12 mai 2018

31/12/1952, Tests Costumes pour Gentlemen Prefer Blondes

Le 31 décembre 1952, Marilyn Monroe pose pour des 'tests' costumes pour le film Les hommes préfèrent les blondesLe costumier est William Travilla.
On December, 31, 1952, Marilyn Monroe poses for wardrobe 'tests' for the movie Gentlemen Prefer Blondes. The designer is William Travilla.

- vêtements / wardrobes -
 1952-12-31-GPB-test_costume-travilla-mm_purple_dress-1  1952-12-31-GPB-test_costume-travilla-mm_tailor-1 
1952-12-31-GPB-test_costume-travilla-not_in_movie-010-1  1952-12-31-GPB-test_costume-travilla-not_in_movie-011-1 
1952-12-31-GPB-test_costume-travilla-not_in_movie-012-1  1952-12-31-GPB-test_costume-travilla-not_in_movie-013-1 
1952-12-31-GPB-test_costume-mm_laceup_body-010-1  1952-12-31-GPB-test_costume-travilla-not_in_movie-black_dress-1 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.


23 avril 2018

21/05/1952, Tests Costumes et Maquillage pour Niagara

Le 21 mai 1952, Marilyn Monroe pose pour des 'tests' costumes pour le film Niagara. La costumière est Dorothy Jeakins.
On May, 25, 1952, Marilyn Monroe poses for wardrobe 'tests' for the movie Niagara. The designer is Dorothy Jeakins.

- vêtements / wardrobes -
1952-05-21-niagara-test_costume-jeakins-mm-010-1 1952-05-21-niagara-test_costume-jeakins-not_in_movie-020-1  
 1952-05-21-niagara-test_costume-jeakins-mm-020-1 1952-05-21-niagara-test_costume-jeakins-mm-021-1 
 1952-05-21-niagara-test_costume-jeakins-not_in_movie-051-1  1952-05-21-niagara-test_costume-jeakins-mm-021-1a 
1952-05-21-niagara-test_costume-jeakins-not_in_movie-050-1  1952-05-21-niagara-test_costume-jeakins-not_in_movie-040-1 
1952-05-21-niagara-test_costume-jeakins-mm-050-1 1952-05-21-niagara-test_costume-jeakins-mm-060-1  1952-05-21-niagara-test_costume-jeakins-not_in_movie-030-1 
1952-05-21-niagara-test_costume-jeakins-mm-030-1  1952-05-21-niagara-test_costume-jeakins-mm-031-1 
1952-05-21-niagara-test_costume-jeakins-mm-040-1  1952-05-21-niagara-test_costume-jeakins-mm-041-1  1952-05-21-niagara-test_costume-jeakins-not_in_movie-010-1 

1952-05-21-niagara-test_costume-jeakins-mm-070-1  1952-05-21-niagara-test_costume-jeakins-mm-071-1 


- maquillage et coiffure / make up and hairdress -
1952-05-21-niagara-test_hair-mm-010-1  1952-05-21-niagara-test_hair-mm-011-1 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.  

25 mars 2018

03/1952, Tests Costumes pour Monkey Business

Au cours du mois de mars 1952, Marilyn Monroe pose pour des 'tests' costumes pour le film Monkey Business (Chérie je me sens rajeunir). Le costumier est William Travilla.
During the month of March of 1952, Marilyn Monroe poses for wardrobe 'tests' for the movie Monkey Business. The designer is William Travilla.

1952-03-MonkeyBusiness-test_costume-travilla-mm-010-1  1952-03-MonkeyBusiness-test_costume-travilla-mm-030-1 
1952-03-MonkeyBusiness-test_costume-travilla-mm-020-1  1952-03-MonkeyBusiness-test_costume-travilla-mm-021-1 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand. 

01/04/1952, Tests Costumes pour Monkey Business

Le 1er avril 1952, Marilyn Monroe pose pour des 'tests' costumes pour le film Monkey Business (Chérie je me sens rajeunir). Le costumier est William Travilla.
On April, 01, 1952, Marilyn Monroe poses for wardrobe 'tests' for the movie Monkey Business. The designer is William Travilla.

1952-04-01-MonkeyBusiness-test_costume-travilla-mm-010-1 1952-04-01-MonkeyBusiness-test_costume-travilla-mm-011-1 1952-04-01-MonkeyBusiness-test_costume-travilla-mm-011-2 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

18 mars 2018

Movieland, 1952, July

Movieland

1952-07-movieland-usa-cover 

pays magazine: USA
paru en juillet 1952
article: "I Dress for Men says Marilyn Monroe"

1952-07-movieland-usa-p01  1952-07-movieland-usa-p02 
1952-07-movieland-usa-p03  1952-07-movieland-usa-p04 

 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 ?


10 mars 2018

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.

1952-01-11-WereNotMarried-test_costume-jensen-mm-010-1 1952-01-11-WereNotMarried-test_costume-jensen-mm-012-1 1952-01-11-WereNotMarried-test_costume-jensen-mm-011-1 
1952-01-11-WereNotMarried-test_costume-jensen-mm-020-1 1952-01-11-WereNotMarried-test_costume-jensen-mm-020-2 1952-01-11-WereNotMarried-test_costume-jensen-mm-021-1 
1952-01-11-WereNotMarried-test_costume-jensen-mm-022-1 1952-01-11-WereNotMarried-test_costume-jensen-mm-022-2 
1952-01-11-WereNotMarried-test_costume-jensen-mm-030-1  1952-01-11-WereNotMarried-test_costume-jensen-mm-031-1a 1952-01-11-WereNotMarried-test_costume-jensen-mm-040-1 


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

09 février 2018

Hollywood Auction 89 - 06/2017 - Profiles In History

Photographies
(diverses)


Lot 151: Marilyn Monroe (3) photographs
with secretarial autographs
and (1) unsigned vintage swimsuit still.
(ca. 1950s)
Collection of (3) vintage original gelatin silver double-weight matte 8 x 10 in. photographs all secretarially inscribed and signed in red ink on the image and in the borders, “Marilyn Monroe”. Also includes (1) vintage gelatin silver single-weight 8 x 10 in. cheesecake photograph of Monroe in a black lace swimsuit. 3-exhibiting even toning, minor edge wear and remain in very good to fine condition. 1-exhibits a repaired 1 in. tear to lower central border as well as edge creasing. In good condition.
Estimate: $300 - $500 / Winning bid: $1,400

2017-06-26-Hollywood_auction_89-PROFILES-lot151a 2017-06-26-Hollywood_auction_89-PROFILES-lot151b 2017-06-26-Hollywood_auction_89-PROFILES-lot151c 
2017-06-26-Hollywood_auction_89-PROFILES-lot151d  2017-06-26-Hollywood_auction_89-PROFILES-lot151e 


Lot 152: Marilyn Monroe rare signed photograph. (TCF, 1952)
Vintage original gelatin silver 8 x 10 in. double-weight matte photograph by Frank Powolny depicting Marilyn in repose. From the publicity campaign for Monkey Business. Inscribed and signed in blue ink in lower left of image to a crewmember, “To Jack, It’s a pleasure to know you, Marilyn Monroe”. Exhibiting light even toning, and minor handling. In fine condition.
Estimate: $4,000 - $6,000 / Winning bid: $12,500

2017-06-26-Hollywood_auction_89-PROFILES-lot152 


Lot 415: Marilyn Monroe (45+) photographs by Avedon, Greene, Florea, Willoughby, and others. (1940s-1960s/printed later)
Collection of (45+) gelatin silver and RC color double-weight and single weight glossy and matte production photographs and portraits ranging in size from 8 x 8 in. to 16 x 20 in. Including images with Cary Grant, William Holden, Montgomery Clift and others,glamour portraits, candid shots of cast and crew, scene stills and character portraits. Some retaining photographer inkstamps and notation on the verso. Exhibiting age, minor wear, some toning, minor soiling and handling. In overall vintage very good to fine condition.
Estimate: $400 - $600 / Winning bid: $4,250

2017-06-26-Hollywood_auction_89-PROFILES-lot415a  2017-06-26-Hollywood_auction_89-PROFILES-lot415e  2017-06-26-Hollywood_auction_89-PROFILES-lot415p 
2017-06-26-Hollywood_auction_89-PROFILES-lot415b  2017-06-26-Hollywood_auction_89-PROFILES-lot415d  2017-06-26-Hollywood_auction_89-PROFILES-lot415k 
2017-06-26-Hollywood_auction_89-PROFILES-lot415h 2017-06-26-Hollywood_auction_89-PROFILES-lot415i 2017-06-26-Hollywood_auction_89-PROFILES-lot415j 
2017-06-26-Hollywood_auction_89-PROFILES-lot415c 2017-06-26-Hollywood_auction_89-PROFILES-lot415m 2017-06-26-Hollywood_auction_89-PROFILES-lot415n 
2017-06-26-Hollywood_auction_89-PROFILES-lot415f 2017-06-26-Hollywood_auction_89-PROFILES-lot415g 2017-06-26-Hollywood_auction_89-PROFILES-lot415l  
2017-06-26-Hollywood_auction_89-PROFILES-lot415o 2017-06-26-Hollywood_auction_89-PROFILES-lot415q 2017-06-26-Hollywood_auction_89-PROFILES-lot415r 
2017-06-26-Hollywood_auction_89-PROFILES-lot415s  2017-06-26-Hollywood_auction_89-PROFILES-lot415t 


Lot 444: Movie Star News archive (1 million++) Hollywood and entertainment photographs.
Massive archive of (1 million++) primarily gelatin silver 8 x 10 in. single- and double-weight glossy and matte photographs, as well as RC prints, color photos, color glos stills, and color mini lobby cards. A New York City institution for over 70 years, Movie Star News began life in 1938 as a used bookstore owned by siblings Irving and Paula Klaw. The business struggled until one day Irving noticed customers surreptitiously tearing pictures out of movie magazines. Sensing an opportunity, the Klaws began selling used film publicity photos. Demand was so high that Irving reached out to studio publicity departments directly for additional stock, and discovered that promotional materials were routinely discarded after the run of a film. He was able to acquire as many original photos as he wanted for next to nothing, and often, studio negatives, from which he started producing his own prints. The Klaws stopped selling books and started a mail order photo business in addition to the storefront operation, effectively establishing Hollywood and entertainment photography as a field of collecting. Comprising Movie Star News store stock as well as vintage source material, the breadth and scope of this resulting archive is likely unparalleled anywhere, featuring material on nearly every important star and movie in the history of American film production, from pre-Hollywood silent film period through the Golden Age, New Hollywood, the blockbuster era, and beyond. Every category, genre, and subgenre is represented, including drama, comedy, action, adventure, romance, pre-code, crime, film noir, sci-fi, horror (Universal, Hammer, and more), war, western, pin-up, cheesecake, beefcake, exploitation, sexploitation, Blaxploitation, etc. Additionally featuring television, music, stage, and adult subjects, the archive contains a near-complete narrative of American pop culture throughout the 20th century. Today, it would be virtually impossible to build a collection of entertainment material this comprehensive from scratch and prohibitively expensive to create at this level of quality—the cost of photo paper alone would run well over $1,000,000. The archive consists of roughly 40% vintage original material, the remainder primarily composed of high quality Movie Star News gelatin silver dark room prints, many made from the original negatives that Klaw acquired directly from the studios. Including actresses and female entertainers: Paula Abdul, Julie Adams, Rene Adoree, Gracie Allen, June Allyson, Judith Anderson, Mary Andrewson, The Andrews Sisters, Ursula Andress, Julie Andrews, Even Arden, Jean Arthur, Mary Astor, Lauren Bacall, Carrol Baker, Josephine Baker, Lucille Ball, Anne Bancroft, Talullah Bankhead, Vilma Banky, Brigette Bardot, Theda Bara, Lynne Bari, Ethel Barrymore, Anne Baxter, Constance Bennett, Joan Bennett, Ingrid Bergman, Linda Blair, Joan Blondell, Ann Blythe, Jacqueline Bisset, Clara Bow, Alice Brady, Mary Brian, Fannie Brice, Louise Brooks, Virginia Bruce, Carol Burnett, Mary Carlisle, Madeleine Carroll, Irene Castle, Joan Caulfield, Helen Chandler, Carol Channing, Marguerite Chapman, Cyd Cherise, Claudette Colbert, Jeanne Crane, Joan Crawford, Fifi D’Orsay, Arlene Dahl, Lili Damita, Dorothy Dandridge, Bebe Daniels, Linda Darnell, Marion Davies, Bette Davis, Doris Day, Yvonne DeCarlo, Francis Dee, Sandra Dee, Gloria DeHaven, Olivia DeHavilland, Dolores Del Rio, Myrna Dell, Catherine Deneuve, Sandy Dennis, Bo Derek, Marlene Dietrch, Faith Domergue, Carol Donell, Billie Dove, Betsy Drake, Faye Dunaway, Irene Dunne, Deanna Durbin, Ann Dvorak, Jeanne Eagles, Barbara Eden, Anita Ekberg, Dale Evans, Francis Farmer, Alice Faye, Rhonda Fleming, Bridget Fonda, Jane Fonda, Joan Fontaine, Anne Francis, Kay Francis, Mona Freeman, Anette Funicello, Eva Gabor, Zsa Zsa Gabor, Greta Garbo, Ava Gardner, Judy Garland, Terri Garr, Greer Garson, Janet Gaynor, Lillian Gish, Paulette Goddard, Betty Grable, Gloria Grahame, Katharyn Grayson, Jane Greer, Virginia Grey Corinne Griffith, Melanie Griffith, Daryl Hannah, Ann Harding, Jean Harlow, June Havoc, Goldie Hawn, Helen Hayes, Susan Hayward, Rita Hayworth, Audrey Hepburn, Katharine Hepburn, Billie Holliday, Miriam Hopkins, Lena Horne, Ruth Hussey, Angelica Huston, Betty Hutton, Janet Jackson, Gloria Jean, Zita Johann, Olivia Newton John, Grace Jones, Jennifer Jones, Shirley Jones, Janis Joplin, Ruby Keeler, Grace Kelly, Deborah Kerr, Phyllis Kirk, Eartha Kitt, Laura La Plante, Veronica Lake, Hedy Lamarr, Dorothy Lamour, Elsa Lancaster, Carol Landis, Priscilla Lane, Francis Langford, Angela Lansbury, Piper Laurie, Lila Lee, Peggy Lee, Janet Leigh, Vivien Leigh, Joan Leslie, Gina Lollabrigida, Carole Lombard, Bessie Love, Myrna Loy, Ida Lupino, Jeanette MacDonald, Ali MacGraw, Shirley MacLane, Anna Magnani, Jayne Mansfield, Ann Margret, Marilyn Maxwell, Virginia Mayo, Dorothy McGuire, Fay McKenzie, Una Merkel, Ethel Merman, Vera Miles, Ann Miller, Liza Minnelli, Mary Miles Minter, Carmen Miranda, Marilyn Monroe, Maria Montez, Coleen Moore, Mae Murray, Pola Negri, Kim Novak, Maureen O’Hara, Maureen O’Sullivan, Merle Oberon, Anita Page, Gail Patrick, Mary Pickford, Eleanor Powell, Luise Rainer, Sally Rand, Vanessa Redgrave, Donna Reed, Lee Remick, Debbie Reynolds, Ann Richards, Ginger Rogers, Diana Ross, Lillian Roth, Gail Russell, Jane Russell, Rosalind Russell, Ann Rutherford, Winona Ryder, Lizabeth Scott, Norma Shearer, Ann Sheridan, Dinah Shore, Sylvia Sidney, Jean Simmons, Alexis Smith, Barbara Stanwyck, Meryl Streep, Barbra Streisand, Gloria Swanson, Elizabeth Taylor, Shirley Temple, Emma Thompson, Gene Tierney, Thelma Todd, Claire Trevor, Kathleen Turner, Lana Turner, Twiggy, Mamie Van Doren, Lupe Velez, Martha Vickers, Rachel Ward, Tuesday Weld, Mae West, Marie Windsor, Debra Winger, Shelley Winters, Jane Withers, Anna May Wong, Natalie Wood, Fay Wray, Teresa Wright, Jane Wyman, Loretta Young, and many, many more. Actors and male entertainers: Amos & Andy, Dana Andrews, Roscoe “Fatty” Arbuckle, Louis Armstrong, Desi Arnaz, Fred Astaire, Lex Barker, John Barrymore, Lionel Barrymore, The Beatles, Warren Beatty, Wallace Beery, Harry Belafonte, John Belushi, Jack Benny, Edgar Bergen, Charles Bickford, Humphrey Bogart, David Bowie, Charles Boyer, Marlon Brando, Charles Bronson, Mel Brooks, Yul Brynner, James Cagney, Eddie Cantor, Johnny Cash, John Cassavettes, Lon Chaney, Sr., Charlie Chaplin, Montgomery Clift, Nat King Cole, Ronald Colman, Sean Connery, Gary Cooper, Jackie Cooper, Ricardo Cortez, Joseph Cotten, Bing Crosby, Tony Curtis, Sammy Davis, Jr., The Dead End Kids, James Dean, Robert DeNiro, Walt Disney, Kirk Douglas, Clint Eastwood, Duke Ellington, Douglas Fairbanks, Sr. & Jr., Jose Ferrer, W.C. Fields, Errol Flynn, Henry Fonda, Glenn Ford, Harrison Ford, Clark Gable, John Garfield, James Garner, Richard Gere, Mel Gibson, Benny Goodman, Cary Grant, Alec Guinness, Gene Hackman, Tom Hanks, Rondo Hatton, Sterling Hayden, Charlton Heston, Alfred Hitchcock, Dustin Hoffman, William Holden, Bob Hope, Rock Hudson, Tab Hunter, William Hurt, The “James Bond” franchise, Van Johnson, Al Jolson, Boris Karloff, Buster Keaton, Gene Kelly, Alan Ladd, Burt Lancaster, Harry Langdon, Charles Laughton, Laurel & Hardy, Bruce Lee, Christopher Lee, Jack Lemon, Jerry Lewis, Harold Lloyd, Peter Lorre, Dean Martin, Lee Marvin, the Marx Brothers, James Mason, Victor Mature, Joel McCrea, Roddy McDowell, Steve McQueen, Ray Milland, Sal Mineo, Robert Mitchum, Robert Montgomery, Eddie Murphy, Bill Murray, Ricky Nelson, Paul Newman, Jack Nicholson, David Niven, Chuck Norris, Peter O’Toole, Warner Oland, Laurence Olivier, Al Pacino, Jack Palance, Gregory Peck, Tyrone Power, Elvis Presely, Vincent Price, John Wayne, Johnny Weissmuller, Orson Welles, Bruce Willis, and many, many more. Movies: The African Queen, All Quiet on the Western Front, American Graffiti, Anatomy of a Murder, Animal House, the Back to the Future franchise, Beau Geste, Bell, Book and Candle, The Big Heat, The Birds, The Blue Dahlia, Blue Velvet, Bonnie and Clyde, Born Yesterday, Brigadoon, Cabin in the Sky, Captain’s Courageous, Casablanca, the “James Bond” franchise, Cat People, the “Charlie Chan” franchise, Citizen Kane, Cover Girl, Dance, Fools, Dance, Dark Victory, Dead End, Dial M for Murder, Doctor Strangelove, Dracula, Duel in the Sun, Easy Rider, El Dorado, For Whom the Bell Tolls, Foreign Correspondent, Forsaking All Others, Frankenstein, From Here to Eternity, Full Metal Jacket, Funny Girl, Ghostbusters, Gigi, Gone With the Wind, Grand Illusion, The Grapes of Wrath, The Great Escape, Halloween, High Society, His Girl Friday, Holiday, The Horror of Dracula, Human Desire, Humoresque, I Wanted Wings, Imitation of Life, Inside Daisy Clover, Invasion of the Body Snatchers, Jaws, Jezebel, The Killers, The King and I, The Lady Eve, The Lady Vanishes, Lifeboat, Macao, Marked Woman, The Most Dangerous Game, Mr. Smith Goes to Washington, Mrs. Miniver, Murder, My Sweet, My Darling Clementine, My Man Godfrey, Night of the Hunter, North by Northwest, Notorious, Passage to Marseilles, Paths of Glory, Persona, Picnic, Planet of the Apes, Porgy and Bess, The Postman Always Rings Twice, Prisoner of Zenda, Psycho, Quo Vadis, Random Harvest, Rear Window, Rebecca, Rio Bravo, Robocop, Rope, Sabotage, The Set-Up, Seven Samurai, She!, Showboat, Spellbound, Stagecoach, The Stranger, Sullivan’s Travels, Suspicion, the “Tarzan” franchise, Test Pilot, That Certain Woman, The Three Musketeers, To Catch a Thief, To Have and Have Not, Today We Live, Too Hot to Handle, The Untouchables, Valley of the Dolls, Vertigo, Vivacious Lady, Westside Story, White Christmas, Woman of the Year, The Women, Wuthering Heights, Young Mr. Lincoln, Zoo in Budapest, and many, many more. Includes duplicate images.Condition ranges widely, with the majority ranging from very good to very fine. The archive is housed in approx. (140) 4- and 5-drawer metal filing cabinets, measuring on average 22 x 28 x 53 in. This is a historic opportunity to own one of the most legendary and consequential collections of Hollywood and entertainment photographic material ever assembled. Interested bidders are strongly encouraged to preview the lot in person by appointment.
Estimate: $220,000 - $350,000 / Winning bid: ?

