Products

  • Pablo Picasso, Le Goût du Bonheur, Galerie du Passeur, Paris, 1970, exhibition invitation front, cream card with brown type Pablo Picasso, Le Goût du Bonheur, 1970, invitation interior unfolded, Jean Marcenac text and vernissage details, Galerie du Passeur

    PABLO PICASSO, Le Goût du Bonheur, Éditions Cercle d'Art / Galerie du Passeur, 1970

    PABLO PICASSO, Le Goût du Bonheur, Éditions Cercle d'Art / Galerie du Passeur, 1970

  • Package Holiday: New British Art in the Ophiuchus Collection, The Hydra Workshop, Hydra, 1997. Front cover: solid bright blue card with "PACKAGE HOLIDAY" in large black bold type lower left; 15 artist names in three rows of small white text below — Don Brown, Peter Doig, Tracey Emin, Angus Fairhurst, Damien Hirst, Gary Hume, Sarah Lucas, Paul Noble, Chris Ofili, Richard Patterson, Simon Patterson, Georgina Starr, Sam Taylor-Wood, Nicola Tyson, Gillian Wearing. Landscape format, 21 × 15 cm. Light handling cr Package Holiday, Hydra Workshop, 1997. Interior spread: left, full-bleed colour photograph of Hydra harbour and hillside town — whitewashed cubic buildings descending to the water, blue sky and sea; right, white page with "PACKAGE HOLIDAY" heading in bold blue type, two paragraphs of exhibition text, and black silhouette of three stacked suitcases lower centre.

    PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

    PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

  • Original 2000 fig-1 exhibition invitation for Patti Smith / Robert Mapplethorpe, Still / Moving, London, front cover, black card with white serif text: Patti Smith / Robert Mapplethorpe / Still / Moving / 28 November– / 2 December 2000 at upper left, and fig-1 at lower left. Interior spread of 2000 fig-1 exhibition invitation for Patti Smith / Robert Mapplethorpe, Still / Moving, London, fully unfolded, showing at left a column of text by Patti Smith in small serif type beginning RM: Who made you? / PS: You made me; at centre a black-and-white film still of a woman in a white dress standing with her back to the camera, her hand resting against a wall or door frame, her dark hair falling loose; and at right a second column of text continuing Smith's prose, with section headings

    Patti Smith / Robert Mapplethorpe — Still / Moving, fig-1, London, 2000

    Patti Smith / Robert Mapplethorpe — Still / Moving, fig-1, London, 2000

  • Ulli Freer, Paul Buck Ulli's Room, Loot 2:2, Spectacular Diseases, Peterborough, 1981, black-and-white cover Back wrapper: Paul Buck Ulli's Room, Loot 2:2, Spectacular Diseases, 1981, plain cream stock, age toning, foxing

    PAUL BUCK — Ulli’s Room (A Radio Piece), Loot 2:2, Spectacular Diseases, Peterborough, 1981

    PAUL BUCK — Ulli’s Room (A Radio Piece), Loot 2:2, Spectacular Diseases, Peterborough, 1981

  • Paul de Monchaux, Fenella Crichton and Kate Blacker, The Sculpture Show, Hayward Gallery / Serpentine Gallery, 1983, front cover Paul de Monchaux, Fenella Crichton and Kate Blacker, The Sculpture Show, 1983, Yoko Terauchi, paper and string sculptures, interior spread

    PAUL DE MONCHAUX, FENELLA CRICHTON AND KATE BLACKER, The Sculpture Show, Hayward Gallery / Serpentine Gallery, 1983

    PAUL DE MONCHAUX, FENELLA CRICHTON AND KATE BLACKER, The Sculpture Show, Hayward Gallery / Serpentine Gallery, 1983

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

  • Paul Klee, exhibition invitation card recto. Musée National d'Art Moderne, Paris, 1969. Cream card. Black line drawing printed on cream ground: a horizontal landscape composition combining industrial, architectural, and fantastical elements. At left, a squat brick chimney stack emits three rounded tree-like forms. Centre: scattered figures, flags, a crescent moon shape, and horizontal elements suggesting a ground plane. At right, a large triangular form — part tent, part tower — rises steeply, with a spiral Paul Klee, exhibition invitation card verso. Musée National d'Art Moderne, Paris, 1969. Plain cream card, no text or image. Faint embossed or impressed text visible along the top edge, partially legible, consistent with a printed address or gallery name pressed through from the interior. Light age toning, minor surface marks, and faint handling wear.

