Re: Thank you: "The Artist Who Loved Women" in its second edition!

Monica Moynihan


I like your post, a lot. I personally experience the same situation when trying to price out an older Porsche (it would have been my 3rd. I owned a 944 when I was 20 years old that I got for for a mere 7k (a steal at the time in 91') and then later a 911 convertible from the 90s. Honestly, my 944 was more fun, or maybe it was just my twenty year old self. I see crazy prices for these cars now. I tried to find a reasonable 928 from the late 80s. (My son says 944 suck.) I considered getting a 928 for myself and for my son who caught the classic car bug...they just sit in garages at prices of a Bentley lol. Good thing I didn't get it....he's now a Corvette fan. (Ha!)

On a Nagel note, I would love to know what prices you would be willing to sell your "Mask" and "Standing Lady" for. What is your bottom line? Please tell us. I happen to know a couple of collectors that want BOTH and one I know pays premium prices.

So what is the price you would let them go for? 

I personally picked up a Mask two weeks ago myself. I will share some photos in a separate post later. "Mask" deserves its own post. She is definitely beautiful and I am happy to hear you have one. Actually "Mask" does not get talked about much, probably because we never see it come up for sale. Besides myself I only knew of one other that had one and it was unsigned. 


On Wed, Oct 16, 2019 at 6:36 AM Manuel Rodriguez <mannyar@...> wrote:
Rob, loved your book and this analysis of Nagel's art. I have to disagree with the valuation of Nagel art, however. I own several 10-30 year old rare Corvettes in addition to many limited Nagel serigraphs. The Corvette market is full of individuals who refuse to sell their low mileage Corvettes for less than exorbitant prices. These Corvettes sit in garages acquiring dust for decades, eventually to be sold by their offspring after their death for a fraction of the price they were originally priced at. Many articles in sports car magazines have noticed this trend, as Corvettes that are not driven, sold or bought. No one touches them. Just because the Nagel marketplace has markedly turned up in value does not mean that anyone is actually purchasing these ridiculously priced prints. These prints may languish at these price points, unsold and unpurchased, just like their limited edition Corvette brethren. I own Standing Lady and Mask, and I dare say that no one on these boards will pay me the premium valuations that I believe they deserve. We who love Nagel will continue to relish these images, but I'm not sure that real valuations are climbing.  

On Mon, Oct 14, 2019 at 3:38 PM robfrankel <rob@...> wrote:


Just a quick update on the Nagel world in general and the book particular:

The first pressing of The Artist Who Loved Women has just about sold out, prompting me to question whether a second pressing is warranted.  I've decided to move forward with a second edition, for a couple of reasons:

First, although I do profit from sales, the revenue generated is not exactly life-changing money.  When I began work on the book, it was very much an extension of my career in which as a consultant, I would provide effective brand strategies to launch funded start-ups and to turn around existing companies whose brands were languishing and hemorrhaging market share.  My thinking was that Patrick Nagel was the latter, a mature, stagnant, languishing brand that was dying of neglect.  I felt that with the right strategy and execution, the Nagel brand (and both its cultural and investment value) could be revitalized.

The first step toward that revitalization would be a book that educated the public as to who and what Patrick Nagel was.  Even now, far more people know Nagel's work than know his name, but we're making progress on that front.  I'd like to think the book has helped nudge that process along.

The second step toward securing Nagel's place in the annals of art would be to see the book made into a movie, if only because far more people stream their entertainment than turn pages of a book.  A cinematic feature eclipses a book's awareness by several orders of magnitude, in a much shorter span of time.  I live in Los Angeles, where movies are still a big business.  But to be candid, I'm a poor fit for that industry, and so my best shot at the brand finding its way into the movie industry is for someone else to discover the book and get it into the proper channels for production.  For someone to discover the book, there has to be a supply of books, which necessitates more copies in circulation.

Perhaps it's coincidence, but we've all watched Nagel's work increase in value significantly at the same time as the book's publication.  As far as I'm concerned, this is the book's chicken soup effect:  It may not be helping, but it certainly can't be hurting.  Collectible serigraphs, original illustrations and canvas pieces have all performed well over the last five years and I see no reason why that activity should stop.  Over that same period of time, the supply of collectible Nagel art has almost dried up at popular and higher-end auction houses.  Of the collectible pieces I do see, most are premium priced, offered by sellers who are adamant about their value.

I also notice that sales of the book, while not in the millions, are consistent throughout the year, with the obvious bump during the Christmas season.  To an old marketing eye, that signifies a strong, steady, growing interest in Nagel, and that's exactly what we want.  Another piece of interesting data is that the book's Instagram account is split amongst Millennials and Boomers, confirming that interest in Patrick Nagel is not merely sentimental, but truly accepted by a growing generation who recognizes and values his work on their own terms.

These are all encouraging signs, and so my mission continues.  Thanks to all who have purchased the book and continue to support Patrick Nagel's legacy.

Rob Frankel

Monica Moynihan Perkal 
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