Vente aux enchères 'TMC PRESENTS... TREASURES FROM THE DREAM FACTORY' le 23 novembre 2015 par Bonhams à New York. Les lots avec leur description sont en consultation libre sur le site de Bohams.
Lot 2: A Natalie Wood bound screenplay of Scudda Hoo! Scudda Hay!
US$ 700 - 900 - €650 - 840
Twentieth Century-Fox, 1948. Mimeographed manuscript, revised final screenplay by F. Hugh Herbert, 149 pp, February 19, 1947 (with revision pages dated as late as March 4), burgundy leather cover stamped in gilt to upper cover with film's title and "F. Hugh Herbert." Some pages annotated in ink by Wood, who also inscribed her name, character's name address, and phone number on the title page, and some of her dialogue in pencil on the verso of the last page. This was Wood's eighth film, but is better remembered as the movie in which Marilyn Monroe utters her first speaking role.
Lot 206: A Marilyn Monroe signed contract for The Asphalt Jungle
US$ 20,000 - 30,000 - €19,000 - 28,000
Document signed ("Marilyn Monroe"), 2 pp, Hollywood, November 29, 1949, a Twentieth Century-Fox/Screen Actors Guild contract "for Free Lance Players," countersigned and dated on the verso beside Monroe's signature, inscribed in ink on the recto, "12-8-49 M. Monroe / J.S.," with additional partial page stapled to verso.
John Huston's film noir The Asphalt Jungle marked one of Marilyn Monroe's most important early, breakthrough roles, as gangster Emmerich's (Louis Calhern's) much younger moll, Angela. At the time, Monroe was virtually unknown and this contract states she received only $300 per week for her work on the film.
9 x 23 in.
Lot 207: A Marilyn Monroe suit from Gentlemen Prefer Blondes
US$ 350,000 - 500,000 - €330,000 - 470,000
Twentieth Century-Fox, 1953. Gray wool jacket with cream-colored embroidered linen collar, wired so that it stands, hook-and-eye and black button closure at the center, fitted at the hips, with partial gray crepe lining; together with a matching knee-length pencil skirt with a navy grosgrain waistband and buttons that attach to the jacket (to prevent the skirt from moving when Monroe danced), and a small slit in the back, bearing a bias label inscribed in black ink, "1-69-1194 M. Monroe A-698-40." Monroe, as Lorelei Lee, wears this suit when she and Dorothy (Jane Russell) go shopping in Paris, the hotel refuses them, and they wind up at a sidewalk café, singing "When Love Goes Wrong."
Provenance: Purchased by Debbie Reynolds from Fox in 1971; Butterfield & Butterfield, Entertainment Memorabilia, March 14, 2000, lot 5842.
A 1949 musical based on a novel by Anita Loos, Gentlemen Prefer Blondes was initially purchased by Fox as a vehicle for Betty Grable. However in light of Grable's waning popularity and comparatively high salary (almost ten times Monroe's), studio head Darryl Zanuck decided to cast the starlet Monroe instead, borrowing Jane Russell from RKO to serve as her costar. Gentlemen Prefer Blondes was a massive success and 1953 became Monroe's breakout year. She and Jane Russell put their handprints in cement at Grauman's Chinese Theater to celebrate the film's premiere, Monroe appeared on the cover of Photoplay and received its Fastest Rising Star award, and also appeared on the cover of the inaugural issue of Playboy.
A report by leading costume conservator Cara Varnell is available upon request.
Lot 208: A Marilyn Monroe red saloon gown from River of No Return
US$ 300,000 - 500,000 - €280,000 - 470,000
Twentieth Century-Fox, 1954. 19th century style saloon gown with a red cotton bodice adorned with large black sequins in a swirling pattern with black sequin trim along the neckline and each of the three shoulder straps, a black satin bustled skirt with matching red cotton trim with black sequins on either side of a high slit, and a yellow silk rose at the hip, bearing a label inscribed in black ink, "1-25-1-4413 A713-06 / M. Monroe"; and a matching pair of red cotton panties with red lace and green ribbon trim, bearing a label inscribed in black ink, "1-25-1-4413 A713-06 / M. Monroe" and a Fox cleaning tag. Monroe wears this dress while singing "One Silver Dollar" in the saloon.
