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

” I can be demonstrated you my latest acquisition, which I’m very proud of ,” says Paul Marechal, the world’s foremost collector of what snobs might refer to as Warhol ephemera- two copies of illustrations, booklets, postings and book extends commissioned by companies and purchasers. Marechal is adamant that they are ” works of art “. He flogs out his telephone and proves me a photograph of a poster for Mademoiselle, a defunct Conde Nast publication (” The Magazine for Smart Young Women “). It’s a red, white-hot and blue map of the US, hand-drawn, with potatoes in Idaho, cinema reel and grapes in California and a Statue of Liberty in New York.

Marechal’s gazes projection 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 poster. Two of them are in a private collecting in Texas ,” he explains. It was a snip at $4,000( PS3, 000 ), and will shoot up in value formerly he lends it to the catalogue raisonne of Warhol’s commercial act that he has spent the past two decades compiling.

A dapper French Canadian in his early 50 s, Marechal, whose date enterprise is curating artistry for “owners corporations” in his native Montreal, owns more than 700 such patches. They include Christmas posters for Tiffany, copies of Interview magazine- which registered for insolvency this month after a nearly 50 -year run– and a medical booklet on rheumatoid arthritis featuring an ink attracting of a gnarled side. At the Picasso Museum in Malaga, where we meet, a large Warhol retrospective aspects more than 150 pieces from his accumulation, the largest group ever to go on public display.

Marechal started accumulating 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 act- was he only a society portrait painter, an artist who developed two or three famed artworks, but the rest was uninteresting? So in the early years, I could buy anything, I had no competition .” That soon reformed, nonetheless, after Marechal began to publish records of what he had acquired, building a market in his wake.

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

His first acquire was a copy of The Painter, an album by Paul Anka.” It’s not the rarest, but it struck me .” He knew 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 just triggered a question in my attention: how many record handles did Warhol create ?” He called the Andy Warhol Museum in Pittsburgh.” They has come forward 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 flip-flop through tens of thousands of LPs in record shops (” It’s easier now there’s the internet “).

The Malaga exhibition- subtitled Mechanical Art, an allusion to Warhol’s obsession with duplication 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, loaned by the Metropolitan Museum in New York, haven’t been seen in public since 1968 ).

In the flesh, these are strong, disturbing portraits, for all their familiarity. You are momentarily dazzled by the glamour before you be borne in mind that Jackie( Kennedy) was bereaved, Taylor had pneumonia and Marilyn Monroe was decorated after her overdose. Marilyn( Reversal) in funereal blacknes, a periodical made from a photographic negative, recalls the Turin pall. In an adjacent section, the lurid Electric Chair and Car Crash decorates remove any doubt; Warhol was as interested in the American way of death as he was fascinated by the minutiae of life, the soup cans and the Brillo pad cartons.

A A extremely 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 situated the majority of members of the commercial work in a separate room, though he insists this is not to “segregate” it, but to make it easier for visitors to ” detect” a different slope of Warhol. In any case, he admires the Christmas placards as much as the canvases, saying both expose the artist’s characteristic mixture of” sweet innocence and strong wickednes “. Warhol’s 1950 s illustrations err on the side of sweet innocence, inevitable given the nature of the commissions- cards, a sell catalogue of children’s books, or a double-page spread on pouches for Mademoiselle. His blobby ink wires 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, daring, neon, engraved 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 entry solo present at Ferus gallery in Los Angeles in 1962. Having arrived in Manhattan in 1949 with a degree in pictorial designing, he promptly established himself as an illustrator, preparing enough coin 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 situation, 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 accepting being, but you have to be nice to him because he might buy a cover “.

Obsessed Obsessed with duplication … one of the famous Marilyn Monroe employments. 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 division out from painting, becoming a film-maker and music creator, despite a total absence of experience in those environments. 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 movie festival debuts, continuing an obsession with luminary that first attested itself in the letters he sent to the following address Capote while still small children in Pittsburgh.

Initially an esoteric movie journal, Interview reformed tendency in 1972. It would now envelop mode, interiors and, above all, famous people. In doing so it defined a brand-new template for popular publications- and one whose slick carelessnes stood in stark comparison 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 bequest of Interview magazine is really the bequest of Andy Warhol ,” says Patrick Moore, administrator of the Warhol Museum, who lent dozens of fragments 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 artist established around him.

” If you appeared in Interview you may have appeared in a film that Andy was aiming, you may have had a commissioned portrait. Artists like Jeff Koons and Damien Hirst, who the hell is unabashed in matters of their embracing of coin and commerce, certainly wouldn’t exist without Andy .”

Marechal caters his own precedent of the 360 -degree service:” I remember for instance Miguel Bose, the Panamanian pop star, Warhol did a record cover, the interrogation for Interview magazine, he also interviewed him on Andy Warhol’s TV “- a cable show 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 justifies,” Andy, as with most enormous portraitists, was not ashamed to give a facelift as one of the purposes of the process .” He would take a sitter,” gave grey hotcake makeup on them, overlight them, and all of the wrinkles “il be going”. And he might pay a little snip around the jawline as well- so everybody looked fantastic .”

The commercial-grade 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 discovered a Warhol advert for Martini, complete with gondoliers. Fine Art Andy and Business Andy were always one and the same.

Were there any red routes, 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 always had parties around him who moved sure that the actual realisation of the production was quite beautiful .”

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

Moore gives a note about one 80 s scenester.” He did a portrait of Trump Tower, and we own two of them, and Trump never paid for the depicts 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 portrait of him or his wife, but no, it’s a picture of Trump Tower .”( Warhol’s journals state that the creator did eight depicts 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 paintings I did of the Trump Tower ,” Warhol wrote on 15 January 1984.)

Marechal is realistic about Warhol’s ability to say no.” Warhol never declined any committee. Or very rarely. I’ve heard of one- a movie posting, I don’t remember the refer, but the actors were unknown, so that are 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 marketplace. In all such cases, he claims he’s not in it for the speculation possibility, despite unfold every paycheck to fund the pastime. Later on, he seems to have second thoughts.” Because I’m 52 years, I’m at the degree where I’m asking myself: what am going to do with this? Am I 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 scatter. I could sell everything I’ve collected because the books will ever is still a a trace of that accumulation. But it’s not enough for me. Like when I started- I wanted to touch, to see. I had to buy every record extend because I wanted to see the inner sleeve, the ascribes. For every occupation I need to have[ it] within my hands “.

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

LEAVE A REPLY

Please enter your comment!
Please enter your name here