22/04/2023, JULIEN'S "Hollywood: Classic & Contemporary" Lots Partie 2
Enchères "Hollywood: Classic & Contemporary"
22 & 23 avril 2023
- 120 lots avec Marilyn Monroe -
- Partie 2 : Effets Personnels
> 22/04/2023, JULIEN'S "Hollywood: Classic & Contemporary": Vente et Catalogue
Factures, Reçus & Chèques
Invoices, Receipts & Checks
Lot 96: MARILYN MONROE: SIGNED 1952 SCHWAB'S PHARMACY CHECK
A Marilyn Monroe signed counter check, written entirely in her own hand, dated June 3, 1952, made payable to Schwab's Pharmacy in the amount of $25.00.
6.5 x 3 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $1,000 - $2,000 - (25 bids) - Sold Price: $6,500 
Lot 103: MARILYN MONROE: HANDWRITTEN AND SIGNED CHECK
A check that was completely handwritten and signed in red ink by Marilyn Monroe. The check is dated May 23, 1953 and the amount of $50.41 is made payable to Hayan's Westside Market. Monroe lists her phone number as CR62211 and her address as 882 Doheny, Los Angeles. 6 x 3 inches.
Estimate: $2,000 - $3,000 - (19 bids) - Sold Price: $6,500 
Lot 104: MARILYN MONROE: SIGNED HALLOWEEN 1953 DOHENY PHARMACY CHECK
A counter check written to Doheny Pharmacy for $34.89 signed in blue ink by Marilyn Monroe and dated October 31, 1953 (Halloween).
Accompanied by original Julien's lot tag. 8.5 x 3.75 inches
Estimate: $1,000 - $2,000 - (24 bids) - Sold Price: $7,800 
Lot 166: MARILYN MONROE: ARTHUR MILLER DEPARTMENT STORE RECEIPTS
A group of sales receipts that were charged to the account of playwright Arthur Miller during the years (1956-1961) he was married to Marilyn Monroe. The receipts are for department stores Bloomingdale's and Saks Fifth Avenue and list Miller's address as 444 East 57th St., New York, which is the address of the apartment he shared with the late screen icon. 6.25 x 7.5 inches
Estimate: $100 - $200 - (6 bids) - Sold Price: $195
Lot 167: MARILYN MONROE: JANE MILLER "BLACK DRESS" JAX FASHION BOUTIQUE RECEIPT
A sales receipt for Jax fashion boutique made out to Marilyn Monroe Miller. The receipt is dated 12/28 and shows the charge of $3.50 for alterations of a black dress for Jane Miller, Monroe's stepdaughter with husband Arthur Miller. 4 x 6 inches
Estimate: $200 - $300 - (6 bids) - Sold Price: $325 
Lot 168: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE GIFT CERTIFICATE RECEIPT
A receipt for a gift certificate for Jax clothing boutique that was purchased by Marilyn Monroe. The name "Marilyn Monroe Miller" is written in blue ink in the receipt's Sold To line and is dated December 24. The purchase was a $75 gift certificate for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. Jax was an American-based fashion boutique popular with stylish celebrities. Monroe is known to have worn several articles of Jax clothing. 4 x 6 inches
Estimate: $200 - $300 - (6 bids) - Sold Price: $260 
Lot 169: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE PETTICOAT RECEIPTS
A pair of receipts for Jax clothing boutique for purchases made by Marilyn Monroe. The receipts are dated December 28. The purchase was for a petticoat for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. 4 x 6 inches
Estimate: $100 - $200 - (10 bids) - Sold Price: $520
Lot 170: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE ALTERATION RECEIPT
A receipt for Jax clothing boutique that was purchased by Marilyn Monroe. The name "Marilyn Monroe" is written in blue ink in the receipt's Sold To line and is dated December 28. The purchase was for alterations on a black dress Monroe had purchased for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. 4 x 6 inches
Estimate: $100 - $200 - (8 bids) - Sold Price: $390 
Lot 171: MARILYN MONROE: ARTHUR MILLER'S DAUGHTER'S DOCTOR BILLS
A group of typewritten doctor bills, circa December 1959-April 1960, made payable to Arthur Miller, during the time he was married to Marilyn Monroe. The bills were for Jane Miller, the playwright's daughter from a previous marriage, who sought care from Dr. Edith Taglicht Schmidt, a New York City-based psychologist. Each bill features the address of the apartment Miller and Monroe lived in during much of their marriage and each is marked paid in the lower right corner. 7.25 x 8.25 inches
Estimate: $200 - $300 - (8 bids) - Sold Price: $130 
Correspondances, Lettres
Correspondences, Letters
Lot 112: MARILYN MONROE: BEN HECHT "MY STORY" CORRESPONDENCE
Six documents referencing an agreement, and the dissolution thereof, between Marilyn Monroe and Ben Hecht regarding his authoring her life story.
Included is a facsimile copy of the originally signed agreement between Monroe and Hecht, dated March 16, 1954, in which the terms of the agreement are exceedingly clear. Three unsigned carbon copies of this same agreement are included. Also included is a facsimile copy of a two-page letter sent to Hecht by Marilyn's attorney Lloyd Wright, Jr., in which he demands that Hecht "surrender to us on behalf of our client, Miss Marilyn Monroe, all, and I repeat all, copies of any material concerning Miss Marilyn Monroe written by Mr. Ben Hecht, pursuant to his contract of March 16, 1954 with Marilyn Monroe, or otherwise."
Hecht partnered with Monroe to write her life story, which was to be published only in the Ladies' Home Journal magazine. Ultimately, for reasons unknown, Hecht sold the text without Marilyn's knowledge or approval, and the story was published in London's Empire News from May through August of 1954.
11 x 8.5 inches - PROVENANCE Lot 685, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (10 bids) - Sold Price: $910 
Lot 128: MARILYN MONROE: NOTE FROM BUDDY ADLER
A small notecard to Marilyn Monroe from producer Buddy Adler. The notecard reads, "Darling, It's wonderful having you home again. Best wishes, Buddy Adler." This card is likely in reference to Monroe's return to Hollywood in 1956 after having spent the entirety of 1955 in New York City.
Adler was the producer of Bus Stop (Marilyn Monroe Productions, 1956) the first of two films from Monroe's personal production company, Marilyn Monroe Productions. He won Academy Awards and a Golden Globe award. Other films he produced include From Here to Eternity (Columbia Pictures, 1953) and Love Is a Many-Splendored Thing (20th Century Fox, 1955). 4 x 3 inches
Estimate: $600 - $800 - (8 bids) - Sold Price: $585
Lot 134: MARILYN MONROE: LETTER FROM EMMELINE SNIVELY
A one-page typed letter to Marilyn Monroe from Emmeline Snively, dated July 31, 1958. Snively was the owner and manager of the Bluebook Modeling Agency. Marilyn, still Norma Jean at the time, signed with the agency in 1945, and Snively is believed to have assisted her in transforming into Marilyn Monroe. The letter reads in part, "We have been following your steady progress over the years, and our students at Blue Book Models regard your success and constant development as an inspiration." Included with this letter is a torn portion of the original mailing envelope with Snively's typed mailing address. Pencil scribbles are visible on the envelope fragment, possibly written in Marilyn's own hand. It is interesting to note that Snively attempted to stay in contact with Marilyn throughout the star's career. In fact, she was one of a very few guests from Marilyn's inner circle who was invited to her funeral.
8.25 x 9 inches - PROVENANCE Lot 682, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (12 bids) - Sold Price: $1,143 
Lot 141: MARILYN MONROE: NORMAN ROSTEN LETTER
A one-page handwritten letter to Marilyn Monroe from poet and friend Norman Rosten, apparently while he was vacationing in the Arctic Circle. The letter reads in part, "This bar of chocolate and paperclip were both bought in this Eskimo village north of the Arctic Circle! Who says the world isn't round? It's too round!"
The actual chocolate bar wrapper is affixed to the letter using the aforementioned paperclip. Also included is the original envelope, postmarked January 27, 1959, addressed to Mr. and Mrs. Arthur Miller at 444 East 57th Street, New York, NY.
10 x 6.5 inches - PROVENANCE Lot 674, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (9 bids) - Sold Price: $780 
Lot 145: Marilyn Monroe: Signed “Let’s Make Love” Wilfrid Hyde-White Gifted Original Artwork
An original artwork given to Wilfrid Hyde-White on the set of Let’s Make Love (20th Century Fox, 1960) and signed by the film’s cast, crew, and others including Marilyn Monroe, Yves Montand, Arthur Miller, George Cukor, Tony Randall, Allan “Whitey” Snyder, Marjorie Plecher, Paula Strasberg, David Bretherton, David Burns, Kenneth Kendall, and Ray Foster. The ink on paper artwork was created by the art department for the film and given to Hyde-White as a going-away present. The image shows Hyde-White waiting at a cab stand. A billboard in the background reads “Let’s Make Love/ Cukor Co.” and titled at the top “Happy Show/ From the Kids.” Housed in a frame; not examined outside of frame. Accompanied by the original Julien’s Auctions lot tag from 2016.
PROVENANCE From the Collection of Alex Hyde-White / 15 x 15 x .75 inches.
Estimate: $20,000 - $30,000 
Lot 154: MARILYN MONROE: CHRISTMAS CARD FROM HALF-SISTER BERNIECE MIRACLE
An undated Christmas card to Marilyn Monroe from her half-sister Berniece Miracle. The card reads, "Whatever makes Christmas day merry, and the season a happy one, too. Whatever you want in the new year, that's what this wishes for you." The card is signed "Berniece" in her own handwriting.
6 x 4 inches - PROVENANCE Lot 663, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019..
Estimate: $300 - $500 - (12 bids) - Sold Price: $780 
Lot 155: MARILYN MONROE: CHRISTMAS CARD FROM MARIE DI MAGGIO
An undated Christmas card to Marilyn Monroe from Marie DiMaggio, the sister of Marilyn's second husband, baseball great Joe DiMaggio. The card reads, "A Merry Christmas and a Happy New Year," with Marie's name printed at the bottom of the card's message. No personal greeting from Marie is included.
7 x 4 inches - PROVENANCE Lot 662, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (5 bids) - Sold Price: $260 
Lot 156: MARILYN MONROE: CORRESPONDENCE FROM "SUNDAY EXPRESS"
A typed letter dated June 10, 1960 from the Sunday Express requesting Marilyn Monroe's participation in a series of articles on the theme "Why I Believe in God." The letter reads in part, "We are asking people who have won distinction in many different fields to contribute to the series, and I should like to include you among them" and, "...the core of the article will be the writer's own view of what God is and why one believes in His existence." The letter is signed by Gordon Robinson, Features Editor. Also included is a copy of a letter sent in response to the request dated August 3, 1960 reading in part, "Miss Monroe wishes me to thank you for your interest, but, because of her heavy work schedule, she must regretfully decline."
The response letter was sent by Rupert Allan, who handled Marilyn's publicity and press inquiries for several years.
11 x 8.5 inches - PROVENANCE Lot 655, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (7 bids) - Sold Price: $390 
Lot 189: MARILYN MONROE: CORRESPONDENCE FROM JOHN MOOR
A grouping of correspondence to Marilyn Monroe from fashion and interior designer John Moore, including a Western Union telegram dated May 31, 1961, which reads, "Wish you were here to celebrate it. Love you." This message is likely in reference to Marilyn's birthday, which was on June 1, the day after the telegram is dated.
Also included is an undated, hand-signed Christmas card and a note that likely accompanied a bouquet of flowers with a message that reads, "Will you be my Valentine? John Moore." Moore was a close friend of Monroe's. He worked for Talmack, and designed many of Marilyn's clothes, including the gown she wore during the private wedding ceremony in which she married Arthur Miller. He also assisted her in redecorating the apartment she and Miller shared on East 57th Street in New York City. 6.5 x 4.5 (largest)
Estimate: $300 - $500 - (4 bids) - Sold Price: $260 
Lot 202: MARILYN MONROE: SECRETARIAL CORRESPONDENCE
Three letters from Hedda Rosten to Cherie Redmond, both women being employed by Marilyn Monroe to provide secretarial and administrative support to the star. Rosten, the wife of famed poet and close personal friend of Marilyn's Norman Rosten, resided on the east coast, while Redmond lived on the west coast.
The February 24 letter references Rosten's W4 form, postage expenses and a salary increase. The second letter, dated "May 22 or 23," references mailing a photo and petty cash. The third and final letter, dated July 10, references two bills that were evidently enclosed, along with a line reading "They say all business comes to a standstill in N.Y. in the summer." As Redmond began working for Marilyn in 1962, these letters reference business conducted during the final year of her life and provide an interesting look into the levels and types of administrative support Monroe needed.
10.5 x 8.25 inches (largest) - PROVENANCE Lot 656, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $200 - $300 - (9 bids) - Sold Price: $455 
Scripts, Scénarios
Scripts, Scenarios
Lot 127: MARILYN MONROE: PAULA STRASBERG ANNOTATED "BUS STOP" SCRIPT
A bound final draft of the screenplay for Bus Stop (Twentieth Century Fox, 1956) that personally belonged to Marilyn Monroe's acting coach Paula Strasberg and is annotated by her throughout. The blue cover is printed with the words "Bus Stop / February 27, 1956" in the center, "652" in the upper left, "Final" in the upper right, "147" in the lower right, "Property of Twentieth Century-Fox Film Corporation" at the bottom, and has the initials "PMS" (for Paula Miller Strasberg) written in ink near the top. The script is 123 pages long and features many blue revision pages. Strasberg circled every mention of Monroe's character's name Cherie in red ink and wrote her notes throughout in both red ink and pencil and in some cases crossed out portions of Cherie's dialogue.
The release of Bus Stop in 1956 marked a turning point in Monroe's career. It was the first film she starred in after beginning to study with Lee Strasberg at the Actors Studio in 1955. Strasberg's wife Paula became Monroe's personal acting coach accompanying her to the set during filming, sometimes to the consternation of the film's director. Monroe's performance as the ambitious but somewhat untalented "chanteuse" from the Ozarks was met with much acclaim and helped elevate her reputation as an actress to be taken seriously within the film industry.
9.5 x 11.5 x 1 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (23 bids) - Sold Price: $3,900 
Lot 143: MARILYN MONROE: PERSONALLY OWNED EARLY DRAFT OF "LET'S MAKE LOVE" SCREENPLAY
An early draft of the Let's Make Love (Twentieth Century Fox, 1960) screenplay that belonged to Marilyn Monroe. The light blue cover is printed with the film's original title, The Billionaire, is dated November 13, 1959, and is marked with "Property of Twentieth Century-Fox Film Corporation / Return to Stenographic Department." The top left side of the cover is stamped "822" and the right top has the words "Complete A.M." (possibly the initials of Arthur Miller, Monroe's husband at the time) written and underlined in pencil. The script is 158 typewritten yellow pages and there has some light annotations made in pencil, including portions of a scene crossed out. A single loose page of white paper is typewritten with the words "154 (old script)" at the top and features an exchange of dialogue between the characters Jean and Amanda.
Let's Make Love was Monroe's second to last completed film and her final musical movie. She portrayed actress Amanda Dell who is rehearsing an off-Broadway revue that spoofs a headline-making billionaire named Jean-Marc Clement (Yves Montand), who, by accident, becomes cast as himself and falls in love with Monroe's character. The film earned more than $6 million at the box office upon release.
9 x 11.5 x 1 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (22 bids) - Sold Price: $3,900 
Fans
Lot 136: MARILYN MONROE: GET WELL CARDS FROM FANS
Two greeting cards sent to Marilyn from fans with get well wishes. One card's handwritten inscription reads, "To a wonderful actress. My best wishes to you. Palma Urso, 1958." The other is simply signed, "Judy Bawber."
8 x 3.5 inches (largest) - PROVENANCE Lot 653, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (4 bids) - Sold Price: $260 
Lot 142: MARILYN MONROE: FAN LETTER AND TYPED RESPONSE
A two-page handwritten letter from a fan by the name of Pete Monti, dated June 1, 1959, in which Monti expresses his love and admiration for Marilyn Monroe.
Passages from the letter read, "every year I send you a gift with my address on the present for you to answer, and tell me if you liked it, but you never answered it. I think the reason for that was because you never received the gifts," "...I have been a fan of yours since 1950, I even have every book that ever came out with your picture in it," "there is only one thing I would like you to do for me...is to win the Academy Award for best actress of the year, to show them in Hollywood that your (sic) a real good actress. Everybody tries to imitate you, but they can't...there is only one Marilyn Monroe, and that's you." The letter is signed, "Yours Truly, Pete Monti." A photo of Monti in formal attire, together with a female companion, is stapled to the letter.
Included also is a typed response to this letter, dated June 19, 1959, reading, "Miss Monroe has asked me to thank you most kindly for your birthday remembrance and good wishes. She appreciates your thoughtfulness very much." The letter is signed "Yours sincerely, Secretary to Marilyn Monroe." The letter was likely prepared by May Reis, Monroe's secretary for several years.
11 x 8.5 inches.
Estimate: $300 - $500 - (9 bids) - Sold Price: $520 
Lot 144: MARILYN MONROE: SIGNED AND INSCRIBED PHOTO
A framed black and white photograph of Marilyn Monroe leaning against a tree. Inscribed "Dear Linda, I wish you luck with your acting. Love and kisses, Marilyn Monroe Miller." This inscription was written for child actor Linda Bennett.
Accompanied by the original Julien's Auctions lot card and tag.
19 x 23 x 2 inches - PROVENANCE Lot 902, Property From the Life and Career of Marilyn Monroe, Julien’s Auctions, Beverly Hills, November 17, 2016
Estimate: $7,000 - $9,000 - (13 bids) - Sold Price: $9,100
Lot 190: MARILYN MONROE: FAN LETTER FROM EMILY HEDDA LISS
An undated handwritten fan letter to Marilyn Monroe from a young child, signed Emily Hedda Liss. The letterhead reads "Mrs. Joseph Liss, 445 East 68th Street, New York, New York," indicating Emily is likely the young daughter of television writer and editor Joseph Liss.
The letter reads: "Dear Marilyn, How are you? Daddy and mommy saw you. I wish I could of. I am writing you to see if you rember (sic) me. First you saw me playing on the grass at Chaire's house and then at Patty's. I went to East Hampton and I got a new bike. It is beautiful." 7 x 6.25 inches
Estimate: $300 - $500 - (4 bids) - Sold Price: $195 
Effets personnels qui lui appartenaient
Personnlay owned which belonged to her
Lot 110: MARILYN MONROE: PERSONALLY OWNED CLIPPING ABOUT HER PERFORMANCE IN KOREA
A clipping from the Honolulu Advertiser dated February 19, 1954 reporting on Marilyn Monroe's visit to Korea and her performance for the U.S. troops that was personally owned by the actress. The clipping features a black and white photo of Monroe with a caption that reads "Marilyn Monroe in Korea / Soldiers riot to see her." The headline of the accompanying article reads "GI Trampled In Crush To See Marilyn Monroe."
Monroe visited Korea in February 1954 with husband Joe DiMaggio a few weeks after their marriage. Monroe was invite to perform before the troops and and the trip caused an interruption in the couple's honeymoon.
4 x 12.5 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (8 bids) - Sold Price: $455 
Lot 111: MARILYN MONROE: PERSONALLY OWNED "MARILYN MONROE VISITS OSAKA ARMY HOSPITAL" NEWSLETTER
An issue of The Host, an Osaka Army Hospital newsletter, that belonged to Marilyn Monroe. The Volume V, number 2 issue is dated March 6, 1954 and the cover features a photograph of Monroe next to the headline "Marilyn Monroe visits Osaka Army Hospital." Inside is a two-page spread of photos showing Monroe performing and having lunch with military patients at the hospital along with a short article about her visit.
Monroe took time out from her honeymoon with husband Joe DiMaggio in early 1954 to entertain U.S. military troops in Korea and subsequently stopped by the Osaka Army Hospital in Japan.
8.5 x 11 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (11 bids) - Sold Price: $780 
Lot 130: MARILYN MONROE: PERSONALLY OWNED "THE PRINCE AND THE SHOWGIRL" PAPERBACK
A paperback edition of the screenplay for The Prince and the Showgirl (Signet Books, 1957) by Terence Rattigan that was personally owned by Marilyn Monroe. The paperback features eight pages of photographs from the film.
Monroe portrayed Elsie Marina, the showgirl of the title, opposite the prince played by Laurence Olivier, who also directed the film adaptation of Rattigan's 1953 play. The filming was stressful for Monroe and her working relationship with Oliver was incredibly strained and was depicted in the movie My Week With Marilyn (The Weinstein Company, 2011).
4.25 x 7.25 x .25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (12 bids) - Sold Price: $780 
Lot 131: MARILYN MONROE: PERSONALLY OWNED RADIO CITY MUSIC HALL PROGRAM
An issue of Showplace, the Radio City Music Hall program, dated June 13, 1957 that personally belonged to Marilyn Monroe. The program features photos of Monroe and Laurence Olivier and shows that the film being shown was The Prince and the Showgirl (Warner Bros., 1957), which costarred the two actors.
Monroe portrayed Elsie Marina, the showgirl of the title, opposite the prince played by Olivier, who also directed the film adaptation of Terrence Rattigan's 1953 play. The filming was stressful for Monroe and her working relationship with Oliver was incredibly strained and was depicted in the movie My Week With Marilyn (The Weinstein Company, 2011).
12 x 9.5 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (11 bids) - Sold Price: $780 
Lot 138: MARILYN MONROE: PERSONALLY OWNED "SOME LIKE IT HOT" CALENDAR
A release date calendar for Some Like It Hot (United Artists, 1959) was personally owned by Marilyn Monroe. The cover page, featuring a photo of Marilyn in costume playing a ukulele reads: "The New Marilyn Monroe Calendar, Very Hot For March," an allusion to the famous 1951 nude calendar which helped establish Monroe as the premiere sex symbol of her era. The calendar features four pages, each with a photo of Monroe and announcing March 18 as the comedy's release date. The back page features the film's poster.
Monroe won a Golden Globe as Best Actress in a Motion Picture - Comedy or Musical for her performance as Sugar Kane and the film was named the greatest comedy film of all time in a poll by American Film Institute in 2000.
8.5 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (11 bids) - Sold Price: $910 
Lot 153: MARILYN MONROE: PERSONALLY OWNED "SIGHT AND SOUND" MAGAZINE
An Autumn 1960 issue of Sight and Sound magazine with a photo of Marilyn Monroe in a scene from the film Let's Make Love (Twentieth Century Fox, 1960) on the cover that was personally owned by Monroe. Accompanied by a cover of the same magazine but with the price in English currency in the upper left corner. Both feature reviews of Let's Make Love.
9 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (10 bids) - Sold Price: $650 
Lot 182: MARILYN MONROE: PERSONALLY OWNED "SPOT NEWS PHOTOGRAPHY" BOOK
A copy of Spot News Photography (Verlan Books, 1960) by Barney Stein that belonged to Marilyn Monroe. Stein was a New York Post staff photographer who mailed the book to Monroe and inscribed the first page with a handwritten note that reads in part: Dear Miss Monroe / On page 95 you'll find something interesting to you / Hope you get well real soon. / All the best to you.
Stein had photographed Monroe as she departed Lennox Hill Hospital in New York following a brief illness. He had notified two men working across the street from the hospital about her departure and they yelled to her as she entered her car and held up a handmade sign that read "Marilyn, We love you! From mike and Nick." Monroe looked up, waved, and blew them a kiss.
5 x 8 x .25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (5 bids) - Sold Price: $325 
Lot 187: MARILYN MONROE: PERSONALLY OWNED "THE HOLLYWOOD REPORTER" CLIPPING
A front page from the March 30, 1961 issue of The Hollywood Reporter that belonged to Marilyn Monroe. The top of the page is printed with the name and address of Arthur P. Jacobs, who was Monroe's press agent and had presumably sent the issue to his client. The lower right features an item outlined in red pencil about the reissue of Monroe's film River of No Return (Twentieth Century Fox, 1954) and the possibility of her starring in the comedy Goodbye Charlie, which was eventually made with Debbie Reynolds two years after Monroe's death.
9.25 x 12.25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (4 bids) - Sold Price: $260 
Lot 188: MARILYN MONROE: PERSONALLY OWNED "HOW MARILYN SAVED (ROBERT MITCHUM'S) LIFE" CLIPPING
A clipped article from the May 1961 issue of Movie Life magazine titled "Bob Mitchum Tells How Marilyn Saved My Life!" In the article, actor Robert Mitchum recounts a story that took place when he filmed River of No Return (Twentieth Century Fox, 1954) opposite Monroe. Also featured within the clipping is an update on Monroe's health at the time and a story of how Mitchum first met Monroe during the 1940s while she was still married to her first husband Jim Dougherty.
9 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (8 bids) - Sold Price: $455 
Lot 197: MARILYN MONROE: MAKEUP PENCIL
A Glorene of Hollywood dark brown make-up pencil that was personally owned by Marilyn Monroe.
6 inches - PROVENANCE Partial lot 832, "Julien's Summer Sale 2009" (previously "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005).
Estimate: $1,000 - $2,000 - (23 bids) - Sold Price: $6,500
Lot 198: Marilyn Monroe: Sparkly Brooch
A silver-tone metal brooch with crystal drops, each terminating in a prong set pear-shaped rhinestone, bar closure featuring rhinestone rondelle. The maker’s mark on verso reads, “Eisenberg/ Original.” 2.5 x 3 inches
PROVENANCE Lot 239, “Property from the Estate of Lee Strasberg, November 18, 2016,” Beverly Hills
Estimate: $5,000 - $7,000 
Lot 199: MARILYN MONROE: PERSONALLY OWNED PORCELAIN VASE
A white porcelain vase with gold-tone gilt detail that personally belonged to Marilyn Monroe. The vase features two curved handles with gold-tone paint that's lightly worn and approximately three inches of gold-tone etching around the top neck. There's no maker's mark present.
Please be aware there is a small chip at the top rim.
5 x 10.25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (23 bids) - Sold Price: $3,900 
Lot 200: MARILYN MONROE: PERSONALLY OWNED RED NEEDLEPOINT CUSHION COVER
A needlepoint cushion cover of a red floral pattern on a black background that belonged to Marilyn Monroe. The cover is housed in an unassociated shadowbox frame.
Accompanied by the original Julien's Auctions lot card and tag.
19 x 23 x 2 inches - PROVENANCE Lot 563, “Property From the Life and Career of Marilyn Monroe,” Julien’s Auctions, Beverly Hills, November 17, 2016
Estimate: $700 - $900 - (12 bids) - Sold Price: $1,170 
Lot 201: MARILYN MONROE: HELENA DRIVE BATHROOM AND KITCHEN TILE PLAQUE
A wooden plaque that was custom-made with surplus tile Marilyn Monroe personally chose for the kitchen and master bathroom of her final home located at 12305 5th Helena Drive in Los Angeles. The blue, green, yellow, and white patterned tiles were handpicked by Monroe to be installed in her home and are the last of the batch that remained following her death in August 1962. The plaque was custom made in the 1980s by request of the daughter of the late Dr. and Mrs. Gilbert Nunez, who purchased the home in 1963.
Accompanied by Letter of Authenticity. 17 x 10 x 1 inches
Estimate: $800 - $1,200 - (21 bids) - Sold Price: $4,550 
Divers Documents Papiers
Various Papers Documents
Lot 137: MARILYN MONROE: ARTHUR MILLER'S SON'S STUDENT EVALUATION
A typewritten student evaluation for Robert "Bobby" Miller, son of Arthur Miller, that is dated May 1, 1958, during Miller's marriage to Marilyn Monroe. Bobby was in the 10-year-old group at Little Red School House in New York City. The document is labeled "Evaluation of Student's Progress" and while most of his teacher's comments are favorable, she also notes "He seems always to be on a high pitch of tension, and is having difficulty in settling, which leads to brief times of just not trying to do anything, and then spurts of trying. With reassurance from the adults in his life he will gain the security he needs to relax."
Also included are mimeographed pages of the April and May 1960 issues of the Oak Hall News-Roundup, the newsletter of the school Bobby later attended.