Provenance: Purchased by Debbie Reynolds from Fox in 1971; Butterfield & Butterfield, Entertainment Memorabilia, March 14, 2000, lot 5843.
River of No Return stars Monroe as Kay Weston, a singer in a mining tent city in the Northwestern United States. Matt Calder (Robert Mitchum) arrives there in search of his son Mark and meets Kay, who has been looking after the child. Kay and her fiancé (Rory Calhoun) later set off on a rafting trip to Council City, and Matt rescues them after they run into trouble on the river. River of No Return was directed by Otto Preminger and shot on location in national parks in Canada to take advantage of the beautiful appearance of the landscapes on CinemaScope.
Monroe wears this dress in her first scene of the film. As Robert Mitchum enters the tent and walks around the stage, watching Monroe sing and strum a guitar, neither he nor the audience can take his eyes off of her. The image of Monroe in the dress also appears on the original one sheet poster and features prominently in the other promotional material surrounding the film.
A report by leading costume conservator Cara Varnell is available upon request.
Lot 209: Gentlemen Prefer Blondes
US$ 1,000 - 1,500 - €940 - 1,400
Twentieth Century-Fox, 1953. Three sheet poster, linen-backed. A vibrant poster with outstanding portraits of stars Marilyn Monroe and Jane Russell.
41 x 81 in.
Lot 213: An original title for River of No Return
US$ 1,200 - 1,400 - €1,100 - 1,300
Twentieth Century-Fox, 1954. Carved wood, reading "River of / No Return." Created by Pacific Title for the film's opening credits but not used. River of No Return, a Western set in the Pacific Northwest in the 19th century, was directed by Otto Preminger and starred Marilyn Monroe and Robert Mitchum.
36 x 14 3/4 in.
Lot 214: A Bert Stern photograph of Marilyn Monroe
US$ 1,000 - 1,500 - €940 - 1,400
C-print signed ("Bert Stern") in green ink at lower right, and numbered 27/250. New York: Sherwood Atelier, 1978. Celebrity photographer Bert Stern is intimately linked with Monroe by the 2,500 photographs he took of her for Vogue less than two months before her untimely death. Stern later compiled those photographs for his book The Last Sitting, and this photograph was printed as part of a portfolio of ten prints in 1978. This sultry close-up of Monroe is a classic example of her vamping for Stern's camera.
Sheet: 20 x 24 in.; image: 19 7/8 x 19 7/8 in.
Lot 215: A Marilyn Monroe signed U.S. Dept. of Defense identification card
US$ 10,000 - 15,000 - €9,400 - 14,000
Card serial no. 129279, undated, signed ("Norma Jeane DiMaggio"), inscribed under the signature by the military policeman who issued the ID, with "VOID" across the body of the document. On the verso of the card, Monroe has stamped her fingerprints in black ink. Accompanied by a press photograph of Monroe visiting the Tokyo Army Hospital on February 5, 1954.
This is the file copy of the ID card issued to Marilyn Monroe during her famous visit to entertain the American soldiers in Korea. Monroe had just married Joe DiMaggio on January 14 of that year, and they traveled to Japan for their honeymoon. She received this ID card from the US Army Provost Marshall's Office in Tokyo before flying to Korea. Monroe performed in ten shows over four days before a total audience of 100,000 soldiers.
In 2008, Bonhams sold Monroe's copy of this ID card, with the date February 8, 1954, the preceding serial number of 128278 and an identical inscription from the MP on duty, for $57,000.
Provenance: Accompanied by a notarized letter of provenance from the consignor, describing how he purchased the ID card from the estate of one of the military policemen on duty that day.
