Catalogue "The Personal Property Auction of Carrie Fisher and Debbie Reynolds" - Profiles In History 10/2017
Catalogue "The Personal Property Auction of Carrie Fisher and Debbie Reynolds" issu de la vente aux enchères organisée les 7, 8 et 9 octobre 2017 par Profiles in History à Hollywood.
4 lots concernent Marilyn Monroe (en consultation sur invaluable): des photographies, affiches de films et la jeep du film "Monkey Business".
> Sur le blog - les lots:
Lots The Personal Property Auction of Carrie Fisher and Debbie Reynolds - 10/2017 - Profiles In History
The Personal Property Auction of Carrie Fisher and Debbie Reynolds - 10/2017 - Profiles In History
Lot 394: Debbie Reynolds Hollywood Museum (200+) costume reference photographs.
(Various Studios, 1910s-1970s, some printed later) Archive of (200+) gelatin silver primarily 8 x 10 in. single-weight and double-weight glossy and matte production and portrait photographs covering the gamut of Golden Age Hollywood personalities and film subjects. Since Reynolds began collecting well before such images were readily available with the advent of home video and later, the internet, these photos served as a vital reference for her unrivaled Hollywood costume and memorabilia collection. Including Marilyn Monroe, Orson Welles, W.C. Fields, Hattie McDaniel, Rita Hayworth, Merle Oberon, and many, many more. Overall, in very good to fine condition, with few exceptions.
Estimate: $200 - $300 
Lot 421. Marilyn Monroe 3-sheet poster for Bus Stop. (TCF, 1956)
Vintage 41 x 79 in. 3-sheet poster. Printed in 2-segments. Linen-backed with minimal restoration allowing the poster to show its natural age. Featuring a life-size depicting of Marilyn Monroe in her showgirl costume. In vintage good to very good condition.
Estimate: $600 - $800 
Lot 423: Marilyn Monroe insert poster for Niagara. (TCF, 1953)
Vintage original Niagara 14 x 36 in. insert poster. Linen-backed. Exhibiting folds, edge wear and tears, creasing and minor wrinkling to borders. In vintage good to very good condition.
Estimate: $200 - $300 
Lot 586: 20th Century Fox Willys M38 Jeep (Serial #59350).
Manufactured by Willys Overland Motors Inc., Toledo, Ohio and delivered to the military in March 1952. The Willys M38 was introduced in 1950 as a post-WWII military Jeep, being a ¼ ton 4 x 4 utility truck, serving as a light tactical vehicle. The M38 is outfitted with “pioneer” tools (axe and shovel) mounted on the passenger side, protruding headlights with guard wires, air vent in base of windshield and blackout lights. Powered by a 2199 cc. inline 4-cylinder engine mated to a 3-speed manual transmission with 2-range transfer case and, unique to the M38, features a front-end differential disengagement lever operated from the inside. Features a studio-mounted non-firing de-milled prop .30-caliber Browning 1919 machine gun. Due to the relatively minor cosmetic differences between their WWII counterparts, M38 Jeeps were regularly used by the studios for WWII films as well as those depicting the Korean War. Although we are unable to definitively tie its use to any particular film, this Jeep was likely used in filming M*A*S*H (1970). The odometer reads an unverified 36,127 miles. This M38 underwent both cosmetic and mechanical restoration in 2008 as well as a recent brake rebuild. Electrical system has been restored to original 24-volt specifications. This Jeep was brought to Telluride, Colorado and driven all over town for the premiere of Bright Lights: Starring Carrie Fisher and Debbie Reynolds. Debbie purchased this Jeep from 20th Century Fox with the Marilyn Monroe 1952 MG TD from Monkey Business. Mechanicals untested. Measures 133 in. long x 62 in. wide x 62 in. tall. Registered as a “Historical Vehicle” in California. In vintage good condition.
Estimate: $30,000 - $50,000 / Sold 
© All images are copyright and protected by their respective owners, assignees or others.
