lot n°732: Marilyn Monroe’s platinum and diamond
eternity wedding band given to her by Joe DiMaggio
A platinum eternity band set with 35 baguette-cut diamonds (one diamond missing just as it was at the Christie’s Personal Property of Marilyn Monroe sale in 1999), VS1 clarity with a total carat weight of 3.5 (when all diamonds were present), given to Marilyn Monroe by Joe DiMaggio on their wedding day on January 14, 1954.

After Marilyn did some publicity photographs wearing a sexy short-skirted baseball outfit in the winter of 1951-1952, DiMaggio saw the pictures and learned that she was a rising Hollywood starlet and was determined to meet her as soon as possible. They were introduced at an Italian restaurant on Sunset Boulevard and DiMaggio was surprised to learn that she had never attended a baseball game and knew practically nothing about the game. For his part, DiMaggio was suspicious of Hollywood and its invented idolatry. Despite this, the couple had an immediate and palpable chemistry; Marilyn was drawn to this calm, handsome ex-ballplayer while DiMaggio was smitten by her considerable charm and a passionate romance was instantly ignited.

The two were married in an intimate civil ceremony at San Francisco City Hall, out of the spotlight, a rarity for both of them. DiMaggio’s friend Reno Barsocchini and his old San Francisco Seals manager, Francis Joseph “Lefty” O’Doul, together with O’Doul’s wife and the judge were the only people in attendance. Marilyn had no loved ones present. Standing beside Joe, holding three orchids, she promised to “love, honor and cherish.” When the orchids withered in her perspiring hands, she turned to Joe and asked that if she died before him, would he place flowers at her grave every week, like William Powell had done at the grave of Jean Harlow? Joe promised that he would.

When the ceremony was completed, the newly married couple exited the courtroom to over 100 reporters, fans and autograph hounds. Unbeknownst to Joe, Marilyn had shared the news with studio publicity chief, Harry Brand. The newlyweds were photographed kissing and submitted to a barrage of questions including famously, “How many children did they plan?” “I’d like to have six,” Marilyn responded. “One,” said Joe.

The dreams of America’s favorite couple were short-lived as the couple’s relationship was strained from the outset. On September 15, 1954 during filming of the famous subway grate sequence of The Seven Year Itch, DiMaggio was urged by friend Walter Winchell to come view the spectacle that was taking place on Lexington Avenue. DiMaggio relented and witnessed the iconic scene of Marilyn astride the subway vent with white dress billowing upward. DiMaggio was furious and stormed off. Two weeks later, Marilyn filed a petition for divorce; the marriage lasting only nine months.

In February, 1961, Monroe was admitted to the Payne Whitney Psychiatric Clinic where she contacted DiMaggio. He secured her release and she spent some time with him in Florida where the couple reconciled. True to his promise, after her death, DiMaggio continued to send one half-dozen roses to her crypt three times a week for 20 years. Unlike Marilyn’s other husbands or others who knew her, DiMaggio refused to talk publicly about her, the woman he loved more than any other.

Provenance: Christie’s Personal Property of Marilyn Monroe, Lot 10, October 27-28, 1999 and sold for $772,500.
Estimate: $300 000 - $500 000 

 lot n°733: Marilyn Monroe signature camisole top
by Travilla from River of No Return
(TCF, 1954) For Marilyn’s studio-imposed adventure in the Canadian wilderness, director Otto Preminger chose to bless film-goers with the joy of watching her, for a large part of the screen time, in this simple yet highly erotic camisole designed by Travilla. Complemented on screen by skin-tight blue jeans, and accented at one point with a good soaking in the river rapids, this little bit of cotton muslin with lace embroidery has become over the succeeding decades one of Marilyn’s most recognized, iconic, and exploited fashions. With interior label inscribed “1-81-2- 4739 A713-05 M. Monroe”. A few very minor stains, otherwise virtually identical to condition as worn on screen, including the off-white coloring, and the intentional rough-hewn bottom margin. A precious and immediately identified artifact from this great star’s career.
Estimate: $40 000 - $60 000

   

 lot n°734: Marilyn Monroe 2-piece dance costume
by Dorothy Jeakins from Let’s Make Love
(TCF, 1960) For Marilyn Monroe’s singing and dancing character “Amanda Dell” in Let’s Make Love, Dorothy Jeakins designed for her this sheer, sexy two-piece pink silk shirt/ black dance-brief combination, worn for rehearsal scenes in the stage musical set within the film. Both pieces bear internal TCF labels inscribed “F-13 M. Monroe” and apart from a few scattered minor to moderate stains in the shirt and minor separations in the brief, they remain essentially intact and presentable. With the long sleeves casually rolled up and shirt tucked into brief, this was a lovely and happy look for her in what was to be her penultimate film.
Estimate: $80 000 - $100 000
 