8.5 x 11 inches
Estimate: $100 - $200 - (4 bids) - Sold Price: $130 
Lot 191: MARILYN MONROE: SIGNED JOHN F. KENNEDY BIRTHDAY PROGRAM
A program for the May 19, 1962 event "New York's Birthday Salute to President Kennedy" that has been signed in ink by Marilyn Monroe and other celebrities including Harry Belafonte, Maria Callas, Shirley MacLaine, Henry Fonda, Peggy Lee, Jack Benny, Jimmy Durante, and others, many of whom were performers that night. The program has been matted and framed with the all-star lineup for the event on the far left, the center is the program with a crease down the center from the fold. On the left side are red, white, and blue blocks on which most of the celebrities have signed their names. One the right side is a photograph of President Kennedy with Monroe's signature beneath his face. On the far right is ephemera related to a previous sale of the program. Mounted on the back of the frame is a clipping of Liz Smith's column from 1998 that referenced the event and on the far left is a page with a list of the chairmen, committee members, and patrons, while on the far right is a page with members of the chorus and names of the production crew.
The star-studded birthday celebration for President Kennedy at Madison Square Garden, held 10 days before his actual birthday, remains one of the most discussed events in his and Monroe's career. The event was sponsored by the Democratic Committees and Citizens for Kennedy as a fundraiser to erase debt incurred during the 1960 presidential election. Monroe famously called in sick to filming Something's Got To Give at 20th Century Fox studios in Los Angeles to fly to New York in serenade the president with a sultry rendition of "Happy Birthday, Mister President" while wearing a sheer, skin-tight Jean-Louis gown that she'd been sewn-into just before the event.
26 x 14.25 x 1 inches (frame)
Estimate: $10,000 - $20,000 - (27 bids) - Sold Price: $88,900 
Lot 203: MARILYN MONROE: STRASBERG-OWNED MONROE DOCUMENTARY MAGAZINE COVER
A front page of trade publication Variety dated October 4, 1962 that was owned by the Strasberg family. An article in the center of the page discusses the numerous documentary projects that were rushed into development to capitalize on the death of Marilyn Monroe the previous August. This article reads in part: "Documentary producer David J. Wolper is joining the race to market pix about Marilyn Monroe, planning an 80-min. theatrical film documentary, "Marilyn."
9 x 12.25 inches
Estimate: $100 - $200 - (2 bids) - Sold Price: $76,50 
Lot 204: MARILYN MONROE: MOTHER-RELATED ATTORNEY CORRESPONDENCE
A two page copy of a typewritten letter dated November 7, 1963 sent to Aaron Frosch, Marilyn Monroe's attorney and executor of her will, from Inez Melson, Monroe's business manager, concerning the care of Gladys Baker Eley, Monroe's mother.
The letter reads in part: "I must confess that I am deeply concerned about the fact that no funds have been available with which to take care of Mrs. Eley's needs. The Sanitarium has been most cooperative and gracious with respect to carrying the account since the last payment made to them was for the month of February."
Eley suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely consumed by taxes and debts. Following Monroe's death, Melson oversaw financial care for Eley who later died in a retirement home in Florida in 1984.
8.5 X 11 inches
Estimate: $200 - $300 - (9 bids) - Sold Price: $455 
Lot 205: MARILYN MONROE: HOLLYWOOD REPORTER GLADYS BAKER ELEY CLIPPING
A page from May 25, 1965 issue of The Hollywood Reporter that features a story about Marilyn Monroe's mother. In her "Broadway Ballyhoo" column, Radie Harris writes "When Marilyn Monroe's will, still being probated, is settled, there will be nothing left for the Lee Strasbergs or any of the other beneficiaries. However, Marilyn's lawyer, Aaron Frosch, of the law firm of Weissberger & Frosch, is seeing to it that her institutionalized mother will be taken care of for the rest of her life."
Mrs. Gladys Baker Eley, Marilyn's mother, suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely swallowed up by taxes and debts. Eley died in a retirement home in Florida in 1984.
9.25 x 12.25 inches
Estimate: $100 - $200 - (6 bids) - Sold Price: $195 
Lot 206: MARILYN MONROE: LOS ANGELES TIMES GLADYS BAKER ELEY STORY AND LETTER
A group of items related to Mrs. Gladys Baker Eley, Marilyn Monroe's mother, including an article from the June 25, 1965 edition of the Los Angeles Times, a typewritten letter from the author of the story on Los Angeles Times letterhead, and a published letter from a reader in response to the article.
The article was published under the headline "Hard-Hearted Hollywood / Marilyn's Mother Ignored" and features quotes from Mrs. Inez Melson, Monroe's business manager, regarding how none of Monroe's close friends had offered to help pay for Eley's care but several of Monroe's fans had offered to send money for her support. The Times writer sent the clipping and a letter to Melson to confirm she'd seen it.
Eley suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely swallowed up by taxes and debts. Eley died in a retirement home in Florida in 1984.
9 x 11.5 inches
Estimate: $200 - $300 - (5 bids) - Sold Price: $260 
Autre
Other
Lot 114: Marilyn Monroe: “River Of No Return” “I’M Gonna File My Claim” Record Award
An in-house record award presented to Simon House Music to commemorate the sale of more than 50,000 copies of the RCA Victor record release of “I’m Gonna File My Claim” as performed by Marilyn Monroe. Monroe performed the song in her film River of No return (20th Century Fox, 1954). The award is housed behind glass in a gold-tone frame.
PROVENANCE From the Archives of Marilyn Monroe’s Personal Property / 17.75 x 23.5 x 1.5 inches
Estimate: $7,000 - $9,000 
Lot 118: Marilyn Monroe: “There’s No Business Like Show Business” Swimsuit Costume
A four-piece ensemble custom-made for Marilyn Monroe to wear in There’s No Business Like Show Business (Twentieth Century Fox, 1954). The costume, which is not seen in the final cut of the film, consists of a bathing suit made of black silk with ‘applied’ black polka dots, spaghetti straps ending in two large bows, attached front rounded ‘stomach flap,’ back zip-up closure, separate self-belt, lined with support boning and nude-colored netting, in fragile condition now with areas of evident repair work; a coordinating large wrap, white cotton with the same ‘applied’ black polka dots as suit, trimmed in a wide panel of rose-colored cotton on one end and light blue cotton on the other; and a bathing cap with a petal-like hem adorned with white sequins and silver-colored bugle beads, label reads ‘1-25-4-4691/ A729-29/ M. Monroe.’ The costume was custom-made for Monroe to wear in her portrayal of Vicky Parker and designed by Academy Award-winning costumier William Travilla, this outfit is quite similar to others the star wears throughout the film, though it is not seen in the final cut; however, it is evident it was made for the same production due to its style and construction.
Sir Elton John donated this costume to a charity auction in 1990 prior to it being sold by Christie’s the following year.
PROVENANCE Lot 104, Christies (South Kensington), auction titled Pop, Sale 4259, April 25, 1991.
Estimate: $10,000 - $20,000 
Lot 550: WILLEM DAFOE: SUPER BOWL COMMERCIAL-WORN "THE SEVEN YEAR ITCH" MARILYN MONROE STYLE DRESS
A Willem Dafoe worn dress styled after Marilyn Monroe's iconic film The Seven Year Itch (20th Century Fox, 1955) dress.
The halter-style dress is composed of a white polyester, with gradient pleats from the bust to the back-of-neck closure. Then from the waist to hips the dress is fitted with box pleats, going into an open fan pleated skirt that goes down to mid-calf. Their is a sash that tie in the back, sewn into the under-bust of the dress to nip it in slightly. This 2016 pattern design does not have the voluptuous curves of Marilyn Monroe's Travilla dress, but a boxier cut. Please note: There is wear to the garment, pleats in the skirt of the dress have lost their shape and definition, and there is underarm discoloration.
Dafoe wore the gown in a 2016 Snickers brand Super Bowl commercial, in which he plays a hungry version of Marilyn Monroe on the set of The Seven Year Itch filming the subway grate scene. William Travilla designed the original white halter dress with sunburst pleated skirt that Monroe wore.
Includes two original lot cards and one lot tag.
Estimate: $1,000 - $2,000 - (11 bids) - Sold Price: $1,300 
© All images are copyright and protected by their respective owners, assignees or others.
17/12/2022, JULIEN'S "Icons and Idols: Hollywood" Lots Partie 1
Enchères "Icons and Idols: Hollywood"
17 décembre 2022
- 201 lots avec Marilyn Monroe -
- Partie 1 : Photographies & Documents papiers
> 17/12/2022, JULIEN'S "Icons and Idols: Hollywood": Vente
Photographies
Photographs
Lot 255: MARILYN MONROE: VINTAGE PHOTOGRAPH BY ANDRE DE DIENES
A framed and matted silver gelatin black and white photograph of Marilyn Monroe, taken in 1945 and hand printed circa 1960 by Andre de Dienes.
The photo itself is hand-stamped on the verso. This includes a Certificate of Authenticity, a print of the 2007 "From the Estate of Andre de Dienes" Julien's Auctions lot description and photo, and a printed biography and photo of de Dienes on the back of the frame.
Monroe met de Dienes in 1945 while pursuing a modeling career under the name Norma Jean Baker, for the Blue Book Modeling Agency. de Dienes would photograph Monroe many times between 1945 and 1953. 27.25 x 1.25 x 33 inches
PROVENANCE Lot 147, "From the Estate of Andre de Dienes," Julien's Auctions, Beverly Hills, June 16, 2007
Estimate: $4,000 - $6,000 / Sold: $ -
Lot 256: MARILYN MONROE: VINTAGE PHOTOGRAPH BY ANDRE DE DIENES
A framed and matted silver gelatin black and white photograph of Marilyn Monroe, taken in 1946 and hand printed circa 1960 by Andre de Dienes
The photo itself is hand-stamped on the verso. This includes a Certificate of Authenticity, a print of the 2007 "From the Estate of Andre de Dienes" Julien's Auctions lot description and photo, and a printed biography and photo of de Dienes on the back of the frame.
Monroe met de Dienes in 1945 while pursuing a modeling career under her the name Norma Jean Baker, for the Blue Book Modeling Agency. de Dienes would photograph Monroe many times between 1945 and 1953. 27.25 x 1.25 x 33 inches
PROVENANCE Lot 145, "From the estate of Andre de Dienes," Julien's Auctions, Beverly Hills, June 16, 2007
Estimate: $4,000 - $6,000 / Sold: $ -
Lot 257: MARILYN MONROE: ORIGINAL LIMITED-EDITION ANDRE DE DIENES PHOTO PRINT
An original black and white photograph gelatin print of Marilyn Monroe taken by Andre de Dienes in 1946. Stamped on the verso by Dienes circa 1950 and numbered 14/14 in the top left corner.
Accompanied by a Certificate of Authenticity from the Andre de Dienes Archive. / 13 x 10.75 inches
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 262: MARILYN MONROE: ORIGINAL ANDRE DE DIENES PHOTO PRINT
An original black and white photograph gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Stamped on the verso by Dienes circa 1965.
Accompanied by a Certificate of Authenticity from the Andre de Dienes Archive. 20 x 16 inches
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 286: MARILYN MONROE: ORIGINAL ANDRE DE DIENES PHOTO PRINT
An original black and white photograph gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Stamped on the verso by Dienes circa 1955.
Accompanied by a Certificate of Authenticity from the Andre de Dienes Archive. 13.75 x 11 inches
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 291: MARILYN MONROE: BERNARD OF HOLLYWOOD "SEVEN YEAR ITCH" SUBWAY PHOTO
A 1990s-era print with a matte finish, on double weight paper, depicting Marilyn Monroe on the set of the film The Seven Year Itch (20th Century Fox, 1955). Marilyn is wearing the famous white dress and standing over a subway grate while the air blows up her skirt. Text in the lower right corner reads "Bernard / of / Hollywood," verso with black ink Estate credit stamp, signed in black ballpoint ink "Susan Bernard," executor of her father's estate. This is an alternate angle of one of the most famous images in Marilyn's iconography. 11 x 14 inches
PROVENANCE Previously from the Bernard of Hollywood Archives
Estimate: $1,000 - $2,000 / Sold: $ -
Lot 296: MARILYN MONROE: "BUS STOP" VINTAGE PUBLICITY PHOTOGRAPH
A vintage black and white publicity photograph of Marilyn Monroe taken by Milton Greene. The photograph shows Monroe in her role as Cherie in the film Bus Stop (20th Century, 1956). Notations in pencil on verso. 8 x 10 inches
PROVENANCE Lot 981, "Hollywood Legends 2015," Julien's Auctions, Los Angeles, June 26, 2015
Estimate: $700 - $900 / Sold: $ -
Lot 297: MARILYN MONROE: "BUS STOP" IMAGES
A group of seven vintage studio images of Marilyn Monroe from the film Bus Stop (20th Century, 1956). Includes three color publicity photographs stamped "Theatre Poster Exchange" on verso and four black and white studio images from the film, including one taken by Milton Greene. 8.5 x 10 inches
PROVENANCE Lot 882, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $500 - $700 / Sold: $ -
Lot 298: MARILYN MONROE: "BUS STOP" NEGATIVES AND COPYRIGHT
A group of five vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and co-star Don Murray on set during filming in a bedroom. Murray has been quoted as saying that Monroe was nude under the sheets because she felt that was what her character would do. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien's can accept no liability in relation to any matters arriving as a result of any imperfection in copyright given. Each, 1.5 x 1.5 inches
PROVENANCE Lot 884, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 299: MARILYN MONROE: "BUS STOP" VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage black and white photograph taken on the set of the film Bus Stop (20th Century Fox, 1956). 8 x 10 inches
PROVENANCE Lot 782, "From the Lost Archive of Marilyn Monroe," Julien's Auctions, Beverly Hills, December 5, 2014
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 303: MARILYN MONROE: "THE PRINCE AND THE SHOWGIRL" VINTAGE MILTON GREEN PHOTOS
Two black and white photographs of Marilyn Monroe with her husband, Arthur Miller. 14 x 11 inches (largest)
Estimate: $100 - $200 / Sold: $ - 
Lot 306: MARILYN MONROE: "THE PRINCE AND THE SHOWGIRL" VINTAGE MILTON GREEN PHOTOS
A group of five vintage black and white contact sheet prints of Marilyn Monroe, Laurence Olivier, Arthur Miller, Vivien Leigh, and others taken by Milton Greene circa 1956 during the preparation for and filming of The Prince and the Showgirl (Warner Bros., 1957). 6 x 4.5 inches
PROVENANCE Lot 913, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $500 - $700 / Sold: $ - 
Lot 320: MARILYN MONROE: DUPLICATE OF BILLY WILDER CONTACT SHEET NEGATIVE
A duplicate of a negative of a contact sheet depicting 12 images of Marilyn Monroe wearing a white fur stole as she stands next to director Billy Wilder, circa 1957. The original photos were taken by famed photographer Richard Avedon and the lower right corner shows a copy of his inscription, which reads "for Billy Wilder from Dick Avedon / 67." 4 x 5 inches
Estimate: $4,000 - $6,000 / Sold: $ -
Lot 361: MARILYN MONROE: "SOME LIKE IT HOT" FILM PRODUCTION PHOTOS
Two black and white photographs of Marilyn Monroe on the film set of Some Like it Hot (United Artists, 1959). 11 x 14 inches (each)
Estimate: $100 - $200 / Sold: $ -
Lot 366: MARILYN MONROE: COLOR SLIDES
A group of 11 slides of Marilyn Monroe and husband Arthur Miller, from May 13, 1959, at the Italian Consulate on Park Avenue in New York City, where she attended a ceremony to receive the David di Donatello Award, the equivalent of the Academy Award, for her work in The Prince and the Showgirl (Warner Bros., 1957).
Stack, 2 x 2 x 1 inches
PROVENANCE Lot 742, "From the Estate of Frieda Hull," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $700 - $900 / Sold: $ -
Lot 443: MARILYN MONROE: BERT STERN SIGNED "THE LAST SITTING" PHOTO
A framed limited-edition color photograph of Marilyn Monroe from the "Last Sitting" photoshoot in 1962, signed in silver marker by photographer Bert Stern, and numbered 160/250. Framed, 28 x 26.5 inches; sight, 19 x 18.5 inches.
Estimate: $600 - $800 / Sold: $ -
Lot 452: MARILYN MONROE: IMAGE NEGATIVE WITH COPYRIGHT
Two David Conover black and white negatives and a color transparency of Marilyn Monroe numbered negative 18. Together with a black and white print copy of this picture and a composition pose reference sketch on a glassine envelope.
PROVENANCE Lot 737, "Hollywood Legends," Julien's Auctions, Los Angeles, June 26, 2010.
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 453: MARILYN MONROE: IMAGE NEGATIVE WITH COPYRIGHT
A David Conover color negative of Marilyn Monroe numbered negative 24. The image shows Monroe in a red sweater smiling into the camera. Together with a Kodachrome slide and a color print copy of this picture.
PROVENANCE Lot 740, "Hollywood Legends," Julien's Auctions, Los Angeles, June 26, 2010.
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 454: MARILYN MONROE: IMAGE NEGATIVE WITH COPYRIGHT
A David Conover color negative of Marilyn Monroe numbered negative 17. The image shows Monroe in a red sweater with white suspenders. Together with a printed color copy of this picture.
PROVENANCE Lot 736, "Hollywood Legends," Julien's Auctions, Los Angeles, June 26, 2010.
Estimate: $2,000 - $3,000 / Sold: $ -
Documents de famille
Family Documents
Lot 346: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope addressed to Mrs. Inez C. Melson, Marilyn Monroe's business manager from Rockhaven Sanitarium in Verdugo City, California, where Mrs. Gladys Baker Eley, Marilyn's mother, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. The envelope is dated September 25, 1958. 7.5 x 4 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 379: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter written by Patricia Traviss to Inez Melson concerning the mother of Marilyn Monroe.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Melson, Marilyn's business manager, with updates on Mrs. Eley to share with Marilyn. This one-page letter, dated August 15, 1959, is typewritten on Rockland Sanitarium letterhead and concerns a letter Mrs. Eley had written to Mrs. Miracle, presumed to be Marilyn's half-sister Berniece Miracle. Traviss also mentions that Mrs. Eley is "still going to church every Sunday and appears well and as happy as she can be." 6.25 x 3.5 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 381: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter written by Patricia Traviss to Inez Melson concerning the mother of Marilyn Monroe.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Melson, Marilyn's business manager, with updates on Mrs. Eley to share with Marilyn. This one-page letter, dated November 22, 1959, is typewritten on Rockland Sanitarium letterhead and concerns two letters that had been sent to Mrs. Eley and that Traviss felt it was not advisable to share them with her. 6.25 x 3.5 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 398: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A handwritten letter written by Patricia Traviss to "Mrs. Melson," Marilyn Monroe's business manager.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Inez Melson, Marilyn's business manager, with updates on Mrs. Eley to share with Marilyn. This one-page letter, dated January 3, 1961, is handwritten on Traviss' personal stationary and thanks her for a personal monetary gift. 6.25 x 3.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 399: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter sent to Marilyn Monroe's mother from the Board of Directors of the Third Church of Christ, Science, Glendale.
The letter is addressed to Mrs. Gladys Pearl Eley, 2713 Honolulu Avenue, Verdugo City, California, which is the location of Rockhaven Sanitarium, where she was institutionalized in 1953 for schizophrenia. Marilyn paid for her care there.
The letter is dated January 12, 1961. It reads: "Thank you for your very loving letter. We are always happy to have you here and it is a joy to see you come.
Our dear Leader says in First Church of Christ, Scientist, and Miscellany on Page 203, 'A deep sincerity is sure of success, for God takes care of it.'"
It's signed in blue ink by a clerk named Isabella W. Charde. 5.5 x 8.75 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 400: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope addressed to Mrs. Gladys Pearl Eley, Marilyn Monroe's mother, at the address of Rockhaven Sanitarium in Verdugo City, California, where Mrs. Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. The return address is the location of the Christian Science Church, a religion followed by Mrs. Eley. The envelope is postmarked January 12, 1961. 6.5 x 3.75 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 403: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter sent to Marilyn Monroe's mother from the Board of Directors of the Third Church of Christ, Science, Glendale.
The letter is addressed to Mrs. Gladys Pearl Eley, 2713 Honolulu Avenue, Verdugo City, California, which is the location of Rockhaven Sanitarium, where she was institutionalized in 1953 for schizophrenia. Marilyn paid for her care there.
The letter is dated March 27, 1961. It reads: "Thank you for your loving notes expressing your gratitude. We are always happy to see you at our services and are sure we all are one in our gratitude for Christian Science and all it does for us and the world." It's signed in blue ink by a clerk named Isabella W. Charde. 5.5 x 8.75 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 404: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope addressed to Mrs. Gladys Pearl Eley, Marilyn Monroe's mother, at the address of Rockhaven Sanitarium in Verdugo City, California, where Mrs. Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. The return address is the location of the Christian Science Church, a religion followed by Mrs. Eley. The envelope is postmarked March 27, 1961. 6.5 x 3.75 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 405: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope addressed to Mrs. Inez C. Melson, Marilyn Monroe's business manager from Rockhaven Sanitarium in Verdugo City, California, where Mrs. Gladys Baker Eley, Marilyn's mother, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. The envelope is postmarked March 30, 1961.
9 x 4.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 414: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter written by Patricia Traviss to Inez Melson concerning the mother of Marilyn Monroe.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Melson, Marilyn's business manager, with updates on Mrs. Eley to share with Marilyn. This four-page letter, dated May 20, 1961, is typewritten on two pages of Rockland Sanitarium letterhead and concerns the "ups and downs" of Mrs. Eley's mental health. 6.25 x 3.5 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 418: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A typewritten letter written by Patricia Traviss to Inez Melson concerning the mother of Marilyn Monroe.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Melson, Marilyn's business manager, with updates on Mrs. Eley to share with Marilyn. This one-page letter, dated December 6, 1961, is typewritten on Rockland Sanitarium letterhead and concerns two pairs of shoes that had been purchased for Mrs. Eley.
6.25 x 3.5 inches / PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ - 
Lot 421: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A handwritten letter written by Patricia Traviss to "Mrs. Santa Claus" concerning the mother of Marilyn Monroe.
Traviss managed Rockhaven Sanitarium in Verdugo City, California, where Marilyn's mother, Gladys Baker Eley, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. Traviss would frequently write to Inez Melson, Marilyn's business manager and presumably the "Mrs. Santa Claus," with updates on Mrs. Eley to share with Marilyn. This two-page letter, dated December 30, 1961, is handwritten on Traviss' personal stationary and thanks her for a personal monetary gift. She then describes how happy Mrs. Eley was to receive a sewing machine as a Christmas gift. 6.25 x 3.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ - 
Lot 422: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope hand-addressed in black ink to Mrs. Inez C. Melson, Marilyn Monroe's business manager from the address of Rockhaven Sanitarium in Verdugo City, California, where Mrs. Gladys Baker Eley, Marilyn's mother, who suffered from schizophrenia, was institutionalized in 1953. Marilyn paid for her care there. The envelope is postmarked December 31, 1961. 6.5 x 3.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ 
Lot 423: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope hand-addressed in blue ink from Marilyn Monroe's mother to the United States Government Employment Bureau. The back of the envelope features the words "From / Mrs. Gladys Pearl Baker-Ely / 2713 Honolu Ave. / Verdugo City / Cal." This is the address of Rockhaven Sanitarium , where she was institutionalized in 1953 due to schizophrenia. Marilyn paid for her care there. The front of the envelope reads " United States Government Employment Bureau / Portland, Ore. / c/o United States Post Office / Postal athorities (sic)/ USA." The envelope has two stamps on the front but isn't postmarked. 6.5 x 3.75 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ 
Lot 424: MARILYN MONROE: MOTHER'S HANDWRITTEN LETTER
A three-page letter handwritten in pencil by Marilyn Monroe's mother to United States Government Employ, Portlant (sic), Ore.
The return address on the letter reads: Mrs. Gladys Pearl Eley, 2713 Honolulu Avenue, Verdugo City, Cal., which is the location of Rockhaven Sanitarium, where she was institutionalized in 1953 for schizophrenia. Marilyn paid for her care there. In the letter, Mrs. Eley writes about her past employment in 1945 and the concern she had, as a follower of Christian Science, at being asked to work with medicine. 6.25 x 9.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005.
Estimate: $800 - $1,200 / Sold: $ 
Lot 437: MARILYN MONROE: RECEIVED GET-WELL CARD FROM HER FATHER STANLEY C. GIFFORD
From the Personal Files of Marilyn Monroe: A get-well greeting card from Marilyn Monroe's father, Stanley C. Gifford, no transmittal envelope. This undated card is addressed to Monroe in Gifford's hand. Gifford has misspelled her name as "Marylyn." The card reads, "This cheery little get-well note comes specially to say that lots of thoughts and wishes, too, are with you every day," with the words "a little prayer too," having been added by Gifford. The card is then signed in Giffords hand, "Stanley Gifford, Red Rock Dairy Farm, Hemet, Calif.
In the book, My Sister Marilyn, A Memoir of Marilyn Monroe by Berniece Baker Miracle (Marilyn's half-sister) and Mona Rae Miracle (Berniece's daughter), Berniece writes on page 176 that Monroe confided to her that Gifford had visited her when she was in the hospital on an undisclosed date. Berniece recalls Monroe telling her that "The first time I saw my father, I was lying flat on my back in the hospital. I looked at him and I studied his face and features, and I saw that mother had told me the truth, that he was my father." Considering the fact that this is a get-well card, coupled with the fact Monroe stated to her half-sister Berniece that she first met her father when she was hospitalized, Gifford himself clearly hand delivered this card to Monroe when he visited her during one of her hospital stays. Given the fact that they ostensibly had no relationship prior to this one and only known meeting, it is highly unlikely that Gifford traveled across the country from his home in Hemet, CA to visit Monroe during one of her NYC hospital stays. Based upon all available information, the visit most likely occurred during one of her many hospitalizations in Los Angeles.
It has been widely reported that Monroe unsuccessfully attempted to contact her father by telephone many times over the years. Monroe persisted visiting the town of Hemet, California in an attempt to locate him which is confirmed by numerous locals reporting Marilyn Monroe Spottings in Hemet. It is believed that Gifford did not want to upset his wife and children by allowing Monroe to be part of his life.
This card is the only known material artifact that establishes any connection or communication between Gifford and his famous daughter. Monroe's mother Gladys dated Gifford in 1925, he was at the time her supervisor at RKO pictures. While working for him as a film negative cutter, Gladys became pregnant and gave birth to a daughter on June 1, 1926. Norma Jeane was Gladys third child. Although Gladys registered the surname Mortenson on Norma Jeane's birth certificate, using the name of her ex-husband instead of Gifford, it has been assumed for decades that Gifford was actually Marilyn Monroe's father.
Gifford was finally definitively proven to be Monroe's father through DNA testing in 2022. Although this card includes no warm salutation from the man that was indeed her father, it further complicates our understanding of the relationship, or what was believed to be the complete absence of a relationship with arguably the most important male figure in Monroe's life. Previous scholarship recounts Monroe's attempts to contact her father resulting in only bitter rejection and a broken heart, yet this card supports Berniece Miracles first-hand account and it is proof that he reached out to her in a time of need.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $2,000 - $3,000 / Sold: $ - 
Lot 438: MARILYN MONROE: MOTHER'S RELIGIOUS PAMPHLETS
A group of religious pamphlets that were in the possession of Mrs. Gladys Baker Eley, Marilyn Monroe's mother.
Mrs. Eley was a devout follower of the Christian Science religion and occasionally attended service at a nearby church while residing at Rockhaven Sanitarium in Verdugo City, California, where she was institutionalized in 1953 for schizophrenia. Marilyn paid for her care there.
The main pamphlet is tiled "How to Live for God" and is published by American Tract Society, a nonprofit, nonsectarian but evangelical organization. The various tracts have headings, such as "How to Receive from Christ" and "How to Wait for God." 3.75 x 7 inches
PROVENANCE Partial lot 132, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 448: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
A two-page letter handwritten in black ink to Gladys Pearl Baker Eley (Marilyn Monroe's mother) and signed "Mrs. Vukovich."
The letter, addressed to Mrs. Baker, is written on both sides of a single piece of paper, mentions Biblical verses and suggests Mrs. Baker accept "God's promises to a sick and dying world." The letter is signed "Yours in the reality of Christianty, Mrs. Vukovich" and the back page contains the handwritten lyrics of the song "Christ is the Answer." 5 x 8 inches
PROVENANCE Partial lot 132, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 449: MARILYN MONROE: MOTHER-RELATED CORRESPONDENCE
An envelope hand-addressed in blue ink by Gladys Pearl Baker Eley (Marilyn Monroe's mother), to Mrs. Inez Melson (Marilyn's business manager).