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Lot 868: Marilyn Monroe (3) nude calendar first-release variation collection. (ca. 1940s)
Vintage original (3) iconic Tom Kelly’s legendary Golden Dreams nude calendar print, shot in 1949 when Marilyn was between studio contracts, and not published until at least 1952 for the following year. Including (1) 9 x 13 in. stapled print with advertising headboard present and 4-other prints of various models beneath Marilyn’s, (1) 8 x 9.5 in. print (presumed removed from a complete calendar) and (1) 12 x 16.5 in. print with creased headboard section. All in vintage very good to fine condition.
Estimate: $300 - $500 / Winning bid: $850

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Lot 872: Marilyn Monroe door panel poster. (ca. 1950s)
Vintage original rolled 62 x 21.5 in. panel door poster of Marilyn Monroe in a candy-striped bathing suit. Linen backed. Exhibiting light even fading and a slice to the upper 2 in. of the blank border, not affecting image. In vintage very good to fine condition.
Estimate: $600 - $800 / Winning bid: $3,250
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Lot 878: Marilyn Monroe unpublished behind the scenes color camera transparency from Niagara by Frank Worth.
(TCF, 1953) Vintage original 2.5 x 2.5 in. camera color transparency of Marilyn Monroe in costume as “Rose Loomis” in an unpublished image of the Hollywood icon posing in front of a helicopter behind the scenes of Niagara. Photographed by Frank Worth. In vintage fine condition.
Estimate: $200 - $300 / Winning bid: $350 

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Lot 879: Marilyn Monroe (3) contact sheet strips with 9-portraits by Milton Greene from his personal collection.
(ca. 1950s) Vintage original (9) gelatin silver single-weight glossy 2.5 x 2.25 in. photographs on 3-contact sheet prints measuring approx. 2.25 x 8 in. and with 3-frames per strip. Featuring outdoor portraits of Marilyn Monroe taken by her close friend and legendary photographer Milton Greene. Unevenly trimmed at top and bottom of strips. Exhibiting age, minor wear and some handling. From the personal collection of Milton Greene. In overall very good to fine condition.
Estimate: $300 - $500 / Winning bid: $600

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Lot 885: Marilyn Monroe (3) candid photographs with Tony Curtis, Milton Greene and others.
(ca. 1960s) Vintage original (3) gelatin silver single-weight photos including (1) 8 x 10 in. Marilyn with DJ Fred Robbins and Joe Bynes, (1) 8 x 10 in. Marilyn with Milton Greene and others at Jess Rand's 1954 birthday party and (1) 4.5 x 6.5 in. Marilyn with Tony Curtis and others. Exhibiting some edge chipping, age, handling. With some mounting residue, inkstamps and writing to verso. In vintage very good to fine condition.
Estimate: $300 - $500 / Winning bid: $300

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Lot 886: Marilyn Monroe (3) candid photographs with Sammy Davis Jr., Tony Curtis, Milton Greene and more.
(ca. 1960s) Vintage original (3) gelatin silver single-weight photos including (1) 4.5 x 6.5 in. Marilyn with Tony Curtis and Milton Greene wearing eye patches in solidarity with Sammy Davis Jr. who’d lost his eye in a car accident, (1) 8 x 10 in. Marilyn with Milton Greene and Sammy Davis Jr. at Jess Rand's 1954 birthday party and (1) 8 x 10 in. photo card of Marilyn with Sammy Davis Jr. and Eddie Fisher. Exhibiting some edge chipping, age, handling. With some mounting residue, inkstamps and writing to verso. In vintage good to fine condition.
Estimate: $300 - $500 / Winning bid: $300 

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Lot 888: Marilyn Monroe (10) mammoth prints signed by George Barris.
(ca. 1950s-1960s) Collection of (10) contemporary oversize posed and candid photographs of Monroe ranging in size from 17 x 22.25 in. to 21 x 28 in. Including (2) color images 1-of Monroe wearing a robe at the beach and 1-head shot and (8) black and white prints including 7-in and around a home and 1-at the beach. All signed in lower right of images, “George Barris” (Barris first signed in ballpoint over which he later signed in marking pen). Exhibiting minor wrinkling from handling. In generally fine condition.
Estimate: $1,000 - $1,500 / Winning bid: $1,900
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Lot 889: Bert Stern signed Marilyn Monroe limited edition foil print.
(1962) Vintage original blue ink silkscreen on 40 x 40 in. silver foil limited edition print. The image is from Marilyn Monroe’s last photographic sitting in 1962. Signed by the photographer, “Bert Stern” in the lower right border and numbered, “99/100” in the lower left. Presented in the original fame. In vintage fine condition.
Estimate: $2,000 - $3,000 / Winning bid: $2,000
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Films


Lot 876: Marilyn Monroe (2) window cards from How to Marry a Millionaire and Niagara. (TCF, 1953)
Vintage original (2) window cards for the Marilyn Monroe titles including (1) 14 x 22 in. card for How to Marry a Millionaire featuring Marilyn in swimsuit with Betty Hutton and Lauren Bacall. With playdate field filled in and some toning to edges and including (1) 14 x 22 in. card for Niagara featuring a sultry Monroe reclining and a photo image of she and Joseph Cotten. With blank playdate field, some clean pinholes to corners, and even toning. In generally very good to fine condition.
Estimate: $400 - $600 / Winning bid: $500
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Lot 877: Marilyn Monroe (41) negatives from Bus Stop. (TCF, 1956)
Vintage original (41) 5 x 4 in. black and white negatives with matching contact prints, including images from production with Monroe, Don Murray, Arthur O’Connell, Eileen Heckart and cast, behind the scenes shots, crowd scenes, and images of Monroe in her iconic green costume performing. Contained in original sleeves. Some contact prints with editorial grease pencil cropping for publication. In generally fine vintage condition.
Estimate: $600 - $800 / Winning bid: $7,000
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Lot 880: Marilyn Monroe rolled German A0 large size format poster for The Seven-Year Itch.
Marilyn Monroe rolled German A0 large size format poster for The Seven-Year Itch. (TCF, 1955/R-1960) Vintage original German A0 46 x 33 in. large size format poster by graphic artist, stamp illustrator and art educator Dorothea Fischer-Nosbisch for the re-release of the Billy Wilder, Marilyn Monroe comedy. Rolled. With vibrant color. In vintage fine condition.
Estimate: $300 - $500 / Winning bid: $750

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Lot 881: Marilyn Monroe (11) production photographs from The Seven Year Itch and How to Marry a Millionaire.
 (MGM, 1953/1955) Vintage original (11) gelatin silver single-weight glossy 8 x 10 in. production photographs featuring Marilyn Monroe and cast including (5) How to Marry a Millionaire and (6) The Seven Year Itch. All with studio slugs in lower borders. Exhibiting age, minor wear, some toning, creasing and handling. In overall vintage good to very good condition.
Estimate: $300 - $500 / Winning bid: $600
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Lot 882: Marilyn Monroe (5) photographs from The Seven-Year Itch and others.
(TCF, 1955) Vintage original gelatin silver single-weight production photographs ranging in size from 7.25 x 8 in. to 8 x 10 in. including (3) Seven-Year Itch with Marilyn and Tom Ewell mugging on a couch (1-with two-hole punches at the top border), (1) full-body swimsuit pose and (1) portrait in a jeweled satin gown near a car. All exhibit minor age and handling. In vintage fine condition.
Estimate: $200 - $300 / Winning bid: $650
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Lot 883: Marilyn Monroe lobby card for Dangerous Years, her first appearance in film publicity material.
(TCF, 1948) Vintage original color 11 x 14 in. lobby card for the first film in which Marilyn appeared in publicity material. Exhibiting pinholes, border restoration, and retouching to a vertical crease through the center of the card and a crease in the lower right image. Presents in vintage good to very good condition.
Estimate: $300 - $500 / Winning bid: $300
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Lot 884. Marilyn Monroe and Anne Baxter photograph behind the scenes on All About Eve by Frank Powolny.
(TCF, 1950) Vintage original gelatin silver 8 x 10 in. double-weight matte photograph. Retaining photographer’s inkstamp on the verso. Exceedingly rare early candid moment for Marilyn. In vintage very fine condition.
Estimate: $400 - $600 / Winning bid: $650
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Lot 890: Warner Bros. commemorative brass key to the studio. (ca. 1960s)
Consisting of a cast brass 11 x 4 in. presentation key to Warner Bros. Studios. The shield-shaped bow of the key features raised iconic “WB” letters synonymous with the studio. The key blade reads, in raised letters, “The Largest in the World” on one side and “Welcome to the Warner Bros Studio”, on the other. Keys like this one were presented to special guests, celebrities, and dignitaries visiting the studio. Exhibiting expected age, wear and patina. In vintage fine condition.
Estimate: $600 - $800 / Winning bid: $1,900  

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Documents papiers


lot 869: Marilyn Monroe’s (Norma Jeane Dougherty) first signed studio contract with Twentieth Century-Fox with original screen test request signed by Ben Lyon.
The contract is 17 pages (8.5 x 11 in.), entitled “Agreement Between Twentieth Century-Fox Film Corporation And Norma Jeane Dougherty – Artist August 24, 1946” typed on the heavy stock contract folder bound with two brass brads. The document is an agreement, “That the producer employs the artist, and the artist enters the employ of the producer, to render his services exclusively to the producer, in the capacities and for the purposes herein described, for a term of Six (6) Months, commencing on the 26th day of August, 1946… the producer shall pay to the artist, as his entire compensation hereunder, the sum of One Hundred and Twenty-Five Dollars ($125.00) per week during the term of said employment…” On page 16, the future Marilyn Monroe signed in black ink, “Norma Jeane Dougherty” and was co-signed by a studio executive an a notary public. The final page was signed by Norma Jeane’s foster mother, Grace McKee, granting approval of the agreement for the 20-year-old minor. Accompanying the contract is the 1-page inter-office document, dated July 25, 1946, signed by Twentieth Century Fox executive (and former actor) Ben Lyon, written to Mr. George Wasson, stating in part: “Will you please draw up an optional contract on Norma Jeane Dougherty. We agree to make a test of her and then within ten (10) days after she completes the test, we agree to advise her whether or not we intend to exercise the option: 6 months – 20 out of 26 weeks -- $150.00.” Ben Lyon was a successful actor starring in the 1930 film Hell’s Angels, the film that brought Jean Harlow to prominence. After having met the young Norma Jeane on July 17, 1946, Lyon stated that she was “Jean Harlow all over again!” With this document, he arranged for Norma Jeane’s screen test and her subsequent contract with the studio. Lyon later advised the starlet to change her screen name to “Marilyn Monroe”. Also included is a carbon copy studio memo to Ben Lyon from George Wasson, dated October 25, 1946, stating that “Today is the last day for us to notify Norma Jeane Dougherty in the event we desire her to have any dental work done.” Contract is in fine condition; both the Lyon and dental memos have paper loss from the two-hole binder. An historic assemblage marking the genesis of the silver screen’s greatest star.
Estimate: $8,000 - $12,000 / Winning bid: $35,500
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lot 870: Marilyn Monroe personally hand annotated script from Gentlemen Prefer Blondes. (TCF, 1953)
Marilyn Monroe’s personally-used and annotated script from Gentlemen Prefer Blondes. An incomplete script, being a block of revisions delivered by the production to Marilyn Monroe comprising 69 pages total (numbered 48 through 117, missing page 93) plus a pink title cover-sheet printed “26 November 1952, ‘Gentlemen Prefer Blondes’ (Revised Final Script…13 Nov. 1952),” plus “TO ALL SECRETARIES: Please place these ADDITIONAL PAGES at the back of your script of the above date. THIS IS IMPORTANT! Majority of the prompts for Marilyn’s character “Lorelei Lee” are circled variously in graphite and non-repro blue pencil, with approximately 22-pages annotated in various inks and pencil in Monroe’s hand with amendments and additions to the script and notes on how she proposes to deliver lines and portray Lorelei’s character, with several other pages showing line deletions and other demarcations. Highlights of notes include: pg. 56, when Lord Beekman finds Lorelei stuck in Malone’s porthole, next to Lorelei’s line “Oh yes--Tea with Lady Beekman. Why, she must of forgot. She didn’t show up,” with Monroe adding an alternative line, “Well, I just wanted to see the view. It’s better from here”; pg. 58, Monroe changes the line “Piggie, will you run down to my cabin and get my purse?” to “Maybe I should have that Sherry - will you get me some”; pg. 79, Monroe has written a note to herself in the margin “Feeling that feeds the words, know the lines, go over it inteligently [sic]”; pg. 92, also to herself, “sense the feeling with the body” plus several dialogue changes; pg. 94, again to herself, “grit my teeth and forget it must have my,” “all of feeling in my words,” and “build pull back, don’t stop mutual conflict between partners.” Also, the following page (95) although bearing no notations, features the scene for Monroe’s classic musical number “Diamonds Are a Girl’s Best Friend.” In generally very good condition, with expected handling wear, soiling, and creasing, and some small edge tears and damp-staining to cover page and a few internal margins throughout. Marilyn’s unique, revealing personal notations in this script reveal her private thought processes and fleeting self confidence. On set, she was haunted by her controlling acting coach Natasha Lytess, constantly striving for her approval and insisting on retakes even when director Howard Hawks had already approved. Co-star Jane Russell looked after Marilyn on set and was often one of the only people able to coax her out of her trailer during her bouts of self doubt. Despite her anxieties, it was the role of Lorelei Lee that first fabricated her ‘dumb blonde’ persona—a genius mixture of comedy and sexiness which Marilyn personified on screen, all the while taking her acting very seriously, as evidenced by her occasional heartfelt self-motivational notes in the margins. Monroe biographer Donald Spoto once said: “She put a twist on sexiness. It was not something wicked and shameful...it was something which was terribly funny. And Marilyn enjoyed it.” A remarkable and deeply personal artifact both from Marilyn’s aura imbued within it, and of Hollywood history in general.
Provenance: Christies, New York, June 22, 2006, Lot 160.
Estimate: $20,000 - $30,000 / Winning bid: $20,000
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Lot 871: Marilyn Monroe signed document relating to The Seven Year Itch. (TCF, 1955)
The 1-page document (8.5 x 11 in.), dated and notarized from the State of New York on December 31, 1955, states in part: “I, Marilyn Monroe of New York, New York… for valuable consideration to me in hand paid and the receipt whereof I hereby acknowledge, have and do hereby and herewith release and forever discharge Twentieth Century-Fox Film Corporation… of and from all manner of action and actions, cause and causes of action, claims, demands… that I have ever had… pertaining to the production, distribution, exploitation or other matters or things relating to a certain motion picture photoplay entitled THE SEVEN YEAR ITCH.” Signed “Marilyn Monroe” in black ink. Minor staple holes on left margin. Overall, in fine condition.
Estimate: $3,000 - $5,000 / Winning bid: $3,750
2017-06-26-Hollywood_auction_89-PROFILES-lot871 