"Julien's Entertainment" - Julien's Auction 09/2017
La vente aux enchères "Julien's Entertainment" du 18 septembre 2017 par Julien's Auction organisée exclusivement sur internet, contenait 175 lots sur le cinéma d'hier et d'aujourd'hui mais aussi sur le rock n'roll. Il contenait 8 lots sur Marilyn Monroe (en consultation sur julienslive): deux chèques et des photographie.
Pas de catalogue édité
Lot 6: MARILYN MONROE AS VENUS PRINT
A print depicting Marilyn Monroe as Venus at her bath surrounded by three putti, signed by artist at lower right and numbered 20/1000 at lower left.
Winning bid: $192 
Lot 7: MARILYN MONROE SIGNED CHECK, 1959
A Marilyn Monroe signed counter check written on behalf of Marilyn Monroe Productions Inc. on November 15, 1959, to Jurgensen’s Gourmet in the amount of $26.21.
Winning bid: $2,880 
Lot 8: MARILYN MONROE SIGNED CHECK, DECEMBER 1953
A Marilyn Monroe signed check dated December 19, 1953, to Greenblatt’s in the amount of $8.50. Greenblatt’s Deli is located on Sunset Boulevard in Hollywood.
Winning bid: $5,120 
Lot 9: MARILYN MONROE WARDROBE TEST SHOT ARCHIVE
An archive of approximately 60 vintage wardrobe test shots of Marilyn Monroe. Accompanied by a wardrobe sheet for Monroe's character from A Ticket To Tomahawk (20th Century, 1950).
Winning bid: $19,200 
Lot 10: MARILYN MONROE IMAGE ARCHIVE
An archive of approximately 100 studio images of Marilyn Monroe. The archive includes original vintage studio images, reprints, and some copies. Some images have studio stamps or snipes affixed to verso. Accompanied by a binder with approximately vintage tear sheets and magazine covers featuring Marilyn Monroe.
Winning bid: $2,240 
Lot 11: MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition black and white photograph of Marilyn Monroe taken by Bruno Bernard on the set of The Seven Year Itch (20th Century, 1955), numbered 5/50 and signed by The Estate of Bruno Bernard at lower right corner.
Winning bid: $2,880 
Lot 12: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPH
A black and white image of Marilyn Monroe taken by Joseph Jasgur in 1946, printed later with Jasgur's approval. The image shows Monroe in a plaid shirt smiling at the camera.
Winning bid: $320 
Lot 13: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPH
A black and white image of Marilyn Monroe taken by Joseph Jasgur in 1946, printed later with Jasgur’s approval. The image was taken during a session at Zuma Beach.
Winning bid: $576 
© All images are copyright and protected by their respective owners, assignees or others.
"Iconic Imagery of Marilyn Monroe" - Julien's Auction 08/2017
La vente aux enchères "Iconic Imagery of Marilyn Monroe" du 13 août 2017 par Julien's Auction organisée exclusivement sur internet, contenait 67 lots sur Marilyn Monroe (en consultation sur julienslive): des photographies de Douglas Kirkland, George Barris, Philippe Halsman, Andre De Dienes, Bruno Bernard; ainsi que deux chèques signés par Marilyn.
Pas de catalogue édité
Photographies Douglas Kirkland
Lot 1: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 2: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 3: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $500 
Lot 4: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $531.25 
Lot 5: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $500 
Lot 6: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 7: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 8: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 9: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 10: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 11: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $562.50 
Lot 12: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 13: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 14: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $500 
Lot 15: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 16: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $531.25 
Lot 17: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 18: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $500 
Lot 19: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Unsold 
Lot 20: MARILYN MONROE PHOTOGRAPH BY DOUGLAS KIRKLAND
A color ink-jet photograph of Marilyn Monroe taken by Douglas Kirkland in 1961. The photograph is signed by Kirkland at lower right and numbered 11/72.