 

lot n°734: Marilyn Monroe “Vicky” green cummerbund
from There’s No Business Like Show Business
(TCF, 1954) The stylish “color” accent to a very simple though effective costume designed by Travilla for Marilyn Monroe in There’s No Business Like Show Business, being a large green cummerbund-sash which she wears over a Capri-style black full-body leotard for her languorous and eminently sexy performance of “Lazy”. Bears internal studio wardrobe tag inscribed in cursive “Marilyn Monroe A729-38” with a few faint stains or fading spots, generally Fine.
Estimate: $6 000 - $8 000
 
  

lot n°762: Warner Brothers Large bronze key ca. 1950"s,
a symbolic key to the studio 11 inches x 4 inches
A tradition existed for some years at Warner Bros. Studio of welcoming dignitary and celebrity guests (like major stars on loan from other studios) with one of these commemorative “keys to the studio” in a publicity event for the benefit of promoting Warner’s largesse and standing in the industry. One such key was presented to Marilyn Monroe by Jack Warner when she filmed The Prince and the Showgirl with them, and that key was sold at her estate auction by Christie’s in 1999 for $32,200. Polished cast bronze, 11 in. x 4 in. and weighing 12.2oz.
Estimate: $2 000 - $3 000
  

lot n°694: 18-year-old Marilyn Monroe amazing autograph letter signed
18-year-old Marilyn Monroe amazing autograph letter signed - MONROE, MARILYN. Amazing Autograph Letter Signed “Norma Jeane”, Four pages, blue-lined Octavo sheets, dated June 15, 1944. Penned at the top, and stricken-through, is the address “14668 Parthenia St, Van Nuys” (curiously, she never lived at that address). Written to Grace Goddard, Norma Jeane’s legal guardian and ‘mother’ figure during the tumultuous years of her youth. Norma Jeane — just 18 years of age — pens (in full):

“Dearest Grace,
I was so happy to hear from you. I was so thrilled to read your letter and learn of all that you have been doing lately. [Grace had recently moved to West Virginia]
I will send you your picture very s[h]ortly now, I’m going down Saturday to find out more about it. Also will send you lots of snapshoots at the same time I send you the picture. I found out that a 10² x 12² (that was the size you wanted wasn’t it?) cost exactly $5.00.
Jimmie has been gone for seven weeks and the first word I received from him was the day before my birthday. He sent a cable night letter by Western Union saying ‘Darling, on you birthday, I send you a whole world of love’. I was simply thrilled to death to hear from him.
I have never really written and told you of Jimmies and my married life together. Of course I know that if it hadn’t been for you we might not have ever been married and I know I owe you a lot for that fact alone, besides countless others. That is why I feel that I should let you know about us. I love Jimmie just more than anyone (in a differn’t way I suppose than anyone) and I know I shall never be happy with anyone else as long as I live, and I know he feels the same towards me. So you see we are really very happy together that is of course, when we can be together. We both miss each other terribly. We will be married two years June 19th. And we really have had quite a happy life together.
I am working 10 hrs. a day at Radioplane Co., at Metropolitain Airport. I am saving almost everything I earn (to help pay for our future home after the war.) The work isn’t easy at all for I am on my feet all day and walking quite a bit.
I was all set to get a Civil Service job with the Army, all my papers filled out and everything set to go, and then I found out I would be working with all Army fellows. I was over there one day, there are just too many wolves to be working with, there are enough of those at Radioplane Co. with out a whole army full of them. The Personal [Personnel] Officer said that he would hire me but that he wouldn’t advice it for my own sake, so I am back at Radioplane Co. & pretty contented.
Well I guess that is about all for now.
With much love,
Norma Jeane”

