The renowned Swedish art dealer, Fabian Carlsson, introduced me to Ivan Karp, former co-director of Castelli Gallery. Ivan held the key to my aspiration of visiting Andy Warhol’s Factory. My purpose in traveling to New York was singular: to secure an Andy Warhol Marilyn Monroe portfolio. Despite Ivan Karp’s attempt to steer me towards the latest buzz in New York art—the Photo Realists—I remained steadfast in my pursuit of the Marilyn Portfolio.
With Ivan’s gracious help, a call was placed to Fred Hughes, Warhol’s business manager. A meeting was arranged for the following day. I arrived promptly at 33 Union Square’s Decker building, and though a considerable wait ensued, eventually, Fred Hughes’ assistant appeared. Regrettably, the possibility of obtaining a Marilyn Monroe portfolio was extinguished. However, an alternative emerged: the option to acquire a Mao portfolio for $5,000. After deliberation with my fellow collectors in Sweden, the decision was made to embrace Maos instead of Marilyns.
In an absence of insurance, I undertook the task of personally transporting the 1 x 1-meter portfolio aboard SAS Sk 902, destined for Copenhagen. At my arrival, my partner Olof Setterberg awaited. Incidentally, his inaugural client was the now-celebrated gallerist, Björn Wetterling.
Subsequently, in 1973, a triumphant return to the Factory ensued. A Marilyn portfolio was procured for $10,000, tendered in cash to Fred Hughes. However, my connection with Andy Warhol remained elusive; a formal introduction never materialized. In a subsequent voyage, I was invited to a Warhol Divine party at a desolate hotel situated somewhere along Columbus Avenue.
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