archival -- archival considerations have to do with the amount of time a work of art, or something attendant to a work of art, will last, or maintain its condition, over time. Go here for information about how to unframe or store a work of art.

s.i.s. -- 'signed in screen,' the signature of the artist was printed in at the time of the silkscreen. With the s/n state, it was lifted out and Nagel would sign the balance of those printed in pencil

s/n -- 'signed and numbered,' Patrick would actually have to come in, sit down and sign and number 250 sheets of paper, more or less if it was a limited edition graphic with a specific edition size. The activity of the signing was often a time of celebration and partying. (The notion of s/n in pencil carries a lot of weight when evaluating prints.)

a/p -- 'artist's proofs'. A certain number of each edition, usually in the range of five percent of the total s/n examples, were set aside for the artist. They were often sold through the galleries at a premium. (see side bar at right).

doubles -- early on, the printer, Jeff Wasserman, would occasionally leave a poster sheet intact after printing, i.e., printed two on a sheet, he would not cut them, creating a now-rare and collectible oddity, much like upside down numbers on rare coins.

p/p -- 'printer's proofs' Same as above, with the exception that the run was much smaller and the printers usually kept or sold their copies themselves.

scuffing -- serigraphs, especially those of Nagel which are not sprayed with some kind of 'fixative' to coat them, will suffer if put in contact with a rough surface. The color will appear a hue lighter in an area where it is 'scuffed'. No paper loss, or real abrasion, just a lightness in color. Scuffing effects can be restored to nearly new.

progressives -- in silk screening, colors are applied to the sheet one at a time, all by hand, one screen for each color. A progressive set is one in which a series of sheets reflects the succession of the colors, as they are applied, one sheet for each, demonstrating the process of serigraphy. state -- a certain iteration of a print, and those like it, as of a specific point. Any changes made to the image, and all those printed like it, would then constitute another 'state.' Many images had multiple states.

serigraph -- a silk screen or screen printed work of art, usually on paper. n the early prints (lifetime posters) the process was done by hand, one screen for each color, all applied one at a time, all by hand.

condition -- with any antiquarian print, the condition of the piece becomes a factor in evaluating it. Some Nagel prints are becoming quite old.Although care was given in their original printing, the use of 100% acid free, archival paper, they were still serigraphs, and as such, are subject to fading (especially the pink colors, which are extremely 'fugitive' and sensitive to light. Foxing (see below) and tears also can impact the value of an otherwise desirable print.

genre -- just a 'snot-nosed' art term, meaning a specific 'style' or look, or art 'movement'.

Litho (lithograph) A few of Pat's posters were created using the lithographic method of printmkaing, especially when the intent was to print them in 'open' editions. Lithographs employ a plate, onto which has been imprinted the entire image to be printed. Rollers transfer the inks to the plate and then to the paper being fed through it, all colors applied at once.

edition -- the word normally connotes a work of art where a specific, fixed number of it is reproduced. It may be signed or unsigned.

fading -- serigraphic colors fade. It's a fact. Particularly the pinks in Nagel's work, will eventually turn to yellow, unless kept in a drawer. Fading colors affect value.

foxing -- moisture damage may cause paper to brown in certain areas.

oeuvre -- another 'snot-nosed' art term which means the 'entire body of work' by an artist. I don't know why they feel like they have to have fancy terms in the art community , but they do.

rag paper -- contemporary fine art paper is normally made from 100% cotton, as opposed to 19th Century posters which were printed on paper made from wood pulp, with a very high acid content. This acid causes deterioration and yellowing over time. With Nagels prints, this should not be as much an issue, but paper loss and foxing does affect value. It's a little known fact, btw, that with the lifetime Nagel posters, a different paper was used on the s.i.s. versions, than that used for the s/n states.