Summer of 1944 was a fateful time for young Norma Jeane Dougherty. Circa 1943-44, she landed her first job at Radioplane Co. (a defense contractor in Burbank, California), through the influence of her mother-in-law, Ethel. Her husband, Jim, had recently joined the U.S. Merchant Marine and shipped off to war just “seven weeks” previously.
Although she here thanks Grace for the instrumental role she played in organizing and consenting to her marriage, it is known that she later harbored feelings of resentment towards Grace for taking off to West Virginia (in effect, abandoning Norma Jeane), and believed that her “surrogate mother” had arranged the marriage as a convenient way to get rid of her. Despite Norma Jeane gushing over her love for her husband, her marriage was soon to unravel. Just a few months later, Norma Jeane met a man who would vault her to stardom: Army photographer David Conover. Conover had been tasked by his commanding officer (who was, interestingly enough, actor and future President Ronald Reagan) to photograph women factory workers who were helping with the war effort. Making the rounds at Radioplane he was naturally drawn to Norma Jeane, who, along with her stunning beauty and bubbly personality, seemed to have a certain “aura” around the camera.
She soon appeared on the cover of Yank magazine, and the die was cast. Heeding the advice of Conover and Grace, she obtained a divorce from Dougherty (September 13, 1946), and began one of the most famous careers in Hollywood.
A wonderful letter, showing how Norma Jeane viewed her world and her future with Jim Dougherty just two years into their marriage — though her life would soon change forever. Numerous corrections throughout, and page one exhibits original ink-blot. Overall, in excellent condition.
Estimate: $40 000 - $60 000
   

lot n°719: Marilyn Monroe’s personal annotated
working promptbook-script for The Sleeping Prince
(aka The Prince and the Showgirl) - (Warner Bros., 1957) Clasp-bound in crimson paper covers, and intentionally printed in half-size (5” x 8”) for ease of use on set, especially considering the elaborate costumes required for this drawing-room comedy starring, and co-produced by, Marilyn Monroe and Laurence Olivier. This example is identified on the specially-printed titled front cover as “PERSONAL COPY OF MISS MONROE”. Many pages inside exhibit not only scene and dialogue notes attributed to Monroe’s own hand, but many personal thoughts and observations by her as well, namely “What am I doing here with this man/I can’t believe my eyes, ears/ watch him/’oh no’/this idiot/ Chanel #5/ I just think it’s a joke/ don’t take anyone else’s tone/ affective memory/ heart breaking” plus at least one slightly naughty joke, “like a music box: a tinkle”, among other ‘notes to self’. Accounts from the time agree that Marilyn had more trouble working with Olivier than with any other male lead in her career. At least (31) of this small, character-dialogue promptbook-script’s (68) pages exhibit anywhere from one to numerous notations by Miss Monroe, making this one of the most intensely personal artifacts extant from her professional career. Covers are significantly tattered all around the margins, and front cover, together with first (2) pages, are torn 2/3 down from top near spine, else intact and complete as originally issued.
Estimate: $30 000 - $50 000
   

lot n°723: Marilyn Monroe signed check to her housekeeper, Eunice Murray
Personal check signed, 3 in. x 8 ¼ in., dated July 10, 1962 and drawn from Marilyn Monroe’s account paying her housekeeper Eunice Murray $100.00. Signed “Marilyn Monroe” in blue ink. Cancellation stamps on recto and verso and bearing Murray’s endorsement signature on the verso. Murray was Monroe’s housekeeper during the last years of her life and accompanied Monroe during her trip to Mexico in February, 1962. Eunice Murray was staying with Monroe the night of the star’s death and reportedly called Monroe’s psychiatrist, Dr. Ralph Greenson, upon discovering the body the night of August 5, 1962. This check was signed just three weeks prior to Monroe’s death and amazingly stamped “PAID” on August 7, two days after she died. A wonderful association.
Estimate: $1 500 - $2 500
 

 lot n°724: Joe DiMaggio autograph postcard signed to Marilyn Monroe
Autograph Postcard Signed, “Joe,” to “Dearest Marilyn” from Copenhagen, Denmark and postmarked May 20, 1962. DiMaggio pens, “Dearest Marilyn, Have a short stop over here at Copenhagen enroute for the ‘long underwear country.’ Should be there in about three hours. Spent nine days here in 1958. Wonderful country. The famous Tivoli park was one of my favorite places. Love, Joe.” Addressed in DiMaggio’s hand to “Miss Marilyn Monroe, 12305 Fifth Helena Dr., Los Angeles 49, California, USA.” In February, 1961, Monroe was admitted to the Payne Whitney Psychiatric Clinic where she contacted DiMaggio. He secured her release and she spent some time with him in Florida where the couple reconciled. Accompanied by a printed photograph of the couple on their wedding day
Estimate: $4 000 - $6 000
  