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

  • Paula Izydorek, Olo: Interconnectivity Between Two Beings, self-published artist brochure, 2021. Front cover: white ground; 'Paula Izydorek' in grey serif above; studio address, email, website and phone number in small grey type; colour reproduction of an abstract painting — interlocking orange, red and blue curvilinear forms suggesting two intertwined profiles against a pale ground with diagonal yellow accent; work captions in small type below image. Handling creases and surface undulation. Interior spread Paula Izydorek, Olo: Interconnectivity Between Two Beings, self-published artist brochure, 2021. Interior spread: header — 'Paula Izydorek's Olo Series: Serves as visual field of interconnectivity between two beings.'; four colour reproductions of Olo paintings across the top — abstract interlocking profiles in orange, red, yellow and blue on patterned grounds with blue and grey striped fields; two columns of artist biography and statement text in small serif below; individual work captions

    PAULA IZYDOREK — Olo: Interconnectivity Between Two Beings. Artist brochure, 2021

    PAULA IZYDOREK — Olo: Interconnectivity Between Two Beings. Artist brochure, 2021

  • Original 1990 Per Kirkeby exhibition invitation for Peintures et Sculptures, Galerie Laage-Salomon, Paris, front, showing a plain cream card with PER KIRKEBY set in large widely spaced black serif capitals centred on an otherwise blank ground. Reverse of 1990 Per Kirkeby exhibition invitation for Peintures et Sculptures, Galerie Laage-Salomon, Paris, showing the gallery name and address — Galerie Laage-Salomon, 57 Rue du Temple, 75004 Paris — printed in black serif type at upper left, below which PER KIRKEBY in bold, Peintures et Sculptures, and the dates 12 janvier–10 février 1990, with the vernissage note at lower left; at upper right a circular Paris postal cancellation dated 27 12 89 and a red meter frank reading 139 / Poster, and below a ty

    Per Kirkeby — Peintures et Sculptures, Galerie Laage-Salomon, Paris, 1990

    Per Kirkeby — Peintures et Sculptures, Galerie Laage-Salomon, Paris, 1990

  • Peter Blake, Watercolours and Drawings, Waddington Galleries, 1972, front cover with The Tuareg Peter Blake, Liberty Blake in a Kimono, 1971, and Just at this moment…, 1970/71, interior spread

    PETER BLAKE, Watercolours and Drawings, Waddington Galleries, 1972

    PETER BLAKE, Watercolours and Drawings, Waddington Galleries, 1972

  • Peter Doig, exhibition catalogue cover, The Arts Club of Chicago, 2003. Muted sage green and terracotta two-colour softcover with artist name in terracotta lowercase type at foot. Restrained institutional design. Peter Doig, exhibition catalogue interior spread pp. 6–7, The Arts Club of Chicago, 2003. Left: Organic Cabin, 1996, oil on canvas, 79 × 108 inches, The Bailey Collection, Toronto. Right: Pink Birch, 1997, oil on canvas, 72¾ × 83¾ inches, The Bailey Collection, Toronto.

