The Limited Editions (without Letters)

Gallery: one \ two

It's amazing to us that when one searchs on Google for Patrick Nagel, almost 95% of the hits that are produced, don't have anything to do with what and who Nagel really was. Most of it is just a carnival come-on to get people to purchase worthless copies and knock-offs of Nagel's work. Even the Wiki entry states that he was popular for his 'lithographs' when in fact, what he primarily released were serigraphs . There is a lot of mis-information.

What you see on these pages is the real deal. And it's not that we have all of them for sale. We don't. But what you see on this and the other 'catalog' pages is the complete body of work Nagel produced -- as commercially available posters and limited editions -- during his life.

There were only 34 poster titles and 21 limited editions. That's it.

  • mirage

    Joan Collins

    1982 \ 36 " x 28" \ 150 s/n \ 30 a/p \ 5 p/p

    This project was purely a PR opportunity for Mirage. Celebrity tie-ins were something at which Bornstein was very good. 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. For us salespeople, the print was a tough sell, though: Hot as she was at the time, people just didn't seem to want a picture of Joan over their couch. These days, we've taken to calling it "just joan."

  • mirage


    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. BTW, there's a quick shot of this model in the Nagel video we did back in 1982.

  • mirage


    1982 \ 41.75" x 36" \ 90 s/n \ 30 a/p \ 5 p/p

    Michelle was one of largest of the limited editions and certainly impressive. There was a waiting list at our gallery to get one at the release price, which in 1982 was only $850. In two months, they were selling for $2,000. The image was also used for a poster for the gallery where Todd worked, entitled Galerie Michael (see "lifetime poster" page) and it was that 'unsigned' poster (i.e., those from the s.i.s. state) which Pat signed and dated the weekend of his one-man show. There are a large number of those 'signed' GM posters in circulation (Todd even gave one to the gallery's shipper, Pablo) -- 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.)

  • mirage


    1982 \ 36 " x 29.5 " \ 90 s/n \ 15 a/p \ 3 p/p

    A very spicy image, Lori was pivotal in terms of the direction Pat's work began to take: much less decorative, much more steamy and sensual. These works, all printed as serigraphs, 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. As the editions began to sell out, Mirage would raise the wholesale price to the dealer, who, in turn raised it in the galleries, thereby creating the 'impression' that the prints were increasing in 'value' (something that still goes on today in the gallery business). Ironically, though, in the case of Nagel, it has proven prophetic.

  • lorraine


    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 (by this time Wasserman had declined to print for Mirage), 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. Note, too, the same composition used in the smaller sized, Collectors Gallery Poster.

  • piedmont

    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. A word to the wise: it was reprinted in the mid-1990's as a low end offset litho and many have confused that cheap print with this stunning serigraph.

  • piedmont


    1980 \ 19x20.75 \ 250 s/n \ 30 a/p

    The word 'diptych' is just fancy 'artspeak' that only 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. As of this writing, mid-2008, we had not seen this image on the market since the early '80s. Then ironically one surface and we had it for sale. Note the comparatively smaller print run, there was no unsigned state to this edition.

  • art expo Cal

    Great Dame

    1982 \ 35" x 48 " \ 60 s/n \ 20 a/p \ 4 p/p

    There are those who believe this to be the "piece d'resistance" for Nagel graphics. Not only is it a huge sheet -- nearly five feet with borders -- but the image is nearly a mastery of composition. With the spacial placement of elements, contrast in terms and context, ambiguity and just plain old sexual heat. Not many printed and a few were destroyed accidently. Not a Nagel we'll see often.

  • art expo Cal

    Black Robe

    1981 \ 42" x 27" \ 90 s/n \ 15 a/p \ 5 p/p

    Here again, is Nagel's penchant for "less being more." The black robe (this thumbnail is woefully inadequate, of course) is just a spetacular image. Oddly, the original acrylic painting of it was quite small. It was not a Playboy illustration (though it may have started that way),but like those drawings, the original was acrylic on board and not nearly as electric as this piece. More kudos owing to Wasserman's genius with the silkscreen print. This title was the larger of the two and printed in colors. There is another similar composition, entitled the Black and White Robe (see below) with which there is no small amount of confusion.

  • art expo Cal

    Black and White Robe

    1981 \ 42" x 27" \ 25 s/n \ 5 a/p \ 2 p/p

    An experiment between Mirage, Nagel and Wasserman. The same screens were used as those of the Black Robe, to make a one color (black) serigraph. In fact, it's nearly a better print, very stark and dramatic. It also features an embossed keyline around the image, almost emulating a platemark such as those found on earlier intaglio prints. The embossing gives the print an unusual dimensionality. Note how few were printed One day, this print will be tantamount to those collectible stamps with the number upside down, rendering them priceless.

  • Gallery: one \ two

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