3 5/8 x 2 3/8 in.
Lot 218: A revised final screenplay of Let's Make Love
US$ 500 - 700 - €470 - 650
Twentieth Century-Fox, 1960. Mimeographed manuscript, revised final screenplay by Norman Krasna, 162 pp, December 20, 1959 (with revision pages as late as January 11, 1960), bound in brads in yellow Twentieth Century-Fox wrappers printed "Revised Shooting Final," with some notations in pencil to upper cover.
George Cukor's Let's Make Love was Marilyn Monroe's penultimate completed film role. Yves Montand stars as a man impersonating an actor impersonating himself in a play costarring actress Amanda Dell (Monroe). The finished film runs 119 minutes, which indicates that various scenes were probably deleted from this lengthy script. Monroe's then-husband Arthur Miller and Hal Kanter also contributed to the screenplay.
Lot 219: A large collection of rare contact sheets of Marilyn Monroe in Let's Make Love
US$ 50,000 - 80,000 - €47,000 - 75,000
Twentieth Century-Fox, 1960. 134 contact sheets, in two sets bound at tops in clasps (one set totaling one-hundred and twenty-one sheets; the other, thirteen), each with twenty (though sometimes less) 2 3/4 x 1 3/4 in. black and white photographs, "Approved Set" inscribed on first sheet of smaller set in permanent marker, Advertising Code Administration "Approved" and "Disapproved" stamps on versos with dates in green and red ink, housed in a Kodak Photographic Paper box inscribed, "Monroe / Somethings [sic] Got to Give" (though the photographs are from Let's Make Love).
Taken throughout the production of Marilyn Monroe's penultimate film, there are approximately 2,700 individual black and white images in this collection. Monroe is pictured in almost every shot, though her costars Yves Montand, Tony Randall, Gene Kelly, Bing Crosby, and others are also prominently featured, as is director George Cukor. Most of the photographs were taken during filming, but there are also many candid, behind-the-scenes images. Monroe herself went through the contact sheets and crossed out dozens of images she didn't like, using a thick black or red ink pen, and sometimes crossing herself out so thoroughly that she couldn't be seen at all. Thankfully, she left hundreds of shots untouched.
11 x 14 in.
Marque / Produit: Ligne Roset / canapé
Photographie: Séance de la Ballerine par Milton H Greene
© All images are copyright and protected by their respective owners, assignees or others.
How Norma Jeane, filing cabinet model, became Marilyn Monroe
Published on November, 21, 2015
By Michelle Morgan and Astrid Franse
One day, while shopping for vintage items for their shop, Bennies Fifties in the Netherlands, Astrid and Ben Franse bought a box of old Marilyn Monroe memorabilia from a dealer in Los Angeles. They didn’t know what they really had: a treasure trove. In the box were letters and never-before-seen photos from Miss Emmeline Snively, who had run the Blue Book Modeling Agency — the agent who had signed a young Norma Jeane Dougherty. In the new book “Before Marilyn,” Astrid Franse and co-author Michelle Morgan reveal for the first time this archive and how Snively helped turn Norma Jeane into Marilyn Monroe.
In early August 1945, a photographer friend took Norma Jeane Dougherty from her home in West Los Angeles to be introduced to Miss Emmeline Snively, owner of the Blue Book Modeling Agency.
Norma Jeane was married, bored — and beautiful. Raised an orphan, she wed at 16 to escape a series of foster homes. But her husband shipped off with the Merchant Marines, and she worked an exhausting shift at the local defense plant.
Her face was her escape. She was noticed by propaganda photographers in the factory and after the war went looking for a job at Blue Book.
Snively, who had seen every kind of girl the profession had to offer, did not think there was anything too out-of-the-ordinary about the girl standing in her office at the Ambassador Hotel. She noted in her file: “Norma Jeane had been brought to the hotel by photographer Potter Hueth, wearing a simple white dress and armed with her modeling portfolio, which offered no more than a few choice snaps . . . You wouldn’t necessarily wear a white dress to a modeling job, and it was as clean and white and ironed and shining as she was.”
