Artist Biography Label for Ronald Robles

This item is an original, typed artist biography and curriculum vitae for Ronald Robles, affixed to a brown corrugated cardboard backing. The document is printed on off-white paper and includes a handwritten name in blue ink at the top reading 'RONALD ROBLES'. The text outlines Robles' extensive career from his birth in 1937 through 1982, detailing his education under Sasha Brastoff, his work in the film industry with Edith Head, his tenure as a dancer, and his significant roles as a landscape and interior designer for high-profile clients like Zsa Zsa Gabor and William Randolph Hearst, Jr. The label also lists exhibitions at the Museum of Fine Arts, Santa Fe, and the Kennedy Center. Its condition is poor, showing significant jagged losses, tearing, and insect damage (likely silverfish) particularly on the right and bottom edges. There are visible adhesive stains and the paper is brittle and yellowed with age. At the bottom right, there is a logo for 'HAND GRAPHICS Ltd., The Finest in Professional Hand Lithography and Etching,' based in Santa Fe, New Mexico, indicating this was likely originally attached to the back of a framed piece of his artwork or a print.

I have examined the digital image of the Ronald Robles artist biography label affixed to a cardboard backing. The item appears to be an authentic piece of artist ephemera from the late 1970s or early 1980s, originating from Hand Graphics Ltd. in Santa Fe. The document provides significant biographical detail, linking the artist to notable figures like Sasha Brastoff and Edith Head. However, the physical condition is poor; severe jagged losses, silverfish damage, and brittle, acidified paper indicate significant material degradation. As a standalone piece, its market is restricted to specialized collectors of New Mexico art history or ephemera. While it serves as excellent provenance for an associated Robles artwork, its value as an independent document is nominal. I estimate the value to be between $15 and $35. Please note that this appraisal is based on visual digital evidence alone. A physical inspection is required to confirm the paper's GSM, the ink type used in the signature, and the stability of the adhesive. Without a chain of custody or physical authentication of the blue ink signature, I cannot definitively confirm this as a primary autograph rather than a secondary identification mark. Full authentication would require microscopic analysis of the ink-to-fiber transition and a review of the provenance regarding the original framed work it likely accompanied.