The return address on the envelope was the location of Rockhaven Sanitarium in Verdugo City, California where Mrs. Eley (who suffered from schizophrenia) was institutionalized in 1953. Marilyn paid for her care there. The envelope is postmarked August 12, 1965, more than three years after Marilyn's death. 6.25 x 4.25 inches
PROVENANCE Partial lot 131, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005.
Estimate: $800 - $1,200 / Sold: $ -
Lot 450: MARILYN MONROE: MOTHER'S HANDWRITTEN LETTER
A two-page letter on a single piece of paper handwritten in pencil by Gladys Eley, Marilyn Monroe's mother, to Inez Melson, Marilyn's business manager.
The return address on the letter reads: Mrs. Gladys P. Eley, Verdugo City, Cal., which is the location of Rockhaven Sanitarium, where she was institutionalized in 1953 for schizophrenia. Marilyn paid for her care there.
In the letter, dated Aug. 10, 1965, three years after Marilyn's death, Mrs. Eley writes about Melson's upcoming visit, that she needs more thread for the sewing machine she'd received from Marilyn shortly before her death. In a post script on the back page, Mrs. Eley tells Melson to phone Miss Traviss, the sanitarium manager, to let her know. 6.25 x 8 inches
PROVENANCE Partial lot 131, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005.
Estimate: $800 - $1,200 / Sold: $ -
Télégrammes
Telegrams
Lot 263: MARILYN MONROE: RECEIVED TELEGRAMS
From the Personal Files of Marilyn Monroe: Three telegrams sent to Marilyn Monroe with dates in 1953, 1958, and 1959. One telegram asks Monroe for signed photos in connection with a charity fundraiser, and one offers well wishes prior to the premiere of Some Like it Hot. The third telegram encourages Monroe to travel to the actual state of Florida to shoot scenes for Some Like it Hot instead of filming in Southern California. "Just as there is only one Marilyn Monroe, there is but one Florida, and neither can be successfully duplicated," is the opening line of the message to Monroe.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 267: MARILYN MONROE: SENT TELEGRAMS
From the Personal Files of Marilyn Monroe: Copies of two telegrams sent to various individuals including a Coach Bill Mansur of Lee Springs High School in Lee Springs Nebraska dated April 24, 1954, reading, "Good luck with your cavalcade of sports. Sorry could not attend." It's signed, "Marilyn Monroe DiMaggio." The other is addressed to Chief J. Garry Matchel of the Woodbury, Connecticut Fire Department, dated August 7, 1959, reading, "Regret very much that I cannot be present on Saturday night because of an important engagement in Boston." It's signed, "Marilyn Monroe Miller."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 269: MARILYN MONROE: RECEIVED 1954 SPYROS SKOURAS TELEGRAM
From the Personal Files of Marilyn Monroe: A telegram addressed to Mrs. Joe DiMaggio dated June 25, 1954 from Spyros P. Skouras, president of 20th Century Fox from 1942 to 1962. The telegram reads in part, "You know. How much I respect you and of my high regard, whatever I suggested please believe me was meant for your best interest."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 322: MARILYN MONROE: RECEIVED TELEGRAM FROM JOHN MOORE
From the Personal Files of Marilyn Monroe: A May 13, 1957 telegram from designer John Moore to Marilyn Monroe, informing her that he is, "delighted to hear through Warners that you would like me to dress you for the Milk Fund Ball." Indeed, Monroe wore a Moore designed mermaid style evening gown to the premiere of The Prince and the Showgirl, which serviced as a fundraiser for the Milk Fund.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 323: MARILYN MONROE: RECEIVED TELEGRAMS
From the Personal Files of Marilyn Monroe: Three telegrams to the star, one being from costume designer Bob Mackintosh dated July 12, 1958, another from director Robert Ellis Miller dated May 23, 1957, the third from "Liska and Gordon," undated, Gordon possibly being photographer Gordon Parks.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ -
Lot 324: MARILYN MONROE: RECEIVED TELEGRAM FROM PHOTOGRAPHER RICHARD AVEDON
From the Personal Files of Marilyn Monroe: A July 18, 1957 telegram to Marilyn Monroe from photographer Richard Avedon. Avedon writes to ask if Monroe is interested in "a Standard Oil television show."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 327: MARILYN MONROE: RECEIVED TELEGRAM WITH CARBON COPY RESPONSE
From the Personal Files of Marilyn Monroe: An October 5, 1957 telegram to Marilyn Monroe requesting acknowledgement of an invitation from the Eye Ear Hospital in Melbourne Australia. Included is a letter from Mort Viner on MCA letterhead indicating the telegram with the invitation had never been received. Also included, a carbon copy of a letter sent to the Eye & Ear Hospital in response, indicating that the original letter or telegram with the invitation was never received, and also stating that a trip in the immediate future would be impossible, with a signature line for Monroe's secretary.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 328: MARILYN MONROE: RECEIVED TELEGRAM
From the Personal Files of Marilyn Monroe: An October 18, 1957 telegram sent to the star, inviting her to be a guest at a formal gala for the Waldemar Medical Research Foundation, sent by George Abbott.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $100 - $200 / Sold: $ -
Lot 348: MARILYN MONROE: RECEIVED TELEGRAMS FROM PAULA STRASBERG
From the Personal Files of Marilyn Monroe: Two telegrams to Marilyn Monroe from acting coach Paula Strasberg. Both telegrams are providing Monroe updates on Strasberg's travel to Los Angeles. Both telegraphs are dated in October of 1958. During this time, Monroe was in Los Angeles filming Some Like it Hot.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ -
Lot 350: MARILYN MONROE: RECEIVED TELEGRAM FROM HAIRDRESSER SYDNEY GUILAROFF
From the Personal Files of Marilyn Monroe: An undated telegram from Marilyn's hairstylist Sydney Guilaroff, reading, "Am at Excelsior Hotel Catania Sicily. Will be here two weeks. Letter following. Affectionately, Sydney."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 353: MARILYN MONROE: RECEIVED TELEGRAMS
From the Personal Files of Marilyn Monroe: Three telegrams received by Marilyn Monroe in reference to film festivals, including one in Moscow, Russia and the other in Mexico City.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ -
Lot 354: MARILYN MONROE: RECEIVED TELEGRAMS
From the Personal Files of Marilyn Monroe: Three telegrams sent to Marilyn Monroe in 1958 by "Crowther Workshop England." One congratulates her on a special award from Italy, the other with a message reading in part, "Still wear precious jewel against adversity. You're so lovely." The third asks if Monroe had received English roses that had been sent to her.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 355: MARILYN MONROE: RECEIVED TELEGRAM FROM PUBLICISTS PAT NEWCOMB AND WARREN COWAN
From the Personal Files of Marilyn Monroe: A telegram to the star dated January 31, 1959, from publicists Pat Newcomb and Warren Cowan. The telegram reads in part, "You must have heard the roars of laughter even on East 57th Street. Everything about the picture rates superlatives, especially your performance and the way you looked." The telegram was sent after the senders had seen a preview of Monroe's latest film, "Some Like it Hot."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 356: MARILYN MONROE: WESTERN UNION TELEGRAM DOCUMENTS
From the Personal Files of Marilyn Monroe: A grouping of Marilyn Monroe documents related to Western Union Telegram company, including a statement from February of 1959 with envelope and press rates, together with a prepaid reply voucher for All America Cables and Radio Inc.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $75 - $100 / Sold: $ -
Lot 357: MARILYN MONROE: RECEIVED TELEGRAM FROM JOHNNY GRANT
From the Personal Files of Marilyn Monroe: A March 3, 1959 telegram to the star from KMPC radio host Johnny Grant (who later became known as "the Honorary Mayor of Hollywood." The telegram reads, "Think you have a hit in 'I Wanna be Loved by You.' We're spinning it around the clock here at KMPC. Best Wishes, Johnny Grant."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 359: MARILYN MONROE: RECEIVED TELEGRAM FROM DONINI CULTURAL ATTACHE
From the Personal Files of Marilyn Monroe: A Mar 12, 1959 telegram to Marilyn Monroe from the Donini Cultural Attache, asking the star which date she would prefer to receive the David di Donatello award from Italy, the equivalent of the US Academy Award, for best foreign actress of 1958. The award was presented to Monroe on May 13, 1959 at the Italian Consulate in New York.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ -
Lot 364: MARILYN MONROE: RECEIVED TELEGRAM WITH CARBON COPY RESPONSE
From the Personal Files of Marilyn Monroe: An April 14, 1959 telegram to the star advising that a beige dress had been located and sent to Monroe, along with a photo of her, found after a stay at the Ambassador Hotel. Also included, a carbon copy response of a letter of appreciation sent to Dan Sullivan, the hotel's assistant manager, with a signature line for Monroe's secretary.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 367: MARILYN MONROE: RECEIVED TELEGRAMS
From the Personal Files of Marilyn Monroe: Three telegrams to the star, the first being from Photoplay magazine editor Adele Fletcher, undated, reading in part, "Ever since I saw How to Marry a Millionaire I've wanted to tell you what a grand job you do it in." The second telegram is from Harriet Beal dated June 23, 1959, reading in part, "Sorry to hear of your illness. Best wishes for a speedy recovery." The telegram is addressed to Marilyn at Lenox Hill Hospital in New York where she had been admitted for gynecological surgery. The third telegram is from Oscar Garcia DePaula, dated May 15, 1959 reading in part, "Congratulations. Stop. You deserved that prize as well as the Academy Award of 1959."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $500 / Sold: $ -
Lot 380: MARILYN MONROE: RECEIVED TELEGRAM INVITE TO 20TH CENTURY-FOX LUNCHEON IN HONOR OF NIKITA KHRUSHCHEV
From the Personal Files of Marilyn Monroe: A September 9, 1959, telegram to Marilyn Monroe advising of details of a luncheon at the 20th Century-Fox studio café in honor of Nikita Khrushchev, President of the Soviet Union. The message reads, in part, "Chairman Khrushchev's itinerary during his stay in the United States as President Eisenhower's guest brings him to Los Angeles on Saturday September nineteenth. Stop. As desired by our government a luncheon will be held for him that day at twelve thirty PM." Page two reads, "I would like to invite you to attend." The telegram is from Eric Johnston, head of the U.S. Chamber of Commerce, President of the Motion Picture Association of America, and an appointed official in the Truman and Eisenhower administrations.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $500 / Sold: $ -
Lot 385: MARILYN MONROE: RECEIVED TELEGRAM FROM CHOREOGRAPHER JACK COLE
From the Personal Files of Marilyn Monroe: A telegram to Marilyn Monroe from famed choreographer Jack Cole, dated February 4, 1960. The telegram is addressed to Monroe at the Beverly Hills Hotel, and reads, "The universe sparkles with miracles but none among them shines like you. Remember that when you go to sleep tonight. Tomorrow will be fun. There is no other way. All my love, Jack Cole." This telegram was likely sent the day before they started working together on Let's Make Love. Cole worked with Monroe on her dance numbers for many films, most notably "Diamonds are a Girl's Best Friend" from Gentlemen Prefer Blondes.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $500 / Sold: $ -
Lot 387: MARILYN MONROE: RECEIVED TELEGRAM FROM EILEEN AND GEORGE CHASIN AND A MESSAGE FROM BENNY BURT
From the Personal Files of Marilyn Monroe: A June 1, 1960 telegram sent to the star on her 34th birthday from talent agent George Chasin and wife Eileen, reading in part, "Have a wonderful day and best wishes for many more happy health birthdays." Also in this lot, a typed message from a telegram sent by Benny Burt of the Abbott and Costello Show, reading in part, "Good luck on your first days (sic) shooting. Have tried to locate you without success. I am sure that this picture will be one of your top pictures." The typed card states, "Read to Mrs. Murray on phone 6:30 PM 4/23," indicating Burt is referring to Marilyn's final uncompleted film, Something's Got to Give, which was filmed in 1962.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ -
Lot 400: MARILYN MONROE: RECEIVED TELEGRAM FROM PRODUCER JERRY WALD
From the Personal Files of Marilyn Monroe: A January 16, 1961 telegram to the star from Producer Jerry Wald, reading in part, "Just spoke to Al Hayes. He will finish script Wednesday. I'll be in New York Friday through Monday for Critics Award Sons and Lovers. Would like to see you over weekend." Wald produced Let's Make Love, released in 1960, in which Monroe starred along side Yves Montand.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ - 
Lot 401: MARILYN MONROE: RECEIVED TELEGRAM FROM ANDRE DE DIENES
From the Personal Files of Marilyn Monroe: A February 11, 1961 telegram sent to the star from early photographer and friend Andre de Dienes, reading, "Turkey Foot, stop feeling sorry for yourself. Get out of the hospital. Let's go driving and hiking through the redwoods, incognito, and take beautiful pictures like nobody could ever take. It will cure you of all your ills. Call me up. Love, WW." The day prior, Monroe had been released from Payne Whitney Psychiatric Clinic's psychiatric unit, following a horrifying stay, tricked by Dr. Marianne Kris into admitting herself there thinking it was for rest and relaxation. She spent the next three weeks at Columbia Presbyterian Medical Center recuperating.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $500 / Sold: $ - 
Lot 412: MARILYN MONROE: ARTHUR MILLER RECEIVED TELEGRAMS INCLUDING ONE FROM NORMAN ROSTEN
From the Personal Files of Marilyn Monroe: Three telegrams sent to Arthur Miller, Marilyn Monroe's third husband, one being from poet Norman Rosten, reading, "Forget about my letter. Situation is clearing up." Another telegram is sent prodding Miller to write and submit an introduction to the American issue of Imagination magazine by March 27 or the opportunity will be canceled. The third is sent to ask about the return of a script for a play written by Bill Inge.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $50 - $100 / Sold: $ - 
Lot 415: MARILYN MONROE: RECEIVED JIMMY VAN HEUSEN "HAPPY BIRTHDAY" TELEGRAM
From the Personal Files of Marilyn Monroe: A 1961 telegram from songwriter Jimmy Van Heusen, who cowrote "Specialization" and "Let's Make Love" for the 1960 film Let's Make Love in which Marilyn Monroe starred with Yves Montand. The telegram reads simply, "Happy birthday and love, Jimmy Van Heusen."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ - 
Lot 419: MARILYN MONROE: RECEIVED TELEGRAMS FROM HAROLD MIRISCH
From the Personal Files of Marilyn Monroe: Two telegrams to the star from Harold Mirisch, producer of Some Like it Hot. The first, dated January 10, 1961, reads in part, "It just occurred to me that since you are going to do a television show for NBC, a man who could most help to make this a pleasant adventure is an old chum of mine called David Tebet." The second, dated December 29, 1961, reads in part, "Will be anxious to talk to you when you return so we can plan second project. Meanwhile, if you have not all ready (sic) done so, suggest you see "Shot in the Dark."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $400 / Sold: $ - 
Lot 420: MARILYN MONROE: RECEIVED DOG SHIPPING TELEGRAM
From the personal files of Marilyn Monroe: A Western Union telegram, date stamped December 14, 1961, and addressed to Miss Marge Stengel at 882 North Doheny LOSA, reading "Dog arriving international airport American Airlines Flight 5, 7:15 PM today, Thursday." The telegram was sent by Southdown Kennels in Roxbury, Connecticut. 8 x 6 inches
PROVENANCE Lot 413, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 435: MARILYN MONROE: RECEIVED TELEGRAM POSSIBLY FROM CO-STAR WALLY COX
From the Personal Files of Marilyn Monroe: A telegram to Marilyn Monroe dated May 7 with no year specified, reading in part, "Many thanks for flowers. Sure were beautiful. Celia still in hospital. Doing fine." The telegram is signed, "Wally," possibly being Wally Cox, Marilyn's co-star in her final uncompleted film, Something's Got to Give.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property.
Estimate: $200 - $300 / Sold: $ -
Lot 439: MARILYN MONROE: "RAIN" RECEIVED TELEGRAMS FROM PRODUCER ANN MARLOWE
From the Personal Files of Marilyn Monroe: Two telegrams from producer Ann Marlowe, both referencing Monroe's possible participation in a television adaptation of W. Somerset Maugham's Rain for NBC. Ultimately the project fell through because the network did not want to hire her choice of director, Lee Strasberg.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property.
Estimate: $200 - $300 / Sold: $ -
Lot 440: MARILYN MONROE: RECEIVED TELEGRAMS FROM JOURNALIST DONALD ZEC
From the Personal Files of Marilyn Monroe: Two telegrams to the star from British journalist Donald Zec of the Daily Mirror, both regarding days and times where he could get together with the star. Together with a carbon copy noting Monroe's response received," By all means. I am a woman of her word. Please phone Eldorado 5-2325. Delighted to see you."
PROVENANCE From the Archives of Marilyn Monroe's Personal Property.
Estimate: $200 - $300 / Sold: $ -
Factures, Reçus & Chèques
Invoices, Receipts & Checks
Lot 260: MARILYN MONROE: 1952 CANCELLED BANK CHECK
From the Personal Files of Marilyn Monroe: An oversized counter check dated July 14, 1952 and completed entirely in Marilyn Monroe's own handwriting, made out to one of her favorite clothiers, Jax, in the amount of $133.20. Monroe's signature is large and bold, under which she wrote her home address as being the "Bel Air Hotel, with a phone number included.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 261: MARILYN MONROE: FINANCIAL LEDGER 1953-1955
A comprehensive financial ledger documenting presumably every Marilyn Monroe financial transaction from January 1953 through March 1955. The hardbound ledger contains handwritten entries, all of which are presumed to have been made by Monroe's business manager, Inez Melson, covering in great detail Monroe's cash received and disbursed, assets and liabilities, capital, income, expenses, and general financial transactions for the years in which Monroe completed Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, River of No Return, and There's No Business Like Show Business. This is an incredible look at Monroe's finances during the years she was propelled to stardom as she completed some of her most famous films. 12 x 8 x 1.75 inches
PROVENANCE Lot 170, "Marilyn Monroe Auction - Property From The Estate of Lee Strasberg," Julien's Auctions, Beverly Hills, November 17, 2016
Estimate: $7,000 - $9,000 / Sold: $ -
Lot 293: MARILYN MONROE: INVOICES FOR SHOE PURCHASES
From the Personal Files of Marilyn Monroe: Six receipts for Marilyn Monroe's shoes from Belgian Shoes Inc. (4), Owens (1), and a Mrs. Leona Robinson (1) with dates in 1955, 1959, and 1960. Also included is a 1959 statement from Belgian Shoes, Inc. with an original mailing envelop and an unmarked and undated receipt for one pair of shoes. .
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 / Sold: $ -
Lot 301: MARILYN MONROE: RECEIVED 1956 BANK CHECK FROM JOAN COPELAND WRITTEN ON MARILYN AND ARTHUR'S WEDDING DAY
From the personal files of Marilyn Monroe: An uncashed bank check from Joan M. Copeland, Arthur Miller's sister, made payable to Marilyn Monroe Miller in the amount of ten dollars, dated July 1, 1956. The date is when Monroe and Miller were married in a Jewish ceremony in Roxbury, Connecticut. 6.25 x 2.75 inches
PROVENANCE Lot 385, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 330: MARILYN MONROE: EVENING GLOVE ORDER
A group of documents dated February 19, 1958, regarding the purchase of evening gloves from the John E. Fuchs Corporation in New York City. The documents include a typed signed letter from Kay Fuchs addressed to Mrs. Miller reading in part, "Kenneth Lane of Delman's asked us to send you the enclosed gloves. ... Enclosed find also a sample pair with our compliments of white satin glove." Together with a packing slip for the order listing a pair of 20-button white kid gloves for $165 and a pair of 10-button white kid gloves for $105, an invoice for the gloves, and a statement of account. Largest, 8.5 x 5.5 inches
PROVENANCE Lot 305, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $700 - $900 / Sold: $ -
Lot 331: MARILYN MONROE: FUR STORAGE, SERVICE RECEIPT, AND AGREEMENT
A storage and service receipt and agreement from Maximilian Fur Company, Inc., addressed to Mrs. A. Miller, 444 East 57th Street, New York City, Apt. 13E, dated July 3, 1958, listing a ranch mink coat, a white ermine coat, and a black fox stole trimmed with silk, together with a typed note to Mrs. A. Miller on Maximilian letterhead recommending a clean and glaze for the ranch mink coat and a glaze for the black fox stole. Original business reply envelope from Maximilian Fur Company included. The ranch mink coat referenced is very likely the coat Joe DiMaggio gave to Monroe. 9.5 x 8.75 inches
PROVENANCE Lot 219, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $700 - $900 / Sold: $ -
Lot 332: MARILYN MONROE: ALIATA SHOE RECEIPT
A typed receipt, undated, listing a pair of "Multicolor Shoes" sold to Miss Marilyn Monroe at the Bel Air Hotel for a total of $51.50. Secretarial notation on the invoice indicates that the charges were paid with check number 306 on September 5, 1958. 8.5 x 5.5 inches
PROVENANCE Lot 402, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $700 - $900 / Sold: $ -
Lot 351: MARILYN MONROE: BOOK STORE STATEMENTS
From the Personal Files of Marilyn Monroe: Four Marilyn Monroe statements from Martindale's Book Stores and one statement from Doubleday Book Shops, all with dates in 1958 and 1960.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $100 - $200 / Sold: $ -
Lot 352: MARILYN MONROE: MARTINDALE'S BOOK STORES RECEIPTS
From the Personal Files of Marilyn Monroe: Three Marilyn Monroe receipts from Martindale's Book Stores with dates in 1958. Titles of various books purchased include, Collected Short Stories by Dorothy Parker, Red Arrow, and Peace in Piccadilly.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $350 - $450 / Sold: $ -
Lot 358: MARILYN MONROE: 1959 CANCELLED BANK CHECK
From the Personal Files of Marilyn Monroe: A Marilyn Monroe Productions, Inc., business check dated March 5, 1959 and signed by Marilyn Monroe. The check, drawn on the Colonial Trust Company of New York, is made out to the State Tax Commission $25.00.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $1,500 - $2,500 / Sold: $ -
Lot 382: MARILYN MONROE: FINANCIAL DOCUMENTS 1959-1960
From the personal files of Marilyn Monroe: A collection of ten financial documents including bank deposits, Colonial Trust Company and Bank of America bank statements, a check stub from M.G.M. Records, a Colonial Trust Company envelope, and an unsigned letter to Colonial Trust Company requesting the bank to produce a printed checkbook to be mailed to May Reis at the Mapes Hotel in Reno, Nevada. 8.5 x 11.5 inches
PROVENANCE Lot 371, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 383: MARILYN MONROE: 1959 FEDERAL INCOME TAX RETURN
A 1959 federal income tax return for Marilyn Monroe and Arthur Miller, including Form 1040, Schedule C, and Form 1116, together with five typed pages documenting income for Monroe and Miller, along with business expenses and deductions, contributions, taxes paid, medical expenses, and other items. These documents show that the combined income for Monroe and Miller for 1959 was $323,453.00, of which $103,362.50 was income from royalties for Miller's plays, including Death Of A Salesman, The Crucible, and A View from the Bridge, among others. The Millers were required to write a check to the Internal Revenue Service for $30,338.55, the balance due for taxes on their income. Monroe's marriage to Miller ended in 1961. 8.5 x 11 inches
PROVENANCE Lot 311, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $1,000 - $2,000 / Sold: $ -
Lot 384: MARILYN MONROE: I. MAGNIN RECEIPT
A receipt from I. Magnin, a luxury department store in Beverly Hills, California, for two bottles of cologne. The receipt, which was among documents related to Marilyn Monroe's mother Gladys Baker Eley, is dated January 13, 1960 and the purchaser's name is abbreviated as a typewritten M with the word "Send" handwritten in ink. The total amount of sale is $11.40. 4.25 x 4.25 inches
PROVENANCE Partial lot 132, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
Lot 386: MARILYN MONROE: BICYCLE RENTAL RECEIPT
From the personal files of Marilyn Monroe: A receipt from Hans Ohrt Lightweight Bicycles in Beverly Hills for the rental of one Hopper bicycle from February 24 through March 24, 1960, made out to Mrs. Marilyn Monroe Miller. The receipt is dated March 31, 1960. During this period, Monroe completed filming Let's Make Love, and on March 8, she received a Golden Globe award for her performance in Some Like It Hot (20th Century Fox, 1959). 4.5 x 7 inches
PROVENANCE Lot 387, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 389: MARILYN MONROE: CHECKBOOK AUGUST 8, 1960 - JANUARY 27, 1961
A cardboard covered wire bound checkbook for Monroe's account at Irving Trust Company in New York City. The cover is incorrectly labeled as being from the Colonial Trust Company, 4/30/58 - 7/31/59. The checkbook covers Monroe's expenses from August 8, 1960, to January 27, 1961, with check numbers 1253 through 1483, offering a fascinating look at Monroe's expenses in 1960 and 1961.
Recipients of payments from Monroe's personal account during this period include The Mapes Hotel in the Nevada hotel (where Monroe and Arthur Miller stayed while filming The Misfits), Erno Laszlo Institute, Paula Strasberg, Ralph Roberts, I. Magnin + Co., Dorr Optical Co., Beverly Pets, Arthur P. Jacobs Co., Beverly Hills Hotel, West Side Hospital, Ferragamo, Jurgensen's Grocery, Hollywood Reporter, Avis Rent-A-Car System, Bergdorf Goodman, Carey Cadillac Rending Co., Yankee Traders, Variety, Riverside Flower Shop, Marilyn Monroe Productions, Hattie Stephenson, Ralph Greenson, M.D., Modern Auto Rental, T. Anthony - luggage, La Scala Restaurant, Schwab's Pharmacy, New York Telephone Company, J. Ricky, Screen Actors Guild, Lee Siegel, M.D., Leonard H. Schuyler, M.D., Bloomingdale's, Flatiron Window Cleaning Co., Jax Beverly Hills, Inc., Martindale's Bookstore, Plaza Hotel, Louis Finger, M.D., Rexford Kennamer, M.D., Berkley Square Cleaners, Sutton Wines and Liquors, Beverly Hills Music Co., MCA Artists Ltd., Marianne Kris, M.D., Actors Studio Inc. - contribution, Agnes M. Flanagan, Mrs. Michael Chekhov, Rudolph J. Kautsky, Evelyn Moriarty, Allan Snyder, Hazel Washington, Gucci, Patricia Newcomb, Maximilian Fur Company, Academy of Motion Picture Arts and Sciences, Norman Norell Inc., and Western Costume Co., among others. 6 x 9.25 x .25 inches
PROVENANCE Lot 473, :Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $4,000 - $6,000 / Sold: $ -
Lot 392: MARILYN MONROE: 1960 ARTHUR P. JACOBS COMPANY INVOICES
From the Personal Files of Marilyn Monroe: A grouping of documents from the Arthur P. Jacobs Company, including five statements, sixteen expense detail documents, two letters and invoices from United Airlines, Variety and The Hollywood Reporter, all with dates in 1960 and related to various expenses for publicity, and Let's Make Love and The Misfits.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $100 - $200 / Sold: $ - 
Lot 393: MARILYN MONROE: 1960 ARTHUR P. JACOBS COMPANY INVOICES
From the Personal Files of Marilyn Monroe: A grouping of documents from the Arthur P. Jacobs Company, including five statements, sixteen expense detail documents, two letters and invoices from United Airlines, Variety and The Hollywood Reporter, all with dates in 1960 and related to various expenses for publicity, and Let's Make Love and The Misfits.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 394: MARILYN MONROE: RECEIVED INVOICES
From the personal files of Marilyn Monroe: Two invoices from makeup artist Marie Irvine. Both invoices are dated September 16, 1960. One reads "Special make-up at N.Y. apartment, July 17, 1960;" the other reads "12 Leichner eyeshade [sic]" sent to Reno, Nevada. 6 x 7 inches
PROVENANCE Lot 363, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 395: MARILYN MONROE: 1960 ARTHUR P. JACOBS COMPANY INVOICES
From the Personal Files of Marilyn Monroe: A grouping of documents from the Arthur P. Jacobs Company, including five statements, sixteen expense detail documents, two letters and invoices from United Airlines, Variety and The Hollywood Reporter, all with dates in 1960 and related to various expenses for publicity, and Let's Make Love and The Misfits.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 396: MARILYN MONROE: SIGNED TEXACO CREDIT CARD
A Texaco National Credit Card was owned and signed in blue ink by Marilyn Monroe. The card is addressed to: "Marilyn Monroe Prod / 480 Lexington Ave / New York I7 NY" and has the expiration date of 7/60. 3.5 x 2.25 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 397: MARILYN MONROE: MARTINDALE'S BOOK STORES RECEIPTS
From the Personal Files of Marilyn Monroe: Four Marilyn Monroe receipts from Martindale's Book Stores with dates in 1960. Titles of various books purchased include, Color of Evening, How to Live with a Cat, My Father Charlie Chaplin, and Vogue among others.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $500 / Sold: $ -
Lot 410: MARILYN MONROE: BLOOMINGDALE'S RECEIPTS
From the Personal Files of Marilyn Monroe: A large collection of receipts and invoices from famed department store Bloomingdale's in New York. These receipts show purchases for a mattress and box springs, blankets and pillows, several uniforms, a fur coat hanger, and curtains, among other items. Twenty-five documents in total.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 411: MARILYN MONROE: LIQUOR RECEIPTS
From the Personal Files of Marilyn Monroe: A grouping of eight Marilyn Monroe receipts and statements for liquor with various dates from Mac's Liquors and Jurgensen's Grocery Company.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
Lot 413: MARILYN MONROE: 1961 BANK STATEMENT
A Marilyn Monroe Productions Inc. bank statement from Bankers Trust Company of New York showing credits and debits for the month of March 1961.