  lot n°737: Marilyn Monroe invitation to JFK birthday celebration with call sheet from her personal property
From the Christie’s 1999 sale of the personal property of Marilyn Monroe, three items for one event which document one of the most significant personal moments for her. In chronological sequence, the first is the personal invitation from “New York’s Birthday Salute to the President” requesting her presence at Madison Square Garden on May 19, 1962 to celebrate President John F. Kennedy’s birthday gala party; the second is a 2pp mimeo call-sheet for the evening’s order of events, detailing Marilyn’s appearance at #35, “Marilyn Monroe and Stars”, which an unknown hand has doodled what might be a stage, and written in red grease pencil, with corrections in graphite, “Who do you have to be to ask- Who do you have to be to be disappointment-“ ; the last is the official illustrated program for the birthday event with iconic portrait of Kennedy on cover, with red, white and blue patriotic design. All three items were the personal examples in Marilyn Monroe’s possession during the time of this historic event, for which she performed an extraordinarily sexy, breathy rendition of “Happy Birthday”to the President (even calling in sick to work at Fox in order to do so), and each shows extra folds and slight handling by her, presumably to secure inside a purse that night. Kennedy remarked on stage that he could retire from politics after such a performance; Peter Lawford introduced her as “the late Marilyn Monroe”, and sadly she would be gone to a mysterious death in just over two months.
Provenance: Christie’s Personal Property of Marilyn Monroe, Lot 54, October 27-28, 1999 and sold for $129,000.
Estimate: $40 000 - $60 000

 lot n°736: Marilyn Monroe portrait by Romeo Catozella
after a Modern Screen magazine cover
From her personal property - Acrylic on canvas, 28 in. x 22 in. (incorrectly catalogued by Christie’s as oil) executed by artist and Marilyn Monroe fan Romeo Catozella of New York, and gifted to her. Based on a 1955 Modern Screen magazine cover photo portrait of Marilyn, and kept by her until her death in 1962. Includes an issue of the 1955 Modern Screen magazine. Provenance: Christie’s 1999 Personal Property of Marilyn Monroe, Lot 346, $23,000.
Estimate: $10 000 - $15 000
  

   lot n°738: Nude oil painting of Marilyn Monroe by Earl Moran
Original colorful painting by Earl Moran of a young and nude Marilyn Monroe in a prone pose painted from life circa 1948-1949. Accomplished in oil on board measuring 23 ½ in. x 35 ½ in. Signed “Earl Moran” at the lower right. Matted and framed.
Earl Moran (1893-1984) was the most important pin-up artist of the period. He studied with the legendary anatomist George Bridgman at the Art Students League in Manhattan, and after moving to Chicago in 1931, opened a small photograph and illustration studio. He submitted some paintings of models in bikinis to two calendar companies, Brown and Bigelow and Thomas D. Murphy Company, both of which purchased his work and launched his career. One year later he signed an exclusive contract with Brown and Bigelow and sold millions of calendars for the company over the next few years.
He moved to Hollywood in 1946 when a young starlet named Norma Jeane Dougherty was sent to his Sunset Boulevard studio by the Blue Book Agency. Over the next four years, Marilyn came by once a month for a two-hour modeling session. After Moran chose a costume, the models would assume dozens of poses while he peered through his camera’s 20-pound lens. He generally worked in pastels traced in charcoal from his print, but this is one of only a few oils he did and without a doubt his very best subject.
The photograph he worked from for this sitting was taken by Moran’s wife, and shows Marilyn lying prone and topless on cushions while wearing bikini briefs. As she became more comfortable during the session she removed the briefs and allowed Moran to complete the painting of her completely nude and adding a stylized colorful pillow-like base. Marilyn’s beaming smile is a testament to her comfort and natural demeanor while posing for Moran.
Of all the models he worked with he thought Monroe was the sexiest, “better than anyone else…She expressed just what I wanted.” They met for the last time on the set of There’s No Business Like Show Business (1954). Marilyn embraced Moran telling him she loved the way he made her legs look wonderful. Certainly no better endorsement for this fine painting.
The consignor was a Moran pin-up model and a close friend of Earl Moran who gifted her the painting in the 1960s.  
Estimate: $70 000 - $90 000
   

lot n°1186: Original painting of Jack Lemmon as “Jerry” from Some Like it Hot
Original portrait of Jack Lemmon as “Jerry” from Some Like It Hot accomplished in oil on canvas. Stands 69 ¼ in. tall x 19 in. wide. Exhibits some cracking and moisture damage at the top edge. Includes a candid framed color print of Lemmon and Marilyn Monroe on the set of the film. Special shipping arrangements will apply.
Estimate: $300 - $500
 

Vente aux enchères "Debbie Reynolds The Auction Part II" le 3 Décembre 2011 par Profiles in History à Beverly Hills aux Etats-Unis.

