Even at the height of his success, the great pop artist never refused private fees. We satisfy the man hunting down these gems including paintings of Trump Tower that Donald rejected

” I can show you my recent acquisition, which I’m very proud of ,” says Paul Marechal, the world’s foremost collector of what snobs might be attributed to as Warhol ephemera- copies of instances, folders, signs and album covers commissioned by corporations and buyers. Marechal is adamant that the latter are ” works of art “. He whips out his telephone and establishes me a photograph of a sign for Mademoiselle, a defunct Conde Nast publication (” The Magazine for Smart Young Women “). It’s a blood-red, lily-white and blue map of the US, hand-drawn, with potatoes in Idaho, film reel and grapes in California and a Statue of Liberty in New York.

Marechal’s gazes projection with passion 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 currently in private collecting in Texas ,” he shows. It was a snip at $4,000( PS3, 000 ), and will shoot up in appreciate once he contributes it to the catalogue raisonne of Warhol’s commercial wield that he has exhaust the past two decades compiling.

A dapper French Canadian in his early 50 s, Marechal, whose date errand is curating art for a corporation in his native Montreal, owns more than 700 such patches. They include Christmas placards for Tiffany, copies of Interview magazine- which registered for bankruptcy this month after a practically 50 -year run– and a medical booklet on rheumatoid arthritis featuring an ink depicting of a gnarled hand. At the Picasso Museum in Malaga, where we meet, a large Warhol retrospective aspects more than 150 pieces 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 labor- was he merely a society portrait painter, an artist who established two or three famed artworks, but the remainder 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 aftermath.

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 experience was a copy of The Painter, an book by Paul Anka.” It’s not the rarest, but it struck me .” He experienced 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 provoked a few questions in my imagination: how many record reports did Warhol create ?” He called the Andy Warhol Museum in Pittsburgh.” They came up with a register of 23.” But because Warhol didn’t keep track of commissions, they couldn’t say for sure. By 2015, Marechal had discovered a further 42. It was a labour of love, and involved turning through tens of thousands of LPs in record patronizes (” It’s easier now there’s the internet “).

The Malaga exhibition- subtitled Mechanical Art, an allusion to Warhol’s obsession with repeating and breeding- 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, this organization is strong, disturbing images, for all their familiarity. You are temporarily 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 color, a photograph 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 demise as he was fascinated by the minutiae of life, the soup cans and the Brillo pad boxes.

A A extremely 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 residence the majority of members of the commercial-grade work in a separate room, although he insists this is not to “segregate” it, but to make it easier for visitors to ” detect” a different back of Warhol. In any case, he admires the Christmas placards as much as the canvases, saying both display the artist’s characteristic mingle of” sweet innocence and strong perversion “. Warhol’s 1950 s sketches misjudge on the side of sweet innocence, unavoidable given the nature of the commissions- posters, a commerce catalogue of children’s books, or a double-page spread on luggage for Mademoiselle. His blobby ink fronts are lively, inspired, and regularly twee, creating cherubs, unicorns and golden slippers.

As time goes on, they become more like the skill we already know, bold, neon, etched rather than hand-drawn. This indicates a curious inversion of the aesthetic 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 pattern, he swiftly established himself as an illustrator, moving enough fund 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 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 extremely carrying being, but you have to be nice to him because he might buy a depict “.

Obsessed Obsessed with repeat … one of the famed Marilyn Monroe undertakings. 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 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 movie carnival premieres, continuing an obsession with luminary that first certified itself in the notes he sent to the following address Capote while still small children in Pittsburgh.

Initially an esoteric movie journal, Interview changed direction in 1972. It would now extend style, interiors and, above all, famous person. In doing so it characterized a new template for popular periodicals- and one whose slick carelessnes stood in striking 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, chairman of the Warhol Museum, who lent dozens of fragments 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 creator generated around him.

” If you appeared in Interview you may have appeared in a film that Andy was guiding, you may have had a commissioned portrait. Artists like Jeff Koons and Damien Hirst, who is currently unabashed in terms of their embrace of coin and commerce, truly wouldn’t exist without Andy .”

Marechal offer his own speciman 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 substantiate program 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 clarifies,” Andy, as with most great portraitists, was not ashamed to give a facelift as one of the purposes of the process .” He would take a sitter,” threw grey flapjack makeup on them, overlight them, and all of the wrinkles “il be going”. And he might yield a little snip around the jawline as well- so everybody gazed splendid .”

The commercial-grade activity 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 misconception- in an issue of Playboy from 1962, Marechal has discovered a Warhol advert for Martini, terminated with gondoliers. Fine Art Andy and Business Andy were always one and the same.

Were there any red ways, 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 ever had beings around him who seen sure that the actual realisation of the design was quite beautiful .”

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

Moore quantities a footnote about one 80 s scenester.” He did a photograph of Trump Tower, and we own two of them, and Trump never paid under the depicts and they went sent back. So they only commissioned- and Trump never paid. They’re quite nighttime. 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 draws 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 slumped any commissioning. Or very rarely. I’ve heard of one- a movie posting, I don’t remember the figure, 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 marketplace. In all such cases, he claims he’s not in it for the investment possibility, despite stretching every paycheck to fund the hobby. Later on, he seems to have second thoughts.” Because I’m 52 years, 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 accumulated because the books will always remain as 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 recognitions. For every employment I need to have[ it] within my hands “.

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


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