Monroe found the production company in 1955 after becoming dissatisfied with the scripts she was being offered and as an effort to develop her own projects and take control of her career. 9 x 11 inches
PROVENANCE Lot 974, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $500 - $700 / Sold: $ -
Lot 416: MARILYN MONROE: CHECKBOOK JULY 14, 1961 - SEPTEMBER 25, 1961
From the personal files of Marilyn Monroe: A softcover wire-bound checkbook labeled "MARILYN MONROE (PERSONAL), IRVING TRUST CO., 7/14/61 - to - 9/25/61."
Recipients of payments from the checkbook include Beverly Hills Hotel, Ralph R. Greenson, Schwab's Pharmacy, Chasen's, Leon Krohn M.D., A. Fitz & Sons, Paul A. Reilly Co. Inc., Arthur P. Jacobs Co. Inc., Ralph Roberts (ten treatments), Mary Jane Lane, R. Gordon & Co. Inc., Berkley Square, Pacific Tel. Co., Lena Pepitone (her maid, who wrote the 1979 book Marilyn Monroe Confidential: An Intimate Personal Account), Rudy Kautsky, Elizabeth Arden, Polyclinic Coffee Shop, Paula Strasberg, Pat Newcomb, 444 Management Co., and Lord & Taylor, among others.
The opening balance listed in the checkbook for this account is $12,853.24. The closing balance is $11,854.53. 7.5 x 8.5 x .25 inches
PROVENANCE Lot 473, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $6,000 - $8,000 / Sold: $ -
Lot 441: MARILYN MONROE: LIQUOR RECEIPTS
From the Personal Files of Marilyn Monroe: Five Marilyn Monroe receipts for liquor with various dates from Sutton Wines and Liquors, Mac's Liquors and Jurgensen's Grocery Company.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $150 - $250 / Sold: $ -
Lot 442: MARILYN MONROE: LAST SAG CARD AND RECEIPT
A Screen Actors Guild membership card for the period beginning May 1, 1962, and ending November 1, 1962. "Marilyn Monroe" is typed onto front of card as well as her membership number. Together with Monroe's carbon copy receipt for payment of $125 on May 22, 1962, listing her address as "P.O. Box 64721, Los Angeles 64, Calif." 6.25 x 3.75 inches
PROVENANCE Lot 576, "Property from the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $5,000 - $7,000 / Sold: $ -
Lot 446: MARILYN MONROE: ROCKHAVEN SANITARIUM RECEIPTS FOR MARILYN'S MOTHER
A grouping of 137 receipts, ranging in date from October 1962 through April 1966, addressed to Inez C. Melson, Marilyn Monroe's business manager, for the care of Monroe's mother, Gladys Eley, while she was staying at Rockhaven Sanitarium in Verdugo City, California. Included with the Rockhaven Sanitarium receipts are other invoices for products and services provided to Eley, including prescription medications, toothbrushes and toothpaste, repairs to her dentures, cash advances, and package deliveries sent to Gainsborough, Florida, for Eley's other daughter, Berniece Miracle. The April 27, 1966, invoice indicates that Eley's account at Rockhaven was $7,355.90 in arrears. 9.5 x 11 inches
PROVENANCE Partial lot 132, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $5,000 - $7,000 / Sold: $ -
Divers Documents Papiers
Various Papers Documents
Lot 121: BETTE DAVIS: "ALL ABOUT EVE" ORIGINAL EDITH HEAD "MARGO CHANNING" BUMPY NIGHT GOWN COSTUME SKETCH (WITH DVD)
An original gouache and ink on paper costume sketch from the production of Joseph L. Mankiewicz's classic film All About Eve (20th Century Fox, 1950) by Edith Head. The sketch depicts Bette Davis as Margo Channing in the iconic dark brown fur trimmed gown worn by her during Bill Sampson's (Gary Merrill) welcome home party, where she delivers one of her most famous lines, "Fasten your seatbelts, it's going to be a bumpy night." Davis appears on-screen with Marilyn Monroe, in a breakthrough performance, wearing the gown. Head won the Oscar for Best Costume Design, Black-and-White for this Oscar winning Best Picture; Davis was nominated for Best Actress. The sketch is faintly penciled "for Bette Davis" to the right side, and initialed, possibly by Mankiewicz, near the right bottom hem.
Includes a DVD of the film. / 17 x 14 inchesn
Estimate: $5,000 - $7,000 / Sold: $ - 
Lot 258: MARILYN MONROE: MEDICAL FILE
A medical file pertaining to cosmetic surgery performed on Marilyn Monroe. The file includes facial X-rays and doctors' notes from the office of Dr. Michael Gurdin, M.D., and the X-ray office of Drs. Conti and Steinberg. Dr. Gurdin's chart on Monroe begins on July 14, 1958, and lists the patient as Marilyn Miller with addresses in New York and Los Angeles.
The chief complaint listed is "chin deformity" and goes on to give a medical history that begins in 1950 and ends in 1962. Listed are a 1956 bout of neutropenia in England; 1957 ectopic pregnancy in New York; and 1950 cartilage implant in chin that the doctor observed had slowly begun to dissolve. Those with knowledge of the implant procedure have explained that this was done in association with a tip rhinoplasty, a procedure involving the tip of Monroe's nose only, not the bones.
The last entry is dated June 7, 1962, and reports a fall at between 2 and 3 a.m. resulting in swelling and tenderness of the nose. Monroe was brought to Dr. Gurdin by her psychoanalyst, Dr. Ralph Greenson. Monroe was referred to Drs. Conti and Steinberg for X-rays. For her visit to the radiologists she was given the alias "Miss Joan Newman," and that name appears on the paperwork with Monroe's Brentwood home address.
Six X-rays are in the folder: a frontal facial bones X-ray; a smaller X-ray that is a composite of the right and left sides of her nasal bones; and four small dental X-rays into the roof of Monroe's mouth, looking upward toward the nasal bones. The conclusion, written by Dr. Conti and dated June 7, 1962, is that there was no damage to Monroe's nose due to her fall. A more recent evaluation of the X-rays indicates a very minute hairline fracture of this bone. Monroe had turned 36 less than a week earlier. On June 8, the following day, Monroe was fired from the film Something's Got to Give (20th Century Fox, 1962). 9 x 12 inches
PROVENANCE From the Medical File of Dr. Michael Gurdin
Estimate: $20,000 - $30,000 / Sold: $ - 
Lot 259: MARILYN MONROE: RECEIVED AND SENT LETTERS
From the Personal Files of Marilyn Monroe: Four letters received by the star on various topics. Two letters with dates in 1952 and 1953 are from an aspiring songwriter and singer by the name of Mrs. John H. Spurgeon. Another letter is from Harold Mirisch dated May 7, 1959. Another letter on letterhead from The First Baptist Church dated December 4, 1958 is from a man named Bill Lennon, requesting Marilyn's permission to write to the TV show "What's My Line?" and list his occupation as secretary to Marilyn Monroe. Included is a very direct letter to Lennon in response, reading in part, "Miss Monroe would not under any circumstances permit the use of her name in any misrepresentation." Also included, a carbon-copy of a letter addressed to "John" dated February 1, 1960 (likely designer John Moore) asking if he'd been advised by the Railway Express Company about a message left at the Beverly Hills Hotel for Marilyn that read, "The dress you expected from Talmack was destroyed in a plane fire." Handwritten annotations on the letter list a "Mr. Clemens, Head of Air Department," and a phone number for the claims department, not in Monroe's handwriting. Overall a very interesting look at the types of issues Monroe dealt with on a daily basis.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $400 - $600 / Sold: $ -
Lot 264: MARILYN MONROE: PERSONAL JOURNAL
A black "Record" book with 150 numbered and lined pages, the first page dated "Feb 18, 1953" with approximately 14 pages containing entries in Monroe's hand.
The notes are very personal with Monroe ruminating about her life and experiences in her past that continue to affect her life, including these notes about the childhood influence of Ida Bolender that lingers into her adult life, reading in part, "Ida - I have still been obeying her - it's not only harmful for me to do so but unrealality [sic] because in my work - I don't want to obey her any longer." Ida Bolender was one of Marilyn's foster parents as a child and Marilyn retained negative memories of the experience. 4.75 x 7.25 inches
PROVENANCE Lot 170, "Marilyn Monroe Auction - Property From The Estate of Lee Strasberg," Julien's Auctions, Beverly Hills, November 17, 2016
Estimate: $20,000 - $30,000 / Sold: $ -
Lot 268: MARILYN MONROE: PERSONALLY OWNED CLIPPINGS ABOUT HER PERFORMANCE IN KOREA
A pair of clippings from the Honolulu Star Bulletin reporting on Marilyn Monroe's visit to Korea and her performance for the U.S. troops were personally owned by the actress. The headlines read: "Marilyn Greets 10,000 Men In Skin-Tight Purple Dress" and "Marilyn Monroe Causes Near-Riot Of Korea Troops."
Although the dates of the newspaper are missing, Monroe visited Korea in February 1954 with husband Joe DiMaggio a few weeks after their marriage. Monroe was invite to perform before the troops and and the trip caused an interruption in the couple's honeymoon.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 / Sold: $ -
Lot 270: MARILYN MONROE: RECEIVED LETTER FROM CHILDHOOD ACQUAINTANCE
From the personal files of Marilyn Monroe: A one-page typed letter from Ruth Edens, apparently an acquaintance of Monroe's from her childhood, dated August 24, 1954, and reading in part, "I have long intended to write you this letter because I have particularly wanted to say that when you used to visit me at my Balboa Island cottage, you were a shy and charming child whose appeal, it seems to me, must have reached the hearts of many people. I could never seem to get you to say much to me, but I loved having you come in and I missed your doing so after you'd gone away. I wondered about you many times and was delighted when I discovered you in the films. I hope the stories in the magazines which say you felt yourself unloved throughout your childhood, are merely press-agentry. In any case, I want you to know that I, for one, was truly fond of you and I'm proud of you for having developed enough grit to struggle through to success." The letter also states, "I hope you are getting much happiness out of life, little Marian [sic]. I saw so much that was ethereal in you when you were a little girl that I fell sure you are not blind to life's spiritual side. May all that is good and best come your way!? The letter is signed "Sincerely, Ruth Edens." 9 x 11 inches
PROVENANCE Lot 339, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 271: MARILYN MONROE: SIGNED PLEDGE FORM FOR MAKEUP ARTISTS, HAIR STYLISTS, BODY MAKEUP ARTISTS GUILD, LOCAL 706, PROGRAM BOOK
From the personal files of Marilyn Monroe: A carbon copy of a pledge form for Makeup Artists, Hair Stylists, Body Makeup Artists Guild, Local 706. Monroe pledged $100.00 for the guild's program book on August 18, 1954. Monroe's handwritten message reads in part, "My thanks to Gladys Witten and Allan Snyder. Marilyn Monroe." Helen Turpin authorized the payment, billed to 20th Century-Fox. At the bottom of the receipt, Monroe wrote, "Inez Melson," the name of Monroe's business manager at the time. 5.75 x 8.5 inches
PROVENANCE Lot 367, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 287: MARILYN MONROE: RECEIVED ITALIAN FAN SCRAPBOOK
From the personal files of Marilyn Monroe: A handmade scrapbook sent to Marilyn Monroe. Created by an Italian fan named Alessio Borracina, the booklet includes images of Monroe from newspapers and magazines glued to the pages. Inside the scrapbook is a photo of Borracina with an inscription reading "I dedicate this photo to you to be always in your heart. Based on the images of Monroe in the scrapbook, it was sent to her in the mid-to-late 1950s. 9.5 x 7 inches
PROVENANCE Lot 428, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 288: MARILYN MONROE: ARTHUR MILLER HANDWRITTEN BOOK DEDICATION
A single piece of lined paper torn from a spiral-bound notebook, heavily stained, containing a notation in Miller's hand reading "This book is being written out of the courage, the widened view of life, the awareness of love and beauty, given to me by my love, my wife-to-be, my Marilyn. I bless her for this gift, and I write it so that she may have from me the only unique thing I know how to make. I bless her, I owe her the discovery of my soul."
Although the note is undated, Miller refers to Marilyn Monroe as his wife to be, indicating that it was written prior to their marriage on June 29, 1956. Although this dedication did not appear in any of Miller's books it was possibly intended to be used in A View from the Bridge, which Miller was rewriting as a two-act play during his courtship with Monroe. Because Miller was not officially divorced until June 1956, it is possible that the dedication was not used due to timing. 8.5 x 11 inches
PROVENANCE Lot 187, "Marilyn Monroe Auction - Property From The Estate of Lee Strasberg" Julien's Auctions, Beverly Hills, November 17, 2016
Estimate: $2,000 - $3,000 / Sold: $ -
Lot 289: MARILYN MONROE: PERSONALIZED 1955 GUCCI ADDRESS BOOK
A personalized brown leather, six-ring Gucci address book with custom stamped "M.M." on the front cover, that belonged to Marilyn Monroe (circa 1955) with handwritten entries, many in Monroe's hand.
Contacts include Marlon Brando, "Mother Miller," Lee Strasberg, Maurine [sic] Stapleton, and Harold Clurman, among others. The book includes various handwritten entries and notes throughout. Of particular note is Monroe's handwritten list of very personal things she must make an effort to do, including "as often as possible to observe Strassberg's [sic] other private classes"; "never miss my actors studio sessions"; "must make strong effort to work on current problems and phobias that out of my past has arisen," among other entries.
The address book is from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate.
6 x 7.5 x 1.25 inches
PROVENANCE Lot 187, "Marilyn Monroe Auction - The Estate of Lee Strasberg" Julien's Auctions, Beverly Hills, November 17, 2016
Estimate: $50,000 - $70,000 / Sold: $ -
Lot 292: MARILYN MONROE: RECEIVED LETTER FROM THE ACTORS STUDIO
From the personal files of Marilyn Monroe: A typewritten letter regarding The Actors Studio members purchasing and then donating books to a newly formed theatre library, sent to Monroe's Sutton Place apartment in New York City in a hand-addressed envelope postmarked January 29, 1956. Letter 5.5 x 8.5 inches
PROVENANCE Lot 340, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 295: MARILYN MONROE: "BUS STOP" HAND-ANNOTATED DIALOGUE PAGES
A small bound group of 31 mimeographed half pages containing Monroe's dialogue for the film Bus Stop (20th Cent. Fox, 1956). Ten of the pages contain notes in Monroe's hand in pencil. Additional notes in the hand of Paula Strasberg and an administrative hand. A note in Monroe's hand on the first page next to lines about her character Cherie wanting to be respected and tired of being "pawed at and pinched at" reads "Fight with manager/ A.M. H. Cohn middle of dinner party" clearly references incidents Monroe wished to draw upon from her life in the scene. Another note in Monroe's hand written beneath the line "Oh - it's you!" reads "(Good God it's you)." 5.5 x 9.5 inches
PROVENANCE Lot 264, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $10,000 - $20,000 / Sold: $ -
Lot 302: MARILYN MONROE: INTERIOR DESIGN DOCUMENTS AND FABRIC SAMPLE
A proposal sent to Normal Norell from Thomas DeAngelis Inc. for Mrs. A. Miller's bedroom. The proposal gives estimates to custom upholster a settee, headboard, bedspread, pillows and box spring drop using the fabric ordered by Norell from Italy, samples of which are included in the previous lot. The estimate is accompanied by six invoices from De Angelis, an invoice from Scalamandr Silks, and an invoice with Scalamandr silk fabric sample. 8.75 X 11 inches
PROVENANCE Lot 286, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $300 - $500 / Sold: $ - 
Lot 304: MARILYN MONROE: HANDWRITTEN NOTE
A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and The Showgirl in London in 1956. The note reads "I guess I have always been deeply terrified to really be someone's wife since I know from life one cannot love another, ever, really." Monroe had just entered her third marriage and was on location with her new husband, Arthur Miller. 5.25 x 7 inches
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 114-115. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
PROVENANCE Lot 180, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $7,000 - $9,000 / Sold: $ -
Lot 305: MARILYN MONROE: "THE PRINCE AND THE SHOWGIRL" NOTEBOOK PAGES
Two pages torn from a lined spiral-bound notebook, both stained in red ink. The first page was published in the book Fragments and contains references to "The Sleeping Prince," an early production title for Monroe's film The Prince and the Showgirl, dating these writings to 1956. The notes show Monroe becoming her own task master, reminding herself "don't stop myself," "learn - lines logically," "I can't do more than/ one thing at a time/ make map tonight," and "take my time to think." She instructs herself to make a list of tasks and work on exercises, which perhaps explains the cryptic writings on the second page that did not appear in Fragments, reading in full, "From Ridding partly/ T Nautiousness [sic]/ Place/ personalization (A)/ weariness/ (J)/ (Ar)." 8.5 x 11 inches
LITERATURE: Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 168-169. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
PROVENANCE Lot 194, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $3,000 - $5,000 / Sold: $ -
Lot 319: MARILYN MONROE: CUSTOM-BOUND COPY OF ARTHUR MILLER'S COLLECTED PLAYS
A red leather clamshell box with gilt designs, title on spine and a simple "MM" on the lower right corner. The ivory silk satin lined box contains a matching red leather bound volume with "MM" on cover, gilt edged pages and chartreuse silk satin boards and end papers. Special dedication page reads, "This first copy/ of the first edition/ has been specially hand-bound/ for Marilyn." Arthur Miller's Collected Plays, The Viking Press, copyright 1957. Bound by Gerhard Gerlach, stamped in gold inside back cover. 7 X 9.75 X 2.25 inches
PROVENANCE Lot 268, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $20,000 - $30,000 / Sold: $ -
Lot 321: MARILYN MONROE: FILE COPIES OF IMPORTANT LETTERS
From the Personal Files of Marilyn Monroe: Carbon copies of two important letters. The first two-page letter, dated March 14, 1957, is correspondence between attorneys Irving L. Stein and Robert H. Montgomery in reference to Milton Greene, Monroe's business partner and friend at the time, having a contractual entitlement to have Executive Producer credit on the film The Prince and the Showgirl. The second six-page letter, dated April 14, 1961, is correspondence between Arnold Weissberger and Monroe herself regarding her contract with Twentieth Century-Fox and is specific to her desire not to participate in the film Goodbye Charlie. Both letters are in response to significant business issue's occurring within Monroe's film star career.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 / Sold: $ -
Lot 325: MARILYN MONROE: PERSONALLY OWNED MAGAZINE WITH LAURENCE OLIVIER-PENNED MONROE ARTICLE
An issue of Florida's Playtime Magazine dated July 6, 1957 featuring a photo of Marilyn Monroe and Laurence Oliver on the cover was personally owned by Monroe. Copy on the cover reads "EXCLUSIVE! / How Marilyn Impressed Me / By Sir Laurence Olivier." On page 6 is the article in which Olivier details his experience directing and acting alongside Monroe when the two made the film The Prince and the Showgirl (Warner Brothers, 1957) and reads in part: "For me it has been an experience, entertaining, stimulating and rewarding in extreme."
The challenges faced by the two actors working together on the comedy inspired the drama My Week With Marilyn (The Weinstein Company, 2011), which earned Michelle Williams an Academy Award nomination as best actress for her performance as Monroe. 8.25 x 11 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 / Sold: $ -
Lot 326: MARILYN MONROE: RECEIVED VERVE RECORDS CORRESPONDENCE
From the personal files of Marilyn Monroe: Two letters from Norman Granz of Verve Records. In the September 5, 1957, letter, Granz writes, "I've been thinking about our album project and I should like to do the kind of tunes that would lend themselves to an album called 'MARILYN SINGS LOVE SONGS' or some such title." In the December 30, 1957, letter, he writes, "I wonder too if you are ready to do any recording. I shall be in New York January 20th for about a week and the Oscar Peterson Trio is off at that time, so if you felt up to it perhaps we could do some sides with the Trio during that period." 8.5 x 11 inches
PROVENANCE Lot 439, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 329: MARILYN MONROE: RECEIVED NATIONAL FOUNDATION FOR INFANTILE PARALYSIS FASHION SHOW APPEARANCE THANK-YOU LETTER
From the personal files of Marilyn Monroe: A February 4, 1958, letter from Eleanor Lambert thanking Monroe for appearing at the National Foundation for Infantile Paralysis fashion show on January 28, 1958. The letter reads in part, "Your presence was sparkling and thrilling to us all behind the scenes as well as to the audience." 6.5 x 8.5 inches
PROVENANCE Lot 433, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ -
Lot 347: MARILYN MONROE: RECEIVED NEWSLETTER
From the personal files of Marilyn Monroe: A 23-page newsletter titled "Revival, Salvation - Healing - Miracles - Special Jewish Addition," dated September 1958. The back cover reads "To Marilyn Monroe, Bel Air Hotel, Bel Air, Los Angeles, Calif." Monroe received this newsletter during the filming of Some Like It Hot (United Artists, 1959). 8.25 x 10.5 inches
PROVENANCE Lot 442, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ - 
Lot 349: MARILYN MONROE: PERSONAL POETRY MAGAZINE
From the personal files of Marilyn Monroe: A published Wisconsin Poetry Magazine, dated November 1958, containing poems written by Rose Davison, sent to Marilyn Monroe by Davison with a handwritten inscription reading "To Marilyn Monroe Miller/ with best wishes/ Rose Davison."
Sixteen pages with red paper cover, an interesting item considering Monroe's interest in reading and writing poetry. 6 x 9.5 inches
PROVENANCE Lot 398 , "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ - 
Lot 360: MARILYN MONROE: "SOME LIKE IT HOT" AD SHEET
An original movie advertisement sheet promoting Some Like it Hot (United Artists, 1959) starring Marilyn Monroe as Sugar Kane Kowalczyk.
11 x 8.5 inches
Estimate: $100 - $200 / Sold: $ - 
Lot 362: MARILYN MONROE: PERSONALLY OWNED "SOME LIKE IT HOT" PAPERBACK
A paperback edition of the screenplay for Some Like It Hot (Signet Books, 1959) by Billy Wilder and I. A. L. Diamond. The paperback features eight pages of photographs from the film.
Monroe won a Golden Globe as Best Actress in a Motion Picture - Comedy or Musical for her role as Sugar Kane and the film was named the funniest film of all time in a poll by American Film Institute in 2000. 4.5 x 7.5 x .5 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 / Sold: $ - 
Lot 363: MARILYN MONROE: PERSONALLY OWNED "SOME LIKE IT HOT" CALENDAR
A release date calendar for Some Like It Hot (United Artists, 1959) was personally owned by Marilyn Monroe. The cover page, featuring a photo of Marilyn in costume playing a ukulele reads: "The New Marilyn Monroe Calendar, Very Hot For March," an allusion to the famous 1951 nude calendar which helped establish Monroe as the premiere sex symbol of her era.
The calendar features four pages, each with a photo of Monroe and announcing March 18 as the comedy's release date. The back page features the film's poster.
Monroe won a Golden Globe as Best Actress in a Motion Picture - Comedy or Musical for her role as Sugar Kane and the film was named the greatest comedy film of all time in a poll by American Film Institute in 2000.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ - 
Lot 365: MARILYN MONROE: PERSONAL ITALIAN CULTURAL INSTITUTE COMMEMORATIVE PROGRAM
From the personal files of Marilyn Monroe: A 34-page soft cover booklet from the Italian Cultural Institute. This booklet commemorates the opening of the new home of the organization, located at 686 Park Avenue, New York City, New York, in 1959. Monroe likely acquired this item onsite at the Institute on May 13, 1959, when she received the David di Donatello Award for her work in The Prince and the Showgirl (Warner Bros., 1957). 8.5 x 11 inches
PROVENANCE Lot 440, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $1,000 - $2,000 / Sold: $ - 
Lot 388: MARILYN MONROE: RECEIVED LETTER FROM CONGRESSMAN JAMES ROOSEVELT
From the personal files of Marilyn Monroe: A June 30, 1960, two-page letter on Congress of the United States, House of Representatives letterhead from Congressman James Roosevelt, son of President Franklin Delano Roosevelt and First Lady Eleanor Roosevelt, asking Monroe to consider appearing in a television program focusing on the Eleanor Roosevelt Institute for Cancer Research, scheduled to air on October 7 of that year. The letter reads in part, "We do feel that just a brief greeting from you would contribute very much indeed to the success of the show. Won't you agree to do this?" 8.5 x 11 inches
PROVENANCE Lot 436, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $700 - $900 / Sold: $ - 
Lot 391: MARILYN MONROE: PERSONALLY OWNED "LETS MAKE LOVE" MAGAZINE COVER
A front cover of Far East Film News magazine featuring the poster for Let's Make Love (20th Century Fox, 1960) beneath a headline that reads: "Dedicated to the NEW Monroe Doctrine!" The cover was personally owned by Marilyn Monroe and is dated November 1960. 10.25 x 14.25 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ - 
Lot 433: MARILYN MONROE: CRAYON DRAWING
Titled "Old Man sitting on a bench listening," the conte crayon on paper sketch is a monochromatic abstract portrait of a man leaning forward. The title is written along lower edge of sheet. The drawing is unsigned and framed in a gilt wood frame.
The sketch is from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate. 9.75 x 12.25 inches
PROVENANCE Lot 527, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $10,000 - $20,000 / Sold: $ - 
Lot 434: MARILYN MONROE: PERSONALLY ANNOTATED "SOMETHING'S GOT TO GIVE" SCREENPLAY AND PAGES
A Something's Got To Give (20th Century Fox, 1962) mimeographed screenplay by Nunnally Johnson, 149 pages, blue cover dated March 29, 1962 reading "Final Confidential For Planning Purposes Only." The script, marked final, also dated March 29, 1962, contains notations in Monroe's hand throughout in pencil and green ink on 18 pages. Some of the notations are from Monroe's work with a Swedish dialect coach.
In addition to these notations, two typed pages of Monroe's dialogue are bound between pages 107 and 108 of the mimeographed script. These two pages contain Monroe's dialogue from one of the few scenes captured on film, with her extensive pencil notations. Raw footage of Monroe performing with Tippy the cocker spaniel and the children in this scene exists, and Monroe's notations are evident in the footage. The top of the page reads "Real Thought/ Mental Relaxation/ substitute children - B & J if necessary/ feeling - place the pain where it is not in the brow." B & J likely refers to Arthur Miller's children Bobby and Jane. Another notation next to one of Monroe's lines of dialogue reads simply "Mona Lisa," which does in fact mirror the expression she uses when delivering this line. Even the exaggerated "Ahhhhh---" that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, "Ahhh--Look for the light.?
The notations throughout the script also include notes in an unidentified hand criticizing certain points of the story, including "Too Harsh," "Naggy," "Dull" and many other comments. Overall, the notations in both the script and on the dialogue pages used by Monroe to film the scene with the children and Tippy the dog tell the story of a tedious script writing and editing process. Her dialogue notations are a revealing window into her process in performing some of the last scenes she ever recorded on film. 9.5 x 12 x 1 inches
PROVENANCE Lot 578, "Property From the Estate of Lee Strasberg, Julien's Auctions," Los Angeles, November 17, 2016
Estimate: $10,000 - $20,000 / Sold: $ - 
Lot 436: MARILYN MONROE: PRAYER BOOK FOR JEWISH WORSHIP
A Union Prayer Book for Jewish Worship that belonged to Marilyn Monroe. The cover is stamped "Marilyn Monroe Miller" and inscribed to Monroe... "For Marilyn - with all of my best wishes and deepest respect - fondly, Bob." 5 x 6.75 x 1 inches
Christie's bookplate is affixed to the interior of the front cover.
