Mirage ('boat')
1977
200 s/n;
800 unsigned

This is the first poster Bornstein (of Mirage) did with Patrick after the artist wandered into his little gallery in Hollywood to show him the rock and roll album art in his portfolio.

Obviously, one of the few that did not feature beautiful models, the 'ship' pays homage to the great Deco posterist, A.M. Cassandre, of the 1930's. Very rare, especially the si/n version.

Casa Lupita
1978
250 s/n; 20 a/ps
1000 Unsigned

These earlier posters were quite a bit more subtle than the later work, and will probably be remembered as being more exemplary of what Nagel was all about -- great design. Although they are physically smaller they pack a big whollap in terms of composition and design sense. Note the way the parrot and flower work with the shadowing to create the impression of motion. Great poster, somewhat hard to find.

Iowa Agronomics
1978
250 s/n
15 a/ps
1000 unsigned

Bornstein's marketing brilliiance was trend setting. He had no money in the beginning and made deals with companies to front the printing costs for these early posters, in exchange for the visibility and prestige it gave the companies. Iowa Agro was an agricultural research firm. The poster is vintage Nagel and certainly put that company on the map.

Galerie Michael
1982
250 s/n
40 a/ps
1200 unsigned

You'll note this is a similar image as that used in the limited edition 'Michelle.' I worked for this gallery in Century City (in Los Angeles) when we did a personal appearance and one-man show for Nagel in 1982. We had the fancy wine and cheese on the Friday nite, sold about twenty major paintings. We had advertised that Nagel would be on hand the next afternoon for a few hours to sign this poster. When I got to work, there was a line around the block. He must have signed and dated a couple hundred of these.

Papillon
1982
250 s/n; 20 a/ps;
25 s/n 'state' edition
1000 unsigned

A really cool image. Typical Nagel, great hard edged look yet soft and mysterious. State edition was identical except for a small silver star on the model's left cheek, and some 'hand painting'. Papillon was/is an LA gallery on chic Melrose Ave. dealing in Art Nouveau.

Architectural Digest
(Cytisus)
1982
350 s/n;
1250 unsigned

I never understood this image. I suppose it was quite a coup for a (then) small publisher to make this deal with A.D., and the image is quite a nice composition. But it certainly was a departure for Nagel. Note the large signed state.

Noble Gallery
1982
250 s/n; 40 a/ps;
3 p/ps
1200 unsigned

An extremely nice image but one that never sold all that well. Of course, every signed Nagel immediately sold out, but the unsigned versiion of this poster did languish quite a bit. Colors are a little unusual for Patrick. Noble was a Wisonsin dealer.

Hanson
1980
250 s/n; 15 a/ps;
1000 unsigned
1 progressive s/n
doubles: 5 s.i.s; 4 s/n

An investment firm in New Jersey, Hanson was an early 'taker' on Mirage's offer to fund a Nagel poster in exchange for the marquee it would give them to be hanging in art galleries and collector's homes.

Paper Mill
1980
250 s/n; 20 a/ps;
5 p/ps, s/n;
Doubles 5 s/n; 5 s.i.s.
1000 unsigned

How could we have forgotten to include this poster for this long. ONly the coolest of the cool. Pat's nod to Orientalia, we suppose, but a very complete image and such a mundane topic! A paper company...

Sunglasses
1983
250 s/n; 20 a/ps;
Unknown qty of unsigned

Probably the most readily recognizable lifetime Nagel image, this piece was produced not as a serigraph, but what was termed a 'solid plate' lithograph -- which is really just a fancy way of describing an off-set litho. Although yes, it did have a signed and numbered 'state' (Nagel signed and numbered 270 of them himself) it was machine printed in the tens of thousands. Mirage would literally sell it to anyone and it was not unusual to see it for resale in vacant lots and swap meets. It has 'some' collectible value, since it technically is a 'lifetime' piece, but the unknown number in existance mitigates its investment value considerably.