    Peter Doig — The Arts Club of Chicago, 2003

    Peter Doig — The Arts Club of Chicago, 2003

  • Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Front cover: solid blue flexible wrappers with large black text reading "NOTA" at lower edge, vertical red rule at left, small stacked text at upper right corner Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Interior spread: blank white pages with small black-and-white photograph of a man (Ronald Reagan) in a suit raising his hand, cropped at the gutter, lower left page blank

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

  • Recto — portrait with bouffant wig Peter Hujar, Vintage, Albert Merola Gallery, Provincetown, 2022. Announcement recto: monochrome photograph of a figure with an elaborate pale bouffant wig, head tilted downward, eyes cast down, bare shoulders; dramatic high-contrast lighting against dark ground; 'PETER HUJAR' in large serif caps above image; 'Albert Merola Gallery / July 1–27, 2022' in serif below; copyright credit 'All images © Peter Hujar Archive LLC' in small type within image. Verso — reclining figure with flower Peter Hujar, Vintage, Albert Merola Gallery, Provincetown, 2022. Announcement verso: monochrome photograph of a reclining figure in heavy eye makeup, pearl necklace and dark clothing, holding a flower to their lips, head tilted back; 'PETER HUJAR' in large serif caps above image; 'Vintage' in italic below name; subtitle 'Uncomplicated, direct photographs of complicated and difficult subjects' in small italic; 'Albert Merola Gallery / 424 Commercial Street Provincetown /

    PETER HUJAR — Vintage: Uncomplicated, Direct Photographs of Complicated and Difficult Subjects. Albert Merola Gallery, Provincetown, 2022

    PETER HUJAR — Vintage: Uncomplicated, Direct Photographs of Complicated and Difficult Subjects. Albert Merola Gallery, Provincetown, 2022

  • 1990 Philippe Cazal Collection Galerie Claire Burrus Paris exhibition invitation card. Recto: repeating horizontal stripe pattern alternating dark grey and cream bands, each carrying 'PHILIPPE CAZAL' in bold white/dark sans-serif and 'COLLECTION' mirrored below in grey outline type, creating a dense optical rhythm across the full card surface. Reverse of 1990 Philippe Cazal Collection Galerie Claire Burrus invitation card. Cream stock with 'galerie claire burrus / 30–32 rue de lappe 75011 paris' in small sans-serif; Philippe Cazal Collection logo in box at lower left; vernissage and exhibition dates 2–30 avril 1990; red postal frank dated 27.3.90; handwritten address label to A. Morain, 75014 Paris; Nicole Renvier sponsor credit at lower right.

    Philippe Cazal — Collection — Exhibition Invitation Card, Galerie Claire Burrus, Paris, 1990

    Philippe Cazal — Collection — Exhibition Invitation Card, Galerie Claire Burrus, Paris, 1990

  • Original 1994 Philippe Thomas Distriart N.V. capital-share certificate, Ostend, Belgium. Front showing enlarged commercial barcode as principal image, corporate text, numbered 041, with thirty attached dividend coupons. Reverse of 1994 Philippe Thomas Distriart N.V. art share certificate showing Dutch company statutes of Distriart N.V., printed text columns, and four blank coupon spaces at foot.

    PHILIPPE THOMAS — Distriart N.V. Art Share, Ostend, 1994

    PHILIPPE THOMAS — Distriart N.V. Art Share, Ostend, 1994

  • ): Piero Manzoni catalogue, Galerie Mathias Fels 1969, Achrome kaolin canvas surface, off-white and grey texture, cover Piero Manzoni, Scultura vivente, artist signing model's back, Galerie Mathias Fels 1969, title page spread

    PIERO MANZONI — Exhibition Catalogue, Galerie Mathias Fels & Cie, Paris, 1969

    PIERO MANZONI — Exhibition Catalogue, Galerie Mathias Fels & Cie, Paris, 1969

  • Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior red-orange panel showing full-bleed flat red-orange card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 541 WEST 24 STREET NEW YORK'; light surface marks consistent with period gallery ephemera. Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior green panel showing full-bleed flat mid-green card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 745 FIFTH AVENUE NEW YORK'; light surface marks and faint handling wear consistent with period gallery ephemera.

    Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery / Mary Boone Gallery, New York, 2007

    Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery / Mary Boone Gallery, New York, 2007

  • 1999 Pierre Klossowski exhibition invitation featuring a color reproduction of *Roberte aux barres parallèles* (1990). Three stylized human figures are arranged around parallel bars on a circular base: a central female figure in pink clothing raises one leg while two surrounding figures engage with the structure. The sculpture is rendered in painted flesh, mauve, and brown tones against a neutral background, with “Pierre Klossowski” printed beneath. Reverse side of a 1999 Pierre Klossowski exhibition invitation card printed in French for *l'énoncé à nouveau dénoncé: Sculptures et tableaux*. Black typography on white card stock lists exhibition dates (3 April–12 June 1999), opening details, and Galerie Beaubourg at Château Notre-Dame des Fleurs in Vence, France. PIERRE KLOSSOWSKI / l'énoncé à nouveau dénoncé / Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

  • Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, Paris, 1982. Monochrome field with numbered sphere clusters (4, 5, 6, 7), directional arrows, cross marks, and photographic haze. Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, 57 rue de la Roquette, Paris, 1982. Black ground, white typewriter text; dot-matrix title SPHERES SPHERES; vernissage 16 juin, exhibition 17 juin–13 juillet.

    Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. & J. Donguy, Paris, c.1982

    Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. & J. Donguy, Paris, c.1982

  • Pipilotti Rist, Heroes of Birth, exhibition announcement card recto. Luhring Augustine, New York, 2010. Colour photograph: a woman in a white hospital gown lies reclined, head tilted back, dark hair spread behind her. Her bare, heavily pregnant abdomen is visible, with three red circular monitoring devices attached to the skin. Medical equipment including tubing and IV lines visible in the background. Clinical setting, warm analogue colour palette. Image from Pipilotti Rist video work. Pipilotti Rist, Heroes of Birth, exhibition announcement card verso. Luhring Augustine, New York, 2010. Pale grey-blue card. 'Pipilotti Rist' in red serif type, 'Heroes Of Birth' in red italic serif type below. Exhibition dates: '11 Sept – 16 Oct 2010' in red. Footer in small red type: 'LUHRING AUGUSTINE 531 West 24 Street NY 10011 www.luhringaugustine.com'. Light surface marks and minor handling wear visible.

    Pipilotti Rist — Heroes of Birth

    Pipilotti Rist — Heroes of Birth

  • Pipilotti Rist, Swiss Post special stamp, 100 Helvetia, 2014, two enlarged tongues facing across white field, used with partial Bern cancellation, recto Pipilotti Rist, Swiss Post special stamp, 100 Helvetia, 2014, plain gummed reverse with perforated edges, evidence of prior postal use, verso

    PIPILOTTI RIST — Swiss Post Special Stamp, 100 Helvetia, 2014

    PIPILOTTI RIST — Swiss Post Special Stamp, 100 Helvetia, 2014

  • Pipilotti Rist, Augapfelmassage, Prestel 2012, front in shrinkwrap, close-up colour photograph of fingers, white rounded title text Pipilotti Rist, Augapfelmassage, Prestel 2012, back in shrinkwrap, German publisher text, Hayward Publishing and Prestel logos, barcode

    PIPILOTTI RIST: Augapfelmassage (Eyeball Massage), Prestel / Hayward Publishing, 2012

    PIPILOTTI RIST: Augapfelmassage (Eyeball Massage), Prestel / Hayward Publishing, 2012

  • Cover of Art and Artists, Vol. 1, No. 10, January 1967, London: Hansom Books. Offset lithograph, approx. 27.5 × 21 cm. Large modernist masthead 'art and artists january 1967 5s $1' in black. Cover image: Pol Bury, Cinetisation of the Statue of Liberty — three versions of the statue in red, white, and blue vertical bands, progressively distorted from left to right. Rubbing to spine and corners visible. Interior spread of Art and Artists, Vol. 1, No. 10, January 1967, pp. 8–9. Left page: full-page black-and-white reproduction of Pol Bury, Pan Am Building, New York, 1964 — Cinetisation photograph showing the skyscraper buckled and distorted. Right page: opening of essay 'Cinetisations' in large serif type, discussing Bury's kinetic sculptures and photo-based works.