Winning bid: $500 
Photographies George Barris
Lot 21: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $531.25 
Lot 22: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $375 
Lot 23: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Lot 24: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $687.50 
Lot 25: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $625 
Lot 26: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $437.50 
Lot 27: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Lot 28: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $468.75 
Lot 29: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $562.50 
Lot 30: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $687.50 
Lot 31: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Lot 32: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $562.50 
Lot 33: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Lot 34: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $812.50 
Lot 35: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right with copyright language at right that reads “© 1987 Marilyn Monroe Weston Editions Ltd.” Additionally stamped on verso “© Copyright 1987 George Barris/ Marilyn Monroe/ Weston Editions LTD.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $687.50 
Lot 36: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© Copyright 1987 George Barris/ Marilyn Monroe/ Weston Editions LTD.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $812.50 
Lot 37: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $500 
Lot 38: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $468.75 
Lot 39: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $437.50 
Lot 40: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
unsold 
Lot 41: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $437.50 
Lot 42: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $593.75 
Lot 43: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Lot 44: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $687.50 
Lot 45: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Unsold
Lot 46: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower left and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Unsold 
Lot 47: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $ 406.25 
Lot 48: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Unsold 
Lot 49: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $ 531.25 
Lot 50: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $ 406.25 
Lot 51: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
unsold 
Lot 52: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A color photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
unsold 
Lot 53: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $625 
Lot 54: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $593.75 
Lot 55: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A black and white photograph of Marilyn Monroe taken by George Barris in 1962. The photograph is signed by Barris at lower right and stamped on verso “© George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved.” 1987 marked the 25th anniversary of this photoshoot with Monroe.
Winning bid: $406.25 
Photographies diverses
Halsman, De Dienes, Bernard
Lot 56: MARILYN MONROE PHOTOGRAPH BY PHILIPPE HALSMAN
A black and white photograph of Marilyn Monroe taken by Philippe Halsman in 1952 and printed by Halsman's estate as part of a limited edition in 1981. Halsman/Marilyn copyright credit stamp on verso with edition number 181/250. The photograph appeared on the April 7, 1952, cover of LIFE magazine.
Winning bid: $1,875
Lot 57: MARILYN MONROE "THE TRUE MARILYN"
A black and white photograph collage of Marilyn Monroe composed of images taken by Philippe Halsman in 1954. The collage was printed by Halsman's estate as part of a limited edition in 1981 and titled “The True Marilyn.” Halsman/Marilyn copyright credit stamp on verso with edition number 173/250.
unsold 
Lot 58: MARILYN MONROE PHOTOGRAPH BY PHILIPPE HALSMAN
A black and white photograph of Marilyn Monroe taken by Philippe Halsman in 1952. The image, which shows Monroe lifting barbells, was printed by Halsman's estate as part of a limited edition in 1981. Halsman/Marilyn copyright credit stamp on verso with edition number 184/250.
Winning bid: $500 
Lot 59: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A vintage black and white photograph of Marilyn Monroe taken by Andre de Dienes in 1945. Photographer's stamp on verso.
unsold 
Lot 60: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A vintage black and white photograph of Marilyn Monroe taken by Andre de Dienes in 1949. Photographer's stamp on verso. The photograph was hand printed and stamped by de Dienes.
Winning bid: $812.50 
Lot 61: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A black and white photograph of Marilyn Monroe taken by Andre de Dienes in 1945. Numerous stamps on verso including the artist's stamp and a stamp for the Shirley de Dienes Collection copyrighted 1992.
unsold 
Lot 62: MARILYN MONROE PHOTOGRAPH BY ELI ATTAR
A black and white photograph of Marilyn Monroe taken by Eli Attar, circa 1960. Photographer's stamp on verso with additional handwritten notations.
Winning bid: $375 
Lot 63: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A vintage black and white double-exposure photograph of Marilyn Monroe taken by Andre de Dienes in 1949. Photographer's stamp on verso. The photograph was hand printed and stamped by de Dienes.
Winning bid: $625 
Lot 64: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A limited edition color photograph of Marilyn Monroe taken by Bruno Bernard in 1948 at the Palm Springs Rocket Club. While at the club Monroe met Johnny Hyde, who was instrumental in getting Monroe her first studio contract.
