Un appartement de Marilyn Monroe en vente
publié le 14/06/2016
en ligne sur planet.fr
En images : un ancien penthouse de Marilyn Monroe à vendre
La célèbre actrice américaine a vécu dans ce superbe appartement avec son époux Arthur Miller en 1956. Petit tour des lieux.
Ce penthouse, situé au 13e étage d’un immeuble du cœur de Manhattan, est d’une superficie de plus de 200 mètres carrés. A noter également la présence d’une incroyable terrasse de plus de 270 mètres carrés avec vue sur les buildings new-yorkais. Pour se l’offrir, il faudra tout de même avancer la somme de 6,75 millions de dollars.
444 E 57th St, New York, NY 10022
Former home to Marilyn Monroe, Bill Blass, Bobby Short
1. La Vue / The View
The terrace provides a stunning view of the East River and 59th Street Bridge.
2. La chambre d'amis / The Guest Bedroom
A floor-to-ceiling window guarantees the best view possible for guests.
3. La salle à manger / The Living Room
You enter the apartment via an elevator that's attended 24/7,
and then walk into this stunning space featuring a fireplace,
expansive windows, and polished hardwood floors.
4. La cuisine / The Kitchen
The kitchen most certainly has been updated since the days of Ms. Monroe
—in fact, the entire place recently underwent a 2-year renovation.
5. La chambre principale / The Master Bedroom
Imagine sleeping where Marilyn once slept!
6. La terrasse / The Terrace
Another glance at the spectacular view,
once home to parties that hosted the likes of
Cary Grant and the Duke and Duchess of Windsor.
Marilyn Monroe's $6.75 Million N.Y.C. Apartment Is for Sale, and We've Got Your Look Inside
published the June, 14, 2016
online instyle
Marilyn Monroe's former New York City penthouse is up for grabs, and the apartment, situated in Sutton Place on Manhattan's East Side, is as glamorous as you'd expect. In fact, it's so chic that multiple notables have called the space home. In addition to Monroe—who lived there in the late '50s with then-husband Arthur Miller—fashion designer Bill Blass, singer Bobby Short, and, most recently, a Swedish princess, all have taken up residence in the 2,200-square-feet space.
For an asking price of $6.75 million, those interested in scooping up the 2-bedroom, 2-bath apartment can expect heated floors, a modern kitchen with a breakfast bar, and a solarium in the guest bedroom, according to the listing. Additionally, this prewar pad offers a stunning view of the East River and 59th Street Bridge, as well as a fabulous terrace for outdoor entertaining.
Photographies
Lot 89009 - A Marilyn Monroe Signed Black and White Photograph, 1955.
An original print with a glossy finish, an enlarged snapshot depicting the star wearing a white evening gown and a white fur coat, signed in blue ballpoint ink in the lower right corner "To Jim / Love & Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); included is a black and white photograph of Collins: an original print with a matte finish, depicting Collins as a teenager in 1955 standing at a typewriter that was set up outside of a shop on an NYC street, verso is stamped in part "Life Magazine / ...Photo by Michael Rouger / ... Apr 13 1955;" Collins remembers that this photograph of him actually ran in the magazine with a caption noting what he had just typed which was "Marilyn Monroe is a beautiful girl." (Please note the photograph of MM is heavily wrinkled on the lower margin and has a 1 1/2" tear in same area which somewhat affects her signature; the photograph of Collins is heavily wrinkled with two lower corners missing.)
10" x 8"
More Information:
"Marilyn Monroe is a beautiful girl!" were the words I was typing when as a 17 year-old, this picture of me was shot by a photographer from LifeMagazine in 1955. The photo, which actually appeared in the magazine a couple of months later, launched my own collection of Marilyn Monroe photos taken overseveral years by me and fivefellow teenage fans who became known as "The Monroe 6." During Marilyn's time in New York, I and the others photographed herin various locations around the city. We would then run to the drugstore to get our snapshots developed in multiples so that all of us could have all the shots we had taken of her (thus the reason for the different shapes and sizes of the photos my collection). In the era before Google and GPS and TMZ and smartphones, we were alerted to Marilyn's appearancesand whereabouts by sources ranging fromVariety Magazinetoher Upper East Side hairdresser. Marilyn got to know the six of us well as we journeyed around the city with her and I remember her always being gracious and friendly. We wanted nothing from her except the opportunity to take her picture or to get her autograph - and often times she would sign on the very photographs we had just taken of her the day before. After Marilyn died, I put these photographs in a closet for many decades, though over the last few years, I have posted a few of them on the Internet for fans to see. I am now ready to let others have my original 1950s-era snapshots of the movie star I had the luck and pleasure to see many times up close and in the flesh - Miss Marilyn Monroe! And she did not disappoint - she was absolutely beautiful as all these photos clearly indicate. When you saw her in person, shewas THE movie star, no doubt about it!
James Collins
New York City, 2016 
Lot 89010 - A Marilyn Monroe Signed Black and White Photograph, Circa 1955.
An original print with a matte finish, an enlarged snapshot showing the smiling star, signed in blue fountain pen ink on the right side "Love & Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); also included with an identical photograph but not signed. (Please note the ink is slightly faded but still legible and there are a number of creases throughout which somewhat detract from the image.)
7" x 5" 
Lot 89011 - A Marilyn Monroe Signed Black and White Photograph, 1955.
An original print with a matte finish, depicting an enlarged snapshot of the star standing next to her business partner, Milton Greene, as the two attend the New York City premiere of the James Dean film, "East of Eden," on March 9, 1955, signed in brown fountain pen ink on the lower left side "Love & / Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is slightly faded but still legible and there are a number of creases throughout but they don't detract from the overall image.)
9 3/4" x 7 3/4" 
Lot 89012 - A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is noticeably smudged from the time when it was signed.)
3 1/2" x 3 1/2" 
Lot 89013 - A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is somewhat smudged from the time when it was signed.)
3 1/2" x 3 1/2" 
Lot 89014 -
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center right "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is somewhat smudged from the time when it was signed.)
3 1/2" x 3 1/2" 
Lot 89015 - A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star inside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat (with two men seen in the background), signed almost illegibly in blue fountain pen ink in the upper right "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note much of signature is invisible as the pen MM was using evidently ran out of ink.)
3 1/2" x 3 1/2" 
Lot 89016 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Twenty-one total, all original prints with a glossy finish, depicting the star wearing a gold lamé gown, a black fur coat, and black gloves as she arrives with Milton Greene at the Waldorf Astoria Hotel in NYC to attend a Friar's Club dinner on March 11, 1955 (which honored Jerry Lewis and Dean Martin), MM is seen either alone or among others (including Milton Berle), some snapshots are clear, others are out of focus, in three different sizes; though these images have been seen, these are the original snapshots developed and printed in 1955; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
5" x 3 1/2"; 3" x 3"; 3 1/2" x 2 1/2" 
Lot 89017 - A Marilyn Monroe Group of Rare Black and White Snapshots, Circa 1955-1956.
Twenty-seven total, all original prints with a glossy finish, three different sizes, each a candid shot depicting the star as she was out and about in NYC, sometimes in casual wear, other times in cocktail attire, many showing her surrounded by others (including business partner Milton Greene, photographer Sam Shaw, and super-fans Jimmy Collins and James Haspiel, to name a few); from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some have slight wrinkles but overall, all are still in very good condition.)
3 1/2" x 5"; 3 1/2" x 3 1/2"; 2 1/2" x 3 1/2" 
Lot 89018 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955-1956.
Twenty-two total, all original prints with a glossy finish, four different sizes, all showing the star in evening wear on about five different occasions (judging from her different dresses), many depict others with MM such as Joe DiMaggio, business partners Milton and Amy Greene, and fans; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some are slightly wrinkled but overall, all are in very good condition.)
5" x 3 1/2"; 3 1/2" x 4 1/2"; 3 1/2" x 3 1/2"; 2 1/2" x 3 1/2" 
Lot 89019 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955-1957.
Twenty-two total, all original prints with a glossy finish (except one), four different sizes, all depicting the star at various public events she attended including seven showing her with then-husband, Arthur Miller; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some have evident wrinkling due to age.)
10" x 8" (one only); 5" x 3 1/2"; 3 1/2" x 3 1/2"; 3 1/2" x 2 1/4"
Lot 89020 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Twelve total, all original prints with a glossy finish, three different sizes (with four slightly trimmed from their original size), all depicting the star next to others (including her business partners, Milton and Amy Greene) as she wears a brocade evening gown and matching cape at the March 9, 1955 NYC premiere of the James Dean film, "East of Eden" ; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
5" x 3 1/2"; 3" x 3"; 3 1/2" x 2 1/2" 
Lot 89021 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Ten total, all original prints with a glossy finish, all sequentially shot as Marilyn goes from a NYC street into a parking garage and then takes off in a car while wearing white pedal pushers, a polka-dotted shirt, white flats, and a white summer coat, five are stamped on the right side margin "Jun 55," super-fan James Haspiel appears in one (as do a few others); all originally housed in a mint green "Photo Book" from "Berkey / Photo Service;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note one photo is severely creased across MM's face.)