    POL BURY — Art and Artists, Vol. 1, No. 10, January 1967

    POL BURY — Art and Artists, Vol. 1, No. 10, January 1967

  • Pol Bury invitation card, Librairie Tschann, Paris, 1988; centred serif text with reclining figure illustration, cream stock Pol Bury invitation card verso, Librairie Tschann 1988; blank cream card stock

    POL BURY — Librairie Tschann, Paris, 1988

    POL BURY — Librairie Tschann, Paris, 1988

  • Premier Festival de la Performance de Paris — Intervention, Paris, 1982 Premier Festival de la Performance de Paris — Intervention, Paris, 1982

    Premier Festival de la Performance de Paris — Intervention, Paris, 1982

    Premier Festival de la Performance de Paris — Intervention, Paris, 1982

  • Quinn Latimer / Sarah Lucas, Describe This Distance, Mousse Publishing, 2013, orange front cover Sarah Lucas, NUDs installation at Museo Diego Rivera Anahuacalli, interior colour spread, 2013

    QUINN LATIMER / SARAH LUCAS, Describe This Distance, Mousse Publishing / Sadie Coles HQ, 2013

    QUINN LATIMER / SARAH LUCAS, Describe This Distance, Mousse Publishing / Sadie Coles HQ, 2013

  • Q_RAIDER / BDGRMMR — Know Who You Are at Every Age, curated by Edwin Ramoran, Bronx River Art Center, New York, 2014 Q_RAIDER / BDGRMMR — Know Who You Are at Every Age, curated by Edwin Ramoran, Bronx River Art Center, New York, 2014

    Q_RAIDER / BDGRMMR — Know Who You Are at Every Age, curated by Edwin Ramoran, Bronx River Art Center, New York, 2014

    Q_RAIDER / BDGRMMR — Know Who You Are at Every Age, curated by Edwin Ramoran, Bronx River Art Center, New York, 2014

  • Rachel Lachowicz and Yoko Ono, exhibition invitation card recto. Shoshana Wayne Gallery, Santa Monica, 1996. Cream card. Text in mixed serif and sans-serif type, centred layout. 'Main Gallery' in italic; 'RACHEL LACHOWICZ' in bold caps. 'West Gallery' in italic; 'YOKO ONO' in bold caps; 'Wishing Tree' in spaced roman type below. Exhibition dates: 'April 13 – May 18, 1996'. Reception: 'Saturday, April 13, 5 – 8 PM' in italic. Gallery details at foot in small roman type: 'Shoshana Wayne Gallery, Bergamot Stat Rachel Lachowicz and Yoko Ono, exhibition invitation card verso. Shoshana Wayne Gallery, Santa Monica, 1996. Plain cream card, no text or image. Minor age toning and faint surface marks visible.

    RACHEL LACHOWICZ / YOKO ONO — Wishing Tree, Shoshana Wayne Gallery, Santa Monica, 1996

    RACHEL LACHOWICZ / YOKO ONO — Wishing Tree, Shoshana Wayne Gallery, Santa Monica, 1996

  • Recto Rafael Canogar, Construcciones 1968–1975, A.R.C. 2, Musée d'Art moderne de la Ville de Paris, 1975. Invitation recto: white ground; two broad diagonal black brushstrokes crossing at centre; monochrome photograph of a sculptural construction — blindfolded male figure, head and torso, held within a rectangular frame; 'RAFAEL CANOGAR' in large black sans-serif upper right; 'CONSTRUCCIONES / 1968-1975' in bold lower right; A.R.C. 2 logo, address and dates lower left. Light age toning. Verso Rafael Canogar, Construcciones 1968–1975, A.R.C. 2, Musée d'Art moderne de la Ville de Paris, 1975. Invitation verso: plain cream-white card stock, entirely unprinted. Light age toning, minor surface marks.

