Even at the high levels of his success, the great pop artist never accepted private fees. We match the man hunting down these pearls including paints of Trump Tower that Donald rejected

” I can show you my latest acquisition, 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 instances, brochures, signs and album comprises commissioned by corporations and buyers. Marechal is adamant that they are ” works of art “. He whips out his phone and testifies me a photo of a poster for Mademoiselle, a defunct Conde Nast publication (” The Magazine for Smart Young Women “). It’s a cherry-red, white-hot and off-color map 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 eyes belly with ebullience as he describes how he found it for sale at a little auction house in Connecticut.” I’ve known only three examples of this sign. Two of them are currently in private accumulation in Texas ,” he excuses. It was a snip at $4,000( PS3, 000 ), and will shoot up in price formerly he lends it to the catalogue raisonne of Warhol’s commercial-grade wreak that he has spent the past two decades compiling.

A dapper French Canadian in his early 50 s, Marechal, whose day place is curating art for a corporation in his native Montreal, owns more than 700 such segments. They include Christmas cards for Tiffany, copies of Interview magazine- which filed for bankruptcy this month after a roughly 50 -year run– and a medical booklet on rheumatoid arthritis boasting an ink gleaning of a gnarled mitt. At the Picasso Museum in Malaga, where we meet, a large Warhol retrospective boasts more than 150 components from his accumulation, 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 cultivate- was he just a society portrait painter, an creator who formed two or three famous artworks, but the respite was uninteresting? So in the early years, I could buy anything, I had no competition .” That soon reformed, however, 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 locate was a copy of The Painter, an album by Paul Anka.” It’s not the rarest, but it struck me .” He saw 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 only sparked a few questions in my judgment: how many record cover-ups did Warhol create ?” He called the Andy Warhol Museum in Pittsburgh.” They came up with a list 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 flip-flop 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 repeat and breeding- represents 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, loaned by the Metropolitan Museum in New York, haven’t been seen in public since 1968 ).

In the flesh, these are potent, disturbing portraits, for all their familiarity. You are momentarily dazzled by the glamour before you be said that Jackie( Kennedy) was bereaved, Taylor had pneumonia and Marilyn Monroe was painted after her overdose. Marilyn( Reversal) in funereal black, a book made from a photographic negative, recalls the Turin shroud. In an adjacent section, the lurid Electric Chair and Car Crash depicts 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 boxes.

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

Curator Jose Lebrero Stals has targeted the majority of members of the commercial-grade work in a separate room, though he insists this does not constitute to “segregate” it, but to make it easier for visitors to ” discover” a different side of Warhol. In any event, he admires the Christmas cards as much as the canvases, saying both presentation the artist’s characteristic desegregate of” sweet innocence and strong perversion “. Warhol’s 1950 s instances stray on the side of sweet innocence, unavoidable given the nature of the commissions- cards, a commerce catalogue of children’s journals, or a double-page spread on handbags for Mademoiselle. His blobby ink fronts are lively, animated, and often twee, conjuring cherubs, unicorns and golden slippers.

As time goes on, they become more like the artistry we already know, bold, neon, reproduced rather than hand-drawn. This shows a strange inversion of the artistic trajectory: Warhol was a sell-out first, a successful commercial artist well before his debut solo reveal at Ferus gallery in Los Angeles in 1962. Having arrived in Manhattan in 1949 with a certain degree in pictorial design, he promptly established himself as an illustrator, making enough money in that first decade to buy a gable-roofed town house near the new Guggenheim Museum. These were the years when he hung around at the edges of the New York stage, 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 carrying being, but you have to be nice to him because he might buy a decorate “.

Obsessed Obsessed with repeating … one of the famed Marilyn Monroe makes. 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 diverged out from painting, becoming a film-maker and music make, despite a total absence of experience in those battlegrounds. By 1969 Warhol was ready to try magazine publishing. According to long-time editor Bob Colachello, he co-founded Interview so he could get press tickets to New York cinema festival premieres, prolonging an obsession with fame that first attested itself in the characters he sent to Capote while continuing to small children in Pittsburgh.

Initially an esoteric movie journal, Interview reformed tack in 1972. It would now cross style, interiors and, above all, famous people. In doing so it characterized a new template for favourite magazines- and one whose slick nonchalance stood in stark oppose 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 bits to the Malaga show (” We have 10,000 works of art, so we didn’t have to take anything off the walls “). For Moore, it was best understood as one more limb of the” integrated business” the master caused around him.

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

Marechal supports his own precedent of the 360 -degree service:” I recollect 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 picture 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 explains,” Andy, as with most enormous portraitists, was not ashamed to give a facelift as part of the process .” He would take a baby-sitter,” set grey flannel-cake makeup on them, overlight them, and all of the wrinkles “il be going”. And he might establish a little snip around the jawline as well- so everybody gazed splendid .”

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

Were there any red threads, then?” I think that there was a lot that he wouldn’t condescend 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 ever had people around him who cleared sure that the actual realisation of the run was quite beautiful .”

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

Moore renders a footnote about one 80 s scenester.” He did a portrait of Trump Tower, and we own two of them, and Trump never paid for the paintings and they got sent back. So they were commissioned- and Trump never paid. They’re quite obscurity. I feel they’re very sinister. You would’ve thought it would’ve been a photograph of him or his wife, but no, it’s an image of Trump Tower .”( Warhol’s diaries territory that the master did eight portrays 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 dislike the Trumps because they never bought the paints I did of the Trump Tower ,” Warhol created on 15 January 1984.)

Marechal is realistic about Warhol’s ability to say no.” Warhol never diminished any board. Or only rarely. I’ve heard of one- a movie posting, I don’t remember the mention, but the actors were unknown, so that probably 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 grocery. In any event, he claims he’s not in it for the speculation opportunity, despite unfold every paycheck to fund the hobby. Later on, he seems to have second thoughts.” Because I’m 52 times, I’m at the detail where I’m asking myself: what am going to do with this? Am I going to donate half of it, sell half of it, experience 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 disperse. I could sell everything I’ve compiled because the books will always are a matter of a draw of that collection. But it’s not enough for me. Like when I started- I wanted to touch, to see. I had to buy every record coating because I wanted to see the inner sleeve, the credits. For every piece I need to have[ it] within my hands “.

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

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