3 1/2" x 3 1/2" 
Lot 89022 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Seven total, all original prints with a glossy finish, each depicting the star wearing a lamé dress and a white fur coat as she sits in the lobby of The Hotel 14 in NYC while others surround her (including Milton Berle); from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); Collins recalls that on this night he waited for MM and her group (which included her date, Milton Berle) to come out of the Copacabana night club which was located upstairs in the same building as The Hotel 14 at 14 East 60th Street in Manhattan -- his patience paid off when he was able to snap these great candid photos of the star as well as pose next to her in one (top row, center). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
4 1/2" x 3 1/4" 
Lot 89023 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Eight total, two different sizes, all original prints with a glossy finish, depicting the star sitting in the lobby of the Gladstone Hotel (where she briefly lived) as she wears a black dress, black jacket, and black fishnet gloves, verso of all faintly stamped "Kodak / Velox / Paper;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
3 1/2" x 3 1/2" and 3 1/2" x 2 1/2" 
Lot 89024 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Eight total, all original prints with a glossy finish, three different sizes (two being trimmed from their original size), all depicting the star wearing a white cocktail dress and white fur as she and her date, Joe DiMaggio, attend the June 1, 1955 premiere of "The Seven Year Itch" (which was also MM's 29th birthday); most images are out of focus but still of interest as this is a now-historic event in film history; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and the largest one has a 1" tear on the center right side.)
6 1/2" x 5"; 3 1/2" x 5"; 3 1/2" x 2 1/2" 
Lot 89025 - A Marilyn Monroe Group of Rare Color Snapshots, Mid-1950s.
Thirty-eight total, all original prints with a glossy finish, seven different sizes, depicting the star at various times over a number of years, most are candid shots though many appear to have been taken by professional photographers due to their clarity, four have stamps on the verso reading in part "This is a / Kodacolor Print / ...Week Ending July 2, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some are slightly wrinkled due to age.)
5" x 3 1/2" biggest; 2 3/4" x 1 3/4" smallest 
Lot 89026 - A Marilyn Monroe Rare Black and White Snapshot, 1955.
An original print with a glossy finish, depicting the star wearing her famous 'white dress' with a fur coat thrown over her shoulders and a script in her hand as she leaves the St. Regis hotel in New York City, getting ready to promote a film (likely "The Seven Year Itch"); though this image has been seen, this is the original snapshot developed and printed in 1955; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when this was in a scrapbook and there are slight creases on the surface seen in raking light only.)
3 1/2" x 3 1/2" 
Film Footage
Lot 89027 - A Marilyn Monroe Never-Before-Seen Piece of Color Film Footage from Korea, 1954.
Shot on 8mm, approximately 1 minute and 21 seconds long, footage shows MM walking outside with a soldier escort (as she wears pants and a bomber jacket) while dozens of other soldiers surround her (to take her photograph), then it shows her getting into a car, then it (briefly) shows her performing on stage (as she wears the purple spaghetti-strapped sequined dress); shot by the current owner's father when he was stationed in Korea, he had close access to the star during the walking sequences, but was farther away when she was on stage; the original 1954 film was on three separate reels as the soldier shot tons of footage that didn't include MM (it's of the Korean people, the landscape, and fellow American soldiers) but it has now been spliced together and put on one modern-day plastic reel; the three 1954-era metal reels are still included as is a DVD transfer so the footage can be viewed.
Plastic Reel: 7"; Metal Reels: 5" 
Le journal américain New York Mirror du 12 Novembre 1960, consacrait sa couverture à Marilyn Monroe et Yves Montand intitulé "MM and Miller Call it Quits" pet un article "Marilyn Monroe Admits It's Over" par Sheilah Graham.
AFTER 4 YEARS OF MARRIAGE
MARILYN MONROE Admits It's Over
By SHEILAH GRAHAM
The celebrated "perfect marriage" of sexy glamor girl Marilyn Monroe and eggheard, Lincolnesque playwroght Arthur Miller has broken up after four years.
Marilyn will file for a divorce, though she hasn't been to see her lawyer yet, she admitted yesterday.
Fighting her way out of her swank apartment building at 444 E. 57th St. at 4:30 p.m, trough a crush of newsmen, photographers, and celebrity-chasers, she looked pale and on the verge of tears. She had little makeup on. Her skin seemed blotchy rather than blooming. Her hai was hidden under a beige babushka and she kept her hands in the pockets of a double-breasted black seal sportcoat.
ASKED ABOUT THE impending divorce, she said in a tired, squeakly voice, "I'm very sorry, I have nothing to say about my personal life" but she confirmed the separation.
Where was she going ?
"I don't think I have to tell you that" she said, fighting her way through the crush to the curb where a hired limousine had been waiting. It took her five minutes to get across the lobby and sidewalk.
"I'll be in New York quite a while; those are my only plans right now", she breathed, looking as if she were ready to cry as the chauffeur, managed to get her into the car.
He drove her to the Central Park West apartment of Lee Strasberg, her drama coach and father of actress Susan Strasberg.
Friends of the couple cautiously blame "clashing careers" -but in thruth it's been apparent for a long time that they were bored to death with each other.
The marriage would have broken up anyhow, even if French movie star Yves Montand hadn't come into her life -but when he did, Marilyn was ripe for a romance.
Don't be surprised if she suddenly departs for Paris on a vacation. That's where Montand is, until he leaves for Japan to make a picture there.
Miller is camping out in a hotel -probably under another name, to keep himself elusive.
The were keeping up pretenses until now, sharing a hotel bungalow in Hollywood, but on Satursay they took separate planes East.
Miller went up to his Connecticut farm on Tuesday to vote, and the two have met twice in New York during the week, but only to discuss business matters.
"It is not an embittered estrangement; there is no bitterness on either side," claimed James Proctor, a friend of both. He explained it in these terms: "Marilyn is not just a star, she is an institution - and must constantly be in the center of excitement and activity. The nature of Miller requires ...
(...)
There are lots of reasons why. Mostly it's that Miller was intolerably bored, with this beautiful sex symbol, whom he found really a dull creature full of complexes. She tried to make him her father, her mother, her uncle. All his creative powers were stifled.
Friends Say Breakup Will Have No Effect on Montand
PARIS, Nov, 11 (UPI) - Marilyn Monroe's divorce plans will not change anything in the life of French singer and actor Yves Montand, friends of Montand said today.
The friends ventured the confident prediction in the absence from Paris of the handsome French movie star, who was rumored to have scored a romantic hit with Miss Monroe when they made the movie "Let's Make Love" together in Hollywood early this year.
Montand was spending the Armistice Day national holiday in the country with his wife, Oscar winning actress Simone Signoret.
THE RUMORS OF Montand's success with Marilyn created a stormy passage in the Frenchman's own married life at the time, friends reported. But now he and his wife are solidly re-united, the friends said.
"But Miss Monroe's divorce will change nothing in Montand's life".
Miss Signoret stayed in Hollywood with Montand during most of the shooting of "Let's Make Love". The two couples lived next door to each other and spent many evenings together. The couple is expected back in Paris tomorrow.
Marilyn Monroe & Arthur Miller’s Wedding
Published on January, 8, 2016
by KAT - online rocknrollbride.com
Photos by Claire Macintyre Photography
So I haven’t actually got the scoop of the century, sharing unseen photos from Marilyn Monroe and Arthur Miller’s wedding… but I’ve got the next best thing ! This shoot, photographed and styled by Claire Macintyre Photography, has got to be one of the closest homages to this iconic wedding that I’ve ever seen !
Claire explains, “Our inspiration was Marilyn. She is the ultimate Rock n Roll bride, and I have always been completely fascinated with her. I am getting married in 2017 and she is the first place I went to for inspiration. I absolutely loved the laid back, intimate vibe of her wedding to Arthur Miller. I loved the really low key glamour, with the focus completely on them and not complicated by heavy décor and fiddly details.”
Andre De Dienes
Lot 478 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1945. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$512 - Estimate: $400 - $600 
Lot 479 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1946. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso.
20 by 16 inches
Winning bid:$896 - Estimate: $400 - $600 
Lot 480 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
17 by 16 inches
Winning bid:$750 - Estimate: $400 - $600 
Lot 481 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 482 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso. Additionally handwritten on verso is "17/67 given to [illegible] Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 483 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso. Additionally inscribed on verso "25/67 given to Chad Lewis Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 484 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$576 - Estimate: $400 - $600 
Lot 485 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600 
Lot 486 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600 
Lot 487 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$640 - Estimate: $400 - $600 
Bruno Bernard
Lot 502 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “Valentine Heart” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 503 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “Sailor Girl” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 504 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “My Girl Friday” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 505 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white pin-up photograph of Marilyn Monroe taken by Bruno Bernard circa 1946. Signed on verso “Bernard of Hollywood.”
10 by 8 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $6,000 - $8,000 
Lot 510 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition black and white photograph of Marilyn Monroe titled “Poolside” taken by Bruno Bernard circa 1949. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$4,062.50 - Estimate: $3,000 - $4,000 
Lot 511 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe signing autographs taken by Bruno Bernard circa 1954. Signed on verso “Bernard of Hollywood.”
11 by 14 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $6,000 - $8,000 
Lot 512 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition black and white photograph of Marilyn Monroe wearing a costume dress from her film Gentlemen Prefer Blondes (20th Century, 1953) taken by Bruno Bernard circa 1953. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 513 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe on the set of The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Signed on verso "Bernard of Hollywood" and contained in a brown Bernard of Hollywood folder.
14 by 11 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$12,500 - Estimate: $10,000 - $20,000 
Lot 514 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe wearing the famous white dress from her film The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Numbered 16/50 and signed by The Estate of Bruno Bernard in the lower margin.
24 by 20 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $5,000 
George Barris
Lot 537 MARILYN MONROE GEORGE BARRIS PHOTOGRAPHS
A pair of black and white photographs of Marilyn Monroe taken by George Barris. Each photograph is signed by Barris. One of the photographs is stamped “© 1987 George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved,” and both photographs are stamped “The Private Collection of Kim Goodwin.”