Estate signed and numbered 15/50.
Winning bid: $2,375 
Lot 65: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A limited edition black and white photograph of Marilyn Monroe taken by Bruno Bernard, circa 1952.
Estate signed and numbered 31/90.
Winning bid: $1,250 
Documents papiers
Lot 66: MARILYN MONROE CHECK TO MICHAEL & XENIA CHEKHOV
A counter check fully completed and signed by Marilyn Monroe. The check is dated February 16, 1952 written to Mr. Mrs. Checkhov [sic] in the amount of $15.00. Michael Chekhov was Monroe’s acting coach in the early 1950s.
Winning bid: $4,687.50 
Lot 67: MARILYN MONROE SIGNED CHECK, 1960
A Marilyn Monroe signed Marilyn Monroe Productions Inc. check dated May 14, 1960. The typed check is written to the Moss Typewriter Company in the amount of $41.60 with a memo that the check was for the rental of a portable typewriter.
Winning bid: $2,812.50 
© All images are copyright and protected by their respective owners, assignees or others.
TV - Jayne Mansfield, la tragédie d'une blonde
Dimanche 25 mars 2018 - 22h50 - Arte
Disponible en Vidéo à la demande
du 18/03/2018 au 31/03/2018
Documentaire: Jayne Mansfield,
la tragédie d'une blonde
Réalisation: Patrick Jeudy
Année: 2013
Durée: 53 min
L'itinéraire de Jayne Mansfield, une des plus célèbres pin-up américaines des années 1950, devenue une actrice jouissant d'une incroyable popularité, longtemps considérée comme la rivale de Marilyn Monroe, avant de disparaître des écrans et de connaître une descente aux enfers. Un documentaire empreint de nostalgie et truffé d'images d'archives.
Les mauvaises langues la qualifiaient de "doublure d'une imitation de Marilyn Monroe". D'autres ne voyaient en elle qu'une "pin-up pour routiers". Jayne Mansfield est pourtant bien plus : une actrice unique jouissant d'une incroyable popularité et, avec le recul, un symbole du Hollywood des années 1950. Née dans une famille bourgeoise en 1933, Jayne Mansfield n'avait qu'un but dans la vie : devenir star. Tout juste majeure, la brune plantureuse quitte son Texas pour Los Angeles, se teint les cheveux et change de look. Mais Hollywood toise de haut sa blondeur platine et ses formes avantageuses. Elle part alors à New York pour s'essayer au théâtre où le succès l'attend. Au cinéma, Mansfield est enfin reconnue pour son rôle dans La blonde explosive, qui récolte un Golden Globe en 1958. La presse se l'arrache autant qu'elle la moque. Il faut dire qu'avec ses grosses lunettes de soleil, son petit chien, son goût immodéré pour l'argent et ses caprices récurrents, Mansfield déploie toute la panoplie de la starlette décérébrée. Qu'importe si elle assure lire Montaigne en français ou interpréter Rachmaninov !
L'actrice n'a que faire de ces persiflages car le public l'adule, au point d'en faire une rivale de Marilyn Monroe. Sa chute n'en est que plus brutale. Alors qu'elle n'a pas 30 ans, elle disparaît des écrans et se retrouve ruinée. C'est le temps des scandales. Elle se drogue, tourne dans des films érotiques (elle est d'ailleurs la première actrice d'une telle notoriété à apparaître nue à l'écran), collectionne les amants douteux et s'empâte. Sa descente aux enfers s'achève lors d'une nuit d'été en 1967, sur une route à proximité de La Nouvelle-Orléans, où elle meurt à 34 ans dans un accident.
Électrisante
À travers de nombreuses images d'archives, notamment de la tournée européenne triomphale de l'actrice en 1957, ce documentaire captivant permet de (re)découvrir le vieil Hollywood des années 1950, royaume des pin-up. Des vidéos stupéfiantes témoignent de l'électricité provoquée par "la blonde explosive", reflet déjà vacillant d’une époque aujourd'hui disparue.