 Lot 873: (2) Marilyn Monroe signed documents and a block of (3) blank Marilyn Monroe checks.
A 1-page document (8.5 x 11 in.), undated, but retains “Received” stamp dated February 6, 1947. Sent by Marilyn to 20th Century-Fox Film Corporation to the attention of the legal department. In part: “This is to notify you that I am no longer being represented by the National Concert & Artists Corporation… I am now being represented by the Elsie Cukor Lipton Agency…[signed] Marilyn Monroe”. Contains clerical notes in both pencil and ink. Toning at lower half with tearing by two binder holes.
The second document is the second page of a two-page document (page one is missing), dated January 16, 1952 involving Twentieth Century-Fox Film Corporation and RKO Radio Pictures, Inc., pertaining to advertisement release for Marilyn Monroe in promoting “Jantzen Play Suites, Play Clothes and Swim Suits”. Signed “Marilyn Monroe” in blue ink, and co-signed by a Twentieth Century-Fox representative. Staple holes at top, pronounced wrinkling and a 3.75 x 1.25 in. portion clipped from the document.
Included with the documents is a block of (3) unused “Marilyn Monroe” printed checks from her City National Bank, Beverly Hills branch (checks numbered 1950 – 1952). Checks and attached stubs are in fine condition.
Estimate: $1,500 - $2,500 / Winning bid: $3,750
2017-06-26-Hollywood_auction_89-PROFILES-lot873a  2017-06-26-Hollywood_auction_89-PROFILES-lot873b 
2017-06-26-Hollywood_auction_89-PROFILES-lot873c  


Lot 874: Marilyn Monroe signed advertising release for House of Westmore Cosmetics.
The 1-page document (8.5 x 13.5 in.), dated July 3, 1952 from Los Angeles, California, states in part: “The undersigned, Twentieth Century-Fox Film Corporation, a New York corporation, hereby gives and grants to House of Westmore, the non-exclusive right to utilize the name and likeness of Marilyn Monroe… Said name and/or likeness shall be used only by House of Westmore in connection with its product Cosmetics in the following manner: Newspapers, magazines, window and counter displays, point of sale material.” Signed “Marilyn Monroe” in black ink, and co-signed by representatives of Twentieth Century-Fox and House of Westmore. Minor paper loss from the binder at upper edge; minor chip at bottom edge not affecting signature.
Estimate: $2,000 - $3,000 / Winning bid: $4,250
2017-06-26-Hollywood_auction_89-PROFILES-lot874  


Lot 875: Studio letter warning Marilyn Monroe of her breach of contract for taking off shooting days to participate in President Kennedy’s Birthday Celebration. (1962)
Vintage original 2-page letter on Twentieth Century-Fox Film Corporation letterhead, dated May 16, 1962, addressed to Marilyn Monroe Productions, Inc. In part: “…the services of Miss Marilyn Monroe in the now current employment period commenced on March 6, 1962 in the motion picture tentatively entitled ‘Something’s Gotta Give’… Whereas said motion picture is now in the process of principal photography and is uncompleted… Miss Monroe has advised the executives of the undersigned corporation… that she intends to absent herself from Producer’s studio and from Los Angeles, California, at twelve noon, May 17, 1962, for the purpose of attending a social function being held outside of the State of California, and to continue said absence for the reminder of the said calendar week… Now, therefore, please be advised that said announced action on the part of Miss Monroe constitutes a refusal by her to render services… said action of Miss Monroe will result in serious loss and material damage to the undersigned corporation… [the studio may] be relieved of any of its obligations in respect to the photoplay in which Miss Monroe is now rendering…” Signed “Twentieth Century-Fox Film Corporation” by Frank H. Ferguson, its Assistant Secretary. Included with original registered mail transmittal envelope, postmarked May 16, 1962, with attached studio slip with stamp indicating return date of May 17, 1962 with notation that the letter was refused and returned. Before shooting had begun, Monroe received approval from producer Henry Weinstein for her to perform on May 19th for President Kennedy’s birthday celebration at Madison Square Garden. Despite the agreement, Marilyn’s protracted health issues had delayed production and studio brass ultimately decided to release her from the picture on June 8th.
Estimate: $400 - $600 / Winning bid: $3,750
2017-06-26-Hollywood_auction_89-PROFILES-lot875a  2017-06-26-Hollywood_auction_89-PROFILES-lot875b  2017-06-26-Hollywood_auction_89-PROFILES-lot875c 
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Lot 887: Let's Make Love 22-pages of original sheet music for the LP record release.
(TCF, 1960) Vintage original (22) pages of musical charts including (1) 5-page printed 9.5 x 13 in. Conductor score for, “Let’s Make Love” designated for “Marilyn Monroe and Frankie Vaughan”, (1) 4-page handwritten 10.75 x 13.25 in. score for, “Let’s Make Love”, (1) 6-page printed 9.5 x 13 in. Conductor score for, “You With the Crazy Eyes” designated for “Frankie Vaughan (Vocal)” and (1) 7-page handwritten 10.75 x 13.25 in. score for “You With the Crazy Eyes” score. All exhibit edge toning, handling, minor soiling and staining. In vintage very good condition.
Estimate: $300 - $500 / Winning bid: $325
2017-06-26-Hollywood_auction_89-PROFILES-lot887a  2017-06-26-Hollywood_auction_89-PROFILES-lot887f 
2017-06-26-Hollywood_auction_89-PROFILES-lot887b  2017-06-26-Hollywood_auction_89-PROFILES-lot887c   
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Accessoires


 Lot 1942: Loni Anderson vintage “MM” evening gloves gifted to her by Burt Reynolds as the personal property of Marilyn Monroe.
(ca. 1950s) Vintage original pair of elegant midnight blue synthetic silk evening gloves with stitched braid detail at back and stitched monogram, “MM” on underside of flared, slit cuffs. Retaining internal Hansen maker’s label, printed size 6. Gifted to Loni Anderson by Burt Reynolds who attributed them to Marilyn Monroe, an idol of Anderson’s. In vintage fine condition.
Estimate: $1,000 - $1,500 / Winning bid: $9,500
2017-06-26-Hollywood_auction_89-PROFILES-lot1942a 
2017-06-26-Hollywood_auction_89-PROFILES-lot1942b 

05 février 2017

Dorothy Dandridge

Dorothy Dandridge
(1922 - 1965)

actrice américaine
amie avec Marilyn de 1948 à 1955s
surnommée "The Black Marilyn Monroe" 

dorothy_dandridge-portrait-3 

Dorothy Jean Dandridge naît le 29 novembre 1922 à Cleveland (dans l'Ohio, USA). Deuxième fille d'un pasteur et ébéniste (Cyril Dandridge) et d'une apprentie comédienne (Ruby Dandridge), sa soeur aîné s'appelle Vivian. Ses parents se séparent peu avant sa naissance. Leur mère lance ses deux petits filles très vite sur scène: Dorothy et Vivian se produisent sous le nom des Wonder Children, dans des spectacles religieux au sein des églises à travers le territoire des États-Unis pendant cinq ans, avec leur manager Geneva Williams, pendant que leur mère reste travailler à Cleveland, se produisant aussi sur scène.

dorothy-1930s-dandridge_sisters Avec la Grande Dépression, le travail se fait plus rare et en 1930 Ruby déménage avec ses filles pour s'installer à Hollywood (en Californie), où elle trouve du travail dans des stations de radio et joue des rôles de servantes au cinéma.
En 1934, le duo Dorothy - Vivian se rebaptise The Dandridge Sisters et s'associent avec la danseuse et chanteuse Etta Jones (voir photo ci-contre). Elles se produisent sur scène dans de nombreux clubs à travers le pays, dont le Cotton Club et l'Apollo Theater à New York.

Dorothy obtient un petit rôle au cinéma en 1935, dans la comédie Teacher's Beau (de la série des films Our Gang). Et le trio parvient à être au casting des films The Big Broadcast of 1936, A Day at the Races avec les Marx Brothers et It Can't Last Forever avec les Jackson Brothers en 1937.
Puis Dorothy parvient à enchaîner divers rôles au cinéma; dans Four Shall Die (1940), une production de films faits pour les noirs avec des acteurs noirs, puis l'année suivante dans Lady from Louisiana avec John Wayne et Sundown avec Gene Tierney. En 1941, elle joue dans une comédie musicale de la 20th Century Fox: Sun Valley Serenade, où elle chante avec les Nicholas Brothers. En plus du cinéma, Dorothy prête sa voix à plusieurs courts métrages d’animation.

dorothy_dandridge-harold  Le 6 septembre 1942, Dorothy se marie avec le danseur de claquettes Harold Nicholas (l'un des frères Nicholas des 'Nicholas Brothers' - voir photo ci-contre). Ils ont ensemble une fille, Harolyn Suzanne Nicholas qui naît le 2 septembre 1943 avec un handicap mental (autisme profond). Sa belle-soeur Geraldine Branton racontera: «Dottie ne devait plus jamais se débarrasser d'un sentiment de culpabilité; personne n'est parvenu ensuite à la raisonner.» Dorothy et Harold finissent par divorcer en octobre 1951. Les échecs de sa vie privée et son enfance chaotique où elle s'est toujours sentie exploitée, vont la conduire à une dépression chronique jusqu'à la fin de sa vie.
Contrainte de subvenir aux besoins de sa fille, elle se produit dans les night-clubs qu'elle abhorre, paralysée par le trac et la timidité, malgré un grand succès car elle est plébiscitée par le public masculin séduit par sa beauté et elle triomphe au Mocambo de Los Angeles. Elle devient la première chanteuse noire à se produire dans des endroits aussi huppés que l'Empire Room du Waldorf Astoria de New York (elle voyagera ensuite à Londres, Toronto, La Havane, São Paulo).

dorothy-Last Frontier Hotel in Las Vegas L'Amérique des années 1950 est ségrégationniste et Dorothy va souffrir du racisme, comme toute personne de couleur aux Etats-Unis. Les lois raciales vont notamment lui imposer de ne pas 'se mélanger' avec les blancs. Dorothy racontera qu'un hôtel du Nevada lui avait ordonné de rester enfermer dans sa chambre quand elle n'était pas sur scène en train de chanter dans la salle de spectacle de l'hôtel et de ne pas fréquenter ni le bar ni la piscine de l'hôtel, réservés à la clientèle blanche. Le costumier William Travilla lui dessine des robes pour ses performances dans les nights-clubs; ils deviennent amis et Travilla sera témoin du traitement de racisme que subit Dorothy: un soir, au début des années 1950, il va la voir avec un ami à Las Vegas où Dorothy se produit. Le trio souhaite sortir ensemble dans les bars, casinos et night clubs mais il est interdit à Dorothy d'aller dans les lieux publics. Donc ils se retrouvent dans la cuisine de l'appartement d'hôtel de Dorothy et les hommes sont écoeurés de voir qu'il est acceptable pour Dorothy de se produire sur scène pour la clientèle blanche, mais pas assez pour se mêler à eux avant ou après. Ce qui aménera à Dorothy de dire "Si j'étais blanche, je pourrais capturer le monde."
A la même époque, elle a une aventure avec le comédien Peter Lawford, futur gendre du président Kennedy, qui, au dernier moment, refuse de l'épouser par crainte de saborder sa carrière.

dorothy_dandridge-tarzan  En 1951, son apparition dans Tarzan's Peril fait parler d'elle: c'est surtout sa tenue qui est jugée provocante (voir photo ci-contre) et elle surfe sur le phénomène en posant en tenue sexy pour la couverture du magazine Ebony.
En décembre 1952, un agent des studios de la MGM la voit sur scène au club Mocambo à Los Angeles et la recommande au casting de Bright Road, qui sera son premier vrai grand rôle, où elle y donne pour la première fois la réplique à l'acteur Harry Belafonte, qu'elle retrouvera plus tard dans bien d'autres films et qui restera un fidèle ami.
Elle poursuit en parallèle sa carrière sur scène, se produisant dans de nombreux nightclubs et multipliant les apparitions dans des émissions de télé, comme le célèbre Ed Sullivan.

dorothy-carmenEn 1953, un casting national est organisé par la 20th Century Fox pour l'adaptation de la comédie musicale jouée à Broadway en 1943 Carmen Jones, basée sur l'opéra Carmen, et adapté dans le contexte de la seconde guerre mondiale, mettant en scène les afro-américains. A la recherche d'acteurs et d'actrices noirs, le réalisateur Otto Preminger ne veut pas au départ de Dorothy dans le rôle de Carmen, pensant que son look est trop sophistiqué et mieux adapté au rôle de Cindy Lou. Pour obtenir le rôle, Dorothy se fait aider des maquilleurs de la marque Max-Factor, pour obtenir l'apparence et la personnalité du rôle titre Carmen, et se rend dans le bureau de Preminger qui se laisse convaincre. Dorothy retrouve Harry Belafonte pour former le couple star du film. Malgré le statut de chanteuse reconnu de Dorothy, le studio voulait une voix d'opéra, les chansons sont donc doublées par la chanteuse d'opéra Marilyn Horne.

dorothy_dandridge-1954-11-life-1  A sa sortie, le film rencontre un succès considérable tant au niveau de la critique (le chroniqueur Walter Winchell dit que sa performance est "enchanteresse") que des recettes engendrées, et impose Dorothy comme la première sex-symbol noire américaine. Elle devient la première femme noire à faire la couverture du très populaire magazine Life (le 1er novembre 1954 - voir photo ci-contre), en posant dans son rôle de Carmen par une photographie publicitaire du film. Le succés international du film (qui a rapporté 10 millions $ au box office qui en fait l'un des films ayant rapporté le plus de bénéfices) mène Dorothy, la première actrice afro-américaine, aux Oscars (elle est nommée meilleure actrice aux Oscars de 1955 et fait sensation à la cérémonie, mais c'est Grace Kelly qui remporte le prix. Ce soir là, Marlon Brando, très attiré par Dorothy, va embrasser Dorothy sur la bouche pour la consoler et l'anecdote va choquer les bonnes moeurs américaines).
Dorothy va se rendre au Festival de Cannes en mai 1955 pour présenter le film en hors compétition: elle y est présentée comme "la bombe du festival"; dans un reportage pour la télévision française, le journaliste François Chalais dit qu' "elle explose sous les traits de l'étourdissante actrice café au lait. (...) elle n'a qu'à paraître pour que tout ait l'air de disparaître autour d'elle. Elle n'a qu'à bouger pour que tout, à part elle, ait l'air d'être soudain immobile, comme figé de stupeur devant autant d'inconsciente audace, devant autant d'hormones en liberté pas surveillée".