PROVENANCE Lot 628, Lot 9A, The Personal Property of Marilyn Monroe, Christie's, New York, Sale number 9216, October 27 & 28, 1999, Julien's Auctions, Las Vegas, June 23, 2018
Estimate: $20,000 - $30,000 / Sold: $ - 
Lot 447: MARILYN MONROE: HANDWRITTEN NOTE
An undated note on a single sheet of unlined paper, entirely in Monroe's hand, reading "For life/ It is rather a determination not to be overwhelmed./ For work/ The truth can only be recalled, never invented." 8 x 5 inches
LITERATURE Monroe, Marilyn and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 158-159. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
PROVENANCE Lot 190, "Property from the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $7,000 - $9,000 / Sold: $ -
Lot 451: MARILYN MONROE: DOG-RELATED POSTHUMOUS CORRESPONDENCE
An undated typed letter from Mrs. Edward Herdan of Los Angeles that reads:
"To whom it may concern: I was greatly taken aback when I saw the pet of Marilyn's in a picture with her. We were forced to put our pet to sleep on account of old age recently and she was a double of this little dog. We have been looking with grieving hearts for several months now, to find one that resembled our Shaggsy, but all in vain. If it were at all possible to get the dog we could give it an excellent home. Dr. Christenson of the Hollywood Cat and Dog Hospital was our Vet for fourteen years. Hope this request receives some consideration. Sincerely, Mrs. Ed Herdan."
Included is a copy of a letter from Inez Melson, Monroe's former business manager, dated September 4, 1962, reading:
"Dear Mrs. Herdan, I hope you will understand that I have not answered your kind letter about "Moff" before this because of the pressure of matters involving the affairs of Marilyn. I know how you must feel about your little "Shaggsy" and it would be wonderful if it were possible to send "Moff" to live with you. However, you will understand that her sister's dearest wish is to have him and I hope in due time to be able to send him to live with her. Unfortunately, in due process of law, even little "Moff" is a part of Marilyn's personal effects and thus, he has to wait. It grieves me greatly to refuse so many kind people and I only wish that I could grant the desire of each good person who would love "Moff" as his mistress loved him." The letter is signed, "Sincerely yours, Inez Melson, Administratrix of the Estate of Marilyn Monroe."
Frank Sinatra gifted the dog to Monroe in 1961. She named him Maf as a comic reference to Sinatra's mafia connections. Interestingly, people within Monroe's inner circle appear to be unaware of the correct spelling of the dog's name. Written correspondence reflects use of the names "Maff" and "Moff."
7.25 x 10.5 inches
PROVENANCE Lot 414, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018.
Estimate: $700 - $900 / Sold: $ -
© All images are copyright and protected by their respective owners, assignees or others.
06/02/1948 - Lettre de Norma Jeane à Berniece
Lettre de 4 pages du 06 février 1948 (tampon de la poste) écrite par Norma Jeane (Marilyn Monroe) à sa demie-soeur Berniece Miracle, qui vivait à Orlando en Floride (USA). Marilyn explique qu'elle est sur le point de déménager et n'a pas encore sa nouvelle adresse. Au dos de l'enveloppe d'envoi, son adresse imprimée au verso était "11348 Nebraska Ave., West Los Angeles, Californie", où elle vivait avec Tante Ana Lower; elle a barré le nom de la rue pour y inscrire à l'encre bleue l'adresse de "1711 North Stanley Avenue" en Californie.
Letter of 4 pages dated February 06, 1948 (date of postmark) written by Norma Jeane (Marilyn Monroe) to her half-sister Berniece Miracle, who lived in Orlando, Florida (USA). Marilyn explains that she is about to move and doesn't have yet her new address. On the reverse mailing envelope, her address printed on the back was "11348 Nebraska Ave., West Los Angeles, California", where she lived with Aunt Ana Lower; she crossed out the street name to write in blue ink the address of "1711 North Stanley Avenue" in California.
En ce début d'année 1948, les studios de la Fox n'ont pas renouvellé son contrat (signé au 24 août 1946, le contrat s'est arrêté au 25 août 1947 et n'a pas été reconduit). Marilyn continue à passer des castings et à poser pour des photos publicitaires, mais sa situation stagne. Néanmoins, elle indique avoir signé un nouveau contrat * faisant référence à celui signé avec les studios de la Columbia, qui s'officialisera le 9 mars 1948, mais qui est donc bien en négociation au moment où elle rédige cette lettre.
Le film "Dangerous Years" dont elle se réfère en fin de lettre (pour lequel elle fut "prêtée" par la Fox au Sol Wurtzel Productions), est sorti en salles américaines le 7 décembre 1947. Elle y tient un petit rôle (celui d'une serveuse), d'où le fait qu'elle mentionne à Berniece de bien ouvrir l'oeil si elle va voir le film.
La lettre montre donc que Marilyn est alors bien occupée en cette période -entre son nouveau contrat et son déménagement- et qu'elle manque de temps pour tenir une correspondance suivie.
Elle évoque aussi leur mère (Gladys Monroe), dont elle ne souhaite pas entretenir de liens, sans pour autant la rejeter, car elle fonde le projet de pouvoir l'aider dès que sa situation financière le permettra.
Elle prend aussi des nouvelles de Paris (le mari de Berniece) et de sa nièce Mona Rae, montrant ainsi l'amour qu'elle porte envers sa soeur et sa famille.
On apprend aussi que durant cette période, elle a un chien (un cocker blond) - peut être Ruffles, un cocker avec qui elle posa en photos pour la Fox (une séance photos sur la plage en 1947).
At the beginning of the year 1948, the Fox studios did not renew her contract (signed on August 24, 1946, the contract ended on August 25, 1947 and was not renewed). Marilyn continues to go to castings and pose for publicity photos, but her situation is stagnating. Nevertheless, she indicates that she has signed a new contract * referring to the one signed with Columbia studios, which will become official on March 9, 1948, but which is therefore in negotiation at the time of writing this letter.
The film "Dangeous Years" to which she refers at the end of the letter (for which she was been "lent" by Fox to Sol Wurtzel Productions), was released in American cinemas on December 7, 1947. She plays a small role in it (that of a waitress), hence the fact that she mentions to Berniece to keep an eye out if she goes to see her in the film.
The letter therefore shows that Marilyn is then very busy during this period -between her new contract and her move- and that she lacks the time to keep a regular correspondence.
She also mentions their mother (Gladys Monroe), with whom she doesn't wish to maintain a relation, without however rejecting her, because she is planning to be able to help her as soon as her financial situation allows it.
She also asks from Paris (Berniece's husband) and her niece Mona Rae, showing her love for her sister and her family.
We also learn that during this period, she has a dog (a blond cocker spaniel) - perhaps Ruffles, a cocker spaniel with whom she posed in photos for Fox (a photo session on the beach in 1947).
Traduction de la lettre:
Ma très chère sœur.
J'ai commencé au moins une douzaine de lettres pour toi, ma chère, mais quelque chose semble toujours interférer pour m'empêcher de les terminer. Mais je pense souvent à toi et je me demande comment tu vas et si tu es heureuse. J'espère que tout va bien pour toi et ta famille. J'aimerais vous voir tous. J'ai failli faire un voyage en Floride mais je viens de signer un nouveau contrat et je ne peux pas m'éloigner en ce moment *.
Demain, je déménage dans un appartement très mignon. Bien sûr, je redoute le matin, mais je devrais me donner un coup de pied parce que je ne peux qu'imaginer ce que cela doit être pour vous lorsque vous déménagez car vous êtes trois. Cependant, ce que je veux vous dire, c'est qu'il y a de la place pour vous si jamais vous voulez faire un voyage ici, vous pouvez rester avec moi.
Tout ce que j'ai pour compagnie, c'est un adorable petit chiot cocker blond - ok c'est juste un petit ange.
Je n'habite plus avec tante Ana depuis presque un an maintenant. Elle est vraiment adorable et bonne avec moi mais il n'y a tout simplement pas de place pour moi là-bas en plus c'est bien d'avoir mon propre chez moi. Dès que je peux, je veux acheter une petite maison, mais c'est un peu loin en ce moment.
Je n'ai pas de nouvelles de Mère et je ne lui écris pas, en fait tout ce que je sais, c'est qu'elle est quelque part dans l'Oregon, où - je n'en ai aucune idée. Elle et moi ne semblons pas être très proches et ce n'est la faute de personne. J'aimerais que ce soit différent mais un jour, j'espère pouvoir l'aider un peu, en ce moment, c'est plutôt difficile pour moi, avec ou sans contrat. Mais tout se passe à merveille donc je n'ai vraiment rien à redire.
J'ai quelques trucs que j'aimerais t'envoyer si tu le veux.
Comment va Mona Rae ? C'est la plus mignonne des petites filles, je suis folle d'elle.
J'espère que Paris va bien là-bas, souhaite-lui le meilleur de ma part.
S'il te plaît, dis-lui que je talonnerais tout le monde sauf ma propre sœur.
Merci Berniece pour votre joli cadeau de Noël, c'était très gentil de votre part.
Je t'enverrai des photos si tu veux en avoir.
J'aimerais bien te voir, j'espère que tu m'écrira bientôt.
Je t'écrirai à nouveau après mon déménagement et te donnerai ma nouvelle adresse.
Tendrement,
Norma Jeane
P.S. "Dangerous Years" se joue encore là-bas. Je suis dedans mais pour l'amour du ciel, ne cligne pas des yeux, tu pourrais me rater.
Letter transcription:
My Dearest Sister.
I've started at least a dozen letters to you dear but something always seems to come up to keep me from finishing them. But I do think of you often and wonder how you are and if you are happy. I hope eveything is fine with you and your family. I would love to see all of you. I almost took a trip to Fla. but I've just signed a new contract and can't get away right now *.
Tomorrow I'm moving to a very cute apt. Of course I dread morning but I should kick because I can just imagine what it must be for you when you move for there are three of you. However what want to tell you is there is room for you if you ever want to take a trip out here you can stay with me.
All I have for company is a darling little blond cocker puppy - ok he's just a little angel.
I havent' lived with Aunt Ana for almost a year now. She is very so cute and good to me but ther just isn't room for me there besides it's nice to have my own place. When I can I want to buy a little house however that's a little ways off right now.
I haven't heard from Mother nor do I write her, in fact all I know is that she is somewhere in Oregon, where - I have no idea. She and I can't seem to be very close due to no one's fault. I wish it could be different but some day I hope to be able to help her out a little, right now it's rather difficult for me, contract or no contract. But everything is coming along wonderfully so I've nothing to complain about really.
I have a few things I would like to send you if you want them.
How is Mona Rae ? She is the sweetest cutest little girl, I'm crazy about her.
I hope Paris is doing all right down there give him my best.
Please tell him I would high heel everyone else in the world but my own sister.
Thank you Berniece for your lovely Christmas gift it was very sweet of you.
I'll send you some pictures if you'd like to have some.
I sure would love to see you I hope you will write to me soon.
I'll write again after I move and give you my new address.
Lovingly
Norma Jeane
P.S. Has "Dangerous Years" played down there yet. I'm in it but for heaven's sakes don't blink your eyes you might miss me in it.
source Lettre vendue aux enchères en 2021 par SCP Auction's
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
04 et 06/12/1935 - Echanges épistolaires entre Grace et l'Orphelinat
Le 04 décembre 1935, Grace Mc Kee Goddard (devenue tutrice légale de Norma Jeane cette année 1935), écrit une lettre à Mme Dewey, certainement l'interlocutrice (ou directrice) de l'orphelinat de Los Angeles où est placée Norma Jeane (âgée alors de 9 ans) depuis le 13 septembre 1935. Grace demande que l'institution refuse les visites de Ida Bolender à Norma Jeane (qui a élevé Norma Jeane avec son mari jusqu'à ses 7 ans) et cite les noms de ceux et celles autorisées à la voir.
On December 4, 1935, Grace Mc Kee Goddard (who became Norma Jeane's legal guardian this year 1935), writes a letter to Mrs. Dewey, certainly the contact person (or director) of the orphanage in Los Angeles where Norma Jeane (aged then 9 years old) is placed since September 13, 1935. Grace requests that the institution refuse visits from Ida Bolender to Norma Jeane (who raised Norma Jeane with her husband until she was 7 years old) and cite the names of those allowed to see her.
Letter transcription:
December 4, 1935
3107 Barbara Court,
Hollywood, Calif.
Los Angeles Orphan's Home,
815 North El Centro
Hollywood, Calif.
Attention: Mrs Dewey
Dear Mrs. Dewey:
I am very anxious that no one sees or talks to little Norma Jean Baker, unless you have my written permission to do so.
I especially do not want Mrs. Ida Bolender to see her again, as her visits seem to upset the child.
I wish you could instruct every person who is in charge at night or on Sundays, to please see that she is not allowed to visit Norma Jean.
It is quite all right for Elsie or Harvey Giffin, Maude, George or Nell Atkinson, or her Aunt, Olive Monroe, or Mrs. Martin, Olive's Mother, to see her or take her out at any time.
If there is anyone else wishing to see her, I wish you would first get in tough with me here at the studio, Hollywood 3181, or at my home, Granite 4288.
Yours very sincerely,
GRACE MC KEE GODDARD
Traduction de la lettre:
À l'attention de : Mme Dewey
Chère Mme Dewey :
Je suis très inquiète que personne ne voie ou ne parle à la petite Norma Jean Baker, à moins que vous n'ayez ma permission écrite de le faire.
Je ne veux surtout pas que Mme Ida Bolender la revoie, car ses visites semblent bouleverser l'enfant.
Je souhaite que vous puissiez demander à chaque personne responsable la nuit ou le dimanche de veiller à ce qu'elle ne soit pas autorisée à rendre visite à Norma Jean.
Il est tout à fait correct pour Elsie ou Harvey Giffin, Maude, George ou Nell Atkinson, ou sa tante, Olive Monroe, ou Mme Martin, la mère d'Olive, de la voir ou de la sortir à tout moment.
S'il y a quelqu'un d'autre qui souhaite la voir, je souhaite que vous commenciez par entrer en contact avec moi ici au studio, Hollywood 3181, ou chez moi, Granite 4288.
Très sincèrement,
GRACE MC KEE GODDARD
Le 06 décembre 1935, Mme Dewey répond à Grace Mc Kee Goddard, expliquant qu'elle a constaté l'état de perturbation dans lequel se trouve Norma Jeane après la visite de Mme Bolender. Elle accepte la requête de Grace en refusant les visites de Ida Bolender et lui demande de faire un mot à chaque personne autorisée à venir voir Norma Jeane.
On December 6, 1935, Mrs. Dewey responds to Grace McKee Goddard, explaining that she has noticed the state of disturbance in which Norma Jeane finds herself after Mrs. Bolender's visit. She accepts Grace's request by refusing Ida Bolender's visits and asks her to write a word to each person authorized to come and see Norma Jeane.
Letter transcription:
LOS ANGELES ORPHANS HOME SOCIETY
815 North El Centro Avenue
Hollywood 5311
Dec. 6, 1935
Mrs. Grace Mc Kee Goddard,
Hollywood, Calif.,
Dear Mrs. Goddard, -
When Mrs. Bolender was here I told her she should not talk to Norma about her mother.
The physicians have said Mrs. Baker would not get well - that means the child must have first consideration.
Will you please give a letter to each person you want Norma to see and go out with. That would be an extra check. If I just tell the ones who are on duty the names of the ones to see Norma there might be a slip.
Norma is not the same since Mrs. B. visited with her. She doesn't look as happy. When she is naughty she says - "Mrs. Dewey, I wouldn't ever want my Aunt Grace to know I was naughty." She loves you very much.
I'll do as you request. We want to do all we can to make Norma happy, and to please you.
Sincerely yours
(Mrs) SSDewey
Traduction de la lettre:
Chère Mme Goddard,-
Quand Mme Bolender était ici, je lui ai dit qu'elle ne devait pas parler à Norma de sa mère.
Les médecins ont dit que Mme Baker ne guérirait pas - cela signifie que l'enfant doit avoir la priorité.
Pourriez-vous, s'il vous plaît, donner une lettre à chaque personne que vous voulez que Norma voie et qu'ils la prennent avec eux. Ce serait une vérification supplémentaire. Si je dis juste à ceux qui sont de service les noms de ceux qui doivent voir Norma, il pourrait y avoir un faux pas.
Norma n'est plus la même depuis que Mme B. lui a rendu visite. Elle n'a pas l'air aussi heureuse. Quand elle est méchante, elle dit - "Mme Dewey, je ne voudrais jamais que ma tante Grace sache que j'étais méchante." Elle vous aime beaucoup.
Je ferai ce que vous demandez. Nous voulons faire tout ce qui est en notre pouvoir pour rendre Norma heureuse et vous faire plaisir.
Cordialement
(Mme) SSDewey
source Lettres vendues 2 812 $ le 14/11/2019 aux enchères de The Personal Property Of Goodman Basil Espy III
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12/01/1955, The Australian Women's Weekly: "This is my story" (part 1)
The Australian Women's Weekly
country: Australia
date: 1955, January, 12
content: 4 pages article on Marilyn Monroe
part 1 of a series of articles in 4 parts - "This is my story"
pays: USA
date: 12 janvier 1955
contenu: article de 4 pages sur Marilyn Monroe
partie 1 sur une série d'articles en 4 parties - "This is my story"
Article: "This is my story - by Marilyn Monroe"
I thought the people I lived with were my parents. I called them Mamma and Dad. The woman said to me one day: "Don't call me Mama. You're old enough to know better, I'm not related to you in any way. You just board here. Your Mamma's coming to see you tomorrow. You can call her Mama, if you want to."
I said thank you. I didn't ask her about the man I called Dad. He was a letter-carrier. I used to sit on the edge of the bathtub in the morning and watch him shave, and ask him questions - which way was East or South or how many people there were in the world. He was the only one who had ever answered any questions I asked.
The people I had thought were my parents had children of their own. They weren't mean. They were just poor. They didn't have much to give anybody, even their own children. And there was nothing left over for me. I was seven, but I did my share of the work. I washed floors and dishes and ran errands.
My mother called me the next day. She was a pretty woman who never smiled. I'd seen her often before, but I hadn't known quite who she was.
When I said, "Hello, Mama", this time she stared at me. She had never kissed me or held me in her arms or hardly spoken to me. I didn't know anything about her then, but a few years later I learned a number of things.
When I think of her now my heart hurts me twice as much as it used to when I was a little girl. It hurts me for both of us.
My mother was married at fifteen. She had two children (before me) and orked in a movie studio as a film-cutter. Her young husband got mixed up with another woman; there was a big row, and he left home.
While my mother was crying over the collapse of her marriage he sneaked back one day and kidnapped her two babies. My mother spent all her savings trying to get her children back. She hunted them for a long time.
Finnaly she traced them to Kentucky and hitch-hiked to where they were.
She was broke and with hardly any strenght left when she saw her children again. They were living in a fine house. Their father was married again, and well off.
She met him, but didn't ask him for anything, not even to kiss the children she had been hunting for so long. But like the mother in the movie "Stella Dallas", she went away and left them to enjoy a happier life than she could give them.
She came back to Hollywood and went to work as a film-cutter again. I wasn't born yet.
The day my mother called for me at the letter-carrier's house and took me to her rooms for a visit was the first happy day in my life that I remember.
I had visited my mother before. Being sick, and unable to take care of me and keep a job, too, she paid the letter-carrier five dollars a week to give me a home. Every once in a while she brought me to her rooms for a visit.
I used to be frightened when I visited her and spent most of my time in the closet of her bedroom hiding along her clothes. She seldom spoke to me except to say, "Don't make so much noise, Norma." She would say this even when I was lying in bed at night, and turning the pages of a book. Even the sound of a page turning made her nervous.
There was one object in my mother's rooms that always fascinating me. It was a photograph on the wall. There were no other pictures on the walls, just this one framed photograph.
Whenever I visited my mother I would stand looking at this photograph and hold my breath for fear she would order me to stop looking. I had found out that people always ordered me to stop doing anything I like to do.
This time my mother caught me staring at the photograph, but didn't scold me. Instead, she lifted me up in a chair so I could see better.
"That's your father," she said.
I felt so excited I almost fell off the chair. It felt so good to have a father, to be able to look at this picture and know I belonged to him. And what a wonderful photograph it was. He wore a slouch hat a little gaily on the side. There was a lively smile in his eyes, and he had a fin moustache like Clark Gable's. I felt very warm towards the picture.
My mother said: "He was killed in an auto accident in New York city."
I believed everything people told me at that time, but I didn't believe this. I didn't believe he was run over and dead.
I asked my mother what his name was. She wouldn't answer, but went into the bedroom and locked herself in.
Years later I found out what his name was, and many other things about him. The strange thing was that everything I heard about him, even if it wasn't good, made me feel warmer towards him. The night I met his picture, I dreamed of it when I fell asleep. And I dreamed of it a thousand times afterwards.
That was my first happy time, finding my father's picture. And every time I remember how he smiled and how his hat was tipped I felt warm and not alone. When I started a sort of scrapbook a year later the firt picture I put in it was a photograph of Clark Gable because he looked like my father - especially the way he wore his hat and moustache.
And I used to make up daydreams, not about Mr. Gable, but about my father. When I'd be walking home from school in the rain and feeling bad, I'd pretend my father was waiting for me, and that he would scold me for not having worn my rubbers.
I didn't own any rubbers. Nor was the place I walked to any kind of home. It was a place where I worked as a sort of child servant, washing dishes, clothes, floors, running errands, and keeping quiet.
But in a daydream you jump over facts as easily as a cat jump over a fence. My father would be waiting for me, I daydreamed, and I would come into the house smiling from ear to ear.
Once, when I lay in a hospital after having my tonsils out, and running into complications, I had a daydream that lasted a whole week without stopping.
I kept bringing my father into the hospital ward and walking him to my bed, while the other patients looked on with disbelief and envy at so distinguished a visitor; and I kept bending him over my bed, and having him kiss my forehead, and I gave him dialogue, too.
"You're be well in a few days, Norma Jean. I'm very proud of the way you're behaving, not crying all the time like other girls."
And I would ask him to please take off his hat. But I could never get him in my largest, deepest daydream to take his hat off and sit down.
When I went back to my "home", I almost sick again. A man next door chased a dog I had loved, and who had been waiting for me to come home. The dog barked because he was happy to see me. And the man started chasing him, and ordering him to shut up. The man had a hoe in his hand. He swung the hoe. It hit my dog's back and cut him in half.
My mother found another couple to keep me. They were English people, and needed the five dollars a week that went with me. Also, I was large for my age, and could do a lot of work.
One day my mother came to call. I was in the kitchen washing dishes. She sttod looking at me without talking. When I turned around I saw there were tears in her eyes, and I was surprised.
"I'm going to build a house for you and me to live in," she said. "It's going to be painted white and have a backyard." And she went away.
It was true. My mother managed it somehow, out of savings and a loan. She built a house. The English couple and I were both taken to see it. It was small and empty, but beautiful, and was painted white.
The four of us moved in. I had a room to myself. The English couple didn't have to pay rent, just take care of me as they had done before. I worked hard, but it didn't matter. It was my first home.
My mither bought furniture, a table with a white top and brown legs, chairs, beds, and curtains. I heard her say, "It's all on time, but don't worry. I'm working double shift at the studio, and I'll soon be able to pay it off."
One day a grand piano arrived at my home. It was out of condition. My mother had bought it second-hand. It was for me. I was going to be given piano lessons on it. It was a very important piano, despite being a little banged-up. It had belonged to the movie star Fredric March.
"You'll play the piano over here, by the windows," my mother said, "and here on each side of the fireplace there'll be a love seat. And we can sit listening to you. As soon as I pay off a few other things I'll get the love seats, and we'll all sit in them at night and listen to you play the piano."
But the love seats were not to be. Mother had a nervous breakdown, fell seriously ill, and hed to be taken to the hospital. All the furniture disappeared. The white table, the chairs, the beds, and white curtains melted away, and the grand piano, too.
The English couple disappeared also. And I was taken from the newly painted house to an orphan asylum, and given a blue dress and white shirtwaist to wear, and shoes with heavy soles. And for a long time when I lay in bed at night I could no longer daydream about anything.
I never forgot the white painted house and its furniture. Years later, when I was beginning to earn some money modelling, I started looking around for the Fredric March piano. After about a year I found it in an oid auction room, and bought it.
I have it in my home now in Hollywood. It's been painted a lovely white, and it has new strings and plays as wonderfully as any piano in the world.
My mother's best friend was a woman named Grace. I called nearly everybody I knew Aunt or Uncle, but Aunt Grace was a different sort of make-believe relative. She became my best friend, too.
Aunt Grace worked as a film librarian in the same studio as my mother -Columbia Pictures. She was the first person who ever patted my head or touched my cheek. That happened when I was eight. I can still remember how thrilled I felt when her kind hand touched me.
Grace had almost as rough a time as my mother. She lost her job in the studio and had to scrape for living. Although she had no money she continued to look after my mother, who was starting to have mental spells, and to look after me.
At times she took me to live with her. When she ran out of money and had only a half-dollar left for a week's food, we lived on stale bread and milk. You could buy a sackful of old bread at the Holmes Bakery for 25 cents. Aunt Grace and I would stand in line for hours waiting to fill our sacks.
When I looked up at her she would grin at me and say: "Don't worry, Norma Jean. You're going to be a beautiful girl when you grow up. I can feel it in my bones."
Her words made me so happy that the stale bread tasted like cream puffs.
EVERYTHING seemed to go wrong for Aunt Grace. Only bad luck and death ever visited her. But there was no bitterness in my aunt. Her heart remained tender and she believed in God.
Nearly everybody I knew talked to me about God. They always warned me not to offend Him. But when Grace talked about God she touched my cheek and said that He loved me, and watched over me. Remembering what Grace had said, I lay in bed at night crying to myself. The only One who loved me and watched over me was Someone I couldn't see, or hear, or touch.
I used to draw pictures of God, whenever I had time.
In my pictures He looked a little like Aunt Grace, and a little like Clark Gable.
As I grew older I knew I was different from other children because they were no kisses or promises in my life. I often felt lonely and wanted to die. I would try to cheer myself up with daydreams. I never dreamed of anyone loving me as I saw other children loved. That was too big a stretch for my imagination. I compromised my dreaming of my attracting someone's attention (beside God), of having people look at me and say my name.
When my mother was taken to the hospital Aunt Grace become my legal guardian.
I could hear her friends arguing in her room at night when I lay in her bed pretending to be asleep. They advised her against adopting me because I was certain to become more and more of a responsability as I grew older. This was on account of my "heritage", they said.
They talked about my mother and her father and brother and grandmother all beign mental cases, and said I would certainly follow in their footsteps. I lay in bed shivering as I listened. I didn't know what a mental case was, but I knew it wasn't anything good. And I held my breath waiting to hear whether. Aunt Grace would let me become a State orphan or adopt me as her own.
After a few evenings of argument, Aunt Grace adopted me, heritage and all, and I fell asleep happy.
Grace, my new guardian, had no money, and was out looking for a job all the time, so she arranged for me to enter the Orphan Asylum - the Los Angeles Children's Home Society. I didn't mind going there because even in the orphanage I knew I had a guardian outside - Aunt Grace.
It wasn't till later that I realised how much she had done for me. It not for Grace I would have seen sent to a State or COunty institution where there are fewer privileges, such as being allowed to have a Christmas tree, or seeing a movie sometimes.
I lived in the orphanage only off and on. Most of the time I was placed with a family, who were given five dollars a week for keeping me. I was placed in nine different families before I was able to quit being a legal orphan. I did this at 16 by getting married.
The families with whom I lived had one thing in common - a need for five dollars. I was also an asset to have in the house. I was strong and healthy; and able to do almost as much work as a grown-up. And I had learned not to bother anyone by talking or crying.
I learned also that the best way to keep out of trouble was by never complaining ar asking for anything. Most of the families had children of their own, and I knew they always came first. They wore the colored dresses, and owned whatever toys there were, and they were the ones who were believed.
My own costume never varied. It consisted of a faded blue skirt and a white waist. I has two of each, byt since they were exactly alike everyone thought I wore the same outfit all the time. It was one of the things that annoyed people - my wearing the same clothes.