Movieland, 1952, July
Movieland
pays magazine: USA
paru en juillet 1952
article: "I Dress for Men says Marilyn Monroe"
Editor's note: the girl with built in wolf whistle is obviously qualified to talk on this subject. We hear that lunch time - when Marilyn Monroe is around - is like "MALE call" - Her table is the busiest one in the Twentieth Century-Fox commissary, the Cafe de la Paix. Women know you can't resist a magnet, too. During the making of "We're Not Married" Marilyn was lined up with a bevy of other bathing beauties. One of the girls had won 15 beauty contests, and a studio man asked her, "How would you feel about competing with Marilyn Monroe?" Said the girl, "I'd quit!"
I wonder why most women dress for women ? I think that's a mistake; for myself it would be, anyway. I happen to like men, so I usually like the same things they like. Therefore it's a matter of simple logic that, of course, I dress for men !
Also, I am aware, that I am a woman, and I enjoy being a woman. I don't think I could dress like the illustrations in the high - fashion magazines. For that you require what is thought as a Vogueish figure, and is, I believe, a boyish type figure and I don't have a boyish figure.
To begin with, I believe your body should make your clothes look good - instead of using clothes to make the body conform to what is considered fashionable at the moment, distorted or not. That's why I don't care for " unorganic" clothes- clothes that have no relation to the body. Clothes, it seems to me, should have a relationship to the body, not be something distinct from it.
I don't feel that ruffles mean femininity. You can't put on womanliness; you have to be womanly. Part of being a woman is the desire to please a man, a very important part. That's nature, and you can't get away from it.
In the 20th Century-Fox picture I am doing with Cary Grant , "Monkey business", I wear only two dresses. They're daytime dresses, somewhat on the tailored side. But they prove you don't have to be obvious to be feminine. Billy Travilla has designed them first, to follow natural body lines, and second, without any attempt to disguise the fact that there is a body underneath.
I have been criticized for wearing as little lingerie as possible. Yet, I have also been accused of appearing in the Twentieth Century-Fox commissary in lingerie. It happened while I was making "We're Not Married" - in which I wear a one piece black bathing suit. One day I went directly to lunch in that suit, with a robe worn over it. The shooting schedule called for me to wear the bathing suit all day, so I kept it on. The robe must have done a pretty good job of covering me, because the next day a column carried the report that I had lunched in bra and panties !
The only people who have criticized my clothes so far are women. It all started when a columnist disliked a dress I wore to a cocktail party and said I would have looked better in hopsacking. The studio then released a picture of me as "the girl who looks good even in hopsacking". Later, still carrying the ball, a columnist criticized another cocktail party dress I wore, saying I should have worn a gunnysack.
But I wore the very same dress for 10,000 Marines at Camp Pendleton, and they seemed to like it. At least, I heard no complains! This was a strapless beige lace dress that dipped, not too much in front and had a fishtail effect in back. How wrong can you go with simple beige lace ?
Men like simplicity in clothes, and so do I. There’s nothing so startling about that. Many famous women have followed the basic rules of selecting suitable, timeless clothes that they can wear for years. And in basic colors like black, white, grey and red. Red gets response ! Busy prints or busy lines in a dress get tiring.
Of course, it’s natural for women to respond to the freshness of fashion edicts; like this is a purple season, or the bouffant silhouette is it. There’s something feminine in that, too. Personally, I get the same satisfaction out of changing my hair. Since before “The Asphalt Jungle”, when it was longer, I have kept it shorter, but I try to do different things with it.
So far as clothes are concerned, I’ll pass up the blandishments of writers, and stick to what’s suitable for me. In that I go from one extreme to the other. I like blue-jeans, slacks and suits or “everything” in dressing up. But you can be feminine even in jeans, but even my jeans fit! I buy boys’ jeans, because they are long waisted like me; and boys’ shirts to go with them.
I have two favorite suits. One is black Christian Dior; but instead of wearing a blouse or gilet, I wear fresh red roses at the plunged neckline. I like to wear flowers; I even have some artificial ones for times when fresh ones aren’t handy.