Le film lui a aussi permis de rencontrer l'amour: Dorothy devient la maîtresse d'Otto Preminger qui, de son côté, est marié. Leur relation va durer quatre ans, au bout desquels Dorothy mettra fin, réalisant que les promesses de Preminger de quitter sa femme ne seront jamais réelles et après que Preminger l'ait obligé à avorter par peur du scandale.

dorothy_dandridge-portrait-1 Le 15 février 1955, Dorothy signe un contrat de trois films avec la Fox, avec l'appui du grand patron des studios Darryl F. Zanuck, lui permettant de gagner 75 000 $ par film. Zanuck veut faire d'elle la première icone afro-américaine du cinéma. Dorothy est en lice pour de grands rôles: le remake du film The Blue Angel, reprenant le rôle de la chanteuse Lola, tenu jadis par Marlene Dietrich, ainsi que dans le remake de Under Two Flags, dans des adaptations entièrement afro-américaine. Elle accepte le rôle de Tuptim dans The King and I, et un rôle dans The Lieutenant Wore Skirts. Mais, suivant les conseils de Preminger lui indiquant que ces films sont indignes d'elle, elle décline donc les offres, ce qu'elle regrettera plus tard.
Elle fait son retour au cinéma en 1957, dans le film Island in the Sun, donnant la réplique à James Mason, Joan Fontaine, Joan Collins, et retrouvant encore Harry Belafonte. L'histoire controverse raconte l'amour entre une indienne (jouée par Dorothy) et un homme blanc (joué par John Austin) et le script a été remanié plusieurs fois afin de respecter les codes imposés par les studios concernant les relations inter-raciales. Côté coulisses, Dorothy et John Austin vont entamer une liaison. Malgré la controverse et les critiques négatives, le film rencontre un très grand succès.

dorothy-1960-malaga Elle joue ensuite dans une production italienne, Tamango, face à l'acteur allemand Curd Jürgens avec qui elle vit une romance sur le tournage. En 1958, elle redonne la réplique à James Mason dans The Deck Ran Red, puis joue dans la super production hollywoodienne Porgy and Bess réalisée par Preminger avec Sidney Poitier et Sammy Davis Jr.
En 1959, elle joue dans un thriller britannique à petit budget, Malaga. La publicité autour du film annonce que c'est la première fois qu'une actrice noire embrasse un acteur blanc (ce qui est erroné, car c'est le film Tamango qui montre pour la première fois un baiser entre une noire et un blanc, entre Dorothy et Curd Jürgens); mais Dorothy et son partenaire Trevor Howard créent une tension sexuelle sous-jacente sous la direction de Laszlo Benedek et le film sera interdit dans les salles américaines jusqu'en 1962.
Elle joue avec James Coburn dans The Murder Men (1961 - qui sera ensuite intégré en épisode de la série télévisée Les Barons de la Pègre). En 1962, Christian-Jaque l’engage avec Alain Delon pour tourner un Marco Polo qui reste inachevé.

dorothy_dandridge-jack_denison Le 22 juin 1959, Dorothy épouse en secondes noces le restaurateur Jack Denison (voir photo ci-contre). Une relation décevante: il la dépouille de sa fortune et ils divorcent en 1962 après des accusations de violences domestiques.
À cette époque, elle découvre que les personnes chargées de gérer ses finances l'ont déjouée de 150 000 $ et qu'elle avait 139 000 $ de dettes pour les arriérés d'impôts. Elle vend alors sa maison d'Hollywood et place sa fille dans un établissement psychiatrique d'état à Camarillo, en Californie, et emménage dans un petit appartement au 8495 Fountain Avenue à West Hollywood, en Californie.
Rencontrant de multiples déboires, tant sur le plan professionnel que personnel, elle décide de reprendre en main sa carrière de chanteuse. Le 9 septembre 1965, il est prévu qu'elle prenne l'avion pour New York, où elle doit faire son retour sur scène au Basin Street East.

dorothy-1960s Le 8 septembre 1965, elle discute au téléphone avec sa belle-soeur et amie Geraldine "Geri" Branton qui racontera que Dorothy évitait d'exprimer son espoir pour l'avenir de chanter People dans son intégralité (chanson de 1964 de Barbra Streisand) et de faire cette remarque énigmatique avant de raccrocher: «Quoi qu'il arrive, je sais que vous comprendrez.»
Plusieurs heures après cet appel, Dorothy est retrouvée morte, allongée nue au sol de sa salle de bain avec un turban bleu sur la tête, par son manager Earl Mills qui a forcé la porte pour rentrer. L'institut de pathologie de Los Angeles conclut que la cause de son décès est un accident vasculaire cérébral à la suite d'une overdose de médicaments (des antidépresseurs), alors que le coroner de Los Angeles parvient à une conclusion différente: décès du à une rare embolie d'obstruction du flux sanguin aux poumons et au cerveau, par de minuscules morceaux de graisse s'écaillant de la moelle osseuse dans le pied droit qu'elle s'était fracturée cinq jours avant sa mort.
Earl Mills déclarera que «La vie de Dorothy n'a été qu'une suite d'épreuves plus douloureuses les unes que les autres. Chaque fois elle perdait un peu plus pied. Il n'y avait pas d'issue, elle le savait.»
Dorothy avait 42 ans. Incinérée, ses cendres sont dispersées dans le Freedom Mausoleum du cimetière Forest Lawn Memorial Park à Glendale (en Californie).
 


Dorothy Dandridge est une référence dans la culture américaine, et bon nombre des personnalités noires américaines lui rendent désormais hommage:

 dorothy_dandridge-looklike-beyonce-1 dorothy_dandridge-looklike-janet_jackson-1 dorothy_dandridge-looklike-riri-1 
Beyoncé / Janet Jackson / Rihanna

En 1999, un biopic est réalisé pour la télévision "Introducing Dorothy Dandridge" ("Dorothy Dandridge, le destin d'une diva") avec Halle Berry dans le rôle titre, et récompensé par des Emmy Awards et Golden Globes:

introducing_DD-1 introducing_DD-2 introducing_DD-3 


Marilyn et Dorothy

mm_with_otto_dorothy-1 
Dorothy Dandridge, Otto Preminger, Marilyn Monroe

L'amitié entre Marilyn Monroe et Dorothy Dandridge reste un fait peu connu. Non relaté dans la presse d'époque, du à la ségrégation et au racisme -où les blancs étaient séparés des noirs- le lien entre les deux actrices est aussi peu décrit dans les biographies consacrées à Marilyn; tandis que l'on trouve plus d'information dans les livres consacrés à Dorothy.
Dorothy est surnommée la "Black Marilyn" (la "Marilyn noire") par les médias et la communauté noire de l'époque, de par leur sex-appeal et leur vie au destin tragique.

Marilyn Monroe rencontre Dorothy Dandridge à la fin de l'année 1948 pendant les cours d'art dramatique de l'"Actor's Lab" à Hollywood, que Marilyn a commencé à suivre en 1947. Elles se soutiennent lors des auditions (Dorothy, anxieuse et impatiente, apprécie la patience et la gaité de Marilyn) et s'appellent souvent au téléphone, discutant de leur carrière, des hommes et du racisme à Hollywood. Elles vont souvent ensemble à des fêtes privées à Los Angeles, parfois accompagnées d'Ava Gardner, une autre amie de Dorothy.

dorothy_dandridge_ava_gardner-1953 
Ava Gardner et Dorothy (1953)

En 1952, quand Marilyn emménage à Hilldale Avenue, dans le West Hollywood, Dorothy est en quelque sorte une voisine de Marilyn, car elle habitait plus bas dans la même rue, dans un duplex qu'elle partegeait avec son petit-ami Phil Moore, un musicien de jazz, compositeur et professeur de chant pour les actrices, qui travaillait aussi en répétition avec Marilyn (en 1948 pour 'Ladies of the Chrorus' ). Marilyn se rendait ainsi souvent chez Dorothy, pour prendre des cours avec Phil Moore, où son piano est installé à l'étage:

 phil_moore_et_dorothy-1  phil_moore_et_mm-1 marilyn_et_phil_moore_rehearsal_niagara_3  
Phil Moore avec Dorothy Dandridge (1951) / Marilyn Monroe (1948 et 1951)

Le 3 août 1952, Marilyn se rend chez Dorothy pour se préparer à la fête de Ray Anthony, en la présence du photographe Phil Stern, qui prendra des photos à la fête.

Eté 1953, sur le tournage de River of no return (La rivière sans retour) à Jasper au Canada,, Dorothy qui accompagne 'officieusement' son amant Otto Preminger, retrouve Marilyn. Les acteurs, Preminger et Dorothy sont photographiés dans les coulisses (les seules photographies montrant Dorothy en compagnie de Marilyn):

mm_with_otto_dorothy-2-1 
Rory Calhoun, Dorothy Dandridge,
Otto Preminger, Robert Mitchum et Marilyn

Le 15 septembre 1954, pendant que Marilyn tourne la scène de la robe de The Seven Year Itch (Sept ans de réflexion) à New York, Joe DiMaggio, entraîné par le chroniqueur Walter Winchell, va découvrir sa femme affoler le public majoritairement masculin lorsque sa robe blanche se soulève faisant découvrir ses jambes et sa culotte. Le soir à l'hôtel, le couple se dispute violemment. Quand la décision du divorce est prise, Marilyn téléphone aussitôt à Dorothy et les deux femmes vont pleurer ensemble. Dorothy va même proposer à Marilyn de venir à New York pour lui apporter son soutien.

En 1956, Dorothy souhaite obtenir le rôle de Cherie dans Bus Stop (Arrêt d'autobus) et supplie Darryl Zanuck de le lui donner. C'est Marilyn qui aura la rôle.

Quand Dorothy apprend le décès de Marilyn, elle en est dévastée. 
Dorothy meurt dans l'appartement D2 de l'immeuble "El Palacio Apartments", au 8495 Fountain Avenue, qui est l'immeuble où a vécu Marilyn pendant quelques mois en 1947.

el-placio-apartments 
El Palacio Apartments

Dorothy a confié à son manager Earl Mills que
- "Marilyn était un sex-symbol mondial mais je pense qu'elle n'aimait pas être ça. En plus, elle pensait ne pas être un bon coup au lit. Elle avait toujours de la peine pour toute sorte, donc faire l'amour pour Marilyn était souvent douloureux. Vous ne pouvez pas apprécier le sexe de cette manière."
- "Ce qu'elle voulait chez un homme n'existe pas. Elle avait le sentiment qu'un homme bien pourrait guérir tous ses maux, ses insécurités, ses doutes. Il pourrait la protéger de tous les troubles du monde. A chaque fois qu'elle rencontrait un homme dont elle pouvait tomber amoureuse, elle pensait que c'était cet homme qui pouvait faire toutes ces choses. Donc elle se mariait ou engageait une relation emplie de grands espoirs. Là, l'homme n'avait pas la possibilité de répondre à ces attentes. De plus, il ne savait pas ce qu'elle attendait de lui. Si il l'aurait su, peut être que ça aurait fonctionné. Mais si il finissait par lui demander, Marilyn ne savait pas dire ce qu'il fallait faire pour combler ce vide."

  fur-mm_dorothy  


 >> sources:
biographie en anglais sur wikipedia
biographie en français sur
wikipedia

blog Dorothy Dandridge, Angel Face sur coppercoloredgal
photographies sur  The Red List / LIFE / Doctor Macro
livre "Dorothy Dandridge: An intimate Biography" de Earl Mills (extrait sur Google Books)
forum EverlastingStar
article "The frienship of Marilyn and Dorothy" sur le blog
thegentlemensfoundation

article "Encounters with Racism - Travilla, Marilyn and Dorothy" sur le blog
travillastyle

dorothy_dandridge-portrait-3 

- video documentaire / biographie en anglais -


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand. 

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01 novembre 2016

Marilyn Monroe Auction - 11/2016 - docs papiers 2


Documents papiers - MM Prod.
Papers documents - MM Prod.


Lot 312: MARILYN MONROE SIGNED CHECK TO THE IRS
 A check signed by Monroe in blue ink, with bank stamp dated November 16, 1959, paid to the "District Director of Internal Revenue" in the amount of $10,947.60. The check is drawn on her Marilyn Monroe Productions, Inc. account with Colonial Trust Company. Calculating for inflation, this amount would be in excess of $90,000 in 2016.
3 by 8 1/2 inches
 Estimate: $3,000 - $5,000
245627_0 


Lot 416: MARILYN MONROE 1958 SIGNED CHECK WITH CORRESPONDING INVOICES
A Marilyn Monroe Productions canceled bank check dated August 22, 1958, in the amount of $42.88, written to Dave Bernstein, signed by Monroe, together with a statement from Dave Bernstein Catering and 10 receipts for food Monroe ordered ranging in date from August 19 through September 4, 1958. Monroe started filming Some Like It Hot on August 4, 1958. This lot is significant in that Monroe and then husband Arthur Miller discovered she was pregnant in October. These receipts possibly detail Monroe’s diet at the onset of what would be her final pregnancy. Sadly, she miscarried on December 16.
 Estimate: $2,000 - $3,000
245774_0  


Lot 474: MARILYN MONROE 1960 SIGNED CHECK WITH CORRESPONDING INVOICES
A Marilyn Monroe Productions canceled bank check dated May 14, 1960, in the amount of $6.20, written to Century Messenger Service, signed by Monroe, together with two carbon copy invoices and an original month-end statement from Century Messenger Service. Both invoices are addressed to Marilyn Monroe Productions, 444 E. 57th Street, #13E, one of which is signed by May Reis, Monroe’s secretary.
 Estimate: $1,500 - $2,500
245879_0   


Lot 537: MARILYN MONROE FAN MAIL EXPENSES
 An expense report for Marilyn Monroe Productions prepared by Hedda Rosten, with itemized listing of fan mail expenses for June 1962 totaling $66.46. The expenses show that they were reimbursed July 26, 1962.
9 by 6 inches
 Estimate: $200 - $300
245972_0  


Lot 897: MARILYN MONROE PRODUCTIONS CHECKS AND RECEIPTS
 Two checks from Marilyn Monroe Productions Inc. to A.J. Bauer & Co Apothecaries for $8.15 and $17.25, both signed by Milton Greene and dated June 22, 1955, and June 20, 1955; and two related receipts from A.J. Bauer & Co Apothecaries showing the breakdown and balance due.
Checks, 3 by 8 1/2 inches
 Estimate: $800 - $1,200
246515_0 246516_0 246517_0 


Lot 898: MARILYN MONROE PRODUCTIONS BANK STATEMENT
 A Colonial Trust Company bank statement for Marilyn Monroe Productions Inc. for January 1957, showing a series of withdrawals throughout the month with a balance of $47,768.62 on January 1 and $27,671.40 on January 31. There are handwritten calculations are in pencil on verso in an unknown hand. Together with a credit receipt from the same bank dated February 1, 1957, that states that $54.64 was credited back to the account.
10 by 7 inches
 Estimate: $600 - $800
246518_0 246519_0 
246520_0 


Lot 899: MARILYN MONROE PRODUCTIONS INVOICE
 An invoice from Luria's Wine & Spirits in New York City billed to Marilyn Monroe Productions and sent to "Mr and Mrs Paula Lee Strasberg [sic]." The invoice is for 12 bottles of Piper-Heidsieck champagnes totaling $73.08. Together with a statement from Luria's showing $3.55 credit for Marilyn Monroe Productions. Dates unknown.
Larger, 9 by 5 3/4 inches
 Estimate: $400 - $600
246521_0 


 Lot 974: MARILYN MONROE BANK STATEMENT, MARCH 1961
 A Marilyn Monroe Productions Inc. bank statement from Bankers Trust Company of New York showing credits and debits for the month of March 1961.
11 by 9 inches
 Estimate: $400 - $600
246625_0 


Lot 975: ENVELOPE ADDRESSED TO MARILYN MONROE
 An envelope addressed to Marilyn Monroe Productions Inc. The envelope is postmarked January 5, 1961, and is from Magnum Photos Inc. Two “Fragile Handle with Care” stickers are affixed to the envelope. Many of Monroe’s most famous photographs were taken by Magnum photographers, including Eve Arnold, Philippe Halsman, and Inge Morath. This item came from the estate of May Reis, Monroe’s assistant and private secretary from 1958 to 1961.
12 by 15 1/2 inches
PROVENANCE Partial Lot 120, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
 Estimate: $50 - $100
246626_0 246627_0 247314_0   


Documents papiers - Carrière
Papers documents - Career


Lot 70: MARILYN MONROE PROGRAM FROM PRESIDENT KENNEDY'S 1962 BIRTHDAY CELEBRATION
 A program from the fundraising gala titled "Happy Birthday Mr. President" that took place at Madison Square Garden in New York City on May 19, 1962. The event featured Marilyn Monroe's now legendary performance of the song "Happy Birthday" to the president in her form-fitting Jean Louis gown. The program lists the other performers that night and is being sold together with Frieda Hull's ticket from the performance. The ticket cost $10, is numbered 827, and is listed as General Admission and additionally stamped "Standing Room" with right side of ticket torn off.
Program, 10 1/2 by 8 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $2,000

245179_0 
245180_0 


Lot 74: MARILYN MONROE CORRESPONDENCE WITH LESTER MARKEL
 A series of letters including five unsigned file copies of Marilyn Monroe's letters to Pulitzer Prize-winning journalist Lester Markel of the New York Times together with five typed, signed letters from Markel on New York Times letterhead. The two had a friendship and an interesting series of communications dated between August 6, 1959, and June 30, 1960, including the now famous letter in which Monroe demonstrates her humor and comprehensive understanding of the politics of their time. On the subject of Fidel Castro, Monroe writes, "Now, Lester, on Castro. You see, Lester, I was brought up to believe in democracy, and when the Cubans finally threw out Battista [sic] with so much bloodshed, the United States doesn't stand behind them and give them help or support even to develop democracy." She also discusses possible presidential candidates and offers slogans for their campaigns in the post script: "Nix on Nixon" and "Back to Boston by Xmas - Kennedy." Two of the five pages of Monroe's file copies contain three drafts of the same letter that is left unfinished.
8 1/2 by 11 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $600 - $800
245197_0  245205_0 
245198_0 245199_0 245200_0 
245201_0 245202_0 
245203_0 245204_0 


Lot 75: MARILYN MONROE SIGNED TILE FROM PRESIDENT KENNEDY'S 1962 BIRTHDAY CELEBRATION
 A pair of celebrity signed ceramic tile displays with inscriptions to event producer Clive David. Each framed display consists of 16 tiles. The top six decorative tiles of each frame combine to read “1962.” The remaining 10 tiles of each display are covered with signatures and inscriptions to David, including an inscription from Marilyn Monroe. Monroe’s inscription reads “To Clive Love & Kisses Marilyn Monroe” and was obtained by David at the Madison Square Garden birthday celebration of John F. Kennedy held on May 19, 1962. Other performers who signed the tiles at this event include Maria Callas, Jack Benny, Jimmy Durante, Henry Fonda, Bobby Darin, Ella Fitzgerald, Shirley MacLaine, Sally Ann Howes and Dick Adler. Other celebrity signatures include Gloria Swanson; Paulette Goddard; Ray Bolger; Tab Hunter; Hedda Hopper; Una Merkel; Audrey Meadows; Earl Wilson; Ginger Rogers; Olivia de Havilland; Anita Loos; Lucille Ball; Carol Bruce; and Tallulah Bankhead; among others.
Each, 39 by 14 1/2 inches, framed
 Estimate: $8,000 - $10,000
245206_0  245207_0 