Winning bid:$448 - Estimate: $600 - $800 
Lot 538 MARILYN MONROE GEORGE BARRIS PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by George Barris in the summer of 1962. Signed by the photographer at lower right and stamped “The Kim Goodwin Collection” on verso.
Winning bid:$250 - Estimate: $800 - $1,200 
Lot 539 MARILYN MONROE GEORGE BARRIS LAST PHOTOGRAPHS PORTFOLIO
A folder containing eight color prints of George Barris’ photographs of Marilyn Monroe. White folder reads on the cover “Marilyn Monroe/ 25th/ The Last Photos.” Interior left of folder reads “Limited Edition/ Original Photographs by/ George Barris.” Interior right of folder reads “As seen in/ ‘Marilyn’ Norma Jeane/ text by Gloria Steinem.” Accompanied by a card that gives the edition number as 74/99. Each photograph is signed by Barris and stamped on verso “Copyright 1987/ Marilyn Monroe/ Weston Editions LTD.” The photographs are additionally stamped “The Private Collection of Kim Goodwin.”
Photographs, 10 by 8 inches; Folder, 10 1/2 by 9 inches
Winning bid:$2,240 - Estimate: $1,000 - $2,000 
Photos Diverses
Lot 19 JOAN COLLINS TWO FRAMED POSTERS
The first, titled "Marilyn Monroe as Jean Harlow," is from a series of photographs photographer Richard Avedon produced with Marilyn Monroe, signed by Avedon. Other photographs from the series show Monroe dressed as actresses Lillian Russell, Marlene Dietrich, Theda Bara, and Clara Bow. The second, an Erte exhibition poster from 1972.
Larger, 32 by 24 1/4 inches
Winning bid:$640 - Estimate: $200 - $300 
Lot 488 MARILYN MONROE ARCHIVE OF PHOTOGRAPHS BY JOSEPH JASGUR
An archive of photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. The photographs were taken of a 19-year-old Norma Jeane Dougherty, before she was Marilyn Monroe. Taken in Los Angeles for Blue Book Modeling Agency, these photographs comprise one of Monroe’s first modeling portfolios. It was this portfolio she presented to Ben Lyon, the casting director at 20th Century Fox who signed her to the studio and shortly after changed her name. Jasgur’s images of Norma Jeane Dougherty mark the beginning of her career and offer us a unique glimpse of Marilyn Monroe, before she was Marilyn.
All prints in this lot are from these early photoshoots and are directly from the estate of Joseph Jasgur. Included in the archive are approximately 400 color and black and white later prints, size 11 by 14 inches; approximately 120 black and white gelatin silver prints, size 8 by 10 inches; approximately 10 black and white gelatin silver prints, size 11 by 14 inches; some oversize prints, contact prints, and a wooden camera tripod used by Jasgur. Some prints are signed or stamped by the photographer, others are not. Print dates vary. Condition varies.
Sizes vary
PROVENANCE From the Estate of Joseph Jasgur
Winning bid:$8,320 - Estimate: $600 - $800 
Lot 489 MARILYN MONROE JOSEPH JASGUR NEGATIVE AND COPYRIGHT
One Joseph Jasgur black and white negative of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder.
5 by 4 inches
Winning bid:$1,280 - Estimate: $1,000 - $1,500 
Lot 490 MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
Two Joseph Jasgur black and white negatives of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder. Accompanied by a photograph of the image, printed 2000-2001.
Negatives, 5 by 4 inches; Photograph, 14 by 11 inches
Winning bid:$384 - Estimate: $1,000 - $2,000 
Lot 491 MARILYN MONROE FAMILY PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe circa 1946, with her half sister Berniece Baker Miracle, her mother Gladys, and her niece Mona Rae. Originally from the collection of Eleanor Goddard.
3 1/2 by 2 1/2 inches
PROVENANCE Lot 84, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$875 - Estimate: $400 - $600 
Lot 492 MARILYN MONROE INSCRIBED JIM DOUGHERTY PHOTOGRAPH
A pair of original vintage photographs of Marilyn Monroe's first husband, Jim Dougherty. The first is a passport style portrait, and the second shows Dougherty sleeping on the beach and is inscribed on the back in Monroe's hand "(zzz.....zzz) Jimmie sound asleep." Originally from the collection of Eleanor Goddard.
Larger, 3 3/4 by 4 3/4 inches
PROVENANCE Lot 80, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$750 - Estimate: $400 - $600 
Lot 496 MARILYN MONROE TOM KELLEY SIGNED PHOTOGRAPH
A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949 during his famous photoshoot with Monroe. Numbered 146 of 300 to the lower left and signed by Tom Kelley to the lower right. Includes certificate of authenticity from Mirage Editions.
44 by 36 inches, framed
PROVENANCE From the Collection of James Heeren
Winning bid:$1,562.50 - Estimate: $1,000 - $2,000 
Lot 497 MARILYN MONROE HUGH HEFNER SIGNED EARL MORAN PHOTOGRAPH
A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 1 of 75 and signed by Playboy founder Hugh Hefner to the lower left. Embossed with the Playboy Legacy Collection logo to the lower right.
Winning bid:$6,400 - Estimate: $1,000 - $2,000 
Lot 498 MARILYN MONROE EARL MORAN PHOTOGRAPH
A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 5 of 75 to the lower left and embossed with the Playboy Legacy Collection logo to the lower right. Housed in a cloth-bound clamshell box with gilt titling and includes a Playboy certificate of authenticity.
24 by 20 inches
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 499 MARILYN MONROE HUGH HEFNER SIGNED PHOTOGRAPH
A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949. This is the iconic Marilyn pose used in the first issue of Playboy magazine. Numbered 171 of 300 to the lower left and signed by Playboy founder Hugh Hefner to the lower right. Includes certificate of authenticity from Light Signatures.
42 by 34 inches, framed
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 500 MARILYN MONROE FRANK WORTH PHOTOGRAPH
A large-format gelatin silver photograph of Marilyn Monroe posing in her dress from the film How to Marry a Millionaire (20th Century Fox, 1953) printed from a negative created by Frank Worth. Numbered 9 of 95 to the lower left and embossed by the Frank Worth Estate. Includes cloth-bound clamshell box with gilt-stamped titling and a certificate of authenticity from the Frank Worth Estate.
25 3/4 by 21 3/4 by 1 3/4 inches
PROVENANCE From the Collection of James Heeren
Winning bid:$768 - Estimate: $800 - $1,200 
Lot 517 MARILYN MONROE EARL LEAF CONTACT SHEET
A contact sheet containing eight vintage black and white images of Marilyn Monroe taken by Earl Leaf. They were taken at the home of talent agent Johnny Hyde, where Monroe occasionally lived, on May 17, 1950. The images are attached to a sheet of cardstock with numerous notations, including the date the photographs were taken and Monroe’s name; stamped at the bottom left with the photographer's stamp.
EXHIBITED Etherton Gallery, Tucson, Arizona, "Marilyn Monroe Collection," Number 46
10 by 8 inches
Winning bid:$2,187.50 - Estimate: $800 - $1,200 
Lot 519 MARILYN MONROE ORIGINAL 1954 SLIDES
A group of 12 original vintage color slides showing Marilyn Monroe entertaining members of the United States military in Korea in 1954. Accompanied by a printed mage of each slide and two additional slides showing other performers that do not include Monroe.
This item sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given .
2 by 2 inches, each
PROVENANCE Lot 135, "Entertainment Memorabilia," Christie's, New York, Sale number 8525, July 19, 2001
Winning bid:$2,240 - Estimate: $4,000 - $6,000 
Lot 520 MARILYN MONROE 1954 NEGATIVES
A pair of black and white negatives of Marilyn Monroe taken in 1954 while the actress was entertaining troops in Korea on a break from her honeymoon with Joe DiMaggio.
This item is sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Strip of negatives, 4 1/2 by 1 3/8 inches
Winning bid:$768 - Estimate: $1,000 - $2,000 
Lot 523 MARILYN MONROE EVE ARNOLD PHOTOGRAPH
A color photograph of Marilyn Monroe taken by Eve Arnold. The image shows Monroe in a one-piece leopard print swimsuit lying in a marsh, taken circa 1955. The photograph is affixed to a board. Some handwritten markings on verso and stamped “The Kim Goodwin Collection.”
15 1/2 by 19 1/2 inches
Winning bid:$768 - Estimate: $1,000 - $2,000 
Lot 524 MARILYN MONROE AND MARLON BRANDO DIGITAL PRINTS
A group of eight digital prints of Marilyn Monroe and Marlon Brando taken by Milton Greene in November 1955. The photographs were used to publicize a performance of The Rose Tattoo to benefit The Actors Studio. A paper label is affixed to the back of each image from the Milton H. Greene Collection.
Each, 19 by 13 inches
Winning bid:$1,920 - Estimate: $600 - $800 
Lot 526 MARILYN MONROE CECIL BEATON PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by Cecil Beaton in 1956. The photograph, from Monroe's personal archive, is mounted to board and contained in a brown folder.
