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These limited edition graphics, only 20 titles in all, were created in extremely small editions sizes. The amounts varied with each image but averaged around 100 plus proofs. There were never any unsigned states or iterations and the printer's proofs and artist proofs were jealously guarded.
In the world of rare posters, these would be considered posters "Without Letters". While that's not exactly applicable to these since the term normally refers to exact same poster printed before the type was printed on; these, instead were deliberately designed without typography. Some of the images were also used for the smaller lifetime posters. Confusing? You bet...
In the academic community, in assessing the contribution Nagel made to the history of the graphic arts, scholars will judge what the artist actually completed DURING HIS LIFE. As a consequence, those are works that will be considered valuable, both in the general marketplace and at auction, i.e., those that were created while Nagel was living.
Any other works, i.e., those created or printed after his life, (posthumously), will never be worth what the 'lifetime' prints will AND IN FACT WILL HAVE VERY LITTLE VALUE AT ALL.
In addition, the status of whether the print is actually signed by the artist, will add a great deal of value to the print. ALL OF NAGEL'S POSTERS had both a signed and an unsigned state. For a definition of some of these terms, hit the 'terms' link to the left.
WHAT'S THE DIFFERENCE BETWEEN A POSTER AND A LIMITED EDITION? Go here.
Joan Collins
1982
36 " x 28"
150 s/n; 30 a/p; 5 p/p
This was purely a PR opportunity for Mirage. Celebrity tie-ins was something Bornstein was very good at. Joan got on the Carson show, talked about the image Pat had done (which was extremely flattering) and did more for Pat's image than Playboy had done in two years. The print was a tough sell, however.
Cheetah
1982
36.5" x 46"
90 s/n; 20 a/p; 3 p/p
Pat did several compositions of beautiful models coupled with predatory cats. He said he just liked the design possibilities but we used to speculate that it said something about the mind set of the '80's Femme Fatale.
Michelle
1982
41.75" x 36"
90 s/n; 30 a/p; 5 p/p
Michelle was one of largest limited editions and certainly impressive. There was a waiting list at our gallery to get one at the release price, which (I believe) was only $850. In two months, they were selling for $2,000.The image was also used for a poster for our gallery, entitled Galerie Michael (see "lifetime poster" page) and it was that 'unsigned' poster which Pat signed and dated the weekend of his one-man show. There are a large number of those 'signed' GM posters in circulation (I even gave one to our shipper), probably close to two hundred. But this print is rare. (Yes, it's the same "Galerie Michael " that is now on Rodeo Drive in Beverly Hills.)
Collectors
1982
29 " x 60"
90 s/n; 15 a/p;
At five feet long, this print was extremely impressive and in our opinion one of the five best serigraphs done. Printed by Samper Silkscreen, it was a stunning acheivement (the thumbnail here hardly does it justice). The smaller version, done as a poster, noted the existence of a gallery by the same name near Pebble Beach in Central CA, an area noted for its Cypress Trees. Note the way the tree branches echo the model's hair.
Lori
1982
36 " x 29.5 "
90 s/n; 15 a/p; 3 p/p
A very spicy image. It really was pivotal in terms of the direction Pat's work began to take: much less decorative much more steamy and sensual. These works, without letters, were meant for those collectors who couldn't justify the skyrocketing price of Pat's paintings. Big and impressive, they had very small edition sizes, which Mirage shrewdly set very low, thereby increasing the demand for them to a near frenzy.
Gray Lady
1982
34 " x 50"
90 s/n; 15 a/p;
Also a very large print and one of the earliest done in '82, the year most of the limited editions were released. It was a favorite with Nagel purists, and the consummate example of Nagel's color sense. Although technically the serigraph had nine colors, all were varying shades of gray (his favorite color). Hard to find this print now (careful, though, it was reprinted in the mid-1990's as a low end offset litho...)
Diptych
1980
19x20.75
250 s/n; 30 a/p;
A diptych is a fancy word that just means two works of art meant to be hung and regarded as one. The mask image was something Pat returned to several times. Something about the mysterious effect it seemed to impart. I've not seen this image on the market since the early '80s. Note the large edition size.
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(for a larger view o the Nagel/Collin's press foto and the fabulous Morton's unveiling, click here