The other suit is a brown very fine-checked, with which I wear yellow roses at the neckline. This one is scooped out, so sometimes I substitute a white pique collar. Or I like to wind scarfs around and let one end fly over the shoulder; that leaves half scarf, half flesh in the neckline.
My love for dressy clothes might have a psychological implication. When I went to school, I had exactly two navy skirts and two white blouses. I washed one and wore the other. But because they looked so much alike, my school mates made fun of me because I had only one outfit.
But I am afraid I buy such things as cocktail and dinner dresses because they’re beautiful and feminine, rather than because I need many of them, in my present way of life. I have yet to go to my first premiere. Someday I might, but not yet. I don’t care for nightclubs. I go out with a man because I want to see him, not be seen because it’s the thing to do. I don’t go out with anyone unless I like him, and if you like a man, there are many more things to do than go to a nightclub.
So in the meantime, I would just as soon stay home with Tolstoi or Thomas Wolfe - or even go for a walk alone. Three evenings a week my jeans-suit-and-slack wardrobe is much more suitable, anyway. One night I spend in a literature class at U.C.L.A., and two more studying with Lottie Goslar, the European pantomimist.
To get back to why I dress for men, I think the big difference in the outlook of the sexes on fashion is that a woman will think of a dress for itself, but a man will think of it in relationship to the woman who is wearing it. So do I.
That’s why I like to feel that I am right for my clothes, too. I don’t want to be bone thin, and I make it a point to stay the way I want to be. A breakfast of hot milk with two raw eggs means energy without fat. I like rare steaks and green salads and vegetables, too. Rather than wonder, should I eat dessert ? I just go on an ice cream binge once a week (chocolate, please !). And, of course, if you don’t like girdles, you’re going to exercise. Working out with light weight dumbbells, and a slow, relaxed dog trot around the block are very good for toning muscles. You have to be friends with your clothes if you’re going to dress for men – no too tight zippers or unnecessary doodads to make you uncomfortable ! Sometimes their acceptance is just in their response, but the response tells me I am right. Dressing for men is natural for a woman. After all, you can’t get away from basic fundamentals! – who wants to ?
Traduction
Note de la rédaction: la fille avec un sifflet de loup est évidemment qualifiée pour parler de ce sujet. Nous entendons que l'heure du déjeuner - quand Marilyn Monroe est dans le coin - est comme "un appel aux HOMMES" - Sa table est la plus occupée du restaurant de la Twentieth Century-Fox, le Café de la Paix. Les femmes savent que vous ne pouvez pas résister à un aimant, aussi. Pendant le tournage de "We're Not Married", Marilyn était alignée avec une foule d'autres beautés en maillot de bain. Une des filles avait gagné 15 concours de beauté, et un homme de studio lui a demandé: «Comment te sentirais-tu en compétition avec Marilyn Monroe ?" et la fille de répondre, "Je démissionnerais !"
Je me demande pourquoi la plupart des femmes s'habillent pour les femmes ? Je pense que c'est une erreur; pour moi, cela le serait, de toute façon. Il m'arrive d'aimer les hommes, alors j'aime habituellement les mêmes choses qu'ils aiment. Par conséquent, c'est une question de logique simple que, bien sûr, je m'habille pour les hommes !
Aussi, je suis consciente, que je suis une femme, et j'aime être une femme. Je ne pense pas que je pourrais m'habiller comme les illustrations dans les magazines de haute couture. Pour cela, vous avez besoin de ce qui est considéré comme une figure de Vogue, et je crois que c'est une figure de type masculine et je n'ai pas cette ligne masculine.
Pour commencer, je crois que votre corps devrait faire en sorte que vos vêtements soient beaux - au lieu d'utiliser des vêtements pour que le corps se conforme à ce qui est considéré à la mode en ce moment, déformé ou non. C'est pourquoi je ne me soucie pas des vêtements «inorganiques», qui n'ont aucun rapport avec le corps. Les vêtements, me semble-t-il, devraient avoir une relation avec le corps, ne pas être quelque chose de distinct.