Photograph, 9 by 9 1/4 inches; 16 by 14 1/2 inches, overall
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 527 MARILYN MONROE VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage portrait publicity photograph from her personal collection.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$576 - Estimate: $600 - $800 
Lot 528 MARILYN MONROE AND ARTHUR MILLER VINTAGE PHOTOGRAPH
A Marilyn Monroe and Arthur Miller black and white vintage original photograph. Taken by Paul Schumach at the premiere of Some Like It Hot (USA, 1959). Photographer stamp on verso.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$896 - Estimate: $600 - $800 
Lot 530 MARILYN MONROE CANDID PHOTOGRAPHS
A group of nine vintage candid snapshots of Marilyn Monroe. Eight images are in color and one is black and white. Three of the images show Monroe and husband Arthur Miller at the premiere of Some Like It Hot (UA, 1959). Eight of the nine images were sold together as a lot in a previous Christie's auction.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE Partial Lot 15, "Entertainment Memorabilia," Christie's, New York, Sale number 8609, November 19, 2001
Winning bid:$1,250 - Estimate: $1,000 - $2,000 
Lot 540 MARILYN MONROE DOUGLAS KIRKLAND PHOTOGRAPH
A color photograph of Marilyn Monroe taken by Douglas Kirkland on November 17, 1961, on assignment for Look magazine. Signed by Kirkland and numbered 17/49 at lower right.
20 by 16 inches
Winning bid:$1,920 - Estimate: $600 - $800 
Lot 541 MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
A limited edition silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 85/300 and signed by Greene at lower right.
Winning bid:$750 - Estimate: $600 - $800 
Lot 542 MARILYN MONROE BILL RAY PHOTOGRAPH
A black and white photograph of Marilyn Monroe at the May 19, 1962, birthday celebration of President John F. Kennedy, taken by Bill Ray. The photograph is inscribed at the lower margin “To Kim, With Best Wishes, Bill Ray 1982.” Stamped “Kim Goodwin” on verso.
Winning bid:$640 - Estimate: $1,000 - $2,000 
Samedi 14 novembre 2015 à 17h50 - TF1
Rediffusion: Dimanche 15 novembre 2015 à 03h55
Magazine - 50 mn inside
Présentation: Sandrine Quétier, Nikos Aliagas
Infos: "Une Star, Une Histoire": un sujet consacré à la relation "Marilyn Monroe - Yves Montand: liaison interdite"
voir l'émission >> vidéo dispo sur videos.tf1.fr
Photographie privée de Marilyn Monroe et Arthur Miller en 1957,
à Amagansett, Long Island.
Private photography of Marilyn Monroe and Arthur Miller in 1957,
in Amagansett, Long Island.
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Documents papiers
(Day 2) Lot 1147. Marilyn signs an early contract for the Charlie McCarthy show with a morality clause after nude photo debacle threatened to derail her fledgling career.
Document Signed, “Marilyn Monroe” and additionally, “MM” (ten times), four pages, 8.5 x 11 in. (with two 8.5 x 2 in. slips attached to pages three and four), Los Angeles, October 7, 1952, countersigned “Edgar Bergen,” who also adds his initials, “EB” ten times (each below Monroe’s). The contract concerns Monroe’s radio appearance on The Charlie McCarthy Show, recorded on October 18, 1952. A morality rider, attached to page four, addresses Monroe’s legendary sex appeal, in which she agreed Bergen could cancel the appearance, “… if I conducted or do conduct myself without due regard to public conventions and morals or have done or do anything which will tend to disgrace me in society or bring me into pubic disrepute, contempt, scorn or ridicule, or that will tend to schock [sic], insult or offend the community or public morals or decency or prejudice agency or sponsor or the entertainment industry in general …” This rider was especially important in light of the recent controversy over her nude photographs that had surfaced earlier in the year and threatened to derail her fledgling career. The same rider also evokes the “red scare” sentiment of the time. Not only did Monroe agree not to offend any moral sensibility during the program, she also agreed that her appearance could be terminated in the event she was “… held in contempt by any Congressional committee or other governmental body and any refusal to testify before any such committee or governmental body, whether for legally justifiable reasons or otherwise.” The language refers to the House Un-American Activities Committee (HUAC), which had become infamous after it began investigating Hollywood in 1947. Monroe’s appearance with Charlie McCarthy was an enormous hit. During the program, the pair announced their engagement, much to the consternation of Edgar Bergen who “admitted that losing Charlie would be like having his pocket picked.” McCarthy, for his part, assured listeners that he would allow Ms. Monroe to continue her screen career. “Certainly I’m gonna let her work. I love the girl. I don’t want to interfere with her career—or her income.” Exhibiting file holes at top, stapled at left, very light soiling. In vintage fine condition.
Estimate: $12,000 - $15,000 
(Day 2) Lot 1148. Marilyn Monroe’s personally hand-annotated original shooting 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: $30,000 - $50,000 
(Day 2) Lot 1150. Marilyn Monroe historic signed RCA recording contract from the year of the release of Gentlemen Prefer Blondes. (1953)
Vintage 4-page 8.25 x 11 in. contract signed in blue ink, “Marilyn Monroe on onion skin paper leaf, between Monroe and RCA with mention of Twentieth Century-Fox Film Corporation, dated October 8, 1953. Among Hollywood historians, it’s generally agreed that 1953 marked Marilyn Monroe’s ascent to legend. Though she’d inked a seven-year deal with Twentieth Century-Fox previously, she didn’t achieve super stardom until the 1953 release of Gentlemen Prefer Blondes. That mid-summer release, with its box office acclaim, served as the momentum for her signing this singing recording contract with RCA. There’s no mention in the agreement about Monroe’s compensation except her cut of resultant royalties. Monroe was obliged to record not fewer that “16 sides,” or single tunes on two sides of a record album. Text of the contract makes frequent reference to Twentieth Century-Fox. At the conclusion on page 4, the signatures of the principals appear, “Emanuel Sacks” for RCA, “Joseph Schenck”, Executive Director of Twentieth Century-Fox, and of course, “Marilyn Monroe”. Monroe is assumed to have faithfully fulfilled this contract – to include tunes from her two ensuing films, River of No Return and There’s No Business Like Show Business. Retaining 2-hole punch at upper boarder, white tape at the upper margins, and staple holes in the lower left and in the upper left corners. In vintage fine condition.
Estimate: $8,000 - $10,000 
(Day 2) Lot 1192. Pat Newcomb handwritten letter giving support to Marilyn Monroe during her pending divorce from Arthur Miller. 1-page, Quarto, on “In Flight – American Airlines” letterhead stationery, dated December 31, 1960, written “Personal” at the lower left corner. As Marilyn’s personal friend and publicist, she writes to support Marilyn as her marriage to playwright Arthur Miller was coming to an end. Newcomb pens, in part: “Dear Marilyn,…I hope you will take good care of yourself. I know and understand what you are going through – but you will make it! Just take it ‘nice ‘n easy’. It will all work out – because you want it to and you have the capacity to make it work! Start with the nurse this week and please call me anytime during the night or day that you feel like talking…This week will be a rough one – but it’s worth it and very important for you. Thank you so very very much again for the wonderful ‘lifetime gift.’ I adore it!!! I can only give you one ‘lifetime gift’ – and that’s my friendship – which you know you already have! Love, Pat. See you on the 19th.” At the time this letter was written, Marilyn was on the verge of a nervous breakdown. She had separated from Arthur Miller in October, and their divorce was announced to the press on November 11th. Newcomb’s closing phrase in this letter, “See you on the 19th”, is a direct reference to the divorce proceedings that had already been scheduled. The divorce was finalized on January 24, 1961. Accompanied with original transmittal envelope. In fine condition. Estimate: $800 - $1,200 
(Day 2) Lot 1193. Arthur Miller passionate love letter in which he bears his soul to his new love and future wife, Marilyn Monroe. Miller, Arthur [to Marilyn Monroe]. Incredible Five Page Typed Letter Signed, “Art”, Quarto, five pages, dated May 17, 1956, and written to “Dear Heart; My Own Wife; My Very Own Gramercy 5; Sweetheart:” Miller writes (in part):
“I am enclosing a letter I got today from the first woman I ever knew in my life. My mother. Now maybe you will understand where I learned to write and to feel.
I know I am liable to get very sentimental and maudlin about this, but today is one of the most revelatory days of my life. I could write many pages even a volume, about what this letter brings to my mind. I think that had I died without ever receiving it, I should never have known some unbelievably simple but important things.
You see, Poo, I often try to tell you that you mean things to me beyond your body, beyond your spirit, beyond anything you can know about yourself, and it is hard for another person to understand what she –or he—really signifies to one who lovers her. I will try to tell you a few of the things you mean to me, and which became absolutely clear to me when I got this letter today. (I got it today, Thursday, by the way, because I was in Reno for my passport business, and picked up my mail at the post office.)
First let me say what I feared. They are very conventional people. That doesn’t mean they’re stiff—far from it. But they believe in family virtues, in wives being wives and husbands being husbands. They are not especially scandalized by infidelity, but neither do they forget that the big happiness is family happiness. Above all, they know how to love their children, and truly, if I ever needed anything they would die to get it for me. At the same time, my father could take advantage of me and my brother, if we let him, but he would do that as a father’s privilege; which sounds strange, but when he was a young man it wasn’t until he was twenty five or so that his father let him keep his own paycheck. Everything went into the family pot. It was the European way. So I rebelled in many ways against both of them and for many of the usual reasons, but the time came when I began to write successfully, when once again we were friends. I had established my independence from them; they understood it, and we created the necessary adult distance between ourselves, my parents and I, and yet a friendship of grown people, more or less…
Now I receive this letter. (All the above thoughts came as a result of receiving it.) I sat in the public square outside the post office in Reno reading it and my whole life suddenly seemed so marvelously magical. I had saved it! Darling, I had done the right, the necessary, the gloriously living thing at last! For suddenly I saw many questions answered, and many weights lifting off my heart.