    RAFAEL CANOGAR — Construcciones 1968–1975. A.R.C. 2, Musée d’Art moderne de la Ville de Paris, 1975

    RAFAEL CANOGAR — Construcciones 1968–1975. A.R.C. 2, Musée d’Art moderne de la Ville de Paris, 1975

  • Rafael Melendez, After Sturtevant, The Academy of Realness, 2022 — pamphlet cover; blue monospaced typography on white stock; black fabric sculpture centred; subtitle: Linguistics, Idealism, Repetition, Difference and Ownership Rafael Melendez, After Sturtevant, 2022 — interior spread; left page shows Elaine Sturtevant portrait photograph with introductory text; right pages show reconstructed Richard Prince and Rafael Melendez SWAB Barcelona exhibition posters with running text on repetition and appropriation

    Rafael Melendez — After Sturtevant

    Rafael Melendez — After Sturtevant

  • Already applied to the listing: > Rafael Melendez, *Born to Die*, 2016 — unique artist's book open to interior spread; left page shows circular form on dark denim-textured ground with 'Rafael Melendez ©2016' credit; right page shows black-and-white portrait of Kurt Cobain with blue text 'Money Changes Everything'; dos-à-dos binding visible at spine

    Rafael Melendez — Born to Die

    Rafael Melendez — Born to Die

  • Facsimile artist sketchbook, Rafael Melendez, Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Edition of 2. 8 × 15.5 cm, 102 pages, spiral-bound. Dark brown Crown Spiral notebook cover; 'SPIRAL | CROWN' logo with crown motif upper centre in gold. Yellow N.Y. Central price sticker centre. Silver spiral binding left edge. Scuffs and handling marks visible as reproduced from source notebook. Interior spread, Rafael Melendez, Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Lined notebook pages. Left: large hand-lettered text in blue marker — 'COMMON FINE ART'; rounded outlined letterforms. Right: ink drawing of a head in profile — elaborate radiating hair structure in dark red/mauve, looping outward from crown; face in profile, calm expression. Silver spiral binding centre.

    RAFAEL MELENDEZ — Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

    RAFAEL MELENDEZ — Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

  • Exterior view showing heavily worked covers and spine; blue tape, polka-dot paper patches, and layered collage elements visible across front and back boards; accumulated material thickness visible at spine edge; object shows significant handling consistent with production and use Unique artist book open to interior spread; left page shows ink drawings of conjoined figures, heart motif with 'Nothing Is Nothing' text, and collaged photographs; right page shows ink-drawn figures including a woman with 'Is Fleeing' text and a turtle-like form; fan stamps throughout; layered found paper and tape

    Rafael Melendez — Nothing’s Wrong

    Rafael Melendez — Nothing’s Wrong

  • Facsimile artist sketchbook, Rafael Melendez, Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Edition of 2. 8 × 15.5 cm, 102 pages, spiral-bound. Dark brown Crown Spiral notebook cover reproduced with produce stickers applied: PLU# 4048 (×2), Kiwifruit 4030 Chile, Valencia 4388 (×4), Lemon 4012 (×2), and further overlapping fruit PLU labels in blue, green, and orange. Silver spiral binding left edge. Interior spread, Rafael Melendez, Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Lined notebook pages. Left: handwritten text in pencil — 'TULSA / 4000 MILES / 120-DAY EXCUSE / 2 BOXES / 275,000 DREAMS / 33% ORIGINAL / 15 PROMISES / 21 PARKS'; below: 'POKER AGAINST MA[CHINE]'. Right: large graphic lettering in purple marker — 'IF I CAN FOOL MYSELF I CAN FOOL YOU'; letters drawn with balloon-like volume, lines extending downward from base.

    RAFAEL MELENDEZ — Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

    RAFAEL MELENDEZ — Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

  • Rafael Melendez, The Naked Lunch, The Academy of Realness, 2023 — front cover; black ground; AI-generated chrome female android figure in three-quarter profile, head lowered, mechanical neck and shoulder detail visible; 'RAFAEL MELENDEZ' in white graffiti-style lettering along left spine; 'The Naked Lunch' in teal type at upper right; Academy of Realness circular logo at top centre Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch