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Divine Marilyn Monroe

NAVIGUATION
DIVINE MARILYN

BLOG-GIF-MM-KOREA-1 
Marilyn Monroe
1926 - 1962
BLOG-GIF-MM-PREMIERE-2 

Identités

Norma Jeane Mortenson
Norma Jeane Baker
Norma Jeane Dougherty
Marilyn Monroe
Marilyn DiMaggio
Marilyn Miller
Jean Norman
Mona Monroe
Zelda Zonk

BLOG-GIF-MM-BS-1

Archives
4 décembre 2011

Salon Auto/Moto de Toulouse

salonautomotoDu 19 au 27 novembre 2011, s'est tenu le 24 ème Salon de l’Auto et de la Moto de Toulouse 2011, au Parc des Expositions de Toulouse (31000).

Elodie, fan de Marilyn et lectrice du blog, s'y est rendue et souhaite partager quelques-uns des clichés qu'elle a pris sur place: une voiture "La Fiat 500 aux couleurs de plusieurs stars", dont Mickey, Lady Gaga, Rihanna et bien-sûr Marilyn. Cette voiture est un modèle non-commercialisé qui sert de publicité à la marque "Hype Means Nothing" qui fait aussi des tee-shirt, des sacs et des pochettes (voir l'article Hype Means Nothing sur le blog)  

> L'album photos d'Elodie:
DSCN0264 DSCN0265 DSCN0263
DSCN0261   DSCN0270 
DSCN0271 DSCN0272 DSCN0273

/!/ Un grand merci à Elodie qui nous fait partager ses photographies personnelles.

3 décembre 2011

Marilyn Monroe: the unseen files

The_TelegraphMarilyn Monroe: the unseen files 
Par Tim Auld, publié le 21/02/2011,
en ligne
sur telegraph.co.uk 

A new book reveals the extraordinary contents of Marilyn Monroe's private filing cabinets, thought lost for over 40 years after her death

Marilyn_main_1835453c
Detail of a test print from the Marilyn Monroe archive
 Photo: MARK ANDERSON

In November 2005 Millington Conroy, a businessman living in Rowland Heights, 40 miles east of Los Angeles, contacted Mark Anderson, a successful magazine photographer, to discuss an unusual commission.

He had in his possession two metal filing-cabinets, one brown, one grey, containing private papers and a collection of furs, jewellery and other assorted memorabilia, all belonging to Marilyn Monroe. Would Anderson be interested in photographing the collection?

The material – about 10,000 documents – had been thought lost for more than 40 years since the death of Monroe on the night of 4 August 1962. Now, here it was, a treasure trove, languishing in a Californian suburb.

It was the commission of a lifetime, the largest undocumented Monroe archive in existence. Yes, of course Anderson was interested, and, with the help of the biographer and Monroe aficionado Lois Banner, he set about creating a record of the archive's contents, which is now to be published for the first time as a book.

There are letters from Monroe glowing with admiration for Robert Kennedy; a half-finished love letter to her ex-husband Joe DiMaggio found in her room after she died from a drug overdose; unseen pictures of Monroe as a child and young woman; touching fan mail; rare insights into her marriage to the playwright Arthur Miller; and extensive documentation of her squabbles with the Hollywood studio Twentieth Century-Fox.


In these documents the flesh-and-blood Monroe, usually lost in the heady blaze of the images of her on film and in glamour photographs, comes alive in the flotsam and jetsam of everyday life.

We can see her bookshop receipt for The Life and Works of Sigmund Freud, volumes one, two and three (she was a slave to therapy); the newspaper cuttings, both flattering and critical; her witty little telegrams. Then there are the bills for enemas, facials and prescription drugs, the uppers and downers that in her later years carried her through the day, and eventually killed her.

Frank Sinatra, one of Monroe's lovers, is said to have suggested she buy the filing cabinets to protect her privacy when she was living in New York in 1958. In early 1962, when she moved to Brentwood, Los Angeles, she had the cabinets shipped down.

The grey one, containing private correspondence, was kept in the guest cottage at the Brentwood house; the brown one, containing business records, was stored across town in her office at Twentieth Century-Fox studios.

One account of Monroe's last night claims that she actually died in the guest cottage and was subsequently moved to her bedroom in the main house and rearranged on her bed.

What is certain is that sometime on the night of 4 August the cabinet in the guest cottage was broken into, and that crucial files were removed – perhaps pertaining to Monroe's relationship with the Kennedys and their links with the Mafia boss Sam Giancana, perhaps to her contractual arrangements with Twentieth Century-Fox.

How did these immensely valuable cabinets manage to vanish for so long only to resurface in a quiet corner of suburban California? The key to the mystery is Inez Melson, Monroe's business manager in the mid-1950s, guardian of Monroe's schizophrenic mother, and, following Monroe's death, administrator of her Los Angeles holdings.

In the days and weeks after Monroe died Melson, who received nothing in Monroe's will (the bulk of the estate and her personal effects were left to Lee and Paula Strasberg, her acting coaches), made sure the filing cabinets ended up in her possession.

She had the brown cabinet at Twentieth Century-Fox transported to her home in Hollywood Hills, and, fraudulently, using the name of one of her nephews, bought the grey cabinet for $25 at the Monroe Estate auction she herself had organised. Upon her death in 1985 Melson left her collection, including the cabinets, to her sister-in-law Ruth Conroy, who, upon her death, bequeathed it to her son Millington.

In the course of their research, it soon became apparent to Anderson and Banner that Melson had acquired the contents of her archive illegally and that Strasberg's third wife, Anna, was in fact the legal owner of the material.

'We told Mill what we had found,' writes Banner. 'Realising that his ownership of the collection could be in jeopardy, he threatened to sell it on the black market… We wanted to ensure that the [collection] remained intact and that it would eventually be shown to the public; so we informed Anna Strasberg of its existence. We were not privy to her ensuing negotiations with Mill. All we know is that, in the end, they reached a settlement.'

What is astonishing about the archive, says Banner, is quite how much material has survived, and also its quality. Amid the mass of bills, cheques, contracts and publicity shots there are insights into the most private corners of her life.

Monroe grew up effectively an orphan. She never knew her father, and her mother's illness meant Monroe spent her childhood and teenage years being passed from family to family, including a spell at the Los Angeles Orphan Home. She was left with a lifelong desire to truly belong in a family, and to bring up children of her own.

Monroe's horror at the idea of not being able to get pregnant is made starkly and rather zanily clear by a handwritten letter she taped to her stomach before having her appendix removed in 1952: 'Cut as little as possible,' it reads. 'I know it seems vain but that doesn't really come into it. The fact I'm a woman is important. You have children and you must know what it means. For God's sakes Dear Doctor no ovaries removed.'

Monroe suffered three miscarriages in the mid-1950s while married to the playwright Arthur Miller, and the archive is full of reminders of how painful that time must have been. There's a receipt for a maternity dress Miller bought, and a letter of condolence from the poet Louis Untermeyer, which sums up the paradox of her life – at once adored by millions and isolated in her suffering: 'It's grimly ironic that while the rest of the country was enjoying the comedy of your impersonations in Life [the December 1958 issue had a shoot in which Monroe spoofed the great sirens of history], you were going through your personal tragedy… Arthur's tribute was a model of good taste, artistic balance, and love. It must be an added comfort to know that everyone loves you – especially now.'

Most extraordinary is a letter she and Miller received on 24 January 1958, in the aftermath of her third miscarriage, offering them a child to adopt: 'Wonder if you might be interested in the adoption of a baby girl, that was born to an unwed mother about the same time your wife lost her child. It is a healthy and beautiful baby and the mother feels that you people would really make a good happy home for her… If you are interested you can reach me by phone.'

Would Monroe have been a good mother? Who can tell? But letters she wrote to her stepchildren, Bobby and Jane Miller, reveal a playfulness and understanding of childhood needs and disappointments that would surely have stood her in good stead.

In August 1957 we find her writing to them at summer camp in the guise of their basset hound, Hugo (she also wrote to them as their Siamese cat, Sugar Finney): 'It sure is lonesome round here! I made a mistake and I am sorry, but I chewed up one of your baseballs. I didn't mean to. I thought it was a tennis ball and that it wouldn't make any difference but Daddy and Marilyn said that they would get you another one, so is it all right for me to keep playing with this one as long as you are getting a new one? Love from your friend and ankle-chewer.'

The light-hearted, but slightly wistful tone of these letters (the word lonesome crops up again and again in her letters to the children at this time) are made more poignant by the fact that on 1 August Monroe had suffered her second miscarriage.

Anderson and Banner's selection of material presents Monroe in a positive light. She is a woman fighting to control her image in a man's world; a talented comic actress compared by directors to Garbo and Chaplin; a caring stepmother; a clever correspondent; a trustworthy friend.

The authors do not, however, gloss over her petulance ('I am exceedingly sorry but I do not like it,' reads her curt telegram to Twentieth Century-Fox on being sent the script for Pink Tights, which she'd already decided she did not want to make); nor over her refusal to compromise, which during the filming of The Misfits led to Dorothy Jeakins – a major Hollywood costume designer who had done costumes for Monroe on both Niagara and Let's Make Love – leaving the film ('I'm sorry I have displeased you. I feel quite defeated – like a misfit, in fact,' wrote Jenkins). Angry legal spats also bear witness to her legendary lateness, which resulted in almost everything she worked on running over schedule.

Despite knowing how infuriating she could be, it remains impossible not to like Monroe. She had a wit worthy of Mae West ('There is only one way he could comment on my sexuality and I'm afraid he has never had the opportunity!' she wrote of Tony Curtis, though he would later claim to have been her lover) and an ability to remain winsome even in adversity.

After she was fired from the film Something's Got to Give in 1962, as her drug habit escalated, she wrote to George Cukor, the director: 'I blame myself but never you. The next weekend I will do any painting, cleaning, brushing you need around the house. I can also dust.'

Marilyn always said it was the people and not the studios who had made her famous, and we see the best of her when she reaches out to her public. She received thousands of fan letters each week, and was meticulous about filing away those that had particularly touched her.

There is a charming letter from a 17-year-old Italian boy, who is clearly entirely overcome: 'I imagine that you and I dance wrapped in a sky of stars, and they smile on us.' He requests a lock of Monroe's hair. Monroe is clearly touched because along with the letter is found a note by her: 'Pic of him and dedication autographed and returned also a lock of hair. Also a letter which I will carry next to my heart always.'

Equally moving is a note from the mother of a soldier who saw Monroe perform in Korea in 1955. She quotes from the letter her son sent her: 'When she appeared on the stage, there was just a sort of gasp from the audience – a single gasp multiplied by the 12,000 soldiers present… The broadcasting system was extremely poor… However, it didn't matter. Had she only walked out on stage and smiled it would have been enough.'

If representatives of the Kennedys did remove documents from the filing cabinet on the night of Monroe's death, and Lois Banner is certain that they did ('I know who took them and what happened to them, but I don't feel at liberty to say at this point,' Banner told me), they were pretty thorough. The archive now has almost no material relating to Monroe's relationships with JFK and Robert Kennedy, which are thought to have dominated the final months of her life.

Tantalisingly, she makes two references to Robert Kennedy in letters written on 2 February 1962, the day after she had attended a dinner in the attorney general's honour. To Arthur Miller's son, Bobby, she writes: 'I had to go to this dinner last night as [Robert Kennedy] was the guest of honor and when they asked him who he wanted to meet, he wanted to meet me. So, I went to the dinner and I sat next to him, and he isn't a bad dancer either. But I was mostly impressed with how serious he is about civil rights.'

She is rather more circumspect when relating the incident to Miller's father, Isidore: '[Robert Kennedy] seems rather mature and brilliant for his thirty-six years, but what I liked best about him, besides his Civil Rights program, is he's got such a wonderful sense of humor.'

Smitten? Maybe. There are certainly no other letters here that emanate this wide-eyed flirty glow. But the remaining documents from Monroe's last spring and summer offer no hint as to where this relationship might have gone.

Instead there are ledgers and memos charting the increasingly poor state of Monroe's finances and revealing that her main expenditure was on medical bills. There is an eerie absence of anything else. Where are the letters from friends, the fan mail, the urgent telegrams of former times?

Stolen, perhaps? Or had the isolation that Marilyn always so feared begun to close around her. The only hint of human warmth to be found among a sea of cheques and tumbling balances is a note, signed with a heart, from Monroe's acting coach Paula Strasberg: 'Have faith,' it reads.

MM – Personal: From the Private Archive of Marilyn Monroe (Abrams, £22.50), by Lois Banner with photographs by Mark Anderson, published on Tuesday, is available from Telegraph Books (0844 871 1515; books.telegraph.co.uk) at £20.50 plus £1.25 p&p

> sur le blog: le livre MM Personal 


The private files of Marilyn Monroe

theprivatefiles_1
  1/ PUBLICITY STILLS: Monroe in 1960 on the set of Let’s Make Love

theprivatefiles_2 theprivatefiles_3 theprivatefiles_4 
 2/LETTER TO HER SURGEON: A note Monroe taped to her stomach before her appendectomy in 1952, in which she urged the doctor to remove 'as little as possible... no ovaries’
3/ BOOKSHOP RECEIPT: When asked by journalists what her religion was, Monroe replied 'Freud’. She began reading his writings during her early years in Hollywood. This receipt shows the purchase of all three volumes of his life and works
4/ CLOTHING LIST: Favourite garments shipped to Monroe in New York in 1955. The seventh item is thought to be the dress she wore to perform to troops in Korea

theprivatefiles_5 theprivatefiles_6 theprivatefiles_7 
5/ LETTER FROM HER FOSTER MOTHER: Ida Bolender, who had looked after Monroe as a child, wrote to Marilyn’s half-sister after the star’s death to dispute stories of an unhappy childhood. The picture was taken by Monroe’s grandmother
6/ LETTER TO HER STEPCHILDREN: Monroe writes to Arthur Miller’s children at summer camp in the voice of their cat, Sugar Finney (or 'Feeny’ as she misspells it)
7/ FUR COAT: This leopardskin coat is thought to have belonged to Monroe and have been taken from her home after she died by Inez Melson

theprivatefiles_8 theprivatefiles_9 theprivatefiles_10 
8/ LETTER FROM A COSTUME DESIGNER: Dorothy Jeakins, a famous Hollywood costume designer, left The Misfits after a disagreement over her work. Here she writes to the actress to apologise for displeasing her
9/ FANMAIL: Two children from Brooklyn send a token of their esteem
10/UNUSED MATERNITY CLOTHES: Receipt for a bed-jacket Arthur Miller bought Monroe just before she suffered a miscarriage in December 1958

theprivatefiles_11 theprivatefiles_12 theprivatefiles_13
11/ FOSTER BROTHER: The Bolenders called Monroe and Lester, another of their foster children, 'the twins’
12/ LETTER FROM HER PUBLICIST: In a letter of 1959 Joe Wolhandler lists the several inaccurate press stories he has had to deny in the past 24 hours. He concludes, 'I am in the business 20 years and I still don’t know how these things happen’
13/ TEST PRINT: A costume and make-up test for Something’s Got to Give

theprivatefiles_14
14/ LETTER TO HER LAWYER: Monroe’s assistant writes to the lawyer’s secretary to make sure the parlous state of Monroe’s finances remains a secret

  theprivatefiles_15 theprivatefiles_16 theprivatefiles_17
15/ THE FILING CABINETS
16/ ADOPTION OFFER: Soon after one of Monroe’s miscarriages, she and Arthur Miller received this letter offering a baby girl
17/ RECORD RECEIPT: A bill for three records by Frank Sinatra, who is known to have had an affair with Monroe 

3 décembre 2011

Seven Days 19/11/1989

mag_sevendays_coverLe magazine Seven Days du The Sunday Telegraph, du 19 novembre 1989, consacrait sa couverture à Norma Jeane, intitulée "Memories of Marilyn", avec un article de 5 pages "The Magic that was Marilyn".
(scans d'Emma). 

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mag_sevendays_p3 mag_sevendays_p4
mag_sevendays_p5

2 décembre 2011

Bannière décembre 2011

Une nouvelle bannière, tout dans la sobriété et la simplicité, avec cette superbe photographie issue de la "Black Sitting" de Milton H Greene en février 1956.

banner_mm_2011_dec

2 décembre 2011

Février 1956 New York Black Sitting - Marilyn par Milton

Marilyn Monroe photographiée par Milton H Greene
le 6 février 1956 - New York City
-
 au studio de Milton, au 480 Lexington Avenue, 45th Street
Les prises de vues ont été réalisées sur deux nuits.

Il s'agit d'une séance désormais mythique, entièrement en noir et blanc et ainsi nommée "The Black Sitting" "(La séance noire") où chaque photographie est comme démentie par la suivante. Marilyn y est tour à tour tragique et bouffonne, inaccessible et offerte. Ces photos évoquent le plaisir de la chair autant que les tourments de l'âme. Jamais la beauté de Marilyn n'a été montrée dans ce qu'elle comporte d'angoisse et de doute. (extrait du documentaire Marilyn malgré elle).

> Photos de la session "BLK"  

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marilyn_monroe_BLK_013 marilyn_monroe_BLK_014 marilyn_monroe_BLK_015
marilyn_monroe_BLK_016 marilyn_monroe_BLK_017 marilyn_monroe_BLK_018
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marilyn_monroe_BLK_021 marilyn_monroe_BLK_021A
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marilyn_monroe_BLK_049 marilyn_monroe_BLK_050 marilyn_monroe_BLK_051
marilyn_monroe_BLK_052 marilyn_monroe_BLK_053 marilyn_monroe_BLK_054
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  marilyn_monroe_BLK_094 marilyn_monroe_BLK_104 marilyn_monroe_BLK_115 
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marilyn_monroe_BLK_025 marilyn_monroe_BLK_026 marilyn_monroe_BLK_027
marilyn_monroe_BLK_028 marilyn_monroe_BLK_029 marilyn_monroe_BLK_030 
marilyn_monroe_BLK_031 marilyn_monroe_BLK_032 marilyn_monroe_BLK_033

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marilyn_monroe_BLK_113 marilyn_monroe_BLK_114 marilyn_monroe_BLK_154 
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> Photos de la session "Black Sitting"
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ph_gr_BlackSitting_serie3_mm_050_1 ph_gr_13821164_1_x ph_gr_BlackSitting_serie3_mm_050_2
ph_gr_BlackSitting_serie3_mm_051_3 ph_greene_bs_2 ph_gr_BlackSitting_serie3_mm_051_4
ph_gr_BlackSitting_serie3_mm_051_1 ph_gr_13821154_1_x
ph_gr_BlackSitting_serie3_mm_053_1a 
ph_gr_BlackSitting_serie3_mm_052_1 ph_gr_BlackSitting_serie3_mm_053_1 ph_gr_blackS_3220
ph_gr_BlackSitting_serie3_mm_060_1 ph_gr_BlackSitting_serie3_mm_060_1b ph_gr_BlackSitting_serie3_mm_061_1
ph_gr_BlackSitting_serie3_mm_062_1 ph_gr_BlackSitting_serie3_mm_062_2
ph_gr_BlackSitting_serie3_mm_063_1 ph_gr_BlackSitting_serie3_mm_064_1
ph_gr_BlackSitting_serie4_mm_010_1 ph_gr_BlackSitting_serie4_mm_011_1 ph_gr_BlackSitting_serie4_mm_012_1
ph_gr_BlackSitting_serie4_mm_020_1 ph_gr_BlackSitting_serie4_mm_021_1
ph_gr_BlackSitting_serie4_mm_030_1 ph_gr_BlackSitting_serie4_mm_040_1a ph_gr_BlackSitting_serie4_mm_040_1
ph_gr_BlackSitting_serie5_mm_010_1 ph_gr_BlackSitting_serie5_mm_011_1
ph_gr_BlackSitting_serie5_mm_020_1 ph_gr_BlackSitting_serie5_mm_021_1 ph_gr_BlackSitting_serie5_mm_040_1a
ph_gr_BlackSitting_serie5_mm_030_1 ph_gr_BlackSitting_serie5_mm_040_1 ph_gr_BlackSitting_serie5_mm_041_2a
ph_gr_BlackSitting_serie5_mm_040_2 ph_gr_BlackSitting_serie5_mm_041_1 ph_gr_BlackSitting_serie5_mm_041_2
ph_gr_BlackSitting_serie5_mm_042_1 ph_gr_BlackSitting_serie5_mm_043_1 ph_gr_BlackSitting_serie5_mm_044_1
ph_gr_BlackSitting_serie5_mm_045_1 
ph_gr_BlackSitting_serie5_mm_050_1_1a
ph_gr_BlackSitting_serie5_mm_050_1_1 ph_gr_BlackSitting_serie5_mm_050_1_2 ph_gr_BlackSitting_serie5_mm_050_1_3
ph_gr_BlackSitting_serie5_mm_050_2 ph_gr_BlackSitting_serie5_mm_051_1
ph_gr_BlackSitting_serie5_mm_051_2 ph_gr_BlackSitting_serie5_mm_052_1
lot541-220522_0 
ph_gr_BlackSitting_serie5_mm_060_1_1 ph_gr_BlackSitting_serie5_mm_060_1_2 ph_gr_BlackSitting_serie5_mm_060_1_3
ph_gr_BlackSitting_serie5_mm_060_1_4 ph_gr_BlackSitting_serie5_mm_062_1 ph_greene_bs_8 
ph_gr_BlackSitting_serie5_mm_061_1 ph_gr_BlackSitting_serie5_mm_070_1
ph_gr_BlackSitting_serie5_mm_071_1 ph_gr_BlackSitting_serie5_mm_072_1

> Planche Contact
ph_gr_blackS_contact_010_1 ph_gr_black_pm_2002_08_8_p58 

> Plus de 20 ans après, Milton prend la pose
devant les photos de la Black Sitting
ph_gr_blackS_milton_010_1 ph_gr_blackS_milton_020_1
ph_gr_blackS_milton_030_1

 

2 décembre 2011

Constance Collier

*actrice, auteur et metteur en scène de théâtre, anglaise. Professeur d'art dramatique à New York, Marilyn a suivi ses cours sa première année passée à New York. Constance décède le 25 avril 1955, et Marilyn assiste à son enterrement, accompagnée de Truma Capote.

She is a beautiful child. I don’t think she is an actress at all, not in any traditional sense. What she has – this presence, this luminosity, this flickering intelligence – could never surface on the stage. It’s so fragile and subtle, it can only be caught by the camera. It’s like a hummingbird in flight; only a camera can freeze the poetry of it. But anyone who thinks this girl is simply another Harlow or harlot or whatever is mad. I hope, I really pray, that she survives long enough to free the strange, lovely talent that’s wandering through her like a jailed spirit.

mm_with_constance_collier_original 

C'est une belle enfant. Je ne pense pas qu'elle soit une véritable actrice, au sens traditionnel du terme. Ce qu'elle était -sa présence, sa luminosité, son intelligence vacillante- ne pourrait jamais apparaître sur scène. C'est tellement fragile et subtil, que seule la caméra peut le saisir. C'est comme un colibri en plein vol; seule la caméra peut bloquer la poésie qui en ressort. Mais que quiconque pense que cette fille est juste une autre Harlow ou une fille facile ou n'importe quoi d'autre, est fou. J'éspère, et je prie, qu'elle survive assez longtemps pour affranchir l'étrange, d'un adorable talent qui vagabonde à travers elle comme une âme emprisonnée.

2 décembre 2011

Gif Various Marilyn (5) - photos

gif_mm

> du blog chezmanima  

1 décembre 2011

Livre Yves Montand en supplément de Télé Star

L2665SLe magazine Télé Star, n°1835, paru le 28 novembre 2011, est vendu avec un livre consacré à Yves Montand intitulé Une vie de Légende, Yves Montand, Le Monstre Sacré, vendu 5,90 Euros (en plus du programme télé qui coûte 1,10 Euros) soit 7 Euros au total. Le livre contient 5 pages consacrées à Marilyn (dont 2 photos pleine page et une petite photo).

montand 

30 novembre 2011

Icons of Hollywood December 2011

auction_iconsofholly_catalogue_coverVente aux enchères "Icons of Hollywood Auction" les 15 et 16 Décembre 2011 par Profiles in History à Beverly Hills aux Etats-Unis.

Cette grande vente aux enchères contient une multitude de documents, de photographies, d'affiches de cinéma, d'objets et de costumes de cinéma des années 30 à 70. On y trouve des photographies et des costumes de films des plus grandes stars (Lucille Ball, Clara Bow, Marlene Dietrich, Judy Garland, Steve McQueen, Louise Brooks, Bette Davies, Elizabeth Taylor, John Wayne, Rita Hayworth, Elvis Presley, Alain Delon etc...), des accessoires des films Le Magicien d'Oz, La planète des singes, Star Trek etc... et bien sûr, des effets se rapportant à Marilyn Monroe: photographies (dont des clichés inédits de Marilyn adolescente), des costumes de films, des documents papiers (lettres, chèques, scénario...), son alliance de mariage d'avec Joe DiMaggio. Tout ce qui est vendu est présenté dans le catalogue à télécharger en 2 partie, au format pdf: ici pour la 1ère partie et ici pour la 2ème partie ; le format papier est vendu 35 $). Visitez le site web Profiles in History qui présente les lots mis aux enchères.

auction_iconsofholly_catalogue_1p67 auction_iconsofholly_catalogue_p37 auction_iconsofholly_catalogue_p49
auction_iconsofholly_catalogue_p50 auction_iconsofholly_catalogue_p51  auction_iconsofholly_catalogue_p52 
auction_iconsofholly_catalogue_p53  auction_iconsofholly_catalogue_p54  auction_iconsofholly_catalogue_p55
auction_iconsofholly_catalogue_p56 auction_iconsofholly_catalogue_p57 auction_iconsofholly_catalogue_p58
auction_iconsofholly_catalogue_p59  auction_iconsofholly_catalogue_p60 auction_iconsofholly_catalogue_p61
auction_iconsofholly_catalogue_p62 auction_iconsofholly_catalogue_p63 auction_iconsofholly_catalogue_p64
auction_iconsofholly_catalogue_p65 auction_iconsofholly_catalogue_p66 auction_iconsofholly_catalogue_p67
auction_iconsofholly_catalogue_p68 auction_iconsofholly_catalogue_p69 auction_iconsofholly_catalogue_p79 auction_iconsofholly_catalogue_p253 

29 novembre 2011

Novembre 1945 Pink Dress Sitting - Norma Jeane par André De Dienes

Norma Jeane en Californie en novembre 1945
photographiée par André De Dienes.

> Séance en robe rose
1945_pink_dress_by_dedienes_010_1 1945_pink_dress_by_dedienes_010_2
1945_pink_dress_by_dedienes_011_1 1945_pink_dress_by_dedienes_012_1 1945_pink_dress_by_dedienes_012_2
1945_pink_dress_by_dedienes_013_1 mmad038
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165317_0 ph_dd_nj_mead_dress_rarete
mmad036 mmad037 dd_2 

1945-Andre_17 
1945_pink_dress_by_dedienes_020_1 1945_pink_dress_by_dedienes_021_1 1945_pink_dress_by_dedienes_020_2 

>> agenda:
1945_pink_dress_book_agenda_p02

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