L'actrice Debbie Reynolds, grande collectionneuse de costumes de cinéma, avait déjà mis en vente une partie de sa collection en juin 2011. Elle poursuit la mise aux enchères de son incroyable collection qui comporte plusieurs costumes de Marilyn Monroe. Les pièces à vendre, comportant des costumes de films et des accessoires, des affiches de cinéma, sont réunis dans un catalogue (à télécharger ici en pdf; vendu 40 $). Visitez le site web Profiles in History qui présente les lots mis aux enchères.

lot n°219: Marilyn Monroe “Rose Loomis” light aqua suit
designed by Dorothy Jeakins from Niagara
(TCF, 1953) Light aqua two-piece raw silk suit with Monroe Lloyd of California label. A rather conservative look for Marilyn, which was deliberately chosen by her character as Joseph Cotten’s unfaithful wife, off to an illicit rendezvous with her lover under Niagara Falls in Henry Hathaway’s Niagara. The indelible image of Marilyn’s hips swinging as she walks away in this form-fitted outfit is considered one of the great “sex in cinema” sequences released during the height of the censorship Production Code. This 2-piece suit was modified under Dorothy Jeakins’ direction from an off-the-rack couture ensemble. Shoulders exhibit light soiling, and skirt has 2 in. tear at split, otherwise Fine as screen-worn.
Estimate: $80 000 - Sold $ 210 000
  
  

lot n°221: Marilyn Monroe aubergine gray evening dress
and Bolero jacket by Travilla for Gentlemen Prefer Blondes
(TCF, 1953) Elegant, two-piece evening gown designed by Travilla of an aubergine steel gray couched in meandering-pattern braid and accented by two aubergine satin trains flowing from the waist. Handwritten studio tag inside dress reads “1-27-3-7914 M. MONROE A-698-53,” and jacket has handwritten label “1-41-2-0570 Marilyn Monroe A-698-16.” Worn quite memorably by Miss Monroe for several scenes, from her clever efforts to remove Elliot Reid’s clothes in order to search them, to being stuck halfway through a porthole, requiring rescue by her youngest suitor Mr. Henry Spofford III (age 9, going on 21). Material on waist is detached two inches, else Fine as screen-worn.
Estimate: $150 000 - Sold $ 260 000
 
 

lot n°266: Marilyn Monroe “Cherie” iconic green
and black-sequined leotard designed by Travilla for Bus Stop
(TCF, 1956) This is the signature costume for Marilyn’s character “Cherie”, the naïve yet determined saloon singer heading for Hollywood in Joshua Logan’s romantic Western from the play by William Inge, Bus Stop. It is also one of the most iconic and indelible looks from her entire career, being a top choice for publicity images of Marilyn even to this very day. In it, she performs (intentionally naively) “That Old Black Magic”, winning the heart of the handsome and rather eager cowboy played by Don Murray. This was to be the last of the great collaborations between Marilyn and her favorite costume designer, William Travilla. TCF handwritten label “Marilyn Monroe A-769-03”. Exhibits sequin loss along neckline and minimal sequin loss on bodice, and straps have been replaced.
Estimate: $200 000 - Sold $ 230 000 
 
 
 

 lot n°282: Marilyn Monroe strapless pale green silk Empire gown
with rhinestone trim from Let’s Make Love
(TCF, 1960) Pale green silk pleated strapless dress adorned with rhinestones (a few of which are missing). TCF label handwritten “F-13 M. Monroe”. Designed to be unbearably sexy without also being un-releasable due to censorship, a condition several earlier costumes designed for Marilyn suffered from. Worn for the title number, in which Marilyn offers herself upon a mid-century-modern stage of cross-rotating apartment flats, first to Frankie Vaughan, then Yves Montand (in his fantasy sublimation). This timeless creation by Dorothy Jeakins remains one of the most attractive costumes ever created for this legendary actress.
Estimate: $200 000 - Sold $ 240 000
 