It is not that I would hesitate to marry you if they disapproved. Truly, sweetheart, that was not it. It was that somewhere inside me I wanted their love to flow toward both of us because it would give me strength, and you too. It is not that they are my judges, but the first sources of my identity and my love. I know now that I could enjoy seeing my mother. She becomes a pest after too long with her, but that’s another thing. And it is not her, so much—not her corporeal, real being, but what she represents that I can now hold up instead of trampling on it. It is my own sexuality, do you see? I come to her with you, and to my father, and in effect I say—I am a lover. Look, I say, look at my sweet, beautiful, sexy wife. I can see my father’s pleasure at the sight of you—if only because he loves clothes, having been in that business all his life, and he will go mad seeing how you wear them! And if it will only be possible—I can see us with Bob and Jane and all of us joined with one another in joy. I see blue, clear air for the first time in my life when I think of myself and my wife and my children in the house of my parents…
Every time I had trouble with Mary, the worst threat she thought she could make was to go to my parents and tell them I had been unfaithful…She simply cannot conceive that my mother will accept you and my marriage, with you because you are a sexual being, and therefore I am, and parents are by their nature, in her mind, the punishers of sexuality not its helpers and allies…
Wife, Dear, Dear Woman—I have been thinking crazy thoughts. For instance, a wedding with maybe fifty people. Maybe in Roxbury, maybe somewhere else in a big house. And Bob and Jane there. And just a little bit of ceremony. Not fancy, but maybe my old friend Reverend Melish, a courageous and wonderful fighter for fine causes; or a Rabbi of similar background—I know one. Or maybe just somebody who can marry people. I want to dress up, and I want you dressed up; I want all my past looking on, even back to Moses. I want the kids to see us married, and to feel the seriousness and honorableness of our marriage, so that nothing Mary can say to them will ever make them believe we have sneaked away to do this, or that I have hidden myself and what I wanted to do. And I want this for their sakes as much as for my own pride and my joy; so that they will see their Grandma and Grandpa full of happiness—and crying too, of course. (Isn’t it strange?—I didn’t have my parents to my first marriage, which was in Cleveland. It could have been arranged, but I felt better not to have them there. That time I felt untrue, you see? This time I feel true, and if the world wanted to come I would embrace them all.)
Do you see why I say I am proud of you? You have given me back my soul, Darling. And thank god I knew it always; always and always since the hour we met, I knew there was something in you that I must have or die. And the revolution it implied for me was so much more than uprooting my household, my life; facing my own damning curse for depriving the children of my—as I thought of it then, and so on. The revolution was of another sort. It meant that I must face myself and who and what I am. It meant that I must put down those fearfully protective arms of reticence and blushing and all that stupidity, and put my arms around the one I loved and face the startling, incredible, simply glorious fact, that I am a tender man and not the fierce idiot I have tried—and failed—to become. How could you have known that, Darling? How I bless you that you knew it! I am near tears this minute at the miracle you are to me. How happy I will make you! What beautiful children I will give you! Oh, I will watch over you, and pest you, and worry about you.
I feel something today that marks it, like an anniversary, or more truly, my real day of birth. I have reached a kind of manhood I never really knew before. I tell you dear, I am afraid of nothing in this world. The soul of my talent is coming up in me as it has been these past six months, but now I feel it like bread in my hands, like a taste in my mouth. Because I am touching its source and not turning away from it anymore. Believe in me, Darling—I am certain enough of myself to tell you that. And worry nothing about yourself. You are beyond all danger with me because I love you like life itself. Truly, you are my life now.
Your husband, Art
[in Miller’s hand]
“Some more ----------------
PS…If we got married before you had to leave, I could then come and live openly with you and we could maybe tour around on your free time and have some fun. The problem is the lack of time before you have to leave. I’ll be back from Michigan on the 17th. The kids, by our agreement, have to be back with Mary by the 22nd, in order to have a week’s time—(a little less)—to prepare for camp, shopping, etc. Assuming I have a divorce by June 1 or a few days after—as in now planned—we would either have to do it between June 1 and June 15th; or between June 17th and July 7th…The whole problem is to juggle the time I have with them, and the time you’ll be around to attend the ceremony. Don’t worry about it, though. I’m just warning you, however,--you’ll be the most kissed bride in history when my family is there. I’ll have to fight the bastards off. I’m going to put up a sign, “ONE KISS TO A RELATIVE!” (Don’t worry, there won’t be that many.)
How I love you. My heart aches when I think of you being so tired. But you’ll perk up here right off, dear wife. OH, AM I GOING TO MAKE LOVE TO YOU, BEGINNING WITH THE SOLES OF THE FEET AND GOING DUE NORTH, UNTIL SLU-U-U-SH!—RIGHT INTO GRAMERCY PARK!
The World’s Luckiest Man Since Adam Art”
Arthur Miller was introduced to Marilyn Monroe by Elia Kazan in 1951. After the introduction, they had a brief affair to which Miller admitted to his wife, college sweetheart, Mary Slattery. Miller and Monroe were married on June 29, 1956, only days after he divorced Slattery. In this fascinating and revealing letter, Miller chronicles his deteriorating marriage and divulges deeply personal family issues. In this incredible letter, Miller lays bear issues which mirror some of the central themes his characters wrestled with in his dramas: personal and social responsibility, moral conviction, betrayal and the issues of guilt and hope.
Moderate toning, otherwise vintage very good to fine condition. Provenance: From the estate of Marilyn Monroe’s NYC attendant Mrs. Fanny Harris. With original transmittal envelope of this letter addressed to Mrs. Harris with TLS on Marilyn Monroe Productions letterhead signed by Mrs. Fanny Harris releasing Monroe of any salary claims or demands.
Estimate: $25,000 - $35,000 
(Day 2) Lot 1194: The Misfits autograph book with cast signatures including Marilyn Monroe and others. (United Artists, 1961)
Vintage board and paper bound 40+ page 5.5 x 4 in. young girl’s autograph book. The commercially made book contains the clipped and affixed autographs of cast members of The Misfits. Including Marilyn Monroe, (2) Montgomery Clift, Arthur Miller, Eli Wallach, stuntman Chuck Roberson, (2) John Huston, and 1-unidentified. Interspersed throughout the book are charming youthful entries from schoolmates and teachers. The irregularly clipped signatures by celebrities are in pen, with one of the 2 Montgomery Clift signatures on a page torn from another autograph book and folded in quarters. Exhibiting signs of age and handling. Overall in vintage very good condition.
Estimate: $1,000 - $1,500 
(Day 2) Lot 1202: Marilyn Monroe Something’s Got To Give final-draft script for her uncompleted last film. (TCF, 1962)
Vintage 143-page March 29, 1962 final-draft incomplete (as issued) “planning” script for the uncompleted project from which Marilyn was fired, partly owing to her “dereliction of duty” by leaving production to fly to New York for JFK’s birthday celebration. Bound in studio labeled cover and period brads, printed entirely on green revision paper, and marked with [illegible] cast or crew member’s name. Preface page boldly states “THIS SCRIPT SHOULD BE TREATED AS CONFIDENTIAL AND REMAIN IN THE POSSESSION OF THE PERSON TO WHOM IT HAS BEEN ISSUED.” Minor handling to cover extremities; interior remains in vintage very fine condition.
Estimate: $600 - $800 
Objets Divers
(Day 2) Lot 990. Lucille Ball as “Marilyn Monroe” mink cuffs from I Love Lucy. (DesiLu Prod., 1951-1957)
Vintage original pink mink fur sleeve cuffs worn by Lucille Ball when she dresses up as “Marilyn Monroe” in Season 4: Episode 5, “Ricky’s Movie Offer” of I Love Lucy. The slip-on cuffs are lined with cotton mesh netting and crème-colored cloth. The fur remains full and supple. Highly visible in the glamorous ensemble seen in the episode. In vintage very good to fine condition.
Estimate: $3,000 - $5,000 
(Day 2) Lot 1112. Marilyn Monroe lobby card for her first film appearance Dangerous Years. (TCF, 1948)
Vintage 11 x 14 in. portrait lobby card with the earliest appearance of Marilyn Monroe on any known movie paper. Glowing image of a fresh-faced young Marilyn as a diner waitress. Tiny trace of handling, in vintage fine to very fine condition.
Estimate: $400 - $600 
(Day 2) Lot 1122. Marilyn Monroe vintage original “Golden Dreams” nude calendar earliest sample variant. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample “Golden Dreams” of Marilyn Monroe, being the earliest known variation of the infamous Tom Kelly nude photo sessions. All known subsequent variations of the Tom Kelly/Marilyn nudes list her name with the alternating titles (“Golden Dreams” or “A New Wrinkle”), and only a handful of examples prior to her name addition are known to survive. Virtually unhandled, in vintage very fine condition.
Estimate: $300 - $500 
(Day 2) Lot 1123. Marilyn Monroe vintage original censored calendar artwork variant. (circa 1952)
Vintage 9.75 x 16.5 in. calendar-salesman’s sample artwork interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Artwork is in the style of Earl Moran or Zoe Mozert, but is uncredited here. Just a trace of handling and corner creasing, in vintage very good to fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1124. Marilyn Monroe in revealing halter-top oversize vintage original salesman’s sample pin-up calendar. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample of Marilyn Monroe, being an exceptionally rare variation in revealing halter-bra and open-sided skirt, with printing that illuminates Marilyn’s blonde hair, blue eyes, and crimson lips. Virtually unhandled, in vintage fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1127. Marilyn Monroe lobby card #5 for The Fireball with exceptional early image in revealing sweater. (TCF, 1950)
Vintage 11 x 14 in. lobby card of Marilyn Monroe with Mickey Rooney in their Roller Derby epic. Young fresh Marilyn was asked to provide her own personal wardrobe on some of her earliest films, and this lovely form-fitting sweater makes a few appearances on her exceptional frame at this point in history. Tiny marginal tear, otherwise in vintage fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1130. Marilyn Monroe calendar. (1952)
Vintage original 16 x 34 in. color chromo-litho calendar with complete date-pad depicting an interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Entitled here “The Lure of Lace, Posed by Marilyn Monroe In The Nude, With Lace Overprint”. Just a trace of marginal wear and slight internal creasing, in vintage very good to fine condition.
