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One was Sybil Cookson, the journalist and writer who inspired Gluck’s paintings of horse races and boxing matches.

The couple lived together at Bolton House in West Hampstead, bought by Gluck’s father and maintained by a staff of servants—a cook, a maid, and a housekeeper.

“Lou was sitting on the edge of his bed in a bathrobe,” recalled Malanga.

“Lou was yellow in the face, he had a yellow pall and looked sickly—he always looked sickly.

But the family’s wealth allowed Gluck to live a life of luxury, to live the life of an artist, or as Picasso once almost poetically put it—.

Once, an art society sent a letter to “Miss Gluck”—Gluck resigned from the society immediately.

It brought celebrity and commissions to paint portraits of the elite members of the establishment—lawyers, judges, and so forth.

The solo exhibition was visited by members of royalty and politics, and brought contacts with some of society’s most influential enablers.

In June of 1966, as part of Andy Warhol’s Exploding Plastic Inevitable multimedia extravaganza, the Velvet Underground went to Chicago for a week’s worth of performances. Despite this setback, the shows were a resounding success for this rather new band, though this lineup would never play together again.

Following the big splash made in New York City by the Exploding Plastic Inevitable, the entire production—which included the Velvet Underground, Nico, dancers, a lighting tech, Warhol, and others—went west for a California tour.

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