Norma Jean, then 19, was staring at the magazine covers and publicity photos gracing the walls.
“Those are the prettiest girls I’ve ever seen,” she muttered, almost to herself, before turning to Miss Snively. “Do you think I could ever get my picture on a magazine cover ?”
Snively looked her up and down. “Of course,” she smiled. “You’re a natural.”
Wiggle and quiver
Snively noted her statistics on an agency card: “Size 12, height 5.6, 36 bust, 24 waist, 34 hips. Blue eyes, perfect teeth and blonde, curly hair.” “Actually,” she later wrote, “her hair was dirty blonde. California blonde which means that it’s dark in the winter and light in the summer. I recall that it curled very close to her head, which was quite unmanageable. I knew at once it would have to be bleached and worked on.”
It cost $100 for a three-month modeling course, to teach her presentation, grooming and coordination — or how to sell yourself to the public. Snively noted that Norma Jeane was wonderful when it came to learning techniques such as makeup, hand positions and body posture, but she had concerns over other aspects. One problem was the way she walked, which went against everything a fashion model was trained to do. In short, she wiggled.
“When Marilyn walks, her knees lock,” Snively wrote. “She’s double-jointed in the knees, so she can’t relax and that is why her hips seem to sway when she walks into a room. Her walk is a result of that locking action every time she takes a step. This she turned into an asset.”
As Marilyn would later explain: “When you walk, always think UP in front and DOWN in back.”
Another “problem” was her smile, which the agency (and several magazine editors) felt made her nose look too long. This was easily rectified, as Snively later recalled. “She smiled too high, that’s what was wrong, and it made deep lines around her nose. We taught her how to bring her smile down and show her lowers.”
This resulted in the famous lip quiver that would often be seen in Marilyn’s film roles.
Norma Jeane’s first official assignment was as a hostess at an industry show being held at the Pan Pacific Auditorium. Described as “America’s annual tribute to the working man,” the Industry on Parade exhibition began on Labor Day weekend, 1945, with a motorcade traveling through downtown Los Angeles.
She found herself on a stand taken by Holga Steel Company, talking to visitors, giving out leaflets and showcasing one of the company’s items — a steel filing cabinet.
Described as “absolutely terrified” by Snively, Norma Jean traveled to the Pan Pacific Auditorium day after day. When she returned to the agency, Norma Jeane handed over all her earnings. “She gave me the whole $90,” Snively wrote. “Took nothing out for car fare or meals or clothes or anything. ‘This,’ she said, ‘will take care of most of my tuition.’ I knew at once she was a fair and honest and very fine girl, and I decided to get her as much work as I possibly could.”
Norma Jeane appeared in ads for Douglas Airlines and some magazine shoots. But when photographer Raphael Wolff hired her for a shampoo advertisement, it let Snively do what Norma Jeane had always resisted — change her hair.
“Look darling,” Snively told her, “if you really intend to go places in this business, you’ve just got to bleach and straighten your hair because now your face is a little too round and a hair job will lengthen it.”
Norma Jeane acquiesced, and Snively was thrilled with the results.
“She emerged a truly golden girl . . . From this point she went into her bathing-suit stage, and the demand for her was simply terrific. She averaged, I should say, $150 a week, and men began talking about getting her into the motion-picture game.”
One photographer paid to fix one bad front tooth. Another suggested Norma Jeane “eat more hamburgers.” But they didn’t need to teach her how to look sexy; she was a natural.
Later, Marilyn Monroe would reminisce about how most of the photos used of her were for “men’s” magazines.
“I was in See four or five months in a row,” she said. “Each time they changed my name. One month I was Norma Jeane Dougherty; the second month I was Jean Norman.”
Snively hustled to promote her. When Howard Hughes, who was recovering from a plane crash, called to ask who the girl was on the cover of Laff magazine, Snively promptly called columnist Hedda Hopper, who picked up the item and gave Norma Jeane her first coast-to-coast publicity.
The nude bomb
In July 1946, Norma Jeane got a screen test at 20th Century Fox, where she was signed to a starlet’s contract for a salary and training in the studio workshops.
Executive Ben Lyon took an interest, choosing the name Marilyn for her. “When he asked her if there was a last name she particularly liked, she said yes — her grandmother’s name had been Monroe,” the studio’s archives read.
“Mmmmarilyn Mmmmonroe, yes I like the way that sounds,” Marilyn said.
But Fox eventually dropped her, as did Columbia, after only a few background roles. By May 1949, she had returned to convention modeling, showing off antiques at the Pan Pacific Auditorium.
Marilyn was broke. One day, a man called to offer money and other luxuries in exchange for certain favors.
“For a dizzy moment, I had visions of being able to pay my rent,” she later recalled, “but as he went on giving the details of what I would be expected to do, my visions vanished. He was brutally frank, and all I could think of to say was that he shouldn’t talk that way over a public telephone. I didn’t realize how silly that sounded until I hung up, and then I started to laugh.”
At the time of the call, she was late with her rent at the Hollywood Studio Club and threatened with eviction. Something had to be done.
She called photographer Tom Kelley, who had used her in the past for a beer ad. He had asked her several times to pose nude and she always refused, but this time her home was on the line and she felt she may not have much choice. Marilyn did have a particular requirement — she would only take her clothes off for him if accompanied by his wife, Natalie.
In May 1949, she posed nude on a blanket of red velvet. “I decided I’d be safer with [Kelley] than with some rich old guy who might catch me in a weak moment when I was hungry and didn’t have enough to buy a square meal,” Marilyn explained. “Kelley told me he’d camouflage my face, but it turned out everybody recognized me.”
When later asked what it felt like to be photographed in such a way, she answered, “It was drafty.”
Kelley later told biographer Maurice Zolotow that he paid Marilyn $50 for her services and then sold the rights to a calendar maker for $500. It would be years before the calendar maker’s secretary realized who the girl was. “He made a fortune on it,” Kelley said. “Sold close to 8,000,000 calendars.”
Marilyn got some promising film roles in a Marx Brothers movie (“Love Happy”) and “The Asphalt Jungle.” But like the Kim Kardashian of her day, it was the nude photographs surfacing in 1952 that made her a star. Instead of destroying her career, as the studio thought it would, the scandal won the actress much sympathy after she announced that the reason she had posed in the first place was because without the money she would have been evicted.
In the next year, she would make “Gentlemen Prefer Blondes” and “How to Marry a Millionaire.” The transformation from Norma Jeane to Marilyn was complete.
How to make it…
Marilyn was famous, but her insecurity never went away. In 1954, Snively learned Marilyn was making “There’s No Business Like Show Business.” She called the studio to see if Marilyn would pose for some publicity photos for Blue Book Models. Marilyn quickly agreed.
The pictures taken on the set that day show Marilyn in costume to perform a song and dance number called “Heat Wave.” The actress wasn’t a huge fan of the song, and her new husband, baseball star Joe DiMaggio, wasn’t an admirer of the outfit, considering it too revealing for his wife to wear. However, neither seemed to bother Snively, and photos show there is no doubt that Marilyn enjoyed meeting up with her old mentor once again.
Snively later recalled having a private word with Marilyn off set.
“She didn’t feel she was a qualified actress, [but] how could she have felt any different ?” Snively later wrote. “She’d signed her first contract before she had her first acting lesson.
“God I wanted to cry for her then. This can be the loneliest town in the world, and it’s even lonelier for you if you’re on top of the heap.”
Excerpted from “Before Marilyn: The Blue Book Modeling Years” by Astrid Franse and Michelle Morgan. Out now from St. Martin’s Press.