Estimate: $400 - $600 
(Day 2) Lot 1137. Some Like It Hot Italian one-panel poster. (United Artists, 1959/ ca. 1970)
Italian 39 x 55 in. one-panel poster for the Billy Wilder and Marilyn Monroe comedy. Featuring Monroe and co-stars Jack Lemmon and Tony Curtis. Folded as issued. Overall vivid color in vintage, very good to fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1149. Travilla historic vintage original costume sketch of Marilyn Monroe’s iconic pink satin dress for the “Diamonds are a Girls Best Friend” number in Gentlemen Prefer Blondes. (TCF, 1953)
Vintage 15 x 20 in. pencil, gouache and India ink sketch on double artist’s board of one of the most memorable and timeless gowns in film history, the pink satin strapless evening gown with matching opera gloves and poof derriere bow worn by Marilyn Monroe as “Lorelei” for the “Diamonds are a Girl’s Best Friend” number in Gentlemen Prefer Blondes. William Travilla’s sketch also includes copious jewelry to highlight the “Diamonds” element of the title. Signed by Travilla just below the figure, with his notation at upper right “Marilyn Monroe ‘Gentlemen Prefer Blondes’ ‘Diamonds are a girl’s best friend’ #17”. A long clean diagonal surface-slice which bisected horizontally just below her knees has been archivally filled and retouched making it virtually undetectable, and the restorer also cleaned and enhanced the notations including light airbrushing to blank background, while leaving the sketch itself virtually untouched. One of the most spectacular original artifacts not only from the legacy of Marilyn Monroe, but from the entire artistic span of the silver screen. In vintage very good to fine condition.
Estimate: $20,000 - $30,000 
(Day 2) Lot 1153. Marilyn Monroe screen-used water pitcher from Gentlemen Prefer Blondes. (TCF, 1953)
Vintage “R.Wallace” silver-plate 3-pint water pitcher 8 x 8.5 x 4.5 in., screen-used by Marilyn Monroe and Jane Russell. Prominently handled by the lovely ladies when they entrap Elliott Reid in their cabin and pour water from this pitcher all over his pants in order to get them off him expeditiously. Engraved on side as an original artifact “U.S.N.” with Navy anchor and rope symbol, plus engraved on bottom by Fox properties dept. “32-2-21422 20th-C-Fox”. In vintage screen-used fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1154. Marilyn Monroe 1-sheet poster for How To Marry a Millionaire. (TCF, 1953)
Vintage U.S. 27 x 41 in. poster for one of the very first wide-format Cinemascope films. An overt attempt to liven up the film-going experience against the onslaught of TV. Pleasing artwork of the three “golddiggers” Marilyn Monroe, Lauren Bacall, and Betty Grable. A curious footnote here is that TCF had been grooming Marilyn specifically to replace Grable, who had been their #1 stable star over the prior decade. Japan-paper backed without retouching to folds, consequently in vintage very good condition.
Estimate: $1,500 - $2,000 
(Day 2) Lot 1156. Marilyn Monroe screen-used table from How to Marry a Millionaire. (TCF, 1953)
Vintage metal and acrylic table 29 x 18 in. screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed (with its matching twin, not offered here) as all three girls meet to compare “millionaire date” notes in the powder room of the swanky restaurant where they have their first official dates. A period copy/translation of famous designer Andre Arbus’s late art-deco tables “Paire de Gueridons”. Painted silver over its original gold/bronze color for re-purposing in Young Frankenstein (TCF, 1974) in which it is quite prominently viewed (once again with its now-absent twin) at end of film in Madeline Kahn’s bedroom. Beneath the silver paint is barely visible the property dept.’s “20th-C-Fox-32-1-22278”. In vintage screen-used very good condition.
Estimate: $800 - $1,200 
(Day 2) Lot 1157. Marilyn Monroe screen-used (3) table lamp bases from How to Marry a Millionaire. (TCF, 1953)
Vintage (3) glass with metal fixture 10 x 4.25 in. table-lamp bases, screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed at each table of the swanky restaurant as all three girls have their first official dates, Marilyn with Alex D’Arcy, Betty with Fred Clark, and Lauren with William Powell. Etched in base by the Fox property dept. “20th-C-Fox-32-1-25416” followed variously by “V”, “F,” and “N”. Each retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $400 - $600 
(Day 2) Lot 1170. The Seven Year Itch 3-sheet poster. (TCF, 1955)
Vintage 41 x 78.5 in. U.S. 3-sheet poster. Arguably the best poster for Marilyn Monroe’s most popular film, as it comes closest to a life-size depiction of the iconic subway skirt-blowing scene, one of the most famous in all Hollywood history. Linen-backed with older simple retouching to folds and creases; would benefit greatly from a fresh restoration, though is certainly presentable as is. In vintage good to very good condition.
Estimate: $4,000 - $6,000 
(Day 2) Lot 1175. Marilyn Monroe screen-used Lamp from Richard Sherman’s apartment in The Seven Year Itch. (TCF, 1955)
Vintage carved wood with metal fixture 31 x 7.25 in. table-lamp base, screen-used by Marilyn Monroe and Tom Ewell. Carved as a classical Roman male bust, it is most prominently viewed (with its female counterpart, not offered here) in Tom Ewell “Richard Sherman’s” apartment, which is where nearly the entire course of action between Marilyn and Ewell takes place. Etched in rear of base by the Fox property dept. “20th-C-Fox-8-36588” then later on bottom of base for the 1971 Sotheby’s sale, “TCF 1200”. Retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1176. The Seven Year Itch German A1 poster. (TCF, 1955/ R-1966)
Vintage original 23 x 32 in. German A-1 one-sheet poster for the Marilyn Monroe comedy. Featuring the central image of Monroe done in colorful pop-art style after Andy Warhol. Folded as issued. Exhibiting minor corner bumping and wrinkling from storage. In overall, very good condition.
Estimate: $300 - $500 
(Day 2) Lot 1177. Marilyn Monroe uncommonly scarce vintage original “Topless Cowgirl” pin-up calendar. (1948/1955)
Vintage 8.25 x 12.25 in. 4-page chromo-litho spiral-bound cheesecake pinup calendar of Marilyn Monroe in (3) highly suggestive topless cowgirl poses, plus the familiar Tom Kelly “Golden Dreams” nude pose with lace overlay. The cowgirl poses are variously titled “Southern Exposure” (a rear-view), “Caught Short” (arms wrapped round her chest) and “Coming Out On Top”. An extraordinarily scarce artifact from Marilyn’s naughty history, especially being intact with all four pages (each of which displays three months of 1955). Two spiral loops broken with a trace of wear at perforations, otherwise in vintage fine to very fine condition.
Estimate: $600 - $800 
(Day 2) Lot 1181. Marilyn Monroe Bus Stop 1-sheet poster. (TCF, 1956)
Vintage original U.S. 27 x 41 in. 1-sheet poster. Linen-backed, in vintage very fine condition.
Estimate: $400 - $600 
(Day 2) Lot 1184. Bus Stop French grande 1-sheet poster. (TCF, 1956/R-1980s)
French 47 x 63 in. grande-format poster for the circa 1980s reissue poster for the Marilyn Monroe classic drama. Folded as issued. Minor, nearly undetectable age. Vivid colors. In overall very fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1186. The Prince and the Showgirl vintage original painting of Marilyn Monroe and Laurence Olivier by Francis R. Flint. (Warner Bros., 1957)
Vintage 20 x 30 in. oil or acrylic on canvas painting of Marilyn Monroe joining Laurence Olivier. Executed at the time of the film’s production by Francis Russell Flint, the son of famed illustrator Russell Flint, who is a respected and collected artist in his own right. Acquired from the artist’s estate, and retains his pencil-inscribed title on stretcher-bar verso “Marilyn Monroe and Laurence Olivier in ‘The Sleeping Prince’” (the film’s early working title, hence evidence documenting this painting’s early status). Also shows artist’s London address notations on stretcher bar verso, with framing notes. In vintage very fine condition.