Je ne pense pas que les volants signifient la féminité. Vous ne pouvez pas mettre de la féminité; tu dois être femme. Une partie d'être une femme est le désir de plaire à un homme, une partie très importante. C'est la nature, et vous ne pouvez pas vous en éloigner.
Dans le film de la 20th Century-Fox que je fais avec Cary Grant, "Monkey business", je ne porte que deux robes. Ce sont des robes de jour, un peu côté tailleur. Mais elles prouvent que vous n'avez pas besoin d'être évident pour être féminin. Billy Travilla les a conçus en premier, pour suivre les lignes naturelles du corps, et en second lieu, sans aucune tentative de déguiser le fait qu'il y a un corps en dessous.
On m'a reproché de porter le moins de lingerie possible. Pourtant, on m'a aussi accusé d'être apparue dans le restaurant de la Twentieth Century-Fox en lingerie. C'est arrivé pendant que je faisais "We're Not Married" - dans lequel je porte un maillot de bain noir d'une seule pièce. Un jour, je suis allée directement déjeuner dans ce costume, avec une robe portée par dessus. les horaires de tournage m'ont amené à porter le maillot de bain toute la journée, alors je l'ai gardé. La robe doit avoir fait un assez bon travail de me couvrir, car le lendemain une colonne portait le rapport que j'avais déjeuné en soutien-gorge et en culotte !
Les seules personnes qui ont critiqué mes vêtements jusqu'à présent sont les femmes. Tout a commencé quand un chroniqueur n'aimait pas une robe que je portais à un cocktail et a dit que j'aurais eu l'air mieux vêtue dans un sac à houblon. Le studio a ensuite publié une photo de moi comme "la fille qui a l'air bien même en houblon". Plus tard, portant toujours à un bal, un chroniqueur a critiqué une autre robe de cocktail que je portais, disant que j'aurais dû porter une sacoche.
Mais je portais exactement la même robe pour 10 000 Marines au Camp Pendleton, et ils semblaient l'aimer. Au moins, je n'ai entendu aucune plainte ! C'était une robe bustier en dentelle beige plongeante, pas trop en avant, et avait un effet queue de poisson à l'arrière. À quel point pouvez-vous aller avec de la dentelle beige simple ?
Les hommes aiment la simplicité dans les vêtements, et moi aussi. Il n'y a rien de si surprenant à ce sujet. Beaucoup de femmes célèbres ont suivi les règles de base de la sélection de vêtements appropriés et intemporels qu'elles peuvent porter pendant des années. Et dans les couleurs de base comme le noir, blanc, gris et rouge. Le rouge obtient une réponse ! Les impressions occupées ou les lignes occupées dans une robe deviennent fatigantes.
Bien sûr, il est naturel pour les femmes de réagir à la fraîcheur des dictats de la mode; comme ceci est une saison pourpre, ou cela la silhouette bouffante. Il y a quelque chose de féminin là-dedans aussi. Personnellement, j'ai la même satisfaction de changer de coiffures. Avant "The Asphalt Jungle", quand ils étaient plus long, je l'ai ai fait plus court, mais j'essaie de faire différentes choses avec.
En ce qui concerne les vêtements, je vais laisser passer les flatteries des écrivains et m'en tenir à ce qui me convient. En cela, je vais d'un extrême à l'autre. J'aime les blue-jeans, les pantalons et les costumes ou «tout» pour m'habiller. Mais vous pouvez être féminine, même en jeans, mais même mon jean me sied ! J'achète des jeans pour garçons, car ils sont longs comme moi; et des chemises des garçons pour aller avec.
J'ai deux tenues préférées. L'une est une tenue noire de Christian Dior; mais au lieu de porter un chemisier ou un gilet, je porte des roses rouges fraîches à la plongée de l'encolure. J'aime porter des fleurs; J'en ai même des artificiels pour les moments où les fraîches ne sont pas pratiques.