Lot 83: MARILYN MONROE JOHN F. KENNEDY 1962 BIRTHDAY GALA TICKET
 A ticket to the May 19, 1962 Birthday Party Gala held for President John F. Kennedy at Madison Square Garden. The ticket is marked for section 112, with a suggested contribution of $25.
3 3/4 by 8 inches
 Estimate: $3,000 - $5,000
245234_0  


Lot 96: MARILYN MONROE DOUBLE SIGNED 1947 DOCUMENT
 A single-page mimeographed letter dated June 11, 1947. The letter was drafted by Twentieth Century Fox Film Corporation for Monroe to sign and reads in part, "Whereas, I did heretofore enter into a personal services contract with you, dated August 24, 1946, and, whereas at that time I was a minor, and whereas I did, on June 1, 1947, become twenty-one (21) years of age, please be advised that I do hereby ratify and confirm all of the terms." The letter is then signed by Monroe in blue ink, both "Marilyn Monroe" and "Norma Jeane Dougherty." Together with a plain associated envelope.
8 1/2 by 11 inches
 Estimate: $5,000 - $7,000
245263_0 


Lot 132: MARILYN MONROE SIGNED 1949 CONTRACT
 A standard contract dated March 2, 1949, with the William Morris Agency Inc. for a period of six years with 10% terms. The contract is signed on verso in green ink "Marilyn Monroe." Accompanied by original letter from the agency that accompanied the contract dated March 10, 1949, addressed to Monroe at 1215 Lodi Place in Hollywood, California, reading "Dear Marilyn:/ Enclosed please find executed copies of your authorization with our office. Best regards" and signed Norman Brokaw.
8 1/2 by 11 inches
 Estimate: $3,000 - $5,000
245318_0  245319_0 


Lot 156: MARILYN MONROE NOTES WRITTEN ON BACK OF 1952 MENUS
 Two menus dated March 26, 1952, featuring notes on verso in blue ink in Monroe's hand that appear to have been taken during a meeting with someone advising her about her career. The menus are dated just 10 days after Monroe's nude modeling shots were made public by the media. Monroe had recently appeared in a number of films in small parts and had received positive mentions from critics. Monroe had just started dating Joe DiMaggio, and she was to appear on the cover of LIFE magazine the following month. This was clearly an important and pivotal period in her career, and it appears as though she was meeting with someone in the industry who gave her counsel. One of the warnings appears to come from Johnny Arnez; Monroe put's his warning in quotations: "you'll have to protect yourself or your throat will be cut/ watch out for Jerry Webb." It continues, "you'll prepare the test & Webb shoots it and if something is wrong it will [be] your fault." A great deal of the notes reference Webb and things he has said behind her back. Berniece Miracle mentions seeing Webb, the test director, in the Fox commissary in the late 1940s when she snuck onto the lot with Monroe to spend the day with her half-sister. The notes also contain thoughts from Monroe reading in part, "I need a great deal of work - and will always/ its the right kind of work/ -the more I will be able to stand on my feet." and "think with your body/ let go physically to ick up emotionally" and "you want me to be a star/ and I can be one of your greatest stars/ when I'm doing the right/ work and know I'm doing." Just over two months after these notes were written, Monroe learned that she had gotten the part of Lorelei Lee in Gentlemen Prefer Blondes.
10 1/2 by 5 inches
 Estimate: $4,000 - $6,000
245351_0  245352_0 


Lot 173: MARILYN MONROE HANDWRITTEN ACTORS STUDIO CLASS NOTES
 A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955, with the opening salutation and start of a letter "Dear Art" that has been scratched out. The page is covered on recto and verso with notes, recounting the goings-on in one of Monroe's acting classes with Lee Strasberg. The notes begin with Monroe quoting something said by Strasberg: "I want you all to know that this exercise went on for/ 1/2 hour and her concentration did not/ give way or slip once-and Marilyn there/ will be very few times ever on the/ stage where it will be/ necessary to keep/ such a concentration/ for one half hour/ straight." Monroe then asks herself, "Why did it/ mean so much to me." On the back she continues to ruminate about class, writing, "Strasberg/ it makes me (him he said) feel badly (and sadly) for you that you do/ things out of fear/ You must start to do things out of strength-/ (my question: where do I get the strength)-he said-by not looking for strength/ but only looking & seeking tecnical [sic] ways and means." This presents a fascinating demonstration of how seriously Monroe took her formal acting training in New York.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 78-81. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
 Estimate: $10,000 - $15,000
245376_0 245377_0 


Lot 174: MARILYN MONROE HANDWRITTEN SONG LIST
 A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955. The verso of page contains a long list of song titles in pencil with some numeric references to a song standard book. It is presumed these were possibly songs that Monroe wanted to perform.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 82-83. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
 Estimate: $3,000 - $5,000

245378_0 


Lot 192: MARILYN MONROE HANDWRITTEN NOTE
 A single sheet of unlined paper with serrated left edge and faint coffee mug stain. The page contains pencil notations, including the numbers "262" and "263," which are believed to be references to a collection of song standards, [see Lot 256] and would correspond to "While We're Young" and "Wonderful Guy." The body of the text reads "Dec 11/ See in older journal-/ always admired men who had many women./ It must be that to a child of a dissatisfied woman/ the idea of monogamy is hollow."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 164-165. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 4 7/8 inches
 Estimate: $4,000 - $6,000
245412_0 


Lot 193: MARILYN MONROE HANDWRITTEN NOTE
 A single page torn from a lined spiral-bound notebook, stained in red ink. Presumably torn from the same notebook as the similarly stained pages also included in this sale that also date to 1956. The page contains dialogue from Monroe's film, Bus Stop as she portrays Cherie, who asks Elma for help: "Pardon me I'm sorry to wake you/ But I wonder if you could help/ me/ I'm being abducted/ you know-kidnapped-by-him/ I thought maybe as soon as/ we got some place I'd ask the/ driver to stop and let me off/ But we been driving for hours/ and we still don't seem to be/ nowhere at all-not only that/ but I'm freezing to death-I/ ain't got much on under/ my coat."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 166-167. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 1/2 by 11 inches
 Estimate: $6,000 - $8,000
245413_0  


Lot 194: MARILYN MONROE NOTEBOOK PAGES
 Two pages torn from a lined spiral-bound notebook, both stained in red ink. The first page was published in the book Fragments and contains references to "The Sleeping Prince," an early production title for Monroe's film The Prince and the Showgirl, dating these writings to 1956. The notes show Monroe becoming her own task master, reminding herself "don’t stop myself," "learn - lines logically," "I can't do more than/ one thing at a time/ make map tonight," and "take my time to think." She instructs herself to make a list of tasks and work on exercises, which perhaps explains the cryptic writings on the second page that did not appear in Fragments, reading in full, "From Ridding partly/ T Nautiousness [sic]/ Place/ personalization (A)/ weariness/ (J)/ (Ar).""
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 168-169. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 1/2 by 11 inches
  Estimate: $3,000 - $5,000
245414_0 


Lot 195: MARILYN MONROE HANDWRITTEN NOTE
 A single lined page torn from a Steno notebook with ragged spiral tab top edge. The note in pencil appears to be Monroe jotting down notes regarding the reasons Elia Kazan did not want to cast her In the title role of his 1956 film Baby Doll, written by Tennessee Williams. One of the notes reads "He said that I've become so deified as a sex symbol that public never except [sic] me as a virgin and as a nineteen/twenty year old."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 170-171. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $3,000 - $5,000
245415_0  


Lot 196: MARILYN MONROE 1960 NOTE FROM THE SET OF THE MISFITS
 A single-page letter written in pencil outlining Monroe's thoughts regarding how the film should be shot to convey the presence of Clark Gable's character in the film The Misfits Gay Langland. The note reads in part, "I feel the camera has got/ to look through Gay's/ eyes whenever he is in a/ scene and even when he is/ not there still has to be a sense of/ him/ He is the center and the/ rest move around him."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 172-173. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 5 inches
 Estimate: $4,000 - $6,000
245416_0  


 Lot 200: MARILYN MONROE HANDWRITTEN NOTE TO LEE STRASBERG
 A single page of lined paper from a Steno notebook with doodles of faces in pencil below a quick note about punctuality references Monroe's role as the routinely tardy Miss Lois Laurel in her 1952 film Monkey Business. Below this note is a note in Lee Strasberg's hand reading "Don't be nervous Marilyn/ you are doing swell &/ you look wonderful."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 186-187. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $4,000 - $6,000
245422_0  


Lot 201: MARILYN MONROE HANDWRITTEN NOTE TO LEE STRASBERG
 An undated handwritten note by Monroe to mentor Lee Strasberg, on a single sheet of lined notebook paper torn from a spiral-bound Steno book, reading “Dear Lee/ One of the most personally helpful things I’ve heard so far in my life was what you said in class Friday afternoon – it was helpful in that I feel as though I’m a little bit freer – also more – I can’t think of any I mean by that more relaxed 2 and 2 don’t necessarily make 4.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 188-189. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
9 by 6 inches
 Estimate: $10,000 - $20,000
245423_0 


Lot 203: MARILYN MONROE LETTER TO LEE STRASBERG
 A two-page typed letter, signed, to mentor Lee Strasberg, dated December 19, 1961, with original transmittal envelope addressed to Strasberg's Central Park West address, postmarked Beverly Hills Calif. December 21, 1961. The letter, addressed "Dear Lee," asks Strasberg’s wife Paula and children Susan and Johnny to consider relocating to California to be part of a new production company Monroe was developing in partnership with fellow Actors Studio alumnus Marlon Brando. The letter is signed in blue ink in Monroe's hand simply "Marilyn."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 196-197. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
 Estimate: $7,000 - $9,000
245425_0 
245426_0  245427_0 


Lot 211: MARILYN MONROE NOTE FROM ROBERT MITCHUM
 A typed, signed letter from Darryl F. Zanuck dated December 10, 1953, addressed "Dear Bob:" for Robert Mitchum. The letter thanks Mitchum for his cooperation in connection with shooting retakes for the film River of No Return and in turn apologizes: "I am also very sorry about the delay with Marilyn. We could not possibly anticipate such action." Mitchum has written in quite large letters in blue ink "Dig!!!" above the note, and on verso he has written "Marilyn/ Your girl is my/ girl and my girl is/ you - Ever Bob." The note documents Mitchum's loyalty to Monroe, having first met her when she was married to Jim Dougherty, revealing Zanuck's speaking ill of her.
10 1/2 by 7 1/4 inches
 Estimate: $500 - $700
245438_0  245439_0 


Lot 249: MARILYN MONROE PHOTOGRAPHS AND LETTER FROM REPORTER
 A typed letter signed by St . Petersburg Times photographer George Sweers dated March 23, 1961. The letter thanks Monroe for allowing him to ask a few questions and take a few pictures the previous day and goes on to reminisce about spending time with her when she entertained the troops in Korea. He writes, "This, as you probably remember, was the shot we had made on the Eastern Front after the last show." He included two copies of the photograph, requesting that Monroe sign one and send it back to him. Together with both copies of the photos that accompanied the letter.
8 1/2 by 11 inches
 Estimate: $400 - $600
245495_0 
245496_0  245497_0 


Lot 250: MARILYN MONROE CARD FROM ELLA FITZGERALD
 A vintage Hallmark Christmas card, undated, wishing a "Merry Christmas To Someone Nice," signed in blue ink "Ella Fitzgerald." While it is often reported that Monroe helped to get Fitzgerald a booking at the Mocambo club in Hollywood, due in large part to Fitzgerald's own recollections, documentary evidence supports the fact that Monroe actually attended Fitzgerald's performances at The Tiffany Club in 1954.
7 by 6 inches
 Estimate: $500 - $700
245498_0 
245499_0  245500_0 


Lot 251: MARILYN MONROE SECRETARIAL MEMO REGARDING ELLA FITZGERALD
 A typed memo dated February 15, 1955, on the letterhead of business manager Inez Melson, titled "Memo of conversation with Jo Brooks." Brooks was the husband of Julies Fox, who handled publicity for Ella Fitzgerald, and the memo says that, "A few months back, Miss Monroe visited the Tiffany Club on West 8th Street where Ella Fitzgerald was playing. Miss Fitzgerald talked of a possible future date at the Mocambo and Miss Monroe said when this happened, she would like to give a party for Miss Fitzgerald./ Miss Fitzgerald will open at the Mocambo on March 15 and Miss Brooks wanted to know if Miss Monroe was serious about giving a party." This memo further explains the sequence of events and the fact that Monroe did not in fact play a part in getting Fitzgerald booked at the Mocambo as she stated to the press at one time.
6 1/4 by 7 1/4 inches
 Estimate: $100 - $150
245501_0  


Lot 252: MARILYN MONROE NOTE TO LEE STRASBERG
 A small note in pencil in Monroe's hand on the back of a piece of paper taken from a visitor's log. The note appears to be a draft written to accompany a book Monroe was giving to Lee Strasberg as a gift, reading in part, "For Lee/ I wanted to give you something for your library - you are giving me a way in which to work and the hope to be human -/ Love Marilyn." Multiple additions and strikethroughs with changing of wording.
6 by 3 1/4 inches
 Estimate: $1,500 - $2,000
245502_0  


Lot 253: MARILYN MONROE GIFT NOTE TO PAULA STRASBERG
 A small piece of plain white paper folded into a card reading "Dear Paula,/ I'm glad you were born because you are needed./ Your warmth is both astonishing and welcomed./ Love & Happy Birthday/ Marilyn."
6 by 4 inches
 Estimate: $3,000 - $4,000
245503_0  245504_0 


Lot 254: MARILYN MONROE ACTORS STUDIO NOTES
 Two sheets of paper from a small spiral-bound planner dated April 3 and 4 as well as a sheet dated April 7 and 8. The pages contain notes in pencil in Monroe's hand reading, for April 3, "Remember - the actors concentration is the only thing between him and suiside [sic]/ try not to come to the scene too late - (exploration - sensory process Home work - after on stage - carry it on (on stage)"; April 4, "Everybody want to be happy (to be good actors) to make money (in my case) and look how miserable we make one another"; April 7, "Nothing can get through tension - what ever you might want to do/ the effort is the only thing the human being (the actor) has between himself and God knows what!"; and April 8, "Just do tecnical [sic] exercises as fully as I can."
3 1/2 by 2 1/2 inches
 Estimate: $4,000 - $6,000
245505_0  245506_0 


Lot 255: MARILYN MONROE NOTEBOOK WITH NOTES FROM ACTING CLASS
 A black board notebook with red spine containing lined notebook paper with notes in Monroe's hand. A very large letter "M" is drawn inside the front and back covers. There are multiple notes written in another hand on the first page of the book, but the next page contains notes in Monroe's hand in pencil with ideas for a "Street Car Scene" reading in part, "begin with ? (1st grade happening Mexican boy accuses me of hurting him - having to stay after school it was nite [sic] outside - have place - concern because of Stan K. accusations plus - getting dress for Mitch trying to look nice especially since what Stan K. has said." The note also suggests she hum "Whispering while you hover near me," which is a song standard found in her notebook of standards in the following lot, only the lyric is "Whispering while you cuddle near me." The front and back of the last page of the book contain notes from acting class, including "during exercise - lee said let the body hang"; "2 exercises at one time/ cold & Touch/ one might not be enough for what's needed"; and "sense of oneself/ first thing a child (human being) is aware of (making a circle) touching ones foot knowing himself is separate from the rest of the world," among others.
8 by 6 1/4 inches
 Estimate: $4,000 - $6,000
245507_0 245508_0 
245509_0 245510_0 245511_0 
245512_0 245513_0


Lot 256: MARILYN MONROE SONGBOOK
 A three-ring binder, in black laminated board, both front and back covers detached but present. The binder contains more than 369 indexed pages of song standards with front table of contents page dividing them into broad categories: "Standard Foxtrots and Show Tunes," "Latin American Tunes" and "Foreign Songs." One page has a pencil notation beneath the song "You Do Something To Me" by Cole Porter; the writing is quite small and difficult to identify the hand. It is from this book that certain three-digit numbers mentioned in some of Monroe's notebooks were thought to have originated, like the numbers 262 and 263 in Lot 192.
11 1/4 by 10 inches
 Estimate: $400 - $600
245514_0 245515_0 
245516_0  245517_0 
245518_0  245519_0 


Lot 258: MARILYN MONROE LETTER FROM EDWARD R. MURROW
 A single-page typed, signed letter dated November 7, 1955, on Edward R. Murrow's personal stationery addressed to Marilyn Monroe in care of Mr. Green in Weston, Connecticut. The letter was sent in advance of Monroe receiving a complimentary copy of Columbia Records album compilation excerpts from some of Sir Winston Churchill's speeches. The letter is signed "As ever yours, Ed/ Hope you like it!" Together with original transmittal envelope with CBS Radio stamp, postmarked November 7, 1955.
10 1/2 by 7 1/4 inches
 Estimate: $300 - $500
245521_0  