Estimate: $600 - $800 
(Day 2) Lot 1199: Marilyn Monroe in The Misfits approx. 48 minutes of unseen 8mm footage sold with copyright. (UA, 1961)
Original unpublished approx. 48 minutes of color 8mm documentary film footage captured throughout the entire location shoot for Marilyn Monroe’s final [completed] film, The Misfits. Shot by uncredited extra Stanley Killar (with help from an assistant, as Killar appears occasionally on camera interacting with the cast and crew). Killar and his camera were clearly accepted with full access, judging from the intimacy of the hand-held camera with Marilyn, Clark Gable, Montgomery Clift, John Huston, and others. Filming begins in Reno on the casino strip filled with flashing neon signs, and around the “Mapes Hotel and Casino” which was official headquarters for the production while on location. Includes Marilyn first in the legendary cherry dress, truly radiant, then throughout the footage in a few different outfits preparing for and rehearsing scenes like the courthouse (consulting with her coach Paula Strasberg), the rodeo and the tavern; Gable riding horses, practicing roping with a lasso, getting in and out of his beautiful personal Mercedes 300SL Gullwing, rehearsing the drunken tavern scene with Marilyn, and much more, and nearly always with cigarette in holder; real stunt cowboys rehearsing the bull-riding and bulldogging scenes (at obvious great peril) as doubles for Montgomery Clift, who we then see practicing falls as inserts into the filmed stunt action (his nose injury seen in the film was genuine from earlier rodeo rehearsing); and numerous shots of director John Huston and his camera crew at work, and near the end, at play in the Virginia City, Nevada camel races. Also includes occasional shots of Eli Wallach, Thelma Ritter, producer Frank Taylor, Arthur Miller, and other cast and crew. The Misfits is widely considered Marilyn’s finest dramatic acting role, as well as being one of the best for both Clark Gable and Montgomery Clift. Reasonably professional (at least to a certain degree) in nature and shot from start to finish as a sequential “film in production” documentation, with apparent working title On Sets: The Misfits. To the best of our knowledge, this footage has not been previously published or broadcast (apart from its acquisition at auction from Killar’s heirs in 2008), and is offered here with full rights and assignment of copyright to its entire content. The original 8mm film stock has been properly transferred to (2) 7 in. reels in the process of recording its entire contents onto (2) different types of DVDs, while the original metal reels and cardboard Bell & Howell boxes are retained for posterity. Film stock itself is not inspected off the reels for condition, but no problems are apparent from viewing the DVD transfer. An extraordinary and absolutely unique previously missing puzzle piece in the brief, convoluted history of Marilyn Monroe on and off screen. In vintage fine condition.
Estimate: $20,000 - $30,000 
(Day 2) Lot 1206: (2) books from the personal property of Marilyn Monroe. (1947, 1957)
Vintage (2) 8vo cloth-bound self-help/ psychology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled Hypnotism Today by L. M. Le Cron and J. Bordeaux, and The Tower and the Abyss by Erich Kahler, both retain original dust-wrappers, and one of which exhibits a pencil notation presumed in Marilyn’s hand, “The conditioning has in some cases created a new, independent quantity—The person, who proceeds to condition himself.” Dust-wrappers chipped and stained, otherwise books themselves are in vintage fine condition.
Estimate: $800 - $1,200 
(Day 2) Lot 1207: (2) books from the personal property of Marilyn Monroe including Joseph Campbell’s The Masks of God: Primitive Mythology. (1948, 1959)
Vintage (2) 8vo cloth-bound self-help/ mythology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled The Open Self by Charles Morris and The Masks of God: Primitive Mythology by Joseph Campbell, the latter retaining original dust-wrapper and exhibiting a pencil notation presumed in Marilyn’s hand, “x: After all, what are you [I] here for but pleasure. But is it pleasure. When the actress is kissed and feels the warm breath of her lover on her neck—can you feel it? No. It is not pleasure you’ll find here but it’s as if it were. We are [pretending?] it is our pleasure. The real pleasure you can only take at home, when tonight [illegible] in your bed.” Dust-wrapper shows only a trace of marginal handling, otherwise books themselves are in vintage very good to fine condition.
Estimate: $800 - $1,200 
(Day 2): Lot 1208: Marilyn Monroe extensive vintage original (40+) press file including obituaries. (1961-1965)
Vintage (40+) news clippings and full sections encompassing the last year of Marilyn Monroe’s troubled life, her obituaries, plus revelations and theories to follow. A treasure trove of information contemporaneous to the time of her questionable death, including a magazine article blaming (without naming) JFK. In vintage aged, archived condition.
Estimate: $200 - $300 
(Day 2) Lot 1209: Marilyn Monroe (8) half-sheet posters including Dangerous Years, Bus Stop, River of No Return and others. (Various, 1948-1960)
Vintage (8) U.S. 22 x 28 in. half-sheet posters for films featuring Marilyn Monroe throughout the entire span of her career, including Dangerous Years, Home Town Story, Let’s Make it Legal, Monkey Business, Clash by Night, River of No Return, Bus Stop, and Let’s Make Love. Each is card-stock paper-backed to correct folds, marginal losses, or other wear, though none shows extensive repair much beyond marginal and fold retouching. Overall in vintage very good condition.
Estimate: $800 - $1,200 
(Day 2) Lot 1210: Marilyn Japanese “B2” poster. (TCF, 1963)
Japanese 20 x 28 in. “B2” poster for the post-mortem documentary by Fox to capitalize on the Marilyn cult sweeping the world after her untimely death. Highlighted by the climactic moment in the “Diamonds are a Girl’s Best Friend” number. Unfolded, in vintage very fine condition.
Estimate: $200 - $300 
(Day 2) Lot 1211: Andy Warhol signed “Marilyn” Castelli Gallery invitation. (1981)
Vintage original invitation to the Castelli Gallery’s Andy Warhol print retrospective (1963-1981). The 12 x 12 in. colorful invitation with Warhol’s iconic original “Marilyn” silkscreen print (1967). On the occasion of her death in 1962, Warhol chose the Gene Korman publicity photo of Monroe as “Rose Loomis” from the film Niagara as the basis for his instantly recognizable Pop Art treatment of the Hollywood sex symbol. Featuring printed red text on hot pink background in the lower left and right corner reading, “Andy Warhol” and “Castelli Graphics”. The legendary artist has signed boldly, in black pen, “Andy Warhol” vertically, to the left of the image. Show information, gallery address, November 21 through December 22, 1981 date and original print info: “Illustrated: Marilyn, 1967, silkscreen, 36 x 36 inches, edition of 250, published by Factory Additions” on the verso. With very minor signs of age. In vintage, very fine condition.
Estimate: $10,000 - $12,000 
(Day 2) Lot 1212: 20th Century Fox “Marilyn Monroe” CineSimplex Model D Camera #6.
The CineSimplex Model D was truly built as a better choice than the heavily-blimped Mitchell cameras at other studios. It was extremely light. Indeed, the camera was so revolutionary that the Academy of Motion Picture Arts and Sciences awarded it a Class One Technical Academy Award. The camera cost $140,000 to build in 1940, a time when a Mitchell could be purchased for $15,000! Of the 17 CineSimplex Model D cameras designed and built for 20th Century Fox, only six still exist today. This #6 camera is the only example with its complete set of Bausch & Lomb Baltar lenses (25, 30, 35, 40, 50, 75 and 100mm) built specifically for this camera, matched to be optically perfect. Of particular importance, this #6 camera photographed more Marilyn Monroe films than any other, including, How To Marry A Millionaire, Let’s Make Love, Bus Stop, River of No Return, Monkey Business, and her last film Something’s Got To Give. 20th Century Fox assigned cameras to specific Directors of Photography. This #6 camera was assigned to Charles G. Clarke, ASC by the studio. Mr. Clarke’s camera was the very first used to photograph in CinemaScope. All tests for the new process were done with #6 and it worked with Leon Shamroy’s camera on The Robe. Comes with Mitchell head and wooden tripod with spreader, 20th Century Fox wooden lens box, (1) Bausch & Lomb CinemaScope lens and wooden case full of camera accessories with “Hugh Crawford Camera” (Clarke’s assistant’s) name painted on the lid. Comes with a letter of provenance from Roy H. Wagner, ASC. From the collection of Debbie Reynolds.
Estimate: $30,000 - $50,000 
(Day 2) Lot 1220: All About Eve screen-used prop “Sarah Siddons” award.
(TCF, 1950) Vintage original gold-lacquered cast acrylic 5.5 x 5.5 in. sculpture of 18th Century actress Sarah Siddons (based upon Sir Joshua Reynolds 1784 portrait of her as “The Tragic Muse”) which is a key integral plot element in the Bette Davis, Anne Baxter and Marilyn Monroe classic film of backstage imbroglios. On 3.5 x 5.75 in. black-painted wooden base. Bette Davis as “Margo Channing” portrays the consummate stage actress and object of idolatry and envy in newcomer Anne Baxter as “Eve Harrington”, who manipulates Channing in order to usurp her crown as queen of the theatre, with the “Sarah Siddons” award being the badge of that distinction. This is one of the most recognized and revered “award” props ever featured in any film, not only from its importance in the story, but even more so from the continually growing fame and respect this extraordinary film garners. One of only three Sarah Siddons Award props visible during the ceremony, the statues are not only the object of specific attention through the opening sequence but one is then visible prominently throughout the film displayed on Margo Channing’s mantle. Years of storage have left the figure bereft only of its hands, with just a few tiny paint chips and bumps to figure and base, which is also missing the name placard. A truly fantastic, indelible icon from the golden-age of Hollywood. In vintage very good condition.
Estimate price: $4,000 - $6,000 
Le tableau de chasse de Marilyn Monroe
Publié le 05/04/2012,
en ligne sur puretrend.com
Profession : Actrice et chanteuse.
Pourquoi elle plaît ? Marilyn c'est Marilyn. Un mythe, une icône, l'idole des hommes, qui n'arrivaient jamais à lui résister. Sa bouche charnue et ses yeux bleu azur en ont séduit plus d'un. Ses formes généreuses et sa poitrine pulpeuse sont aujourd'hui encore objet de fantasme. Mais ce qui plaisait aussi chez Marilyn c'était son image de jeune femme avec une âme en perdition. Fragile, bouleversée, rongée par la détresse, Monroe aurait pu être sauvée par bon nombre d'hommes... Tous devenus fous face au caractère presque bipolaire de l'actrice.