   

 lot n°220: Niagara original 14" x 36" insert poster for Marilyn Monroe film
(TCF, 1953) Linen-backed Fine to Very Fine U.S. insert-sized poster depicting Marilyn Monroe four times. Appears to have had normal light folds prior to backing, and shows only modest background retouching.
Estimate: $600

 lot n°222: How to Marry a Millionaire original U.S. six-sheet poster
(TCF, 1953) Approx. 81” x 81” U.S. six-sheet poster on linen depicting Marilyn Monroe with her co-stars Betty Grable and Lauren Bacall. Appears to have had some chipping and losses at folds prior to backing, and shows modest background and fold retouching, generally Fine.
Estimate: $1 000
 

lot n°223: Marilyn Monroe original Golden Dreams
1953 nude calendar with embossed-box set of nude playing cards
From the infamous nude photos of Marilyn Monroe taken by Tom Kelly in the late 1940’s (though not publicly exploited until 1952) came a range of calendars (the most popular one represented here) and other artifacts, most notably a double-deck set of playing cards of Marilyn in the nude, both in the seated “Golden Dreams” pose like the calendar, and the reclining “A New Wrinkle” pose. Not only are both decks totally complete including two jokers each, they are housed in the original black velvet, gold-embossed “New Wrinkle” box and sleeve, which we have never before seen in over 35 years experience. Box and cards are Fine, showing only slight age and handling; sleeve and calendar show staining, chipping, creases, etc., and are in Fair only condition.
Estimate: $350
  

lot n°283: Let’s Make Love original U.S. one-sheet poster
(TCF, 1960) U.S. 27” x 41” linen-backed one sheet poster for Marilyn Monroe’s penultimate (completed) film, and though slightly overweight, still one of her sweetest performances. Fine with minor to moderate retouching.
Estimate: $400
 

lot n°401: Clash by Night original U.S. 1-sheet poster
(RKO, 1952) U.S. 27” x 41”. RKO was responsible for some of the most attractive and artistic poster designs of the 1940’s and 50’s, with this early Marilyn Monroe appearance being no exception. This also has the distinction of being one of Marilyn’s finest dramatic performances. Fine, with moderate retouching.
Estimate: $200
 

lot n°402: River of No Return original U.S. one-sheet poster
(TCF, 1954) 27” x 41” U.S. one-sheet poster on linen for this Western-themed Marilyn Monroe vehicle. Artwork depicts her twice, in sexy camisole top, and singing in the showgirl outfit. Very Fine with minimal retouching.
Estimate: $400
 

Vente aux enchères les 1et et 2 Décembre 2011 par JuliensAuction à Beverly Hills, aux Etats-Unis.

Le catalogue (photo ci-contre) est en vente au prix de 100 $ sur le site de juliensauction
Le catalogue est à consulter en ligne sur juliensauction
Tous les objets mis en vente (photographies, contrats, objets personnels, avec leurs descriptions et estimations) sont en consultation libre sur juliensauction (les lots concernant Marilyn vont du n°529 au n°812)

> pages du catalogue
 
 
 
 
   
   
  
 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
 
 
  

MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
Color and black and white photographs of Marilyn Monroe
taken by Joseph Jasgur in 1946.

> Estimate each: $400 - $600
for lots 529, 530, 546,
  
lot 561, 564, 565,
 
lot 568, 570, 575,
 
lot 576, 587,
  

 > Estimate each: $500 - $700
for lots 534, 538, 567,
  
lot 562, 574,
 
lot 581, 586, 591
 

> Estimate each: $600 - $800
for lots 532, 537, 542,
 
lot 547, 555, 569,
  
lot 571, 577, 580,
  
lot 585, lot 590
 
lot 589 (2 photos)
  

> Estimate each: $800 - $1 200
for lot 536 (3 photos)
  
lot 549 (3 photos)
  
lot 556 (4 photos)
  
lot 579 (3 photos)
   

 
MARILYN MONROE JOSEPH JASGUR NEGATIVES & COPYRIGHT
Joseph Jasgur color and black and white negatives of Marilyn Monroe taken in 1946.

> Estimate each: $1 500 - $2 500
for lot 531, 533, 541,
    
lot 543, 545, 550,
  
lot 551, 552, 553,
   
lot 554, lot 557, lot 559,
  
lot 582, 583, 584,
   

 > Estimate each: $2 000 - $3 000
for lot 535
  
lot 539
  
lot 540
  
lot 544
 
lot 548
  
lot 558
 
lot 560
  
lot 563
  
lot 566
  
lot 572
  
lot 573
  
lot 578
  
lot 588
  
lot 592
 
lot 593