Lot 260: MARILYN MONROE HANDWRITTEN LINES FROM A SCENE
 Two lined notebook pages with block letter “MMM” printed to left margin. The pages contain most of the dialogue from Act I, Scene 4, delivered by the character Lorna in Clifford Odets’ 1937 play Golden Boy. The second page contains the same lines written out twice and traced over multiple times, likely part of Monroe’s process of trying to memorize the lines for a scene performed in one of her Actors Studio classes.
12 3/8 by 8 inches
 Estimate: $2,000 - $3,000

245523_0  


Lot 263: MARILYN MONROE BUS STOP SIDES AND NOTES
 A group of 16 pages containing some of Monroe's lines from the film Bus Stop. Five of these pages have the lead in to Monroe's lines added in red ink in another hand, likely Paula Strasberg. Together with a single half page entirely filled with notes in Monroe's hand in pencil and red ink. The notes read in part, "Waking up - scene/ Headache/ tiredness - headache / go to sleep/ I don't want to be here" and "first scene with Vera/ I tell it as a/ told as a fairy tale/ Once upon a time."
5 1/2 by 8 1/2 inches
Estimate: $10,000 - $20,000
245530_0  245531_0   


Lot 264: MARILYN MONROE ANNOTATED BUS STOP SCRIPT SIDES
 A small bound group of 31 mimeographed half pages containing Monroe's dialogue for the film Bus Stop. Ten of the pages contain notes in Monroe's hand in pencil. Additional notes in the hand of Paula Strasberg and an administrative hand. A note in Monroe's hand on the first page next to lines about her character Cherie wanting to be respected and tired of being "pawed at and pinched at" reads "Fight with manager/ A.M. H. Cohn middle of dinner party" clearly references incidents Monroe wished to draw upon from her life in the scene. Another note in Monroe's hand written beneath the line "Oh - it's you!" reads "(Good God it's you)."
5 1/2 by 9 1/2 inches
 Estimate: $10,000 - $20,000
245532_0 245533_0 245534_0   


Lot 265: MARILYN MONROE ANNOTATED BUS STOP SCRIPT SIDES
 A group of seven half sheets of paper, held together with a straight pin, containing some of Monroe's lines from the film Bus Stop. Six of the seven pages contain notes in Monroe's hand. This is the first film Monroe made after beginning to study at the Actors Studio in New York City with Lee Strasberg, and the notations in these script sides demonstrate her method. Some of the notes are sense memories, like the following notation written after the line "I can't look": "Effective memory (use Lester - hurt on lawn)," most likely referencing Monroe's childhood playmate Lester Bolender, who was in the same foster home with Monroe. Another note adds "(almost to myself)" before a line to inform her delivery or "Scarfe [sic] around my arms) Embarrassed."
5 1/2 by 8 1/2 inches
 Estimate: $10,000 - $20,000
245535_0 245536_0 245537_0 


Lot 300: MARILYN MONROE LIST OF APPROVED DIRECTORS
 A single piece of hotel stationery paper from The Towers of the Waldorf Astoria in New York City containing a list of directors' names titled "OK List" in another hand with pencil notations in Monroe's hand throughout. Monroe's comments are simple, in some cases listing other works by the director, like "(Bus Stop)" next to Josh Logan's name and "(Musical)" next to "Vincent Minnelli." Jean Renoir is crossed out with a bubble reading "subject to material." A note at the bottom of the page reads "submit other names/ open for suggestions other than these."
10 1/2 by 7 1/4 inches
 Estimate: $3,000 - $5,000
245615_0  


Lot 301: MARILYN MONROE SAG CARD AND RECEIPT
 A Screen Actors Guild membership card for the period beginning May 1, 1959, and ending November 1, 1959. "Marilyn Monroe" is typed onto front of card as well as her membership number. Together with Monroe's carbon copy receipt for payment of $80 on May 11, 1959, listing her home address as 444 East 57th Street, New York City.
Card, 2 1/2 by 3 1/2 inches
 Estimate: $3,000 - $5,000
245616_0  


Lot 302: MARILYN MONROE AFTRA CARD AND RECEIPT
 An American Federation of Television and Radio Artists membership card for the period ending November 1, 1958, with typed "Marilyn Monroe" on front, unsigned on back. Together with the receipt dated May 23, 1958, for payment of the dues for period ending November 1, 1958, in the amount of $38, which included overdue payment and penalty. Monroe's address is listed as 444 East 57th St. New York on the receipt for payment.
Card, 2 1/2 by 3 1/2 inches
 Estimate: $2,500 - $3,500
245617_0  


Lot 308: MARILYN MONROE NOTES ON ACTING
 A single sheet of lined yellow paper with notes in blue ink, in Monroe's hand, reading in part, "keeping all of the changes of pantomime & grimaces etc inside, then it forces the eyes - it all comes through the eyes" and "Constantly practicing that letting go/ in which you don't do in life which isn't necessary or something/ feeling how it feels and practicing that/ your spirit speaks."
12 1/2 by 8 inches
Estimate: $3,000 - $5,000
245623_0 


Lot 313: MARILYN MONROE MOTION PICTURE ACADEMY CARD AND CORRESPONDENCE
 A series of letters, the first on Academy of Motion Picture Arts and Sciences (AMPAS) letterhead signed by then president George Stevens, dated October 28, 1958, inviting Monroe to become a member of the Academy. The second letter is an unsigned file copy of Monroe's response dated January 12, 1959, reading in part, "I have been indisposed and away and did not see your letter until now." She asks for further details regarding the by-laws. The next letter on AMPAS letterhead is signed by then executive director Margaret Herrick, dated January 19, 1959, accompanied a copy of the Academy by-laws. The last letter, on AMPAS letterhead, signed by Stevens, dated March 5, 1959, welcomes Monroe to the Academy and is accompanied by Monroe's Academy membership card for the year 1959 on the original card, still in the holder in which it was sent.
Largest, 8 1/2 by 11 inches
 Estimate: $8,000 - $12,000

245628_0  245629_0  


Lot 368: LAURENCE OLIVIER LETTER TO MARILYN MONROE
 A seven-page autograph letter on four leaves of paper in the hand of Sir Laurence Olivier on blue stationery with Olivier's Lowndes Cottage address and original envelope addressed "For Miss Marilyn Monroe from L.O." in Olivier's hand. There are numbered notations throughout the letter in red wax pencil, underlining words that were difficult to make out. The letter is together with a three-page typed transcription of the letter with corresponding numbered blanks for each of the difficult words, which have been filled in by hand. The letter is dated simply June 9, and it accompanied the latest version of the script for The Prince and the Showgirl. Olivier discusses Monroe's dialogue and that he has "written some extra dialogue and a direction or two." He reports on where they are in the script writing process and that they have cut the script down from "well over 3 hours" to 2 1/2, to 2 hours 10 minutes. He continues about the scenes that were and were not cut, including "The Duke of Strelitz is, I think essential, as otherwise they will be saying 'what's the matter with them - why the heck can't they get married' particularly in view of Grace Kelly and all that, and our only answer to that question must be 'Yes but Look at the poor Windsors' do you see?"
On an amusing note, Olivier mentions, "By the way Lady Maidenhead has degenerated to Lady Swingdale because I am assured the Hayes Office will not believe there is also a place in England of that name." He closes "I just called up Vivien at the theatre ... and she said to be sure to give you her love. So here it is and mine too. Longing to welcome you here. Ever, Larry."
Largest, 8 1/2 by 11 inches
 Estimate: $1,800 - $2,200
245701_0 
245702_0 245703_0 
245704_0 245705_0 245706_0 


Lot 369: ARTHUR MILLER LETTER TO MARILYN MONROE
 A single piece of lined yellow paper, torn in half, with an autograph letter in Miller's hand addressed "Dear Poke." The letter outlines Miller's thoughts about the script for The Prince and the Showgirl as well as his feelings about Monroe taking on the project, reading in part, "Some of your dialogue is stiff. Also some expressions are too British. If you want me to, I can go through the script and make the changes - - in New York./ I think the part - on one reading, is really the Best one ... especially with you playing it. You are the one who makes everything change, you are the driving force ... The basic problem is to define for yourself the degree of the girl's naivete. (It could become too cute, or simply too designing.) It seems to me, at least, that they have not balanced things in Olivier's favor. ... It ought to be fun to do after Bus Stop. From your - (and my) - viewpoint, it will help in a small but important way to establish your ability to play characters of intelligence and cultivation. ... Your loving Papa - (who has to rush now to make the plane - see you soon! - free!) - Art." The back of the page has the name Sydney Guilaroff, famed MGM hairdresser, and his phone number written large in red wax pencil.
8 1/2 by 11 inches
 Estimate: $2,000 - $3,000
245707_0  245708_0 


Lot 370: LAURENCE OLIVIER LETTER TO MARILYN MONROE
 A single-page autograph letter on personal stationery, undated, from Laurence Olivier to Monroe reading in part, "Dear Marilyn/ It was so sweet of you to send the enchanting wires. … I am extremely excited at our prospects - You were so angelic in New York. Thank you for all your sweetness/ I think with great joy of our future meeting./ Ever, Larry."
6 7/8 by 5 1/8 inches
 Estimate: $800 - $1,200
245709_0 245710_0 


Lot 371: LAURENCE OLIVIER FLORAL ARRANGEMENT CARD TO MARILYN MONROE
 A simple plain white card with autograph message to Monroe in the hand of Sir Laurence Olivier reading "Marilyn, It has been so lovely meeting you, knowing you and now knowing that such exciting things and such fun are ahead. Love and Thank You, Larry."
2 1/4 by 3 1/4 inches
 Estimate: $300 - $500 
245711_0  245712_0 


Lot 378: MARILYN MONROE ROYAL FILM PERFORMANCE LETTERS
 A group of documents regarding Monroe's attendance to the Royal Film Performance at the Empire Theatre held October 29, 1956. This is where Monroe was formally presented to Her Majesty, Queen Elizabeth II. The first document, two pages, is dated October 2, 1956, and contains general information about the proceedings and rehearsals for the evening with time schedules. The second document is addressed to Monroe at Parkside House in Surrey, England, and advises Monroe that she is to be included in the presentation to Her Majesty, The Queen. This single-page letter has a small slip of paper stapled to the upper left reading "Dress/ Full Evening Dress/ No decorations/ No gloves for Gentlemen/ White gloves for Ladies." Together with Monroe's presentation card.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600

245722_0 245723_0 245724_0 


Lot 381: MINUTES FROM A MEETING WITH MARILYN MONROE
 Two small unlined pages from a six-ring binder, with typed notes from a meeting held April 3, 1958, at 2:30 pm at Monroe's 444 East 57th Street apartment. The notes list attendees as Lew Wasserman, Mort Viner, Marilyn Monroe and Arthur Miller. Among the topics discussed were how to handle Monroe's stalling of Billy Wilder regarding accepting the assignment for Some Like It Hot, one note reading "MCA on the Coast has told Wilder that there are 'legal technicalities holding up her decision' so as not to offend Wilder. Actually, she is waiting for Sinatra to enter the picture. She still doesn't like Curtis but Wasserman doesn't know anybody else."
6 by 3 1/2 inches
 Estimate: $300 - $500
245728_0   


Lot 412: MARILYN MONROE ANNOTATED SOME LIKE IT HOT SCRIPT SIDES
 Two half sheets of paper with green and black typed text containing some of Monroe's lines from the film with notations in Monroe's hand. One notation above the line mentioning the most wonderful dream reads "100 Cary Grants." Above the line of dialogue reading "He was the first nice guy I ever met in my life and the only one who ever gave me anything," Monroe has written simply "Jake."
5 1/2 by 8 1/2 inches
 Estimate: $3,500 - $4,500
245764_0  


Lot 413: MARILYN MONROE SOME LIKE IT HOT SCRIPT PAGES
 A red paperbound folio containing seven typed pages for Monroe's scene with Tony Curtis in Some Like It Hot on the yacht. The pages are clean with the exception of two pencil lines drawn next to two of Monroe's lines.
9 by 11 1/2 inches
 Estimate: $2,000 - $3,000
245765_0 245766_0  


Lot 414: MARILYN MONROE SOME LIKE IT HOT PRODUCTION PAPERS
 A group of production documents including a call sheet for the film Some like It Hot dated November 7, 1958, with additional "Last Day" written in red pencil indicating that it was the last day of shooting. Together with a two-page yellow staff sheet for the film and a three-page cast sheet listing contact information for the entire cast, including Marilyn Monroe's secretary May Reis.
8 1/2 by 11 inches
 Estimate: $400 - $600
245767_0  245768_0  


Lot 415: MARILYN MONROE SOME LIKE IT HOT MEAL RECEIPTS
 A large group of 32 meal receipts from the MGM Studios cafe dated between September 5 November 10, 1958, with itemized listings of the food and beverages Monroe ordered while filming Some Like It Hot at the studio. Some receipts have delivery notations "to Stage 3" and "to dressing room." On one receipt dated September 25, 1958, the order includes two hamburger steaks, "1 well done/ 1 rare/ 2 cottage and fruit salads/ 1 ice coffee/ 1 milk/ well done lunch send on stage 3/ rare lunch send to dressing room." Some of the receipts indicate that meals were for others, including "Lunch for Miss Reis - Lunch for Maid." All but one receipt is dated, and frequently ordered items include ice cream, double sirloin, ham and cheese, pot of coffee, lox and cream cheese, donuts, pie a la mode, meatloaf, pastrami, Danish, and many other items.
Largest, 7 3/4 by 4 1/4 inches
 Estimate: $500 - $700
245769_0 
245770_0 245771_0 245772_0 
245773_0   


Lot 417: MARILYN MONROE SOME LIKE IT HOT PRESS RELEASES
 A group of three press releases, five pages total, from United Artists Corp. dated March 24, April 6, and June 16, 1959, announcing record box office numbers as well as an extended run in theaters. Together with a five-page cast list and synopsis with cover page sent out for press purposes.
8 1/2 by 11 inches
 Estimate: $200 - $300
245775_0  


Lot 418: MARILYN MONROE RESPONSE TO TONY CURTIS QUOTATION
 A small piece of paper with note in pencil in Monroe's hand reading "There is only one way he could comment on my sexuality, and I'm afraid he has never had the opportunity!" This comment has been reported to be in response to the now famous glib remark made by Tony Curtis in a screening room during production of Some Like It Hot , where he famously said that kissing Monroe was "like kissing Hitler." Curtis said this in a private setting to crew and other people present during production, including Paula Strasberg. Despite the fact that he denied the comment when it got back to Monroe, later in his life he did reportedly admit to saying it.
5 by 8 inches
 Estimate: $2,000 - $3,000
245776_0  


Lot 426: MARILYN MONROE TRADE ADS
 Two pages torn from the March 9, 1960, issues of The Hollywood Reporter and Variety featuring an appreciative "Love and Kisses/ Marilyn Monroe" message from Monroe in appreciation of winning the Best Actress in a Comedy or Musical Golden Globe award.
12 1/4 by 9 1/4 inches
 Estimate: $200 - $300
245790_0  


Lot 432: MARILYN MONROE AFTRA CARD AND RECEIPTS
 An American Federation of Television and Radio Artists membership card for the period ending November 1, 1959, still attached to the larger receipt for payment card. The card is unsigned, and Monroe's address is listed as 444 East 57th St. New York. The receipt portion of the card is for a payment in the amount of $23 dated June 15, 1959. Together with a receipt dated December 1, 1958, for payment of dues in the amount of $16.
Largest, 4 by 9 inches
 Estimate: $3,000 - $5,000
245799_0  245800_0


Lot 435: MARILYN MONROE RECEIPT FOR CECIL BEATON PHOTOGRAPH
 A shop receipt from Peter A. July & Son photographers of fine arts in New York City in the amount of $165.44. The receipt is dated January 19, 1960, and is written in the name of Mrs. Marilyn Monroe of The Beverly Hills Hotel for 24 matte copies of "Beaton Photos" plus United Parcel Air Service delivery. It has been widely reported that Cecil Beaton's portrait of Monroe was her favorite portrait of herself and that she kept copies on hand to sign for people.
8 1/2 by 5 3/4 inches
 Estimate: $200 - $300
245807_0  


Lot 436: MARILYN MONROE INVOICE FROM CECIL BEATON
 A "Copy Invoice" in the amount of 37.16 British pounds dated August 2, 1957, on a single sheet of Cecil Beaton's stationery. The receipt is written in the name of Marilyn Monroe Productions Inc. and is billing work that occurred in November 1956 listed as, "Photographs supplied for Miss Marilyn Monroe:- 12 prints No. 109 8" X 10" mounted." It has been widely reported that Beaton's portrait of Monroe was her favorite portrait of herself and that she kept copies on hand to give to people.
8 by 6 inches
 Estimate: $300 - $500
245808_0  


Lot 437: MARILYN MONROE LETTERS FROM FAMOUS PHOTOGRAPHERS
 Two letters and two telegrams from photographers with whom Monroe had famous collaborations: a single-page autograph letter on personalized stationery dated October 28, 1959, from Philippe Halsman commenting on the famous LIFE magazine cover, saying "It could have been printed better, you could have been better centered - but nevertheless it is the most charming and unusual cover LIFE has had in years. Everybody loves it."; a two-page typed, signed letter from Cecil Beaton dated May 9, 1956 regarding a shoot and other catching up; a telegram from Richard Avedon dated July 9, 1958, regarding the photos from one of their recent shoots needing to be re-shot; and a telegram from Avedon dated simply July 10 regarding working on a television show.
Largest, 10 by 8 inches
 Estimate: $400 - $600
245809_0  