Son style de proie ? Les hommes de pouvoir, les acteurs célèbres comme Paul Newman ou Marlon Brando. Mais aussi les écrivains, comme son troisième époux Arthur Miller ou les sportifs version italien : Joe Dimaggio. Marilyn Monroe aimait plaire aux hommes et voulait toujours être sensuelle, sexy et désirable à leurs yeux. Née sans connaitre son père, elle a longtemps chercher a retrouver celui-ci au travers des hommes qu'elle séduisait.
Ses conquêtes ? Beaucoup. Trop nombreuses, avec également bon nombres de rumeurs, on en a ici sélectionné 29. Et c'est déjà pas mal ! Des hommes comme Yves Montand ou Eddie Fisher en passant par des femmes, des belles. On pense surtout à Brigitte Bardot ou Joan Crawford.
Avec qui elle aurait pu roucouler ? Si le mythe Marilyn Monroe ne s'était pas terminé trop tôt, on aurait bien imaginé celle-ci flirter avec des hommes plus jeunes. Une sorte de cougar version icône glamour. L'actrice aurait dû avoir 86 ans cette année, elle aurait donc pu flirter avec un beau gosse d'une cinquantaine d'années, connu pour son image de Don Juan. George Clooney m'entends-tu ?
Le tableau de chasse de Marilyn Monroe :
Paul Newman / Robert Wagner / Peter Lawford
Porfirio Rubirosa / Dean Martin / Mickey Rooney
Jeanne Carmen / Eddie Fisher / Jim Dougherty
De 1941 à 1946, Marilyn Monroe est mariée à James Dougherty, surnommé "James le veinard" suite à son mariage avec cette dernière. Mais Marilyn ayant beaucoup souffert de l'abandon plus jeune ne supporta pas quand son époux parti s'engager dans la Marine. Elle expliqua plus tard que "son mariage n'était ni heureux ni malheureux" et cette première séparation officielle ne fut qu'une simple formalité.
Darryl F Zanuck (1946) / George Jessel (1948) / Joseph Schenck (1948)
Milton Berle (1948) / Natasha Lytess (1949) / Tony Curtis (1949-1950)
Milton Greene (1949) / Paul Sanders (1950) / Elia Kazan (1951)
Joe DiMaggio (1952-1954) / Robert Mitchum (1954) / Joan Crawford (1954)
Joe DiMaggio est le deuxième mari de Marilyn Monroe. Le couple se rencontre en 1953 et ils se marièrent en janvier 1954. Ce joueur de baseball professionnel a divorcer pour se mettre avec Marilyn... Un mariage qui finalement ne durera que 9 mois. Malgré un divorce à l'amiable, le tribunal accuse officiellement Monroe de "cruauté mentale".
Arthur Miller / Marlon Brando (1955-1962) / Yul Brynner (1957)
De 1955 à 1961 Marilyn Monroe est avec son troisième et dernier mari: Arthur Miller. Une relation tumultueuse née alors, entre amour et infidélités. Finalement, l'écrivain dit les pires horreurs au sujet de sa femme: "C'est un monstre narcissique et méchant qui a pris mon énergie et m'a vidé de mon talent".
Franck Sinatra (1959-1961) / Yves Montand (1960)
En 1960 Marilyn Monroe flirte avec Yves Montand, pendant le tournage du film "Le Milliardaire". Simone Signoret la compagne de celui-ci déclara "Si Marilyn est amoureuse de mon mari, c'est la preuve qu'elle a bon goût.". Montand se lassa finalement des sentiments de Monroe à son égard et retourna avec Signoret.
John F Kennedy (1961-1962) / Robert F Kennedy (1962)
De 1961 à 1962, Marilyn Monroe créa le scandale en sortant avec le Président des USA : John F. Kennedy. Une relation très complexe qui selon certaines personnes est même à l'origine de la mort de l'actrice.
Vacations with Marilyn, Dinner with Picasso
At 99, George Braziller surveys his publishing empire in a new memoir
Published on August, 6, 2015
By Laura Marsh
online newrepublic.com
The publishing industry loves nothing better than writing about itself. The last year or two has seen a clutch of books about great publishing impresarios and their lives, whether biography, fiction, or memoir. Boris Kachka's wonderfully juicy Hothouse revealed the inner workings of Farrar, Straus, and Giroux (and the sexual antics of its editors). Jonathan Galassi, the current publisher of FSG, has written a novel about an editor at an independent publishing house, titled Muse. The power agent Sterling Lord memorialized his successes in the not-bashfully named memoir, Lord of Publishing; Robert Calasso of the Italian house Adelphi Editions offers more measured reflections on the industry in his forthcoming The Art of the Publisher. Of all these, none is as powerful as a new memoir by George Braziller, who in 1955 founded an eponymous small press that did very big things. At 99 years old, his memoir Encounters: A Life in Publishing, is the first book he's written.
It begins with what is, for any editor, a striking admission: “I felt that I wasn’t a good writer, and writing came sporadically and painfully,” he writes. And perhaps more striking still: “I looked at every how-to book on writing.” The resulting memoir is written in a purposely plain style: Sentences feel as though misleading adjectives and clauses have been sheared from them, in an effort to keep memories in focus. It is, in other words, a self-taught style—which is especially fitting for a publisher, whose skill is to see the originality in others, and not to cultivate it in oneself. The book is structured as a series of vignettes (he took the idea from Walt Whitman’s Specimen Days) that trace his life from his family background to the wider family of writers he published. Taken together, they are a testament to his skill at recognizing great writers.
For a small publishing house, George Braziller, Inc. is notable for having published the first novel of Orhan Pamuk, who went on to win the Nobel Prize for literature, as well as books by Einstein and Jean-Paul Sartre. In the early years of his press, he went to Paris, and came back to America with works by Andre Malraux, Claude Simon, and Nathalie Sarraute, pioneers of the nouveau roman. Among the poets on his list is former U.S. Poet Laureate Charles Simic, whose poem “Elementary Cosmogony” is a veiled tribute to his publisher: “the invisible / came out for a walk / on a certain evening / casting the shadow of a man.”
(photo: A young George Braziller - Courtesy of George Braziller)
Unlike Galassi and Kachka’s books, Braziller’s encounters with the great writers and artists are not described as glamorous, but rather as awkward and humbling. In one scene, Braziller recalls meeting Marc Chagall at his studio in Paris, hoping to win Chagall’s approval to publish an English edition of Daphnis and Chloe in America. Awed and slightly intimidated, Braziller gets sidetracked into a long conversation with Chagall about poetry. As he’s leaving he realizes he hasn’t managed to seal the deal. Chagall saves him: "Suddenly, he took my arm, looked at me and said, 'You have my permission.'" Of meeting Picasso for supper, Braziller writes simply, “I was flabbergasted.”
You can see in Braziller’s recollections of growing up in a tenement in Brownsville his affinity with some of the writers he published, particularly Charles Simic. His sense of humor recalls Simic’s prose poem “We were so poor I had to take the place of the cheese in the mousetrap.” Braziller was born in 1916; his parents had fled Russia in 1900, and, after his father’s early death, his mother sold used clothes and shoes from a cart to support their family of eight. To make extra money, the young George realized that he could exploit the fact that their building had only one toilet on each floor: “I knocked on the doors of the best tippers to alert them that they should take occupancy.” During the Great Depression, he made money working as a model for luxury camel coats, which involved being driven around New England in a black Buick by a shifty (and rakish) salesman named Nat Tepper.
(photo: George Braziller and his wife Marsha pose for a picture with Picasso. Courtesy of George Braziller)
The Great Depression also sparked Braziller’s first successful business venture. In the 1930s he found himself working for his brother in law, who owned a remaindered books warehouse. He saw an escape from daily drudgery in a brilliant scheme: Inspired by the Left Book Club in the United Kingdom, he founded a book club that would select and distribute affordable books to a working class audience. By the time he signed up to fight in World War II, the Book Find Club had 20,000 members; when he returned in 1946, membership had grown to over 50,000 under his wife’s leadership, and was commercially successful. By the McCarthy era, around five years later, it had become considered politically suspect for promoting “thoughtful, ‘liberal’, ‘left-wing’ books.” Thousands of club members, Braziller writes, "called into our office or arrived in person, begging that we destroy their membership cards, hysterical with fear that they would be accused of being communists." The Brazillers later sold the club to Time-Life, which inexplicably wound the whole enterprise down within two years.
The Book Find Club led to the Braziller family’s friendship with Arthur Miller and Marilyn Monroe. Braziller and his wife Marsha had selected Miller’s 1945 novel Focus as one of their monthly selections, and had started to spend vacations together on Long Island, a relationship that continued long after Death of a Salesman made Miller famous. One of the high points of the book is when Braziller recounts an evening the two families shared, “dancing and singing and it got quite late”:
Finally, we all went to bed. While in bed, I turned to Marsha and said, "Gee, I kissed Marilyn." "Big deal," she said. "Arthur kissed me."
Braziller’s memoir revisits moments like this in short, almost sparse entries. It’s impossible to appreciate their richness without also sensing the loneliness out of which they emerge. He started writing this book only when he retired, four years ago, at age 95 and began to see the world the world as newly bare. “A number of friends I had once partied and traveled with,” he realized, “were now deceased.”
At 95 too, he read War and Peace for the first time, reread Whitman, and thought about what it meant to be a writer. Ultimately it was a few lines by the literary critic Clifton Fadiman that helped him recover his past and his faith in literature. Fadiman’s comments “inspired me with such a joyous feeling that I started to write,” Braziller writes. “Perhaps I make starting sound easy.”
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