Every second week the home sent a woman inspector out to see how its orphans were getting along in the world. She never asked me any questions, but would pick up my foot and look at the bottom of my shoes. If my shoe bottoms weren't worn through I was reported in a thriving condition.
I never minded coming "last" in these families except on Saturday nights, when everybody took a bath. Water cost money, and changing the water in the tub was an unheard of extravagance. The whole family used the same tub of water. And I was always the last one in.
One family with whom I lived was so poor that I was often scolded for flushing the toilet at night.
"That uses up five gallons of water," my new "uncle" would say, and "five gallons each time can run into money. You can do the flushing in the morning."
No matter how careful I was there were always troubles. Once, in school, a little Mexican boy started howling that I had hit him. I hadn't. And I was often accused of stealing things... a necklace, a comb, a ring, or a nickel. I never stole anything.
When the troubles came I had only one way to meet them -by staying silent. Aunt Grace would ask me when she came to visit how things were. I would tell her alwayds they were fine, because I didn't like to see her eyes turn unhappy.
Some of my troubles were my own fault. I did hit someone occasionally, pull her hair and knock her down. But worse than that were my "character faults" A slightly overgrown child who stares and hardly ever speaks, and who expects only one thing of a home -to be thrown out- can seem like a nuisance to have around.
There was one home I hoped wouldn't throw me out. This is was a house with four children who were watched over by a great-grandmother who was over a hundred years old.
She took care of the children by telling them bloodcurling stories about Indian massacres, scalpings, and burnings at the stake, and other wild doings of her youth. She said she had been a close friend of Buffalo Bill and had fought at his side in hand-to-hand battles with the savage Redskins.
I listened to her stories with my heart in my mouth and did everything I could to make her like me. I laughed the loudest and shivered the most at her stories.
But one d y one of her own great-grandchildren came running to her with her dress torn from her neck. She said I had done it. I hadn't. But the old Indian-fighter wouldn't believe me and I was sent back to the orphanage in disgrace.
Most of my troubles were of this minor sort. In a way they were not troubles at all, because I was used to them. When I look back on those days I remember, in fact, that they were full of all sorts of fun and excitement. I played games in the sun and races. I also had draydreams, not only about my father's photograph but about many other things.
I daydreamed chiefly about beauty. I dreamed of myself becoming so beautiful that people would turn to look at me when I passed. And I dreamed of colors -scarlet, gold, green, white. I dreamed of myself walking proudly in beautiful clothes and being admired by everyone, and overhearing words of praise. I made up the praises and repeated them aloud as if someone else were saying them.
Daydreaming made my work easier. When I was waiting on the table in one of the poverty - stricken, unhappy homes where I lived,I would daydream I was a waitress in an elegant hotel, dressed in a white waitress uniform, and everybody who entered the grand dining-room where I was serving would stop to look at me and openly admire me.
But I never daydreamed about love.
At 12 I looked like a girl of 17. My body wase developed and shapely. But no one knew this but me. I still wore the blue dress and the blouse the orphanage provided me. They made me look like an overgrown lummox.
I had no money. The other girls rode to school in a bus. I had no nickel to pay for the ride. Rain or shine, I walked the two miles from my "aunt's" home to the school.
I hated the walk. I hated the school. I had no friends.
The pupils seldom talked to me, and never wanted me in their games. Nobody ever walked home with me, or invited me to visit their homes. This was partly because I came from the poor part of the ditrict, where all the Mexicans and Japanese lived. It was also because I couldn't smile at anyone.
Once a shoemaker standing in the doorway of his shop stopped me as I was walking to school.
"What's your name ?" he asked me.
"Norma," I said.
"What's your last name ?" he asked.
I wouldn't give him the name I had - Norma Mortensen - because it wasn't the name of the man with the slouch hat and the Gable moustache. I didn't answer.
"You're a queer kid,' the shoemaker said. "I watch you pass here every day, and I've never seen you smile. You'll never get anywhere like that."
I went on to school, hating the shoemaker.
In school the pupils often whispered about me and giggled as they stared at me.
They called me dumb and made fun of my orphan's outfit. I didn't mind beign thought dumb. I knew I wasn't.
One morning both my white blouses were torn, and I would be late for school if I stopped to fix them. I asked one of my "sisters" in the house if she could loan me something to wear. She was my age, but smaller. She loaned me a sweater.
I arrived at school just as the maths class was starting. As I walked to my seat everybody stared at me. It was a very tight sweater.
At recess a half dozen boys crowded around me. They made jokes and kept looking at my sweater as if it were a gold mine. I had known for sometime that I had shapely breasts and thought nothing of the fact. The maths class, however, was more impressed.
After school four boys walked home with me, wheeling their bicycles by hand. I was excited but acted as if I nothing unusual were happening.
The next week the shoemaker stopped me again.
"I see you've taken my advice," he said. "You'll find you get along much better if you smile at folks."
I noticed that he, also, looked at my sweater as he talked. I hadn't given it back to my "sister" yet.
The school and the day became different after that. Girls who had brothers began inviting me to their homes, and I met their folks, too. And there were always four or five boys hanging around my house. We played games in the street and stood around talking under the trees till suppertime.
I wasn't aware of anything sexual in their new liking for me and there were no sex thoughts in my mind. I didn't think of my body as having anything to do with sex. It was more like a friend who had mysteriously appeared in my life, a sort of magic friend.
A few weeks later I stood in front of the mirror one morning and put lipstick on my lips. I darkened my blonde eyebrowns. I had no money for clothes, and I had no clothes except my orphan rig and the lone sweater. The lipstick and the mascara were like clothes, however. I saw that they improved my looks as much as if I had put on a real gown.
My arrival in school with painted lips and darkened browns, and still encased in the magic sweater, started everyone buzzing. And the buzzing was not all friendly. All sorts of girls, ont only 13-year-olds, but seniors of 17 and 18, set up shops as my enemies.
They told each other and whoever would listen that I was a drunkard and spent my nights sleeping with boys on the beach.
The scandals were lies. I didn't drink, and I didn't let any boys take liberties. And i had never been on any beach in my life. Bu I couldn't feel angry with the scandal-makers. Girls being jealous of me ! Girls frightened of losing their boyfriends because I was more attractive ! These were no longer daydreams made up to hide lonely hours. They were thruths !
And by summertime I had a real beau. He was 21, and despite being very sophisticated, he thought I was 18 instead of 13. I was able to fool him by keeping my mouth shut, and walking a little fancy. Since taking the maths class by storm a few months ago I had practised walking languorously.
My sophisticated beau arrived at my home one Saturday with the news that we were going swimmings. I rushed into my "sister's" room (the one who was a little smaller than me) to borrow her bathing suit. Standing in front of the bureau mirror I spent an hour putting it on and practising walking in it.
My beau's impatient cries finally brought me out of the bedroom in an old pair of slacks and a sweater. The bathing suit was under them.
It was a sunny day and the sand was crowded with bathers and with mothers and their children. Despite being born and raised only a few miles from the ocean I had never seen it close up before. I stood and stared for a long time. It was like something in a dream, full of gold and lavender colors, blue and foaming white. And there was a holiday feeling in the air that surprised me. Everybody seemed to be smiling at the sky.
"Come on, let's get in," my beau commanded.
"In where ?" I asked.
"In the water," he laughed, thinking I had made a joke.
I thought of my tight bathing suit. The idea of hiding myself in the water while wearing it seemed to me ridiculous. But I said nothing. I sttod watching the girls and women and felt a little disappointed. I hadn't expected that half the feminine population of Los Angeles would be parading the sands with almost nothing on. I thought I'd be the only one.
My beau was getting impatient again so I removed my slacks and sweater and stood in my skimpy suit. I thought, "I'm almost naked," and I closed my eyes and stood still.
My sophisticated boyfriend had stopped nagging me. I started walking slowly across the sand. I went almost to the water's edge and then walked down the beach. The same thing happened that had happened in the maths class, but on a larger scale. It was also much noisier.
Young men whistled at me. Some jumped up from the sand and trotted up for a better view. Even the women stopped moving as I came nearer.
I paid no attention to the whistles and whoops. In fact, I didn't hear them. I was full of a strange feeling, as if I were too people. One of them was Norma Jean from the orphanage who belonged to nobody. The other was someone whose name I didn't know. But I knew where she belonged. She belonged to the ocean and the sky and the whole world.
BUT nothing happened out of the great vision that smote me on the beach. I went back to my blue dress and white blouse and returned to school. But instead of learning anything I grew more and more confused. So did the school. It had no way of coping with a thirteen year old siren.
Why I was a siren, I hadn't the faintest idea. I didn't want to be kissed and I didn't dream of having a duke or a movie star fall in love with me. The thruth was that with all my lipstick and mascara and precocious curves, I was as unsensual as a fossil. But I seemed to affect people quite otherwise.
The boys took to wooing me as if I were the only girl in the district. I used to lie awake at night wondering why they chased after me. Occasionally I let one of them kiss me to see if there was anything interesting in the performance.
There wasn't.
I decided finally that the boys came after me because I was an orphan and had no parents to look after me. This decision made me cooler than ever to my train of admirers. But neither coolness nor disdain nor "get out of here," "don't bother me," none of my frozen attitudes changed the pictures.
The boys continued to pursue me as if I were a vampire with a rose in my teeth.
The girl pupils were another problem, but one I could understand. They disliked me more and more as I grew older. Now, instead of being accused of stealing combs, nickels, or necklaces, I was accused of stealing young men.
Aunt Grace suggested a solution for my troubles.
"You ought to get married," she said.
"I'm too young," I said. I was still 15.
"I don't think you are," Aunt Grace laughed.
"But there's nobody wants to marry me," I said.
"Yes there is," she said.
"Who ?" I asked.
"Jim," said my aunt.
Jim was Mr. Dougherty. He lived near me. He was good-looking, polite, and fullgrown.
"But Jim is stuck on my 'sister'," I told her.
"It was you he took to the football game," Aunt Grace said, "not her."
"It was awful boring," I said. "I hate football games."
"How do you feel about Jim ?" she asked.
"I don't feel anything," I said, "He's like the others, except he's taller and more polite."
"That's a fine quality in a man," said Aunt Grace, "politeness".
The "aunt" and "uncle" with whom I was living - my ninth set of relatives - helped me to make up my mind. They were going to move. This meant I'd have to go back and live in the orphanage tii they unloaded me on another family.
I married Jim Dougherty.
The first effect marriage had on me was to increase my lack of interest in sex. My husband either didn't mind this or wasn't aware of it. We were both too young to discuss such an embarrassing topic openly.
Jim's folks didn't care much for me, for which I couldn't blame them. I was a peculiar wife. I disliked grown-ups. I preferred washing dishes to sitting and talking to them.
As sson as they started playing cards or having arguments I would sneak out of the house and join the kids in the street. I liked boys and girls younger than me. I played games with them until my husband came out and starting calling me.
My marriage brought me neither happiness nor pain. My husband and I hardly spoke to each other. This wasn't because we were angry. We had nothing to say. I've seen many married couples since that were just like Jim and me.
They were usually the more enduring kind if marriages, the ones that were pickled in silence.
The most important thing my marriage did for me was to end forever my status as orphan. I felt grateful to Jim for this. He was the Lochinvar who rescued me from my blue dress and white blouse.
My various advisers had been right about marriage putting an end to my popularity as a siren. The boys did not come after Mrs. Dougherty. The rose seemed to have fallen out of her teeth.
Jim joined the Merchant Marine in 1944, and I went to work in a parachut factory. The great war was on. Battles were being fought. Juke boxes were playing. People's eyes were lit up.
I WORE overalls in the factory. I was surprised that they insisted on this. Putting a girl in overalls is like having her work in tights, particularly if a girl knows how to wear them. As parachute inspector I was back in the maths class again. The men buzzed around me just as the high school boys had done.
I have noticed since that men usually leave married women alone, and are inclined to treat all wives with respect. This is no great credit to married women. Men are always ready to respect anything that bores them.
The reason most wives, even pretty ones, wear such a dull look is because they're respected so much.
Maybe it was my fault that the men in the factory tried to date me and buy me drinks. I didn't feel like a married woman. I was completely faithful to my overseas husband but that wasn't because I loved him or even because I had moral ideas. My fidelity was due to my lack of interest in sex.
Jim finally came home and we lived together again. It's hard to remember what you said, did, or felt when you were bored.
Jim was a nice husband. He never hurt me or upset me - except on one subject. He wanted a baby.
The thought of having a baby stood my hair on end. I could see it only as myself, another Norma Jean in an orphanage. Something would happen to me. Jim would wander off. And there would be this little girl in the blue dress and white blouse living in her "aunt's" home, washing dishes, being last in the bath water on Saturday night.
I couldn't explain thsi to Jim. After he fell asleep beside me at night I would lie awake crying. I didn't quite know who it was that cried, Mrs. Dougherty or the child she might have. It was neither.
It was Norma Jean, still alive, still alone, still wishing she were dead.
I feel different about having a child now. It's one of the things I dream of. She won't be any Norma Jean now. And I know how I'll bring her up - without lies. Nobody will tell her lies about anything. And I'll answer all her questions. It I don't know the answers I'll go to an encyclopedia and look them up. I'll tell her whatever she wants to know - about love, about sex, about everything !
But chiefly, no lies ! No lies about there being a Santa Claus, or about the world being full of noble and honorable people all eager to help each other and do good to each other. I'll tell her there are honor and goodness in the world, the same as there are diamonds and radium.
This is the end of my story of Norma Jean. Jim and I were divorced. And I moved into a room in Hollywood to live by myself. I was 19 and I wanted to find out who I was.
When I just wrote "This is the end of Norma Jean," I blushed as if I had been caught in a lie. Because this sad, bitter child who grew up too fast is hardley ever out of my heart. With success all around me I can still feel her frightened eyes looking out of mine.
She keeps saying: "I never lived, I was never loved," and often I get confused and think it's I who am saying it.
I had been a sort of "child bride." Now I was a sort of "child widow." Many things seemed to have happened to me. Yet, in a way, nothing had happened, except that I was 19 instead of nine, and I had to look for my own job.
The sort of instinct that leads a duck to water led me to photographer's studios. I got jobs posing for ads, and layouts. The chief trouble was that the photographers were also looking for work. Finding a photographer who wanted me as a model was easier than finding one who could pay more than promises.
But I made enough money for room rent and a meal a day, although sometimes I fell behind on my eating. It didn't matter, though. When you're young and healthy a little hunger isn't too important.
WHAT mattered more was being lonely. When you're young and healthy loneliness can seem more important than it is.
I looked at the streets with lonely eyes. I had no relatives to visit or chums to go places with.
My aunt Grace and Aunt Anna were working hard to keep food in their kitchens and the rent paid. When I called on them they felt sorry for me and wanted to help me. I knew how they neede the half-dollars in their purses, so I stayed away unless I had money and could take them to a restaurant or the movies.
I had only myself. When I walked home from the restaurant in the evening with the streets lighted up and a crowd on the sidewalks, I used to watch the people chatting to each other and hurrying some place. I wondered where they were going and how it felt to have places to go or people who knew you.
There were always men willing to help a girl be less lonely. They said "Hi! baby," when you passed. When you didn't turn to look at them they sneered, "Stuck up, eh ?"
I never answered them. Sometimes I felt sorry for them. They seemed as lonely as I was. These lonely street-corner wolves "Hi babying" me sounded like voices out of the past calling me to be Miss Nobody again.
One evening I met a man in a restaurant.
"This town has sure changed a lot in the past 40 years," he said. "Used to be Indians right where we're walking."
"Did you use to live here 40 years ago," I asked.
"Yes, ma'am," he said. "How old do you think I am ?"
"About 60," I said.
"Seventy-seven my last birthday," he corrected me. "The name is Bill Cox. You going anywhere ?"
I said I wasn't.
"Why not to drop in on me and the missus ?" he said. "Live right near here. I'm taking her home a sandwich."
I became a friend of Bill Cox and his wife. The three of us would walk together in the streets at night sometimes.
He talked chiefly about the Spanish-American War, in which he had been a soldier, and about Abraham Lincoln. These two topics were very exciting him.
I had never heard of the Spanish-American War. I must have been absent from school the week it was studied by my history class.
Walking with Bill Cox in the lighted Hollywood streets and hearing stories about the Spanish-American War and Abraham Lincoln, I didn't feel lonely and the sidewalk wolves didn't "Hi-baby" me.
One evening Bill Cox told me he was going back to Texas.
"I'm felling sick," he said, "and I'd hate to die any place except in Texas."
He sent me a few letters from texas. I answered them. Then a letter came from his wife saying Bill Cox had died in an Old Soldier's Home in Texas. I read the letter in the restaurant where I had met him, and I walked home crying. The Hollywood streets seemed lonelier than ever without Bill Cox, his favorite war, and Abraham Lincoln.
YOU sit alone. It's night outside. Automobiles roll down Sunset Boulevard like and endless string of beetles. Their rubber tyres make a purring, highclass noise. You're hungry and you say "It's good for my waistline not to eat. There's nothing finer than a washboard belly."
And you say your speech lesson out loud:
"Ariadne arose from her couch in the snows in the Akrakaronian mountains." Followed by "Hail to thee, blithe spirit, bird thou never wert."
The lessons are a dollar apiece. For a dollar you could buy a pair of stockings and a hamburger will never make you an actress. Speech lessons may. So with bare legs and an empty stomach you hit the consonants of, "Hail to thee, blithe spirit."
I used to think as I looked out on the Hollywood night, "There must be thousands of girls sitting alone like me dreaming of becoming a movie star. But I'm not going to worry about them. I'm dreaming the hardest."
You don't have to know anything to dream hard. I knew nothing about acting. I had never read a book about it, or tried to do it, or discussed it with anyone. I was ashamed to tell the few people I knew of what I was dreaming. I said I was hoping to make a living as a model. I called on all the model agencies and found a job now and then.
But there was this secret in me -acting. It was like being in gaol and looking at a door that said "This Way Out."
Acting was something golden and beautiful. It was like the bright colors Norma Jean used to see in her daydreams. It wasn't an art. It was like a game you played that enabled you to step out of the dull world you knew into worlds so bright they made your heart leap to think of them.
When I was eight I used to look out of the orphan asylum window at night and see a big lighted-up sign that read: "R.K.O. Radio Pictures." I hated the sign. It reminded me of the smell of glue. My mother had one taken me to the studio where she worked. The smell of the wet film she cut and spliced had stuck to my nose.
That was Norma Jean's nose. Norma Dougherty, the aspiring actress, had no such fellings towards studio signs. To her they were the beacons of a Promised Land - the land of Ingrid Bergman, Claudette Colbert, Joan Crawford, Bette Davis, Olivia De Havilland, Gene Tierney, Jennifer Jones.
That's the way it was when I sat alone in my Hollywood room. I went to sleep hungry and woke up hungry. And I thought all actors and actresses were geniuses sitting on the front port of Paradise - the movies.
To be continued
Next week
. Marilyn Monroe writes about a Hollywood you don't see on the screen - "the Hollywood of failure... where we were the prettiest tribe of panhandlers that ever overan a town... and around us were the wolves."
Traduction
"C'est mon histoire - par Marilyn Monroe"
Je croyais que les gens avec qui je vivais étaient mes parents. Je les appelais maman et papa. La femme me dit un jour : "Ne m'appelle pas maman. Tu es assez grande pour savoir, je ne suis en aucun cas apparentée à toi. Tu es juste de passage ici. Ta maman vient te voir demain. Tu pourras l'appeler maman, si tu veux."
Je lui ai dit merci. Je ne lui ai pas posé de questions sur l'homme que j'appelais papa. Il était facteur. J'avais l'habitude de m'asseoir sur le bord de la baignoire le matin pour le regarder se raser et lui poser des questions - où était l'Est ou le Sud ou combien de gens il y avait dans le monde. Il était la seule et unique personne à toujours répondre à mes questions.
Les gens que je pensais être mes parents avaient eux-mêmes des enfants. Ils n'étaient pas méchants. Ils étaient juste pauvres. Ils n'avaient pas grand-chose à donner à qui que ce soit, pas même à leurs propres enfants. Et il ne restait alors rien pour moi. J'avais sept ans, mais j'ai fait ma part du travail. Je lavais par terre, faisais la vaisselle et les courses.
Ma mère est venue me voir le lendemain. C'était une jolie femme qui ne souriait jamais. Je l'avais souvent vue auparavant, mais je ne savais pas vraiment qui elle était.
Quand je lui ai dit cette fois là "Bonjour maman", elle m'a regardé fixement. Elle ne m'avait jamais embrassée ni tenue dans ses bras, ni à peine parlé. Je ne savais rien d'elle à l'époque, mais quelques années plus tard, j'ai appris un certain nombre de choses.
Quand je pense à elle maintenant, mon cœur me fait deux fois plus mal qu'au temps où jétais une petite fille. Ça me fait mal pour nous deux.
Ma mère s'est mariée à quinze ans. Elle a eu deux enfants (avant moi) et a travaillé dans un studio de cinéma en tant que monteuse de pellicules. Son jeune mari a fréquenté une autre femme; il y a eu une grande dispute, et il a quitté la maison.
Alors que ma mère pleurait sur l'effondrement de son mariage, il est revenu en douce un jour et a enlevé ses deux bébés. Ma mère a dépensé toutes ses économies pour essayer de récupérer ses enfants. Elle les a cherchés pendant longtemps.
Finalement, elle a retrouvé leur trace dans le Kentucky et a fait de l'auto-stop pour y aller.
Elle était fauchée et à bout de forces quand elle a revu ses enfants. Ils vivaient dans une belle maison. Leur père s'était remarié etgagnait bien sa vie.
Elle a discuté avec lui, mais ne lui a rien demandé, pas même d'embrasser ses enfants qu'elle cherchait depuis si longtemps. Mais comme la mère dans le film "Stella Dallas", elle est repartie et les a laissés profiter d'une vie plus heureuse qu'elle ne pouvait leur offrir.
Elle est revenue à Hollywood et est retournée travailler comme monteuse de pellicules. Je n'étais pas encore née.
Le jour où lors de l'une de ses visites, ma mère est venue me chercher chez le facteur pour m'emmener chez elle, fut le premier jour heureux de ma vie dont je me souvienne.
J'avais déjà été chez ma mère. Étant malade et incapable de s'occuper de moi, et comme elle travaillait, elle payait le facteur cinq dollars par semaine pour que je puisse bénéficier d'un foyer. De temps en temps, elle venait me chercher.
J'avais peur quand j'allais chez elle et passais le plus clair de mon temps dans le placard de sa chambre à me cacher le long de ses vêtements. Elle me parlait rarement, sauf pour me dire : "Ne fais pas autant de bruit, Norma." Elle disait cela même quand j'étais allongée dans mon lit le soir et que je feuilletais un livre. Rien que le bruit d'une page qu'on tourne la rendait nerveuse.
Il y avait quelque chose dans sa chambre qui m'avait toujours fasciné. C'était une photographie accrochée au le mur. Il n'y avait pas d'autres photos sur les murs, juste cette photo encadrée.
Chaque fois que je rendais visite à ma mère, je restais debout à regarder cette photo et retenais mon souffle de peur qu'elle ne m'ordonne d'arrêter de regarder. Je m'étais rendu compte que les gens m'ordonnaient toujours d'arrêter de faire ce dont j'avais envie.
Ce jour là, ma mère m'a surprise en train de regarder la photo, mais ne m'a pas grondé. Au lieu de cela, elle m'a soulevé sur une chaise pour que je puisse mieux voir.
"C'est ton père", a-t-elle dit.
Je me sentais tellement excitée que j'ai failli tomber de la chaise. C'était si bon d'avoir un père, de pouvoir regarder cette photo et savoir que je lui appartenais. Et quelle magnifique photo c'était. Il portait un chapeau mou, cavalièrement incliné sur un côté. Son regard était vif et souriant, et il avait une fine moustache comme celle de Clark Gable. Je me sentais réconfortée à voir cette image.
Ma mère a dit : "Il a été tué dans un accident de voiture à New York." D'ahbitude, je croyais toujours ce que les gens me disaient, mais cette fois-là, je n'y croyais pas. Je ne croyais pas qu'il avait été renversé et qu'il était mort.
J'ai demandé à ma mère comment il s'appelait. Elle ne répondit pas, mais alla s'enfermer dans sa chambre.
Des années plus tard, j'ai découvert son nom et bien d'autres détails à son sujet. Le plus étrange était que tout ce que j'entendais à son sujet, même si ce n'était pas glorieux, me faisait me sentir encore plus chaleureuse envers lui. La nuit où j'ai vu sa photo pour la première fois, j'en ai rêvé en m'endormant. Et par la suite, j'en ai rêvé des milliers de fois.
Ce fut le premier moment heureux de ma vie, celui de découvrir la photo de mon père. Et chaque fois que je me rappelais de son sourire et comment son chapeau était incliné, je me sentais réconfortée et plus seule. Un an après, quand j'ai commencé à faire un album photos, la première photo que j'ai mise dedans était une photo de Clark Gable parce qu'il ressemblait à mon père - surtout la façon dont il portait son chapeau et sa moustache.
Et j'avais l'habitude de rêvasser, non pas de M. Gable, mais de mon père. Quand je rentrais de l'école à pied sous la pluie et que je me sentais déprimée, je faisais comme si mon père m'attendait et qu'il me grondait de ne pas avoir porté mes bottes en caoutchouc.
Je ne possédais aucune bottes en caoutchouc. Ce n'était pas non plus l'endroit où je rentrais chez moi. C'était un endroit où je travaillais comme une sorte d'enfant domestique, lavant la vaisselle, la lessive, les sols, faisant des courses, tout en gardant le silence.
Mais dans nos rêveries, on saute par-dessus les faits aussi facilement qu'un chat saute par-dessus une clôture. Je rêvais que mon père m'attendrait et que j'entrais dans la maison avec un immense sourire d'une oreille à l'autre. Un jour que j'étais à l'hôpital après l'opération d'ablation de mes amygdales suivies de complications, je me suis laissée emportée par mes rêves qui ont duré une semaine entière sans s'arrêter.
Je ne me lassais pas d'imaginer que mon père venait me voir à l'hôpital, s'approchant de mon lit, pendant que les autres patients regardaient avec incrédulité et envie un visiteur si distingué; et il se penchait sur mon lit pour m'embrasser sur le front, tout en discutant avec lui aussi.
"Tu seras guérie dans quelques jours, Norma Jean. Je suis très fier de la façon dont tu te comportes, ne pleure pas tout le temps comme les autres petites filles."
Et je lui demandais de bien vouloir enlever son chapeau. Mais même dans mes pensées de rêveries les plus folles et des plus intenses, je n'ai jamais réussi à lui faire enlever son chapeau, ni qu'il s'asseye à côté de moi.
Quand je suis rentrée "chez moi", j'ai failli retomber malade. Un voisin s'est mis à chasser un chien que j'aimais tellement et qui attendait mon retour. Le chien aboyait parce qu'il était content de me voir. Et l'homme s'est mis à le chasser en lui hurlant de la boucler. L'homme avait une houe à la main. Il a balancé la houe qui a touché le dos de mon chien et l'a coupé en deux.
Ma mère a trouvé un autre couple pour me garder. C'était des anglais et avaient besoin des cinq dollars par semaine pour me garder. De plus, j'étais grande pour mon âge, et je pouvais faire beaucoup de travail.
Un jour, ma mère est venue me voir. J'étais dans la cuisine en train de faire la vaisselle. Elle resta debout à me regarder sans parler. Quand je me suis retournée, j'ai vu qu'elle avait les larmes aux yeux, et j'ai été surprise. "Je vais construire une maison pour que toi et moi y vivions", a-t-elle déclaré. "Elle sera peinte en blanc et aura une arrière-cour." Et elle s'en alla.
C'était vrai. Ma mère s'est débrouillée d'une manière ou d'une autre, avec ses économies et en faisant un prêt. Elle a construit une maison. Le couple anglais et moi avons tous deux été emmenés pour la voir. Elle était petite et vide, mais belle, et était peinte en blanc.
Nous y avons emménagé tous les quatre. J'avais une chambre pour moi toute seule. Le couple anglais n'avait pas à payer de loyer, il s'occupait juste de moi comme ils le faisaient avant. Je travaillais dur, mais ce n'était pas grave. C'était mon premier foyer. Ma mère a acheté des meubles, une table avec un dessus blanc et des pieds marron, des chaises, des lits et des rideaux. Je l'ai entendue dire : "Tout est à crédit, mais ne t'inquiète pas. Je travaillerai deux fois plus au studio et je pourrai bientôt tout payer."
Un jour, un piano à queue est arrivé à la maison. Il était hors d'état. Ma mère l'avait acheté d'occasion. C'était pour moi. On me donnerait des leçons de piano avec. C'était un piano très important, même s'il était un peu cabossé. Il avait appartenu à la star de cinéma Fredric March.
"Tu joueras du piano ici, près des fenêtres", dit ma mère, "et ici, de chaque côté de la cheminée, il y aura une causeuse. Et nous pourrons nous asseoir à t'écouter. Dès que j'aurai fini de payer les autres choses, j'achèterai les causeuses, et nous nous assiérons tous dessus la nuit pour t'écouter jouer du piano."
Mais il n'y eut jamais de causeuses. Maman a fait une dépression nerveuse, est tombée gravement malade et a dû être emmenée à l'hôpital. Tous les meubles ont disparu. La table blanche, les chaises, les lits et les rideaux blancs, ainsi que le piano à queue.
Le couple anglais a disparu aussi. Et j'ai quitté ma maison fraîchement repeinte pour être emmenée dans un orphelinat, où on m'a donné une robe bleue et une blouse blanche à porter, et des chaussures à grosses semelles. Et pendant longtemps, quand j'était couchée la nuit, je ne pouvais plus rêver de rien. Je n'ai jamais oublié la maison peinte en blanc et ses meubles. Des années plus tard, alors que je commençais à gagner un peu d'argent en tant que mannequin, j'ai commencé à chercher le piano Fredric March. Environ un an après, je l'ai retrouvé dans une salle des ventes aux enchères et je l'ai acheté.
Je l'ai chez moi maintenant à Hollywood. Il a été peint d'un beau blanc, et il a de nouvelles cordes et joue aussi merveilleusement que n'importe quel autre piano au monde.
La meilleure amie de ma mère s'appelait Grace. J'appelais presque toutes les personnes que je connaissais par ma 'tante' ou mon 'oncle', mais tante Grace était différente de tous mes autres pseudo-parents. Elle est aussi devenue ma meilleure amie.
Tante Grace travaillait comme documentaliste dans le même studio que ma mère, à la Columbia. Elle a été la première personne à m'avoir tapoté la tête ou caressé ma joue. C'est arrivé quand j'avais huit ans. Je me souviens encore à quel point j'ai été ravie lorsque sa main bienveillante m'a touchée.
Grace a eu des moments presque aussi difficiles que ma mère. Elle a perdu son travail au studio et a dû s'escaner pour vivre. Bien qu'elle n'ait pas d'argent, elle a continué à s'occuper de ma mère, qui commençait à avoir des troubles mentaux, et à s'occuper de moi. Parfois, elle m'emmenait chez elle. Quand elle a manqué d'argent et qu'il ne lui restait plus qu'un demi-dollar pour manger dans la semaine, nous vivions de pain rassis et de lait. On pouvait acheter un sac de pain rassis à la boulangerie Holmes pour 25 centimes. Tante Grace et moi faisions la queue pendant des heures pour remplir nos sacs.
Quand je la regardais, elle me souriait et me disait: "Ne t'inquiète pas, Norma Jean. Tu seras une belle fille quand tu seras grande. Je peux le sentir au plus profond de moi".
Ses mots me rendaient si heureuse que le pain rassis avait le goût de choux à la crème.
TOUT semblait mal tourner pour tante Grace. Seules la malchance et la mort ont fait parti de sa vie. Mais il n'y avait aucune amertume chez ma tante. Son cœur restait tendre et elle croyait en Dieu.
Quasiment toutes les personnes que je connaissais me parlaient de Dieu. On m'a toujours averti de ne pas l'offenser. Mais quand Grace me parlait de Dieu, elle caressait ma joue et me disait qu'Il m'aimait et veillait sur moi.
Me rappelant de ce que Grace m'avait dit, je restai dans mon lit la nuit à pleurer. LE seul qui m'aimait et veillait sur moi était quelqu'un que je ne pouvais ni voir, ni entendre, ni toucher.
J'avais l'habitude de dessiner des portraits de Dieu, chaque fois que j'en avais le temps.
Dans mes dessins, il ressemblait un peu à Tante Grace et un peu à Clark Gable.
En grandissant, je savais que j'étais différente des autres enfants parce qu'il n'y avait ni baisers ni promesses dans ma vie. Je me sentais souvent seule et je voulais mourir. J'essayais de me remonter le moral avec mes rêveries. Je ne rêvait jamais que quelqu'un m'aime comme j'ai vu d'autres enfants aimés. C'était trop d'imagination pour mes rêveries. Je me contentais de rêver d'attirer l'attention de quelqu'un (Dieu mis à part), des gens qui me regarderaient et prononceraient mon nom.
Quand ma mère a été emmenée à l'hôpital, Tante Grace est devenue ma tutrice légale. Je pouvais entendre ses amis discuter dans sa chambre la nuit quand j'étais allongé dans mon lit en faisant semblant de dormir. Ils lui ont déconseillé de m'adopter car il était certain que je deviendrai une responsabilité de plus en plus lourde à gérer en grandissant. C'était à cause de mon « héritage », disaient-ils. Ils ont parlé de ma mère, de son père, de son frère et de sa grand-mère, tous atteints de troubles mentaux, et ont dit que je suivrais certainement leurs traces. J'étais allongée sur le lit, frissonnant en les écoutant. Je ne savais pas ce qu'était un trouble mental, mais je savais que ce n'était rien de bon. Et je retenais mon souffle en attendant de savoir si Tante Grace me laisserait devenir orpheline d'État ou m'adopterait comme da propre enfant. Après quelques soirées de discussions, Tante Grace m'a adoptée, héritage ou autre, et je me suis endormie heureuse. Grace, ma nouvelle tutrice, n'avait pas d'argent et passait son temps à chercher du travail, alors elle s'est arrangée pour que j'entre à l'orphelinat - celui du Los Angeles Children's Home Society. Cela ne me dérangeait pas d'y aller parce que même à l'orphelinat, je savais que j'avais une tutrice à l'extérieur - tante Grace.
Ce n'est que plus tard que j'ai réalisé tout ce qu'elle avait fait pour moi. Sans Grace, j'aurais été envoyée dans une institution d'État ou de comté où il y a moins de privilèges, comme l'arbre de Noël ou de voir un film de temps en temps.
J'ai vécu dans l'orphelinat seulement par intermittence. La plupart du temps, j'étais placée dans une famille qui recevait cinq dollars par semaine pour me garder. J'ai été placée dans neuf familles différentes avant de pouvoir mettre un terme au statut légal d'être orpheline. Je l'ai fait à 16 ans en me mariant.
Les familles avec lesquelles je vivais avaient un point commun : le besoin d'avoir les cinq dollars. J'étais aussi un atout à avoir dans une maison. J'étais forte et en bonne santé ; et capable d'abattre autant de travail qu'un adulte. Et j'avais appris à ne déranger personne en parlant ou en pleurant.
J'ai aussi appris que la meilleure façon d'éviter les ennuis était de ne jamais se plaindre, ni de demander quoi que ce soit. La plupart des familles avaient leurs propres enfants et je savais qu'ils passaient toujours en premier. Ils portaient des vêtements colorés et possédaient toutes sortes de jouets, et c'étaient toujours eux que l'on croyait.
Mon habillement n'a jamais varié. Il se composait d'une jupe bleu délavée et d'une blouse blanche. J'en avais deux exemplaires de chaque, parfaitement identiques, si bien que tout le monde pensait que je portais toujours les mêmes vêtements. C'était l'une des choses qui agaçaient les gens - le fait d'être toujours habillée pareil.
Tous les quinze jours, le foyer envoyait une inspectrice pour voir comment ses orphelins se débrouillaient dans le monde. Elle ne me posait jamais de questions, mais soulevait mon pied pour regarder la semelle de mes chaussures. Si mes semelles n'étaient pas usées, elle signalait que j'étais placée dans de bonnes conditions.
Cela ne me dérangeait pas d'être la « dernière » dans ces familles, sauf le samedi soir, quand tout le monde prenait un bain. L'eau coûtait cher, et changer l'eau de la baignoire était une extravagance inouïe. Toute la famille utilisait la même baignoire d'eau. Et je passais toujours en dernier.
Une famille avec laquelle je vivais était si pauvre que j'étais souvent réprimandée pour avoir tiré la chasse d'eau la nuit.
"Cela consomme 15 litres d'eau", pouvait dire mon nouvel "oncle", et "15 litres à chaque fois, ça coûte de l'argent. Tu peux tirer la chasse d'eau que le matin."
Peu importe que je sois prudente ou non, il y avait toujours des problèmes. Une fois, à l'école, un petit garçon mexicain s'est mis à hurler que je l'avais frappé. Je ne l'avais pas fait. Et j'ai souvent été accusée d'avoir volé des choses... un collier, un peigne, une bague ou une pièce de cinq cents. Je n'ai jamais rien volé. Lorsque les problèmes surgissaient, je n'avais qu'un seul moyen de les confronter - c'était de garder le silence. Quand elle venait me voir, Tante Grace me demandait comment ça se passait. Je lui disais toujours que tout allait bien, parce que je n'aimais pas voir son regard empli de tristesse.
Certains de mes problèmes étaient de ma faute. De temps en temps, je frappais une fille, je lui tirais les cheveux et je la jetait par terre. Mais le pire cela était mes "défauts de caractère". Une enfant un peu trop grande qui regarde fixement et ne parle presque jamais, et qui s'attend à une seule chose d'un foyer -en être mise à la porte- peut sembler être une nuisance autour de soi.
Il y avait une maison dont j'espérais ne pas être chassée. C'était une maison avec quatre enfants qui étaient gardés par une arrière-grand-mère qui avait plus de cent ans.
Elle s'occupait des enfants en leur racontant des histoires sanglantes sur les massacres indiens, les scalps et les incendies sur le bûcher, et d'autres actes sauvages de sa jeunesse. Elle a dit qu'elle avait été une amie proche de Buffalo Bill et qu'elle avait combattu à ses côtés dans des combats au corps à corps avec les sauvages Peaux-Rouges.
J'écoutais ses histoires le coeur au bord des lèvres et j'ai fait tout ce que j'ai pu pour qu'elle m'aime. C'est moi qui riait le plus fort et qui frissonnait le plus à l'écoute de ses histoires.
Mais un jour, l'une de ses arrière-petites-filles accourut vers elle avec sa robe arrachée au col. Elle a dit que c'était moi. Je n'avais rien fait. Mais la vieille ennemie des Indiens n'a pas voulu me croire et j'ai été renvoyée à l'orphelinat en disgrâce.
La plupart de mes problèmes étaient de ce genre, plutôt sans importance. D'une certaine manière, ce n'étaient pas du tout des problèmes, parce que j'y étais habituée. Quand je repense à cette période, je me souviens qu'en fait je prenais beaucoup de plaisir et d'excitation. Je jouais au soleil et je faisais la course. Je rêvassais toujours, non seulement sur la photographie de mon père, mais aussi de bien d'autres choses.
Je rêvais surtout de beauté. Je rêvais de devenir si belle que les gens se retourneraient sur mon passage. Et je rêvais de couleurs - écarlate, or, vert, blanc. Je rêvais marchant fièrement dans de beaux vêtements et admirée par tout le monde, entendant leurs éloges. J'inventais ces louanges et me les répéter à haute voix comme si quelqu'un d'autre me les disait.
Ces rêves me faciliateint le travail. Quand je servais à table dans l'une des maisons misérables et malheureuses où je vivais, je rêvais que j'étais serveuse dans un hôtel élégant, vêtue d'un uniforme blanc, et tous ceux qui entraient dans la grande salle à manger où je servais, s'arrêtaient pour me regarder et m'admiraient ouvertement.
Mais je n'ai jamais rêvé d'amour.
À 12 ans, j'en paraissais 17. Mon corps s'était développé et j'étais bien galbée. Mais personne ne le savait à part moi. Je portais toujours la robe bleue et le chemisier que l'orphelinat m'avait fourni. J'avais l'air d'une grosse nunuche.
Je n'avais pas d'argent. Les autres filles allaient à l'école en bus. Je n'avais pas un nickel pour payer le trajet. Sous la pluie ou le soleil, je faisais les trois kilomètres à pied de la maison de mes "tantes" à l'école.
Je détestais marcher. Je détestais l'école. Je n'avais pas d'amis.
Les élèves me parlaient rarement et ne voulaient jamais jouer avec moi. Personne n'a jamais fait le trajet avec moi, ni ne m'a invité à venir chez eux. C'était en partie parce que je venais du quartier pauvre du district, où vivaient les Mexicains et les Japonais. C'était aussi parce que je ne sourais à personne.
Un jour, un cordonnier qui se tenait à la porte de son magasin m'a arrêté alors que j'allais à lécole.
"Comment t'appeles-tu ?" me demanda-t--il.
"Norma," lui dis-je.
"Quel est ton nom de famille ?" me demanda-t-il.
Je ne voulais pas lui dire mon nom - Norma Mortensen - parce que ce n'était pas le nom de l'homme au chapeau mou et à la moustache de Gable. Je n'ai pas répondu.
"Tu es une gamine étrange", dit le cordonnier. "Je te regarde passer ici tous les jours et je ne t'ai jamais vu sourire. Tu n'arriveras à rien comme ça."
J'ai repris mon chemin, détestant le cordonnier.
À l'école, les élèves chuchotaient souvent à mon sujet et ricanaient en me fixant.
Il me traitaient d'idiote et se moquaient de ma tenue d'orpheline. Je me fichais qu'on me croie idiote. Je savais que je ne l'étais pas.
Un matin, mes deux chemisiers blancs étaient déchirés et j'aurais été en retard à l'école si je les aurais raccommodés. J'ai demandé à l'une de mes «sœurs» de la maison si elle pouvait me prêter quelque chose à porter. Elle avait mon âge, mais était plus petite que moi. Elle m'a prêté un pull.
Je suis arrivé à l'école au moment où le cours de maths commençait. Pendant que je me dirigeais vers ma chaise, tout le monde me regardait. C'était un pull très serré.
A la récréation, une demi-douzaine de garçons m'entouraient. Ils faisaient des blagues et continuaient à regarder mon pull comme s'il s'agissait d'une mine d'or. Je savais depuis quelque temps que j'avais des jolis seins mais je n'y pensais pas. La classe de maths, cependant, en était plus impressionnée.
Après l'école, quatre garçons ont fait le chemin avec moi, tenant leurs vélos à la main. J'étais excitée mais j'agissais comme si rien d'inhabituel ne se passait.
La semaine suivante, le cordonnier m'a de nouveau arrêté.
"Je vois que tu as suivi mon conseil," dit-il. "Tu t'endendras mieux avec les gens si tu leur souris."
J'ai remarqué qu'il regardait aussi mon pull en me parlant. Je ne l'avais pas encore rendu à ma "soeur".
L'école et les journées sont devenues différentes après cela. Des filles qui avaient des frères ont commencé à m'inviter chez elles, et j'ai aussi rencontré leurs parents. Et il y avait toujours quatre ou cinq garçons qui traînaient près de chez moi. On jouait dans la rue et on restait à discuter sous les arbres jusqu'à l'heure du souper.
Je ne me rendais pas compte de l'aspect sexuel à travers les égards qu'ils me portaient et il n'y avait aucune pensée sexuelle dans mon esprit. Je ne pensais pas que mon corps avait un rapport avec le sexe. C'était plutôt un ami qui était mystérieusement apparu dans ma vie, une sorte d'ami magique.
Quelques semaines plus tard, un matin, devant le miroir, je me suis mise du rouge à lèvres. J'ai foncé mes sourcils blonds. Je n'avais pas d'argent pour acheter des vêtements, et je n'avais pas de vêtements à part ma tenue d'orpheline et le seul et unique pull. Le rouge à lèvres et le mascara étaient cependant comme des vêtements. J'ai vu qu'ils amélioraient mon apparence autant que si j'avais porté une vraie robe.
Mon arrivée à l'école, avec les lèvres peintes et les sourcils noircis, et toujours moulée dans le pull magique, a fait vibrer tout le monde. Et les réactions n'étaient pas toutes amicales. Pleins de filles, pas seulement celles de 13 ans, mais les plus âgées de 17 et 18 ans, sont devenues mes ennemies déclarées.
Elles racontaient entre elles, et à qui voulait bien les entendre, que j'étais une ivrogne et que je passais mes nuits à coucher avec des garçons sur la plage.
Les scandales étaient des mensonges. Je ne buvais pas et je ne laissais aucun garçon prendre des libertés avec moi. Et je n'avais jamais été sur aucune plage de ma vie. Mais je ne pouvais pas me sentir en colère contre les faiseurs de scandales. Des fillesjalouses de moi ! Des filles avaient peur de perdre leurs copains parce que j'étais plus attirante ! Ce n'étaient plus là des rêveries pour tromper ma solitude. C'étaient des vérités !
Et en été, j'ai eu un vrai soupirant. Il avait 21 ans, et bien qu'il soit très intelligent, il pensait que j'avais 18 ans au lieu de mes 13 ans. Je parvins à l'abuser en parlant le moins possible et en marchant d'une manière suggestive. Depuis que j'avais fait la conquête du cours de maths quelques mois avant, je m'étais entraînée à marcher langoureusement.
Mon soupirant intelligent est arrivé chez moi un samedi pour m'annoncer que nous partons nous baigner. Je me suis précipitée dans la chambre de ma "soeur" (celle qui était un peu plus petite que moi) pour lui emprunter son maillot de bain. Debout devant le miroir du bureau, j'ai passé une heure à m'entraîner à marcher après l'avoir mis.
Les cris d'impatience de mon soupirant me firent enfin sortir de la chambre, vêtue d'un vieux pantalon et d'un pull. Le maillot de bain était en-dessous.
C'était une journée ensoleillée et le sable envahi de baigneurs et de mères avec leurs enfants. Bien que née et ayant été élevée à seulement quelques kilomètres de l'océan, je ne l'avais jamais vu de si près auparavant. Je suis restée debout et je l'ai regardé pendant un long moment. C'était comme dans un rêve, pleins de couleurs or et lavande, d'un bleu et blanc mousseux. Et il y avait un esprit de vacances dans l'air qui m'a surprise. Tout le monde semblait sourire au ciel.
"Viens, allons-y", ordonna mon cavalier.
"Où ?" je lui ai demandé.
"Dans l'eau" dit-il en riant, pensant que je plaisantais. J'ai pensé à mon maillot de bain moulant. L'idée de me cacher dans l'eau en le portant me paraissait ridicule. Mais je n'ai rien dit. J'ai regardé les filles et les femmes et je me suis sentie décue. Je ne m'attendais pas à ce que la moitié de la population féminine de Los Angeles défile sur le sable portant presque rien sur elles. Je pensais être la seule.
Mon soupirant s'impatientait enocre alors j'ai enlevé mon pantalon et mon pull et restait plantée là, dans ma tenue étriquée. J'ai pensé : "Je suis presque nue", et j'ai fermé les yeux et je suis restée immobile.
Mon petit ami intelligent avait cessé de m'embêter. J'ai commencé à marcher lentement sur le sable. Je suis presque allée jusqu'au bord de l'eau, puis j'ai longé la plage. La même chose s'est produite que ce qui qui s'était produit dans la classe de maths, mais à plus grande échelle. C'était aussi beaucoup plus bruyant.
Les jeunes hommes me sifflaient. Certains ont sauté du sable et couraient en trottinant pour mieux voir. Même les femmes s'arrêtèrent de bouger à mesure que je m'approchais.
Je ne prêtais aucune attention aux sifflets et aux cris. En fait, je ne les ai pas entendus. J'étais envahie d'un sentiment étrange, comme si j'étais deux personnes. L'une d'elles était Norma Jean de l'orphelinat qui n'appartenait à personne. L'autre était quelqu'un dont je ne connaissais pas le nom. Mais je savais où elle se trouvait. Elle appartenait à l'océan, au ciel et au monde entier.
MAIS rien ne s'est passé en dehors de la vision grandiose qui m'avait frappée sur la plage. Je retrouvai à ma robe bleue et ma blouse blanche et je suis retournée à l'école. Mais au lieu d'apprendre quoi que ce soit, je suis devenue de plus en plus confuse. A l'école aussi. Ils ne savaient comment appréhender face à une sirène de treize ans.
Pourquoi j'étais une sirène, je n'en avais pas la moindre idée. Je ne voulais pas être embrassée et je ne rêvais pas qu'un duc ou une star de cinéma tombe amoureux de moi. La vérité était qu'avec tout mon rouge à lèvres, mon mascara et mes courbes précoces, j'étais aussi sensuelle qu'un fossile. Mais il semble que j'exerçais un effet opposé sur les gens.
Les garçons se sont mis à me courtiser comme si j'étais la seule fille du quartier. Je restais éveillée la nuit en me demandant pourquoi ils me poursuivaient. De temps en temps, je laissais l'un d'eux m'embrasser pour voir s'il y avait quelque chose d'intéressant dans la performance.
Il n'y en avait pas.
J'en ai finalement conclu que les garçons me couraient après parce que j'étais orpheline et que je n'avais pas de parents pour s'occuper de moi. Cette conclusion m'a rendu encore plus froide face à ma meute d'admirateurs. Mais ni ma froideur, ni mon dédain, ni mes « sors d'ici », « ne me dérange pas », aucune de mes attitudes figées ne changeaient les choses.
Les garçons continuaient à me poursuivre comme si j'étais un vampire avec une rose entre les dents.
Les filles de l'école étaient un autre problème, mais je pouvais le comprendre. Elles me détestaient de plus en plus à mesure que je vieillissais. Désormais, au lieu de m'accuser de voler des peignes, de la monnaie ou des colliers, j'était accusée de voler les garçons.
Tante Grace a suggéré une solution à mes problèmes.
"Tu devrais te marier", dit-elle.
"Je suis trop jeune," lui dis-je. J'avais encore 15 ans.
"Je ne pense pas que tu l'es", riait Tante Grace.
"Mais il n'y a personne qui veuille m'épouser," dis-je.
"Si, il y a quelqu'un", a-t-elle dit.
"Qui ?" ai-je demandé.
"Jim," dit ma tante.
Jim était M. Dougherty. Il habitait près de chez moi. Il était beau, poli et adulte.
"Mais Jim vise ma 'soeur'," lui dis-je.
"C'est toi qu'il a emmenée au match de football", a déclaré tante Grace, "pas elle."
"C'était terriblement ennuyeux," lui dis-je. "Je déteste les matchs de football."
"Que penses-tu de Jim ?" m'a-t-elle demandé.
"Je ne ressens rien," lui ai-je répondu, "Il est comme les autres, sauf qu'il est plus grand et plus poli."
"C'est une belle qualité chez un homme", a déclaré tante Grace, "la politesse".
La "tante" et "l'oncle" avec qui je vivais - ma neuvième famille - m'ont aidé à me décider. Ils allaient déménager. Cela signifiait que je devais retourner vivre à l'orphelinat où on m'aurait replacé dans autre famille.
J'ai épousé Jim Dougherty.
Le premier effet que le mariage a eu sur moi a été d'augmenter mon manque d'intérêt pour le sexe. Mon mari ne s'en souciait pas ou n'était pas au courant. Nous étions tous les deux trop jeunes pour discuter ouvertement d'un sujet aussi embarrassant.
Les parents de Jim ne se souciaient pas beaucoup de moi, ce dont je ne pouvais pas les blâmer. J'étais une femme particulière. Je n'aimais pas les adultes. Je préférais faire la vaisselle plutôt que de m'asseoir et leur parler.
Dès qu'ils commençaient à jouer aux cartes ou à avoir des discussions, je sortais de la maison en douce et je rejoignais les enfants dans la rue. J'aimais les garçons et les filles plus jeunes que moi. Je jouais avec eux jusqu'à ce que mon mari sorte de la maison et commence à m'appeler.
Mon mariage ne m'a apporté ni bonheur, ni douleur. Mon mari et moi ne nous parlions à peine. Ce n'était pas parce que nous étions fâchés. Nous n'avions rien à nous dire. J'ai vu beaucoup de couples mariés depuis qui étaient comme Jim et moi.
Ce sont généralement les mariages les plus durables, ceux qui sont vécus dans le silence.
La chose la plus importante que mon mariage a eu comme effet pour moi, a été de mettre fin à jamais à mon statut d'orpheline. J'étais reconnaissante envers Jim pour cela. C'est le chevalier qui m'a délivrée de ma robe bleue et de ma blouse blanche.
Mes différents conseilleurs avaient eu raison de dire que le mariage mettait fin à ma popularité de sirène. Les garçons ne venaient plus après Mme Dougherty. La rose semblait être tombée de ses dents.
Jim a rejoint la marine marchande en 1944, et je suis allée travailler dans une usine de parachutes. La grande guerre était lancée. Des batailles se livraient. Des juke-box jouaient. Les yeux des gens étaient illuminés.
JE PORTAIS des salopettes à l'usine. J'ai été surprise qu'ils ai insisté là-dessus. Mettre une fille en salopette, c'est comme la faire travailler en collants, surtout si une fille sait comment les porter. En tant qu'inspectrice de parachutes, j'étais de nouveau comme en classe de maths. Les hommes bourdonnaient autour de moi comme les lycéens l'avaient fait.
J'ai remarqué depuis que les hommes laissent généralement les femmes mariées tranquilles et ont tendance à les traiter avec respect. Ce n'est pas glorieux pour les femmes mariées. Les hommes sont toujours prêts à respecter ce qui les ennuie.
La raison pour laquelle la plupart des femmes, même les plus jolies, paraissent aussi ternes, c'est parce qu'elles sont trop respectées.
C'était peut-être de ma faute si les hommes de l'usine ont essayé de sortir avec moi et de m'offrir à boire. Je ne me sentais pas comme une femme mariée. J'étais complètement fidèle à mon mari parti en mer mais ce n'était pas parce que je l'aimais ou même parce que j'avais des idées morales. Ma fidélité était due à mon manque d'intérêt pour le sexe.
Jim est finalement rentré à la maison et nous avons de nouveau vécu ensemble. C'est difficile de se rappeler ce qu'on a dit, fait ou ressenti quand on s'ennuie.
Jim était un mari gentil. Il ne m'a jamais blessé ou contrarié - sauf sur un sujet. Il voulait un bébé.
L'idée d'avoir un bébé me dressait les cheveux sur la tête. Je ne pouvais l'imaginer que comme un double de moi-même, une autre Norma Jean dans un orphelinat. Il se passerait quelque chose. Jim s'éloignerait. Et il y aurait cette petite fille en robe bleue et chemisier blanc vivant chez une "tante", faisant la vaisselle, étant la dernière à aller dans l'eau du bain le samedi soir.
Je ne pouvais pas expliquer cela à Jim. Dès qu'il s'endormait à côté de moi le soir, je restais éveillée à pleurer. Je ne savais pas trop qui pleurait, Mme Dougherty ou l'enfant qu'elle aurait pu avoir. Ce n'était ni l'une ni l'autre.
C'était Norma Jean, toujours vivante, toujours seule, souhaitant toujours d'être morte.
Je ressens différemment les choses maitenant sur le fait d'avoir un enfant. C'est l'une des choses dont je rêve. Elle ne sera plus une Norma Jean maintenant. Et je sais comment je l'élèverai - sans mensonges. Personne ne lui dira des mensonges sur quoi que ce soit. Et je répondrai à toutes ses questions. Si je ne connais pas les réponses, j'irai les chercher dans une encyclopédie. Je lui dirai tout ce qu'elle veut savoir - sur l'amour, sur le sexe, sur tout !
Mais surtout, pas de mensonges ! Pas de mensonges sur le fait qu'il y ait un Père Noël, ou que le monde soit rempli de gens nobles et honorables tous désireux de s'entraider et de se faire du bien. Je lui dirai qu'il y a de l'honneur et de la bonté dans le monde, tout comme il y a des diamants et du radium.
C'est la fin de mon histoire de Norma Jean. Jim et moi avons divorcé. Et j'ai emménagé dans une chambre à Hollywood pour vivre seule. J'avais 19 ans et je voulais savoir qui j'étais.
Quand je viens d'écrire "C'est la fin de Norma Jean", j'ai rougi comme si j'avais été surprise dans un mensonge. Parce que cette enfant triste et amère qui a grandi trop vite n'est presque jamais sortie de mon cœur. Avec le succès qui m'entoure aujourd'hui, je peux encore ressentir ses yeux effrayés regarder au-delà des miens.
