushes of this era - Utagawa Hiroshige, who created the landscape parts, and Utagawa Kunisada, who designed the figures.
So, the full title of the print is Shinagawa mijimai-beya (品川 身仕舞部屋), Shinagawa: Dressing Room (literally a Room for Getting Ready). Shinagawa, the first station outside Edo on your way to Kyoto, had a large 'pleasure district', so the the seated woman is interpreted as a courtesan, with a maid combing her hair to prepare for work. The courtesan is smoking a long kiseru pipe, a typical marker of her profession; the tobacco tray is standing beside her.
The courtesan is sitting in front of a mirror, but she is not looking at it - instead, she is just using it as a stand to place the book she reads while being combed:
This is not a usual book but keikobon (稽古本), a practice/rehearsal book with the lines of jōruri (浄瑠璃本), the scripted chants exclaimed during theater performances. High-level geishas were expected to entertain their guests with quite sophisticated musical and theatrical gigs.
Both mirrors and these rehearsal books are different technologies of self-presentation, the ways to prepare your public persona; here one temporarily replaces the other.
Marie Vorobieff (aka Marevna - but actually Maria Bronislavovna Vorobyeva-Stebelska) - Red-Haired Nude Reclining on a Sofa before a Mirror (1972)
Oil on canvas, ~ 50x80 cm

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Pietro Liberi known as Il Libertino - Prudence (c.1660s)
Giovanni Battista Paggi - Rinaldo and Armida (c.1615)