Lot 439: MARILYN MONROE CORRESPONDENCE WITH PORTRAIT ARTIST
 Two typed and signed letters from artist Jon Whitcomb to Monroe regarding his original painting of Monroe used for the March of 1959, cover of Cosmopolitan magazine, the first dated June 22, 1959, reading in part, " Cosmopolitan has returned the painting of your cover which was on the March issue. I haven't forgotten that I promised it to you; so if you still want it, how do I make delivery?" The second dated October 6, 1959, proposes a plan to drop off the painting at Monroe's building. Together with a typed, unsigned file copy of a response from Monroe dated September 24, 1959, reading in part, "Please forgive the long delay in answering, but I have been up to my derriere in preparations for two movies for the near future; public-relations, home-relations -- please understand./ I would love to have the picture from you and I repeat 'at last to be a Whitcomb girl!"
8 1/2 by 11 inches
 Estimate: $300 - $500
245812_0   


Lot 440: MARILYN MONROE ACTING EXERCISE AND NOTES
 A single sheet of lined yellow paper with dialogue written out in pencil in Monroe's hand: "Where did he go? He told you I know he did/ If you'd only have given me a little longer - He was in love with me - we'd have been married you didn't want me to have him from the beginning/ you wouldn't let me wear those pretty things/ Even when I told you about the doll - you/ sent those people around/ He died! But he said/ he came back - Tell/ Me - tell me -." The front and back of the page is then covered with small performance notes, including "The thought focus on partner not on word then let go of word"; "don't do with words & voice"; "Let go everything elastic keep the pick up lay on the horse"; and "to be as relaxed let go of mouth speech thought," among many others.
12 1/2 by 8 inches
 Estimate: $6,000 - $8,000
245813_0 245814_0   


Lot 441: MARILYN MONROE BREAKFAST AT TIFFANY'S SCRIPT AND REPORT
 A clean copy of the screenplay for Breakfast at Tiffany's written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed "report" dated September 23, 1959, which also has the name "Parone" typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe's production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, "I think not." It goes on to criticize the screenplay, determining, "I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don't feel she should play it: it lacks insight and warmth and reality and importance." It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.
Largest, 14 by 8 1/2 inches
 Estimate: $1,500 - $2,500
245815_0 245816_0   


Lot 442: MARILYN MONROE ACTORS STUDIO NOTEBOOK
 A small six-ring binder containing lined notebook pages in a black and red vinyl case by National. The small notebook contains 10 pages of notes in Monroe's hand, in pencil, on eight leaves of paper. The notes were taken during a class with Lee Strasberg and record bits and pieces of things that "Lee said," as is repeated on many pages, which include "For yourself not for us - or one doesn't use own sensitivity/ girl crying continuously Lee said - There should be a certain pleasure in This, in acting - we don't stop these things - she stoped [sic] crying only at those times"; "problems-all the more to be solved got to keep swimming/ criticism can be taken - to incite the will not self criticism"; "the actor has to do what the character has to do - let the author worry about his words"; "Life of - reality of champagne (you don't open every bottle the same) actor in scene took for granted (girl is going to be good (New). Boy - said lines no effort - like crossing street - Lee said he wants - Behavior - When someone is trying to make someone (love etc.) how does one go about it/ Lee said - girl simplicity good honesty, to begin (New) with - but..." The last notes are taken on two sides of one leaf of paper and read "My heart Belongs To Daddy Number/ Remember always left -" and "While tearing off/ caddy-move head a little/ Daddy R. shoulder up/ call dog in closer"; clearly, these notes are for Monroe's musical number in Let's Make Love (20th Century Fox, 1960). The notes correlate with the lyrics of the song, and indeed Monroe does move her head a little during the first verse that mentions the caddy, and she does raise her right shoulder up the first time she says "Daddy" in the chorus.
5 1/4 by 4 inches
 Estimate: $20,000 - $30,000
245817_0 

245818_0 245819_0 245820_0  


Lot 445: MARILYN MONROE RECEIPTS FOR 34TH BIRTHDAY CELEBRATION
A receipt from Gill’s Old Fashioned Ice Cream, dated June 1, 1960, for 100 ice cream treats, together with a receipt from Paper Unlimited, Inc. for forks, spoons, napkins, plates and a tablecloth, dated May 24, 1960. Both receipts are addressed to Hazel Washington, Monroe’s studio maid at Twentieth Century Fox. Monroe celebrated her 34th birthday on the set during filming of Let’s Make Love .
 Estimate: $400 - $600
245827_0  


Lot 446: MARILYN MONROE TAXI RECEIPT
A receipt from the Yellow Cab Company dated February 4, 1960, in the amount of $1.50. The cab lists a trip from simply “904” to “20th Century,” presumably 20th Century Fox, where Monroe had already begun filming the 1960 release Let’s Make Love .
 Estimate: $150 - $250
245828_0  


Lot 447: MARILYN MONROE PAYMENT MEMOS
 A group of five pages of documents concerning the deduction of money from one of Monroe's payments from Fox Studios for her work on Let's Make Love . The first letter, dated February 16, 1960, from Mort Viner at MCA is addressed to Monroe's secretary, May Reis, explaining that Sydney Guilaroff wanted more money than Fox was willing to pay him for his services in styling Monroe's hair in Let's Make Love and that "Marilyn had asked me to have Fox pay it by deducting it from her checks as she didn't want Sidney [sic] to know. " Accompanied by a two-page letter from Monroe's law firm concerning the deduction, a check stub, and an invoice explaining the payment and deductions.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
245829_0 


Lot 451: MARILYN MONROE ACTING NOTES ON ENVELOPE
 An unpostmarked envelope addressed to Monroe at 2 Sutton Place South in New York City from the Radio and Television Executives Society Inc. The back of the envelope has a linear thought written in Monroe's hand in pencil reading "I somehow am seeing with my body also and when I am truly listening/ What is the matter with my voice - Maybe just let the voice come out of my body however it does under certain circumstances." The thought continues on the front of the envelope "… and in - what ever the given situation." The remainder of the notes are more frenetic, reading in part, "Strassberg [sic] says we remember with our senses - Not brain or mind (remember with Body" and "Tell Hohenberg about the period during when I stopped secreatly [sic] play acting so fully/ it was the time I got my first job acting at 20." The notes covering the envelope, overlapping and intertwining, were likely taken during an acting class and demonstrate the unbridled energy Monroe felt toward her study of acting.
4 by 9 1/2 inches
 Estimate: $4,000 - $6,000
245838_0  245839_0   


Lot 483: MARILYN MONROE RECEIVED LETTERS FROM DESIGNERS
Two unsolicited letters from designers who wished to work with Monroe. The first, dated February 26, 1958, from Tony Savini, gives his background and qualifications and explains that he has completed a number of original gowns and dresses expressly for Monroe and would like to offer them to her free of charge. The letter is accompanied by an original watercolor and ink on paper design sketch. Together with a letter dated February 4, 1962, from Paul Zastupnevich, a designer who had credits to his name with Fox Studios. He expresses his interest in designing for Monroe and includes a clipping of Rhonda Fleming wearing one of his gowns.
Largest, 8 1/2 by 11 inches
 Estimate: $100 - $150
245892_0 


Lot 508: MARILYN MONROE ANNOTATED THE MISFITS SCRIPT SIDES
 Two half sheets of paper containing some of Monroe's lines from the film The Misfits with notations in pencil, in Monroe's hand. One of the half pages is dated October 6, 1960, and it has lines from the climax of the film when Rosalyn, played by Monroe, pleads with Gay, played by Clark Gable, not to kill the horses. The notes include "almost in wonder to myself/ you liar all of you liars/ to perce/ Christ/ whisper" in reference to parts of her line reading "You're only living when you can watch something die Kill everything that's all you want why don't you just kill yourselves and be happy (to Gay) you with your God's country freedom." Another notation has the word "shiver" inserted before the line "I pity you all." Another emotional line written in the script as "How much do you want for them I'll pay you I'll give you two hundred dollars Is that enough" has a number of alternatives written in Monroe's hand, including "I'll give you money" or I'll give "you anything anything" or "you want my blood I don't need it anymore take my blood." The pages are accompanied by eight additional full script pages featuring the dialogue that leads up to Rosalyn's pleading with Gay not to kill the horses, beginning with the close shot of the mare stepping into the noose with her forefeet. These notes are a window into Monroe's process in creating one of the most emotionally painful and poignant scenes of her career.
Half sheets, 5 1/2 by 8 1/2 inches
 Estimate: $6,000 - $8,000
245928_0 245929_0 245930_0   


Lot 511: MARILYN MONROE NOTES ON HER MISFITS CHARACTER
 A piece of plain paper with holes punched along left edge with notes in red ink in Paula Strasberg's hand reading "searching and yearning/ standing alone/ mood - I'm free - but freedom leaves emptiness./ Rosylin [sic] - flower opens bees buzz around/ R is quiet - the others buzz around." This provides an insightful look at how Strasberg helped Monroe to build her character in The Misfits.
9 1/2 by 6 inches
 Estimate: $200 - $300
245933_0   


Lot 512: MARILYN MONROE RECEIVED LETTER FROM DOROTHY JEAKINS
 A typed letter signed by costume designer Dorothy Jeakins dated May 3, 1960, and addressed, "Dear Marilyn," and reading in part, "Although I really feel I should be replaced--I will continue with your clothes for "The Misfits" because they are under way and nearly ready to fit./ If you like them, I will see them through to completion. If you are disappointed, someone else can then take over./ I am sorry I have displeased you. I feel quite defeated--like a misfit, in fact. But I must, above everything, continue to work (and live) in terms of my own honesty, pride and good taste." The letter is accompanied by an unsigned file copy of a letter from Jeakins to Mr. C.O. Erickson stating, " ... [C]ircumstances make it clear to me that I am unsuitable for this assignment and perhaps should be replaced. ... [U]nder these circumstances, I intend to accept no remuneration for my work and prefer to be omitted from the credits also. ... "
8 1/2 by 11 inches
 Estimate: $500 - $700
245934_0 


Lot 517: MARILYN MONROE FAMOUS ARTISTS SCHOOL CORRESPONDENCE
 A group of documents regarding Monroe's enrollment in the Famous Artists School of Westport, Connecticut, a distance learning program designed to further students’ fine art skills. The first letter, dated October 24, 1958, from the school's director, acknowledges Monroe's communication with "Jon Whitcomb who tells me you are quite interested in painting. He also tells me that you would like too [sic] take the Famous Artists Painting Course. At Jon's request we are making you a scholarship student but I am at a loss as to where to forward the textbooks since, as I understand it, you will be in Hollywood for sometime before returning to New York City." The next letter is an unsigned file copy of Monroe's response requesting the books be sent to 444 East 57th Street. Also included are a series of follow-up letters, six pages total, welcoming Monroe to the program, explaining the logistics of how the program works with critiques conducted via mail, and a full list of instructors. Also included are a blank Student Information Record and "Rate Yourself Progress Chart" forms with accompanying letters and a postage-paid envelope. The documents clearly demonstrate Monroe's interest in painting and the fact that she sought formal instruction.
Largest, 8 1/2 by 11 inches
 Estimate: $600 - $800
245946_0  245947_0 
245948_0 245949_0 245950_0 


Lot 575: MARILYN MONROE AFTRA CARD
 An American Federation of Television and Radio Artists membership card for the period ending November 1, 1962, with handwritten "Marilyn Monroe" on front, unsigned on back. Because the membership to AFTRA was renewed bi-annually this is Monroe's last membership card for the organization.
2 1/2 by 3 1/2 inches
 Estimate: $4,000 - $6,000
246021_0  


Lot 576: MARILYN MONROE'S LAST SAG CARD AND RECEIPT
 A Screen Actors Guild membership card for the period beginning May 1, 1962, and ending November 1, 1962. “Marilyn Monroe” is typed onto front of card as well as her membership number. Together with Monroe’s carbon copy receipt for payment of $125 on May 22, 1962, listing her address as "P.O. Box 64721, Los Angeles 64, Calif."
Card, 2 1/2 by 3 1/2 inches
 Estimate: $4,000 - $6,000
246022_0 


Lot 577: MARILYN MONROE NOTATIONS ON TELEGRAM
 A Western Union telegram from Nunnally Johnson dated April 16, 1962, a week before production was to begin on Something’s Got To Give. Johnson was one of the screenwriters on that film and sent the telegram care of producer Henry Weinstein, misspelled "Wernstein." The telegram from Johnson reads "In Revised script you are child of nature so you can misbehave as much as you please love - Nunnally." Monroe has quickly written a note in pencil for reply reading "Where is that script - is the child of nature due on the set - Hurry Love & Kisses M.M." "Love and Kisses" is repeated, and additional illegible notations have been crossed out. The lighthearted response foreshadowed what was to come with Monroe frequently not reporting to the set as she was scheduled to appear, leading Fox Studios to fire her from the production.
5 1/2 by 8 inches
 Estimate: $1,500 - $2,500
246023_0  


Lot 578: MARILYN MONROE SOMETHING'S GOT TO GIVE SCRIPT AND PAGES USED ON SET
 20th Century Fox, 1962, mimeographed screenplay by Nunnally Johnson, 149 pages, blue cover dated March 29, 1962 reading "Final Confidential For Planning Purposes Only." The script contains two paper-clipped inserts, memos from the production addressed "To All Secretaries," the first dated April 23 and the second dated April 27, 1962, each accompanying blue revised pages 91 and 92 for the script. The script, marked final, also dated March 29, 1962, contains notations in Monroe's hand throughout in pencil and green ink on 18 pages. Some of the notations are from Monroe's work with a Swedish dialect coach.
In addition to these notations, two typed pages of Monroe's dialogue are bound between pages 107 and 108 of the mimeographed script. These two pages contain Monroe's dialogue from one of the few scenes captured on film, with her extensive pencil notations. Raw footage of Monroe performing with Tippy the cocker spaniel and the children in this scene exists, and Monroe's notations are evident in the footage. The top of the page reads "Real Thought/ Mental Relaxation/ substitute children - B & J if necessary/ feeling - place the pain where it is not in the brow." B & J likely refers to Arthur Miller's children Bobby and Jane. Another notation next to one of Monroe's lines of dialogue reads simply "Mona Lisa," which does in fact mirror the expression she uses when delivering this line. Even the exaggerated "Ahhhhh---" that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, "Ahhh--Look for the light.”
The notations throughout the script also include notes in an unidentified hand criticizing certain points of the story, including "Too Harsh," "Naggy," "Dull" and many other comments. Overall, the notations in both the script and on the dialogue pages used by Monroe to film the scene with the children and Tippy the dog tell the story of a tedious script writing and editing process. Her dialogue notations are a revealing window into her process in performing some of the last scenes she ever recorded on film.
 Estimate: $15,000 - $20,000
246024_0 246025_0 
246027_0  246029_0 
246026_0 246028_0 
246030_0  246031_0 


Lot 580: MARILYN MONROE NOTES ON SOMETHING'S GOT TO GIVE SCRIPT
 A Millers Falls EZERASE pad of typewriter paper with prepunched three-ring binder holes. The cover is detached but present, and the pad contains four pages of notes, two now detached, in Monroe's hand in pencil outlining her issues with the script for the film. The notes and criticisms include "logical drama but doesn't move on the screen/ leads him on than [sic] said not until"; "instead using the talents/ he's stuck/ imagine being married to MM and she comes back and he is stuck/ he'd dying to go Bed with her but can't because"; "more entertaining/ keep it on an edge/ if it isn't that kind of picture it won't go -/ only if script is acceptable." Then come Monroe's suggestions for a scene with check marks next to the ideas: "When Dean first see's Ellen -me- in nurses uniform - (as nurse) he could say - upon arrival - slouching ‘I don't feel so good nurse (weakening in the knees how could she do this to me/ I am telling her/ Beanka kind of stiffening up to hold him & the situation (the nite [sic] before) together he then pulls up but Dean will do this superbly/ He sings little song when drunk & frustrated." She also lists specific passages: "Page 73 (yes? - No? you understand Dean!)/ Page 76 children scene (in comparison to rewrite)." A small note on the last page of notes reads "Funny line writers Herb Gardner / Mel Brook [sic]."
These notes present a very astute Monroe who clearly had serious concerns with the quality of the script, demonstrating that her refusal to appear on set was grounded in these concerns and not simply the actions of a petulant star.
8 1/2 by 11 inches
 Estimate: $5,000 - $7,000 
246033_0 
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246036_0 246037_0 


Lot 581: MARILYN MONROE WORKING SCRIPT FOR SOMETHING'S GOT TO GIVE
 A 149-page screenplay for Something's Got To Give by Nunnally Johnson dated March 29, 1962, in blue paper wrappers, marked final. There are notations in Monroe's hand in pencil on approximately 42 pages in the script, some simple dialogue corrections and other more in-depth sense memory notes for her to remember when doing the scene to evoke the right emotional frame of mind. A simple note on the back of the last page of the script reads "Joke writers/ Mel Brooks/ Herb Gardner/ Need spice/ raisins/ Need some funny lines." In a notation next to the stage direction for her character's anticipation and excitement about calling home after she has been rescued, she writes of Arthur Miller's children, "Bobby M./ and early Janie/ except their [sic] mine." In the scene where she is kissing her husband again and excuses herself to "get fixed up a little," she writes, "[L]et me get into something more comfortable/ leading him on -" and "[I]n other room throwing out piece of clothing" and below she writes "[L]ike F.S. when ingaged [sic]." Over an entire passage of dialogue she makes a stage direction note to herself that reads "Ellen looking speculative champain [sic] glass/ finger going around rim." In another scene she writes, "Have the Mask - face relaxed" and "shaking head when he leaves room sly smile/ fat on the fire/ he's on the grittle [sic]." She continues with the fat sizzling on the griddle metaphor, later writing next to a line that jabs at Nick, "Nicely/ He frys on grittle [sic]/ butter melting/ then it sputter/ him."
Notes on the last page of the screenplay read "Act only in beginning/ Then tempting him/ then act when nurse/ on balcony at hotel/ speculative looks/ always tempting him/ always saying yes/ but N/ I've only been away 5 min./ her point of view." Together with a small card with call times and scenes to be shot and a small scrap of paper with quickly written note in Monroe's hand wondering why they are jumping to shoot indoors when they could shoot in sequence as well as notes about using Miss vs. Mrs.
11 1/2 by 9 1/2 inches
 Estimate: $15,000 - $20,000

