Even at the high levels of his success, the great pop artist never refused private commissions. We meet the man hunting down these masterpieces including depicts of Trump Tower that Donald rejected

” I can be demonstrated you my recent buy, which I’m very proud of ,” says Paul Marechal, the world’s foremost collector of what snots might refer to as Warhol ephemera- two copies of sketches, circulars, postings and album comprises commissioned by companies and purchasers. Marechal is adamant that the issue is ” works of art “. He flogs out his phone and indicates me a photograph of a posting for Mademoiselle, a defunct Conde Nast publication (” The Magazine for Smart Young Women “). It’s a blood-red, lily-white and off-color delineate of the US, hand-drawn, with potatoes in Idaho, movie reel and grapes in California and a Statue of Liberty in New York.

Marechal’s attentions belly with devotion as he describes how he found it for sale at a little auction house in Connecticut.” I’ve known only three examples of this poster. Two of them are in a private collection in Texas ,” he explains. It was a snip at $4,000( PS3, 000 ), and will shoot up in quality once he contributes it to the catalogue raisonne of Warhol’s commercial-grade study that he has spend the past two decades compiling.

A dapper French Canadian in his early 50 s, Marechal, whose period errand is curating skill for a corporation in his native Montreal, owns more than 700 such portions. They include Christmas placards for Tiffany, copies of Interview magazine- which filed for bankruptcy this month after a practically 50 -year run– and a medical booklet on rheumatoid arthritis peculiarity an ink depicting of a gnarled side. At the Picasso Museum in Malaga, where we meet, a large Warhol retrospective facets more than 150 parts from his collecting, the largest group ever to go on public display.

Marechal started obtaining in 1996. At the time, he says, Warhol’s reputation was in a kind of limbo.” Art historians and collectors didn’t know much what to do with his production- was he exactly a society portrait painter, an artist who established two or three famous artworks, but the rest was uninteresting? So in the early years, I could buy anything, I had no competition .” That soon converted, nonetheless, after Marechal began to publish records of what he had acquired, building a market in his aftermath.

Paul ‘ It impressed me’ … Paul Anka’s 1976 album The Painter. Photograph:( c) The Andy Warhol Foundation for the Visual Arts, Inc ./ DACS

His first acquisition was a copy of The Painter, an album by Paul Anka.” It’s not the rarest, but it struck me .” He spotted himself thinking of Warhol’s notorious sleeve for Sticky Fingers by the Rolling Stones, with its bulging crotch and real-life workable zipper, and the peelable banana on the Velvet Underground’s debut.” It merely sparked a question in my subconsciou: how many record plows did Warhol create ?” He called the Andy Warhol Museum in Pittsburgh.” They came up with a inventory of 23.” But because Warhol didn’t keep track of commissions, they couldn’t say for sure. By 2015, Marechal had detected a further 42. It was a labour of love, and involved throwing through tens of thousands of LPs in record browses (” It’s easier now there’s the internet “).

The Malaga exhibition- subtitled Mechanical Art, an allusion to Warhol’s obsession with repetition and replication- presents silk-screen icons alongside the lesser-known commercial material. The Jackies are here, next to a Liz Taylor, some Maos and some Marilyns( 10 of the latter, lent by the Metropolitan Museum in New York, haven’t been seen in public since 1968 ).

In the flesh, this organization is potent, disturbing images, for all their familiarity. You are momentarily dazzled by the glamour before you remember that Jackie( Kennedy) was bereaved, Taylor had pneumonia and Marilyn Monroe was coated after her overdose. Marilyn( Reversal) in funereal color, a publication made from a photographic negative, recalls the Turin pall. In an adjacent section, the lurid Electric Chair and Car Crash covers remove any doubt; Warhol was as interested in the American way of death as he was mesmerized by the minutiae of life, the soup cans and the Brillo pad caskets.

A A exceedingly Warhol Christmas … a Tiffany box of lithographed placards from 1960. Photograph:( c) The Andy Warhol Foundation for the Visual Arts, Inc ./ VEGAP, Malaga, 2018

Curator Jose Lebrero Stals has placed most of the commercial-grade work in a separate room, though he holds this is not to “segregate” it, but to make it easier for visitors to ” discover” a different slope of Warhol. In all such cases, he admires the Christmas cards as much as the canvases, saying both presentation the artist’s characteristic mix of” sweet innocence and strong perversion “. Warhol’s 1950 s instances misjudge on the side of sweet innocence, inevitable given the nature of the commissions- placards, a trade catalogue of children’s volumes, or a double-page spread on baggages for Mademoiselle. His blobby ink fronts are lively, enlivened, and frequently twee, conjuring cherubs, unicorns and golden slippers.

As time goes on, they become more like the prowes we already know, bold, neon, printed rather than hand-drawn. This indicates a strange inversion of the aesthetic trajectory: Warhol was a sell-out first, a successful commercial artist well before his introduction solo prove at Ferus gallery in Los Angeles in 1962. Having arrived in Manhattan in 1949 with a degree in pictorial pattern, he instantly established himself as an illustrator, attaining enough money in that first decade to buy a gable-roofed town house near the brand-new Guggenheim Museum. These were the years when he hung around at the edges of the New York scene, which was still in thrall to high-minded abstract expressionism. According to art historian Louis Menand, he was described by his idol Truman Capote as a” hopeless born loser” and by one major gallery owner as” a exceedingly standing person, but you have to be nice to him because he might buy a painting “.