L'autre tenue est d'un brun très fin, avec laquelle je porte des roses jaunes à l'encolure. Celle-ci est creusée, donc parfois je substitue un collier de pique blanc. Ou j'aime enrouler des écharpes autour et en laisser une fine voler sur l'épaule; cela laisse moitié écharpe, moitié chair dans l'encolure.
Mon amour pour les vêtements habillés pourrait avoir une implication psychologique. Quand j'allais à l'école, j'avais deux jupes exactement de la marine et deux blouses blanches. J'en lavais une et portait l'autre. Mais parce qu'elles se ressemblaient tellement, mes camarades d'école se moquaient de moi parce que je n'avais qu'une seule tenue.
Mais j'ai peur, j'achète tellement de choses comme des robes de cocktail et de dîner parce qu'elles sont belles et féminines, plutôt que, parce que j'en ai besoin de beaucoup, dans mon mode de vie actuel. Je dois encore aller à ma toute première de film. Un jour je pourrais, mais pas encore. Je ne me soucie pas des boîtes de nuit. Je sors avec un homme parce que je veux le voir, ne pas être vu parce que c'est la chose à faire. Je ne sors avec personne seulement si je l'aime bien, et si vous aimez bien un homme, il y a beaucoup plus de choses à faire que d'aller dans une boîte de nuit.
Alors, entre-temps, je resterais simplement chez moi avec Tolstoi ou Thomas Wolfe, ou je me promènerais seul. Trois soirs par semaine, ma garde-robe de jeans et tenues de relâche est beaucoup plus appropriée, de toute façon. Une nuit, je suis allée à un cours de littérature à U.C.L.A., et deux autres à étudier avec Lottie Goslar, la pantomimiste européenne.
Pour en revenir à la raison pour laquelle je m'habille pour les hommes, je pense que la grande différence dans la perspective des sexes sur la mode est qu'une femme va penser à une robe pour elle-même, mais un homme y pensera par rapport à la femme qui la porte. Donc, moi aussi.
C'est pourquoi j'aime sentir que je suis bien dans mes vêtements aussi. Je ne veux pas être maigre, et je me fais un devoir de rester comme je veux être. Un petit déjeuner de lait chaud avec deux œufs crus signifie de l'énergie sans graisse. J'aime les steaks saignants et les salades vertes et les légumes, aussi. Plutôt que de me demander, devrais-je manger un dessert ? Je m'accorde une crème glacée une fois par semaine (au chocolat, s'il vous plaît !). Et, bien sûr, si vous n'aimez pas être gainée, vous allez faire de l'exercice. Travailler avec des haltères légeres, et doucement, trottinant comme un chien autour du quartier sont très bons pour la tonicité des muscles. Vous devez être amis avec vos vêtements si vous vous habillez pour les hommes - pas de fermetures éclaires trop serrées ou des ornements inutiles pour vous mettre mal à l'aise ! Parfois, leur acceptation est juste dans leur réponse, mais la réponse me dit que j'ai raison. S'habiller pour les hommes est naturel pour une femme. Après tout, vous ne pouvez pas échapper aux fondamentaux de base ! - qui le veut ?
1951 - RKO Studios
Instantané de Marilyn Monroe aux studios de la RKO, vers 1951
Snapshot of Marilyn Monroe at RKO Studios, circa 1951
- de la collection de Frieda Hull, une fan des Monroe Six
-from the personal collection of Frieda Hull, one of the 'Monroe Six'
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
ELLE Hors Série 08/03/2018
Elle Hors-Série
Hors Série - n°6
pays: France
paru le 8 mars 2018
prix: 6,95 Euros
n° spécial "Ces femmes qui ont changé l'Histoire"
- 4 pages sur Marilyn - 
- article sur Ella Fitzgerald
(1 photo avec Marilyn) - 
11/01/1952, Tests Costumes pour We're Not Married
Le 11 janvier 1952, Marilyn Monroe pose pour des 'tests' costumes pour le film We're not married (Cinq mariages à l'essai). La costumière est Elois Jenssen.
On January, 11, 1952, Marilyn Monroe poses for wardrobe 'tests' for the movie We're not married. The designer is Elois Jenssen.
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