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246041_0  246042_0 


Lot 820: MARILYN MONROE TWENTIETH CENTURY EMPLOYEE STARTING CARD
 A Marilyn Monroe Twentieth Century Fox Employee starting card dated May 11, 1950. The card rate line lists Monroe's weekly salary as $500 a week but notes that she was laid off after working 40 out of 52 weeks. This marked the end of Monroe's work on the film All About Eve (20th Century, 1950) and her return to stock pool for the studio.
4 by 6 inches
 Estimate: $600 - $800
246387_0 


 Lot 823: MARILYN MONROE SIGNED ADVERTISING RELEASE
 A Marilyn Monroe signed advertising release with Twentieth Century Fox and The House of Westmore for cosmetic advertising. The contract is dated July 3, 1952. Monroe was featured in a number of Westmore ads in the mid-1950s that also advertised her Twentieth Century Fox films.
13 1/2 by 8 1/2 inches
 Estimate: $4,000 - $6,000
246390_0 246391_0 


Lot 875: MARILYN MONROE MISCELLANEOUS PAPER ARCHIVE ITEMS
 A collection of Marilyn Monroe envelopes, messages and notes, including a florist's enclosure card with envelope addressed to Monroe and a message that reads "To make up for the ones you didn't recall receiving at the hospital. Please stay well so we won't go through this again" and signed by Arthur O'Connell - Virgil Blessing." Virgil Blessing is the name of O'Connell's character in the film Bus Stop (20th Century, 1956). Also included are five handwritten notes in an unknown hand that reference Clifton Webb, Lew Wasserman and "Paula"; two hotel phone messages for "Monroe"; four envelopes, two addressed to Monroe; and one blank Colonial Trust Company check.
Sizes vary
PROVENANCE Partial Lots 748, 794 and 968, "Icons & Idols: Hollywood," Julien's, Beverly Hills, December 6, 2014
From the lost archive of Marilyn Monroe
 Estimate: $400 - $600
246484_0 


Lot 836: MARILYN MONROE ANNOTATED GENTLEMEN PREFER BLONDES SCRIPT
 A script for Gentlemen Prefer Blondes (20th Century, 1953) used and annotated by Marilyn Monroe. The incomplete script totals 68 pages and has notations from Monroe on approximately 22 pages. The first page, dated November 26, 1952, reads “Gentlemen Prefer Blondes”/ (Revised Final Script……13 Nov. 1952)/ To all Secretaries:/ Please place these/ Additional Pages at the back of your script of the above date./ This Is Important!” Film production began on November 17, 1952. Monroe’s notations include revisions to the text, in pencil, "Oh he wasn't barking that was Swahili," and direction, in blue ink, "sense the feeling with the body." The name of Monroe's character, Lorelei, has been circled in pencil on a number of the pages. The script is contained in a black plastic folder.
9 1/2 by 11 1/2 inches
PROVENANCE Lot 160, "Film and Entertainment," Christie's New York, Sale number 1681, June 22, 2006
 Estimate: $50,000 - $60,000
246408_0   

246405_0 246406_0 246407_0 


Lot 915: MARILYN MONROE LETTER FROM PERSON TO PERSON
 A typed, signed letter written to Marilyn Monroe by Jesse Zousmer of the television program Person to Person (CBS, 1953-1961). The letter, dated June 25, 1959, is written on Person to Person stationery. In the letter, Zousmer thanks Monroe for her appearance on the television program and announces his departure from the show. A check mark has been written across the letter in an unknown hand. The letter is accompanied by a page from Variety. The headline of the page reads “Thank You from ‘Person to Person’ ” with a list of the program’s guests from 1953 to 1959.
10 1/2 by 7 1/2 inches
 Estimate: $300 - $500
246544_0  246543_0 


Lot 918: MARILYN MONROE INTERVIEW TRANSCRIPT
 A 32-page transcript of an interview with Marilyn Monroe by Georges Belmont. Accompanied by nine pages of thoughts about Marilyn Monroe written by Arthur Miller. The information was sent to Jack Hamilton at LOOK magazine by Lois Weber, with cover letter from Weber and an undated memo response from Hamilton returning the information to Weber. Accompanied by two newspaper clippings, one from 1956 and one from after Monroe's death in 1962.
11 by 8 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $800 - $1,200
246547_0  


 Lot 858: MARILYN MONROE THERE'S NO BUSINESS LIKE SHOW BUSINESS PROP PROGRAM
 A prop program from There’s No Business Like Show Business (20th Century, 1954). The front of the blue, white and red program reads “Actors Benefit Fund/ Greatest Stars of Stage & Screen/ Hippodrome/ Sixth Avenue 43rd – 44th” in gold metallic ink. An extra holds the program in a scene backstage just before Ethel Merman and Marilyn Monroe have a heart to heart in their dressing room. The program contains repeating nonsense ads in black and white.
11 by 8 1/2 inches
 Estimate: $2,000 - $3,000
246447_0  246450_0 
246451_0 246452_0 


Lot 970: MARILYN MONROE SIGNED GIFT TO WILFRID HYDE-WHITE
 An original artwork given to Wilfrid Hyde-White on the set of Let's Make Love (20th Century, 1960) and signed by the film’s cast and crew including Marilyn Monroe, Yves Montand, Arthur Miller, George Cukor, Tony Randall, Allan “Whitey” Snyder, Marjorie Plecher, Paula Strasberg, David Bretherton, David Burns, and Ray Foster, among many others. The ink on paper artwork was created by the art department for the film and given to Hyde-White as a going-away present. The image shows Hyde-White waiting at a cab stand. A billboard in the background reads “Let’s Make Love/ Cukor Co.” and titled at the top “Happy Show/ From the Kids.” Housed in a frame; not examined outside of frame.
15 by 15 inches, framed
PROVENANCE From the Collection of Alex Hyde-White
 Estimate: $20,000 - $30,000
246619_0 246699_0  


 Lot 979: MARILYN MONROE LETTER FROM HENRY WEINSTEIN
 A typed, signed letter from producer Henry Weinstein on Twentieth Century Fox Film Corporation letterhead, addressed to Marilyn Monroe and dated February 5, 1962. The letter discusses preparations before the shooting of Something's Gotta Give, a film that was never finished due to Monroe's illnesses and untimely death.
10 1/2 by 7 1/4 inches
 Estimate: $600 - $800
246632_0 


Documents papiers - Autographes / Fans
Papers documents - Autographs / Fans


Lot 212: MARILYN MONROE JACK DEMPSEY LETTER REQUESTING MARILYN MONROE'S AUTOGRAPH
 A single-page autograph letter on recto and verso dated October 14, 1954, addressed "Dear Jerry," possibly Joe DiMaggio's Yankee teammate Jerry Coleman. The letter reads in part, "Have been reading a lot about Marilyn, Joe and yourself, here in the east. Best of luck to you and your family, and send Marilyn's autograph along." Signed "Sincerely Jack Dempsey."
8 by 6 inches
 Estimate: $150 - $200
245440_0  245441_0  


Lot 259: MARILYN MONROE LETTER FROM JOHN STEINBECK
 A secretarial typed and signed letter dated April 28, 1955, addressed to Monroe at the Waldorf Towers in New York. The letter is a charming and bashful request for an autograph, reading in part, "In my whole experience I have never known anyone to ask for an autograph for himself. It is always for a child or an ancient aunt, which gets very tiresome as you know better than I. It is therefore, with a certain nausea that I tell you that I have a nephew-in-law ... he has a foot in the door of puberty, but that is only one of his problems. You are the other. ... I know that you are not made of ether, but he doesn't. ... Would you send him, in my care, a picture of yourself, perhaps in pensive, girlish mood, inscribed to him by name and indicating that you are aware of his existence. He is already your slave. This would make him mine. If you will do this, I will send you a guest key to the ladies' entrance of Fort Knox."
8 1/2 by 11 inches
 Estimate: $300 - $500

245522_0  


Lot 708: MARILYN MONROE AND ARTHUR MILLER SIGNED MENU
 A menu from the Gladstone Hotel where Marilyn Monroe lived briefly during the 1950s. The menu is signed on the cover in pencil "Marilyn Monroe" and "Arthur Miller." The inside back cover of the menu also contains a fashion design sketch of a woman in a form-fitting gown with vermicelli beading, in pencil in an unknown hand.
13 by 10 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246213_0 246214_0 246215_0  


Lot 775: SECRETARIAL LETTER ON MARILYN MONROE STATIONERY
 A typed letter signed by one of Marilyn Monroe's secretaries dated July 1, 1959, with original transmittal envelope. Both letter and envelope are Monroe's custom stationery. Transmittal envelope is addressed to Miss Edith Pitts of Richmond Hill, New York, and is postmarked July 2, 1959. The letter thanks Pitts and Frieda Hull for their card and good wishes during Monroe's illness.
Letter, 9 by 6 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
246317_0 


Lot 816: MARILYN MONROE SIGNED INDEX CARD
 A Marilyn Monroe signed and inscribed index card that reads “To Emily/ Best Wishes/ Marilyn Monroe.” The message was written in green ballpoint ink, and a small magazine image of Monroe has been affixed to the index card. Housed in a frame with a black and white image of Monroe.
19 1/2 by 13 inches, framed
 Estimate: $2,000 - $3,000
246382_0 246383_0 
247294_0 247295_0  


Lot 829: MARILYN MONROE AND OTHERS FAN MAIL ENVELOPES
 A group of five envelopes, addressed to Marilyn Monroe, Jane Simmons, Cornel Wilde, Edmond O’Brien, and Jeffrey Hunter. Mailed to each actor, at their respective studio by fans in Africa, Argentina and the Philippines. The legible postmarks date from 1954.
Largest, 5 by 6 inches
 Estimate: $200 - $400
246397_0  


Lot 830: MARILYN MONROE AND OTHERS FAN MAIL ENVELOPES
 A group of four envelopes, addressed to Marilyn Monroe, Audrey Hepburn, Donna Reed, and Pat Crowley. Mailed to each actress at her respective studio by fans in Argentina and the Philippines. The legible postmarks date from 1954.
Largest, 3 1/2 by 6 1/2 inches
 Estimate: $200 - $400
246398_0  


Lot 854: MARILYN MONROE, FRANK SINATRA AND OTHERS SIGNED ALBUM
 An autograph album signed by Marilyn Monroe; Frank Sinatra; Bing Crosby; Ray Bolger; Maurice Chevalier; Hedda Hopper; Louella Parsons Herbert Hoover; Harry Truman; and Edward, Duke of Windsor, among others. The bound brown leather album belonged to Henry Tekkel, a maître d’ at the Waldorf Astoria New York. Monroe, who lived at the hotel in the mid-1950s, has inscribed the book “Warmest Regards, Marilyn Monroe.
5 by 6 1/2 inches
Estimate: $1,000 - $2,000
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246442_0 246443_0 


Lot 864: MARILYN MONROE SIGNED BOOK
 A copy of the Bement Centennial souvenir book titled "The Bement Story" and signed on the cover by Marilyn Monroe. Monroe visited Bement, Illinois, in August 1955 to celebrate the city's centennial.
11 by 8 1/2 inches
 Estimate: $2,000 - $3,000
246459_0  246460_0 


Lot 906: MARILYN MONROE SIGNED METROPOLITAN OPERA PLAYBILL
 A Marilyn Monroe signed Metropolitan Opera playbill from the 1958-1959 season. The 44-page playbill is signed on the cover in blue ink and is accompanied by a black and white image of Monroe signing a playbill. This is believed to have been signed on February 10, 1959, when Monroe and her husband Arthur Miller attended a performance of Macbeth.
6 1/2 by 9 inches
 Estimate: $4,000 - $6,000
246529_0 246530_0 246531_0 
247301_0 247302_0 

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18 janvier 2016

A Green Jersey Top & Deep Purple Velvet Pants

Le maillot vert en jersey & le pantalon violet en velours
A Green Jersey Top & Deep Purple Velvet Pants

mm_dress-gpb_ensemble-mm_travilla-1 

Cet ensemble est composé d'un maillot vert en jersey à longues manches et au décolleté croisé, d'un pantalon bleu/violet foncé en velours et d'une ceinture en soie de couleur lavande pâle. Il a été conçu par le créateur et couturier de la 20th Century Fox, William "Billy" Travilla pour le film Gentlemen prefer blondes (Les hommes préfèrent les blondes) tourné en 1952.

Marilyn Monroe fit deux essais de tests costumes avec cette tenue: d'abord, le 12 novembre 1952, elle pose seule devant l'ardoise indiquant les notions liées à la tenue dans le film (le rôle, la scène, le nom du couturier, la date). Elle accessoirise la tenue avec des boucles d'oreilles (de couleur vert émeraudes foncées telles qu'on les découvre dans le film), un collier et un bracelet au poignet gauche (qui sont de même couleur que les boucles d'oreilles). Elle porte des sandales noires croisées et ouvertes aux pieds.
Puis, le 17 décembre 1952, elle prend la pose à côté du couturier Travilla (qui tient dans sa main l'esquisse de la tenue) et qui réajuste le maillot. La coiffure de Marilyn est plus fluide, et elle porte les mêmes accessoires, excepté le bracelet remplacé par une bague à la main gauche.

film_gpb_test_sc06_dress_1 film_gpb_test_sc06_with_travilla_1 film_gpb_costume_travilla   

C'est une tenue qui se veut décontractée tout en restant chic: Marilyn la porte dans une scène où son personnage, Lorelei, une chanteuse de Music Hall qui embarque sur un paquebot avec sa partenaire Dorothy (Jane Russell), se retrouve dans sa cabine en pleine discussion avec le riche (et imposteur) Piggy puis avec Dorothy. Les deux chanteuses ne sont pas en représentation et la scène les représente dans un moment de journée ordinaire (sur un paquebot certes, mais dans leur cabine). [> la scène du film sur le blog: voir les captures, les photos et sur le tournage ]. C'est pourquoi on retrouve le côté "casual" dans le top qui se veut court et malgré tout moulant, tout comme le pantalon qui retombe tout en fluidité sur les pieds; et le côté "chic" par les matières (jersey, velours) et la ceinture de soie. On retrouve les bijoux portés aux tests de costumes et il semblerait qu'il s'agisse d'une parure avec les mêmes pierres de même couleur: les boucles d'oreilles, le collier, le bracelet (au poignet gauche) et la bague (à la main droite). 

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gpb_sc06_film_012_1  gpb_sc06_film_020_1  gpb_sc06_set_mm_read_011_1 

Marilyn posera dans cette tenue pour une série de photographies sous l'objectif de John Florea, servant de clichés publicitaires au film; mais pour ces poses ironiques -où elle joue aux cartes avec des billets de banque- elle a changé les bijoux: elle a ôté le collier, le bracelet, la bague et porte de grandes boucles blanches pendantes aux oreilles:

gpb_sc06_studio_by_florea_011_1 lot158_H3257_L40282349 lot155_H3257_L40282325 gpb_sc06_studio_by_florea_030_1 


Il semble indéniable que Travilla se soit fortement inspiré de cette tenue présentée dans le magazine américain Vogue de avril 1952 où dans les pages de mode, on voit cette mannequin portant une tenue similaire (le top est plus près du corps et moins fluide que celui de Marilyn, et le décolleté n'est pas croisé; le pantalon en velours et la ceinture semblent avoir été repris à l'identique. Tout comme l'idée des bijoux -différents que ceux portés par Marilyn, mais en nombre), le tout dans un esprit ethnique / bohème chic:

mm_dress-gpb_ensemble-inspiration_1952-04-vogue 


Jane Russell, la partenaire de Marilyn, portera le top vert dans la suite de "Gentlemen Prefer Blondes" tournée en 1955 -"Gentlemen marry brunettes" ("Les hommes épousent les brunes") réalisé par Richard Sale- la ceinture est mauve et le pantalon est un corsaire noir satiné:

mm_dress-green_top-gentlemen_marry_brunettes-1 mm_dress-green_top-gentlemen_marry_brunettes-2 mm_dress-green_top-gentlemen_marry_brunettes-3 
mm_dress-green_top-gentlemen_marry_brunettes-4 mm_dress-green_top-gentlemen_marry_brunettes-5 mm_dress-green_top-gentlemen_marry_brunettes-6 
mm_dress-gpb_ensemble-jane_russell-gentlemen_marry_brunettes-1  mm_dress-gpb_ensemble-jane_russell-gentlemen_marry_brunettes-2  

L'actrice Sheree North portera aussi à son tour l'ensemble :

mm_dress-gpb_ensemble-sheree_north   


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

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