Obsessed Obsessed with duplication … one of the famous Marilyn Monroe pieces. Photograph: Daniel Perez/ EPA

The transformation was swift, and total. By the mid-1 960 s, he was the doyen of the city’s avant garde. He forked out from painting, becoming a film-maker and music producer, despite a total absence of experience in those arenas. By 1969 Warhol was ready to try magazine publishing. According to long-time writer Bob Colachello, he co-founded Interview so he could get press tickets to New York cinema gala debuts, continuing an obsession with fame that first revealed itself in the words he sent to Capote while continuing to a child in Pittsburgh.

Initially an esoteric cinema journal, Interview changed tack in 1972. It would now envelop fashion, interiors and, above all, famous people. In doing so it characterized a brand-new template for favourite publications- and one whose slick carelessnes stood in striking contrast to the likes of Mademoiselle.

Although there is talk of it relaunching in September, Interview arguably did well to outlive the man most closely associated with it.” I think that the gift of Interview magazine is really the legacy of Andy Warhol ,” says Patrick Moore, administrator of the Warhol Museum, who lent dozens of slice to the Malaga show (” We have 10,000 works of art, we are therefore didn’t have to take anything off the walls “). For Moore, it was best understood as one more limb of the” integrated business” the creator formed around him.

” If you appeared in Interview you may have appeared in a cinema that Andy was steering, you may have had a commissioned portrait. Master like Jeff Koons and Damien Hirst, who are unabashed in terms of their embrace of money and commerce, certainly wouldn’t exist without Andy .”

Marechal provisions his own lesson of the 360 -degree service:” I remember for instance Miguel Bose, the Panamanian pop star, Warhol did a record cover, the interview for Interview magazine, he also interviewed him on Andy Warhol’s TV “- a cable substantiate broadcast in Manhattan in the early 80 s. Bose didn’t get a full-scale portrait, perhaps because, at 26, he didn’t need one. As Moore interprets,” Andy, as with the majority enormous portraitists, was not ashamed to give a facelift as part of the process .” He would take a sitter,” gave grey flapjack makeup on them, overlight them, and all of the wrinkles would go. And he might dedicate a little snip around the jawline as well- so everybody examined incredible .”

The commercial-grade act seems to ramp up as the years go on. Here i am, for example, the garish tie-in for Absolut Vodkafrom 1985. But it’s an apparition- in an issue of Playboy from 1962, Marechal has uncovered a Warhol advert for Martini, complete with gondoliers. Fine Art Andy and Business Andy were always one and the same.

Were there any red wrinkles, then?” I think that there was a lot that he wouldn’t stoop to ,” says Moore.” Warhol was very discerning. You know he would associate with a lot of things, but the work itself was always very well done. He always had parties around him who cleared sure that the actual realisation of the handiwork was quite beautiful .”

New New York scenesters … Warhol matches Donald Trump with a polo pony, in 1983. Photograph: Mario Suriani/ AP

Moore plies a note about one 80 s scenester.” He did a portrait of Trump Tower, and we own two of them, and Trump never paid under the covers and they got sent back. So these people are commissioned- and Trump never paid. They’re quite pitch-dark. I feel they’re very sinister. You would’ve thought it would’ve been a portrait of him or his wife, but no, it’s a picture of Trump Tower .”( Warhol’s journals territory that the artist did eight drawings of the Tower in the hope that they would lead to a commission, but “Mr Trump was very upset that it wasn’t color-coordinated” and backed out.” I still detest the Trumps because they never bought the covers I did of the Trump Tower ,” Warhol wrote on 15 January 1984.)

Marechal is realistic about Warhol’s ability to say no.” Warhol never waned any committee. Or very rarely. I’ve heard of one- a movie poster, I don’t remember the epithet, but the actors were unknown, so that is likely did not entice[ him] to create .”

We return to the huge fortune Marechal has amassed- just like Warhol- by being obsessive, having a brilliant eye, and the establishment of his own market. In all such cases, he claims he’s not in it for the speculation opening, despite unfold every paycheck to fund the hobby. Later on, he seems to have second thoughts.” Because I’m 52 years, I’m at the phase where I’m asking myself: what am going to do with this? Am I was just going to donate half of it, sell half of it, enjoy the money or not, keep it together? It’s a questioning each and every collector goes through during his lifetime. But no, I don’t want to disband. I could sell everything I’ve compiled because the books will ever remain as a retrace of that collect. But it’s not enough for me. Like when I started- I wanted to touch, to see. I had to buy every record spread because I wanted to see the inner sleeve, the ascribes. For every design I need to have[ it] within my hands “.

Warhol: Mechnical Prowes is at the Picasso Museum, Malaga, Spain, until 16 September.

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