Elle n'arrête pas de dire : "Je n'ai jamais vécu, je n'ai jamais été aimée", et souvent je suis confuse et je pense que c'est moi qui dis ça. J'avais été une sorte d'«enfant épouse». J'étais maintenant devenue une sorte d'«enfant veuve». Beaucoup de choses semblaient m'être arrivées. Pourtant, d'une certaine manière, il ne s'était rien passé, sauf que j'avais 19 ans au lieu de 9 et que je devais me chercher un boulot.
L'espèce d'instinct qui conduit un canard à l'eau, m'a conduit vers les studios des photographes. J'ai obtenu des emplois posant pour des publicités et des mises en page. Le principal problème était que les photographes cherchaient eux aussi du travail. Trouver un photographe qui me voulait comme modèle était plus facile que d'en trouver un qui pouvait payer plus que des promesses.
Mais je gagnais assez d'argent pour me payer le loyer d'une chambre et un repas par jour, même si parfois je faisais l'impasse sur le repas. Cela n'avait pas d'importance, cependant. Quand vous êtes jeune et en bonne santé, avoir un peu faim n'est pas très important.
CE qui importait le plus, c'était d'être seule. Quand on est jeune et en bonne santé, la solitude peut sembler plus importante qu'elle ne l'est. Je regardais les rues avec des yeux solitaires. Je n'avais pas de parents à visiter ni de copains avec qui sortir.
Ma tante Grace et tante Anna travaillaient dur pour se nourrir et payer le loyer. Quand je les ai appelés, elles ont eu pitié de moi et ont voulu m'aider. Je savais qu'elles avaient grand besoin des demi-dollars restant dans leurs sacs à main, alors je restais à l'écart jusqu'à ce que j'ai assez d'argent pour pouvoir les emmener au restaurant ou au cinéma.
Je n'avais que moi. Quand je rentrais du restaurant à pied le soir dans les rues illuminées avec la foule sur les trottoirs, j'avais l'habitude de regarder les gens bavarder entre eux et se dépêcher de partir quelque part. Je me demandais où ils allaient et ce que ça faisait d'avoir des endroits où aller ou de connaître des gens.
Il y avait toujours des hommes prêts à aider une fille à se sentir moins seule. Ils disaient "Salut ! bébé", quand vous passiez dans la rue. Quand vous ne vous retourniez pas pour les regarder, ils ricanaient: "Coincée, hein ?"
Je ne leur ai jamais répondu. Parfois, je me sentais désolée pour eux. Ils semblaient aussi seuls que moi. Ces loups solitaires du coin de la rue à beugler "Salut bébé" me résonnait comme des voix du passé m'appelant à être à nouveau Madame Personne.
Un soir, j'ai rencontré un homme dans un restaurant. "Cette ville a certainement beaucoup changé au cours des 40 dernières années", a-t-il déclaré. "Avant, il y avait des Indiens là où nous sommes."
"Est-ce que vous habitiez ici il y a 40 ans ?", lui ai-je demandé.
"Oui, m'dame", dit-il. "Quel âge pensez-vous que j'ai ?"
"Environ 60", dis-je.
"Soixante-dix-sept ans à mon dernier anniversaire", me corrigea-t-il. "Mon nom est Bill Cox. Vous allez quelque part ?"
J'ai dit que non.
"Pourquoi ne pas venir chez moi et madame ?" dit-il. "On vit juste à côté d'ici. Je lui ramène un sandwich."
Je suis devenue amie avec Bill Cox et sa femme. Nous nous promenions tous les trois dans les rues parfois le soir.
Il parlait principalement de la guerre hispano-américaine, dans laquelle il avait été soldat, et d'Abraham Lincoln. Ces deux sujets l'excitaient beaucoup.
Je n'avais jamais entendu parler de la guerre hispano-américaine. Je devais être absente de l'école la semaine où on l'a étudié en cours d'Histoire. En marchant avec Bill Cox dans les rues éclairées d'Hollywood et en écoutant les histoires sur la guerre hispano-américaine et Abraham Lincoln, je ne me sentais pas seule et les loups des trottoirs ne m'accostaient plus par "Salut bébé".
Un soir, Bill Cox m'a dit qu'il retournait au Texas.
"Je suis malade", m'a-t-il dit, "et je détesterais l'idée de mourir ailleurs qu'au Texas."
Il m'a envoyé quelques lettres du Texas. Je lui répondais. Puis une lettre est parvenue, écrite par sa femme, disant que Bill Cox était mort dans une maison retraite pour soldats au Texas. J'ai lu la lettre dans le restaurant où je l'avais rencontré et je suis rentrée chez moi en pleurant. Les rues d'Hollywood semblaient plus vides que jamais sans Bill Cox, sa guerre préférée, et Abraham Lincoln.
VOUS êtes assise seule. Il fait nuit dehors. Les voitures roulent sur Sunset Boulevard comme un chapelet interminable de scarabées. Leurs pneus en caoutchouc émettent un ronronnement distingué. Vous avez faim et vous vous dîtes "C'est bon pour ma ligne de ne pas manger. Il n'y a rien de plus beau qu'un ventre plat." Et vous récitez votre leçon de diction à voix haute :
"Ariane s'est levée de son canapé parmi les neiges des montagnes d'Akrakaronian." Suivi de "Salut à toi, esprit joyeux, oiseau que tu n'as jamais été."
Les cours sont à un dollar. Pour un dollar, vous pourriez vous acheter une paire de bas et un hamburger, mais qui ne fera jamais de vous une actrice. Les cours de diction le peuvent. Ainsi, avec les jambes nues et l'estomac vide, vous frappez les consonnes de "Salut à toi, esprit joyeux".
J'avais l'habitude de penser en observant dehors la nuit à Hollywood: "Il doit y avoir des milliers de filles assises seules comme moi qui rêvent de devenir une star de cinéma. Mais je ne vais pas m'inquiéter pour elles. Je suis celle qui en rêve le plus fort."
Vous n'avez pas besoin de savoir quoi que ce soit pour rêver si hardemment. Je ne connaissais rien au métier d'acteur. Je n'avais jamais lu un livre à ce sujet, ni essayé de le faire, ni discuté avec qui que ce soit. J'avais honte de dire aux quelques personnes que je connaissais ce dont je rêvais. Je disais que j'espérais gagner ma vie en tant que mannequin. J'ai fait appel à toutes les agences de mannequins et je trouvais du travail ici et là.
Mais il y avait ce secret en moi: jouer la comédie. C'était comme être en prison et regarder une porte qui disait "Sortie".
Jouer était comme de l'or et c'était beau. C'était comme les vives couleurs que Norma Jean avait l'habitude de voir dans ses rêveries. Ce n'était pas un art. C'était comme un jeu qui vous permettait de sortir du monde ennuyeux que vous connaissiez pour vous projeter dans des mondes si brillants qu'ils faisaient bondir votre cœur rien que d'y penser.
Quand j'avais huit ans, je regardais par la fenêtre de l'orphelinat la nuit et je voyais un grand panneau lumineux sur lequel était écrit : "R.K.O. Radio Pictures". J'ai détesté ce panneau. Cela m'a rappelé l'odeur de la colle. Ma mère m'avait amené une fois au studio où elle travaillait. L'odeur de la pellicule mouillée qu'elle découpait et collait s'était impregnée dans mes narines.
C'était les narines de Norma Jean. Norma Dougherty, elle, l'actrice en herbe, n'avait pas un tel ressenti envers l'enseigne du studio. Pour elle, ils représentaient des projecteurs menant à une terre promise - la terre d'Ingrid Bergman, de Claudette Colbert, de Joan Crawford, de Bette Davis, d'Olivia De Havilland, de Gene Tierney, de Jennifer Jones.
C'était comme ça quand je m'asseyais seule dans ma chambre à Hollywood. Je m'endormais affamée et je me réveillais affamée. Et je pensais que tous les acteurs et actrices étaient des génies assis devant la porte de ce paradis: le cinéma.
À suivre
La semaine prochaine
. Marilyn Monroe parle d'un Hollywood qu'on ne voit pas à l'écran - "le Hollywood de l'échec... où nous étions la plus jolie tribu de mendiants qui n'ait jamais envahi une ville... et autour de nous se trouvaient les loups".
pour info
Il s'agit ici de la publication dans la presse (et du vivant de Marilyn) de ce qui restera considéré comme son "autobiographie" débutée mais jamais achevée, le fruit d'une collaboration émaillée d'entretiens avec le journaliste Ben Hecht au début de l'année 1954 et publiée dans un livre intitulé (comme cet article) "My Story" en 1974 et publié en France en 2011 sous le titre de "Confession inachevée".
This is here the publication in the press (and during Marilyn's lifetime) of what will remain considered as her "autobiography" started but never completed, the result of a collaboration punctuated by several interviews with the journalist Ben Hecht at the early of the year 1954 and published in a book entitled (like this article) "My Story" in 1974 and published in France in 2011 under the title of "Confession inachevée".
- Blog: 19/01/1955, The Australian Women's Weekly: "This is my story" (part 2) -
- Blog: 19/01/1955, The Australian Women's Weekly: "This is my story" (part 3) -
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Marilyn Monroe Auction - 11/2016 - photos 2 -photographies
Photographies - Famille, Enfance & Adolescence
Photographs - Family, Childhood & Teens
Lot 18: MARILYN MONROE FAMILY PHOTOGRAPH
An original snapshot of Gladys Baker and Marion Otis Monroe, Marilyn Monroe's mother and uncle, with a handwritten note on the photo indicating they were aged 8 and 10 at the time the photo was taken.
3 3/4 by 2 3/4 inches
PROVENANCE: Partial Lot 81, “Fine Manuscripts,” Christie's Los Angeles, Sale 9814, September 20, 2001
Estimate: $200 - $400 
Lot 19: MARILYN MONROE FAMILY PHOTOGRAPH
An original snapshot of Gladys Baker, Marilyn Monroe's mother, with a handwritten note on the photo indicating Baker was 13 at the time the photo was taken.
3 1/4 by 2 1/4 inches
PROVENANCE: Partial Lot 81, “Fine Manuscripts,” Christie's Los Angeles, Sale 9814, September 20, 2001
Estimate: $200 - $400 
Lot 85: MARILYN MONROE BABY PICTURE
A vintage black and white photograph of Monroe as an infant printed on heavy photo paper stock. Verso of image has note in the hand of Grace Goddard reading "Marilyn Monroe age 6 ms."
5 7/8 by 3 7/8 inches
Estimate: $600 - $800 
Lot 86: MARILYN MONROE BABY PICTURE
A vintage black and white photograph printed as a postcard. The image features Monroe as a toddler posing with floral dress and matching bonnet. Verso has note in the hand of Grace Goddard reading "Marilyn Monroe age 2 yrs." Coffee mug ring stain to image.
5 3/8 by 3 1/2 inches
Estimate: $600 - $800 
Lot 87: MARILYN MONROE CHILDHOOD PHOTOGRAPH
A hand tinted vintage photograph of Monroe at the age of five. The vintage photograph has writing on the back in the hand of Grace Goddard, her legal guardian, reading "Marilyn Monroe age 5yrs." Additional writing on verso in another hand has instructions for the tinting of the photograph listing that her dress should be pink with light hair and blue eyes.
5 3/4 by 3 7/8 inches
Estimate: $1,200 - $1,800 
Lot 88: MARILYN MONROE CHILDHOOD PHOTOGRAPH
A vintage black and white photograph of Monroe at the age of five with Lester Bolender. A note on verso in the hand of Grace Goddard reads "Marilyn Monroe age 5 yo." An earlier notation has been erased beneath that read "Norma Jeane and Lester."
4 1/2 by 2 7/8 inches
Estimate: $300 - $500 
Lot 89: MARILYN MONROE CHILDHOOD PHOTOGRAPHS
Two vintage black and white photographs featuring a young Monroe, one showing Monroe with Lester Bolender. Monroe's first foster home placement was with the Bolenders, and she and Lester became known as the twins. Each photograph has notes on verso in the hand of Grace Goddard reading "Marilyn Monroe age 4yrs." One of the images had previous writing reading "Lester Bolender and Norma Jeane Baker" that has been erased and written over.
4 1/2 by 2 7/8 inches 
Lot 92: MARILYN MONROE PHOTOGRAPHS
A small frame with Art Deco style matte containing a vintage oval portrait of a woman circa 1900 based upon hairstyle. This image could possibly be of a young Ana Lower, whom Marilyn Monroe referred to as Aunt Ana, an important mother figure in her life. Lower was born Edith Ana Atchinson in Los Angeles in 1880. Behind this image in the same frame were found two small black and white portraits of Monroe's first husband, Jim Dougherty, in his Merchant Marine uniform.
Frame, 6 1/8 by 4 1/8 inches
Estimate: $600 - $800 
Lot 790: MARILYN MONROE HIGH SCHOOL YEARBOOK
A 1942 Chieftain yearbook that includes Marilyn Monroe. Monroe's picture is on page 48 under the name Norma Baker. Monroe attended University High School in Los Angeles as a tenth grader until February, when she dropped out to marry Jim Dougherty. This yearbook belonged to Barbara Abston, also a tenth grade student. The book has numerous inscriptions to Abston.
9 by 12 inches
Estimate: $600 - $800 
Lot 791: MARILYN MONROE 1941 SCHOOL PHOTOGRAPH
A 1941 Ralph Waldo Emerson Junior High School class photograph. The original vintage panoramic photograph is inscribed by a number of students on verso. Some inscriptions read "To Norma." The front of the photograph is marked "Belongs to Norma Jeane Baker." Monroe can be seen in the photograph in the seventh row from the bottom, and the 15th person from the right. Housed in a frame with a reproduction of the photograph at top and the reverse of the photograph at bottom. The frame is double-sided with a glazed window in the back to show the front of the photograph.
24 3/4 by 32 3/4 inches, framed
Estimate: $20,000 - $30,000 
Lot 792: MARILYN MONROE HIGH SCHOOL YEARBOOK
A Chieftain 1942 yearbook from University High School in Los Angeles. Norma Jeane Baker, soon to become Marilyn Monroe, attended University High School in Los Angeles for half of the year as a 10th grade student. Her picture appears on page 48. In February 1942, at age 16, Monroe dropped out of University High School to marry Jim Dougherty.
12 by 9 inches
Estimate: $800 - $1,200 
Photographies & Snapshots - en public
Photographs & Snapshots - Public Appearances
Lot 77: MARILYN MONROE PHOTOGRAPHS SOLD WITH COPYRIGHT
A group of five color photographs of Marilyn Monroe taken on May 19, 1962, at the birthday gala for President John F. Kennedy at Madison Square Garden in New York City. Three of these images show Monroe singing "Happy Birthday" on stage and are likely the only known color photos taken of Monreo during this performance. From the collection of Frieda Hull.
This item sold with copyright but 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.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $5,000 - $6,000 
Lot 299: MARILYN MONROE SNAPSHOT
A single color photograph on glossy Kodak Pavelle paper of Monroe as she appeared to kick the first ball at Ebbets Field in New York, May 12, 1957, for a match between the American Soccer League and a team from Israel.
3 1/4 by 5 inches
Estimate: $300 - $500 
Lot 420: MARILYN MONROE FILM PREMIERE PHOTOGRAPHS
A group of four vintage black and white glossy photographs of Monroe and Arthur Miller at the New York City premiere of her film Some Like It Hot on March 28, 1959.
8 by 10 inches
Estimate: $400 - $600 
Lot 531: MARILYN MONROE SNAPSHOTS
Three black and white photographs of Monroe likely taken by a fan on the streets of New York City in the late 1950s.
4 3/4 by 3 3/4 inches
Estimate: $300 - $500 
Lot 607: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original black and white photograph of Marilyn Monroe taken on October 25, 1951, when she attended the Hollywood Foreign Correspondents Association dinner at the Mocambo club in Los Angeles.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 614: MARILYN MONROE SIGNED SNAPSHOT
A black and white snapshot of Marilyn Monroe in front of the Sherry Netherland Hotel in New York City, 1952. The image is signed in blue ballpoint pen "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000 
Lot 615: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of five original black and white photographs of Marilyn Monroe taken on April 4, 1952, as she attended a publicity event held at the Owl Drug Store in Los Angeles. The event was sponsored by Life magazine, and Monroe was there to sign copies of the magazines with her on the cover. Four of the photographs have writing on the back referencing the event, likely in Frieda Hull's own hand. Some of the photographs are never before seen.
Largest, 4 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $600 
Lot 616: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original photo of Monroe taken on January 26, 1952, at the Henrietta Awards ceremony held at Club Del Mar in Santa Monica, CA. Marilyn won the "Henrietta Award for Best Young box Office Personality," given by the Hollywood Foreign Press Association.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 617: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original black and white photographs of Marilyn Monroe taken on June 3, 1952, at a Look magazine awards party held at the Beverly Hills Hotel. One image from this lot is likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 618: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 10 original color and black and white photographs of Marilyn Monroe taken on August 3, 1952, at a party thrown in her honor at the home of big band leader Ray Anthony in Sherman Oaks, California. This lot contains eight black and white and two color images, some likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $900 - $1,100 
Lot 619: MARILYN MONROE REPRODUCTION PHOTOGRAPHS
A group of two reproduction black and white photographs of Marilyn Monroe taken on June 26, 1952, as she appeared in court to testify as part of a lawsuit against an entity using her name and likeness to sell pornographic photographs.
Largest, 3 1/4 by 2 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 620: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original black and white photographs of Marilyn Monroe taken on October 3, 1952, at a party sponsored by Photoplay magazine.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 629: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of Marilyn Monroe original black and white photographs, circa 1953, at an unknown event. Both are likely never before seen images.
Larger, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 630: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of five original black and white photographs of Marilyn Monroe taken on February 9, 1953, at the Photoplay magazine awards ceremony where she received the award for Fastest Rising Star of 1953. Two of the photos have "Beverly Hills Hotel" written on verso. Some images in this lot are possibly never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $600 
Lot 631: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of four original color and black and white photographs of Marilyn Monroe taken on May 13, 1953, when she was at a birthday party for Walter Winchell at Ciro’s restaurant in Los Angeles. Two photographs show Monroe with Jane Russell, and two show her with Betty Grable. Reverse of one black and white image is stamped "Photo by Darlene Hammond/ 1416 Belfast Drive/ Hollywood 46, Calif./ CR. 10747." This lot contains two color and two black and white images.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 632: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 18 original color and black and white photographs of Marilyn Monroe taken on July 10, 1953, at a gala arranged by Danny Thomas to benefit St. Jude Hospital. The fundraiser, which was held at the Hollywood Bowl, also included appearances by Jane Russell, Robert Mitchum, and Danny Kaye. Thomas, Mitchum, and Kaye are photographed with Monroe in this set of photographs. This lot includes 17 black and white images and one color image. Some photographs from this lot are likely never before seen.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 634: MARILYN MONROE ORIGINAL PHOTOGRAPHS
A pair of Marilyn Monroe original color and black and white photographs, circa 1953, taken at an unknown event. Both are likely never before seen.
Larger, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 636: MARILYN MONROE CANDID PHOTOGRAPHS
A group of 13 color and black and white photographs of Marilyn Monroe, some reproductions, taken on December 19, 1953, when she appeared at the Ambassador Hotel in Los Angeles to receive the Miss Press Club Award. This lot contains five color and eight black and white photographs. Some photographs from this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,500 
Lot 638: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original color and black and white photographs of Marilyn Monroe from March 9, 1954, when she appeared at the Beverly Hills Hotel to receive the Photoplay magazine award for The Most Popular Actress of 1953 due to her roles in Gentlemen Prefer Blondes (20th Century, 1953) and How To Marry A Millionaire (20th Century, 1953). This lot contains two color photographs and one black and white photograph.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $500 
Lot 639: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 10 original black and white photographs of Marilyn Monroe with Jane Russell taken on June 26, 1953, at Grauman's Chinese Theatre as Monroe and Russell memorialized their autographs, shoe prints, and handprints in wet cement. Nine photographs are stamped on verso "Photo by Darlene Hammond/ 1416 Belfast Drive/ Hollywood 46, Calif./ CR. 10747."
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $900 - $1,100 
Lot 640: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of four original color photographs of Marilyn Monroe, one together with Jane Russell, taken on June 26, 1953, in conjunction with a Grauman's Chinese Theatre event where Monroe and Russell memorialized their autographs, shoe prints, and handprints in wet cement.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 647: MARILYN MONROE THERE'S NO BUSINESS LIKE SHOW BUSINESS SCREENING PHOTOGRAPH
A black and white photograph of Marilyn Monroe, Gracie Allen, Jack Benny, Joan Collins, and Bing Crosby, among many other stars, attending a special screening of There’s No Business Like Show Business at 20th Century Fox studios in 1954.
11 by 14 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $300 
Lot 657: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 10 original black and white photographs taken on June 1, 1955, at the premiere of The Seven Year Itch (20th Century, 1955). Seven of the photographs show Marilyn Monroe with her date for the evening, husband Joe DiMaggio. Two photographs show the theater marquee with large cutout images of Monroe in the now famous skirt- blowing scene from the film. Some images in this lot are likely never before seen.
Largest, 5 by 7 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $900 - $1,100 
Lot 667: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 10 original color and black and white photographs of Marilyn Monroe alone and with guests, taken on January 7, 1955, at an event announcing the launch of Marilyn Monroe Productions, a joint venture with friend and photographer Milton Greene. This lot contains three color and seven black and white photographs. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $900 - $1,100 
Lot 669: MARILYN MONROE COLOR SLIDES
A pair of color slides of Marilyn Monroe from March 11, 1955, at the Friars Club Testimonial Dinner.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 670: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 24 original color and black and white photographs of Marilyn Monroe taken on March 11, 1955, at the Friars Club Testimonial Dinner. Monroe is pictured surrounded by fans signing autographs and talking to James Haspiel. Several photographs show her with friend, photographer, and business partner Milton Greene. This lot contains 22 black and white photographs and two color photographs. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 676: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of eight original black and white photographs of Marilyn Monroe taken on March 24, 1955, when she attended the play Cat on a Hot Tin Roof with Milton and Amy Greene. Some images in this lot are likely never before seen.
Largest, 4 1/2 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $700 - $900 
Lot 686: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 19 original black and white photographs of Marilyn Monroe taken at the East of Eden premiere on March 9, 1955, at the Astor Theatre in New York City. Monroe was an official usherette at the event. Some images show friend, photographer, and business partner Milton Greene and his wife, Amy Greene. Some images are never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 687: MARILYN MONROE SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe wearing a white brocade gown with matching jacket and white evening gloves as she attended the New York City premiere of East of Eden starring James Dean on March 9, 1955. The photograph is signed in blue ballpoint pen "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000 
Lot 691: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original black and white photographs of Marilyn Monroe in costume taken on March 30, 1955, for her appearance on opening night at the Ringling Bros. Circus at Madison Square Garden, which was a benefit produced by Mike Todd for the Arthritis and Rheumatism Foundation.
Largest, 7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 692: MARILYN MONROE ORIGINAL PRESS AND PUBLICITY PHOTOGRAPHS
An archive of nine vintage press and publicity photographs featuring Marilyn Monroe.
PROVENANCE From the Estate of Frieda Hull
Estimate: $500 - $700 
Lot 693: MARILYN MONROE VINTAGE PHOTOGRAPH
A large, glossy black and white photograph of Marilyn Monroe during her famous appearance on March 31, 1955, when she rode a Barnum & Bailey elephant painted pink as part of the Mike Todd memorial event to benefit victims of arthritis.
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $800 - $1,200 
Lot 703: MARILYN MONROE COLOR SLIDES
A group of 20 slides of Marilyn Monroe, from the collection of Frieda Hull. Some are never before seen images, from August 6, 1955, as she was at the airport in New York City preparing to fly to Bement, Illinois. Together with an original "Automatic Slide Changer" storage box, owned by Hull.
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,500 
Lot 704: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 11 original color and black and white photographs of Marilyn Monroe taken on August 6, 1955, when she was at the airport in New York City preparing to fly to Bement, Illinois. One of the photographs is an original press photograph from the United Press Association. This lot contains six black and white and five color photographs. Some images in this lot are likely never before seen.
Largest, 9 by 6 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,200 
Lot 706: MARILYN MONROE SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe wearing a white brocade gown with matching jacket and white evening gloves as she attended the New York City premiere of East of Eden starring James Dean on March 9, 1955. The photograph is signed in blue ink "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000 
Lot 711: MARILYN MONROE SIGNED SNAPSHOT
A color snapshot of Marilyn Monroe posing in the backseat of a car circa early 1950s. The image is signed in blue ink “Marilyn Monroe.” The autograph was obtained by Frieda Hull, one of the “Monroe Six, a group of legendary fans with whom Monroe became friendly.
3 by 2 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000 
Lot 712: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of five original color and black and white photographs of Marilyn Monroe taken the evening of December 12, 1955, when she attended the premiere of The Rose Tattoo. This lot contains two color and three black and white photographs.
Largest, 4 1/2 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $600 
Lot 713: MARILYN MONROE COLOR SLIDES
A group of three slides of Marilyn Monroe from evening of December 12, 1955, when she attended the premiere of The Rose Tattoo.
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 714: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original black and white photographs of Marilyn Monroe taken on December 18, 1955, at the Waldorf Astoria Hotel following her attendance at the premiere of Baby Doll. Two of the images show Monroe with husband Arthur Miller. Research indicates that this may be the only documented occasion where Monroe parted her hair on the right. Her regular part was always on the left.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $600 - $800 
Lot 718: MARILYN MONROE SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe in New York City circa 1955 wearing a white gown and white fur, signed in blue ink "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000 
Lot 719: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of eight original color and black and white photographs of Marilyn Monroe taken on February 8, 1956, when she attended the premiere of Middle of the Night in New York City. This lot contains seven black and white photographs and one color photograph. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $900 - $1,100 
Lot 720: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken on June 11, 1956. Monroe and Miller were outside her Sutton Place apartment. Miller's divorce from Mary Slattery had just been granted.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 721: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of four original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken at a press conference in front of Monroe's Sutton Place apartment on June 22, 1956. Miller was in the throes of defending himself against accusations of communist activities. Monroe transitioned the focus of the press conference away from Miller toward their impending marriage, their plans to travel to England for their honeymoon, and the filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 722: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 14 original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken on June 29, 1956. Monroe and Miller were married in a civil ceremony later that day. The photographs also show Milton Greene and Miller's parents, Isidore and Augusta. Some images in this lot are likely never before seen.
Largest, 4 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,500 
Lot 724: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original candid color photograph of Marilyn Monroe and husband Arthur Miller, taken on January 7, 1957, following their return from their honeymoon in Jamaica.
3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 726: MARILYN MONROE SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe as she boarded a plane for Hollywood at Idlewild Airport in New York on February 25, 1956. The image is signed in blue ballpoint pen over a photographer's arm, "To Frieda Love & Kisses," and below along the line of the white railing, "Marilyn Monroe." In the photograph Frieda Hull is pictured with her camera, which is lot 697 in this auction.
8 by 10 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $4,000 - $6,000 
Lot 728: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 20 original color and black and white photographs of Marilyn Monroe that document her 1956 travels to and from Los Angeles to film Bus Stop (20th Century, 1956). Several of the photographs show Monroe walking across the tarmac to a plane among a sea of fans and photographers, then posing for photographs at the top of the stairs leading to the plane. One photograph shows the crowd on hand at the airport to see Monroe. This lot includes eight color and 11 black and white photographs, many that have never been seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 729: MARILYN MONROE COLOR SLIDES
A group of 18 slides of Marilyn Monroe from the collection of Frieda Hull, documenting Monroe’s travels to and from Los Angeles to film Bus Stop (20th Century, 1956) in 1956. Several slides show Monroe posing for photographs at the top of the stairs leading to the plane. Together with an original "Automatic Slide Changer" storage box, owned by Frieda Hull. Many of the slides have never been seen.
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,500 
Lot 730: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 19 original color and black and white photographs of Marilyn Monroe taken on February 25, 1956, when she held a press conference at Los Angeles Airport. Monroe had flown to Los Angeles to work on Bus Stop (20th Century, 1956). Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 737: MARILYN MONROE VINTAGE PHOTOGRAPH
A large matte black and white photograph of Marilyn Monroe at the Plaza Hotel in New York City during a 1956 press conference for The Prince and the Showgirl (Warner Bros., 1957).
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $800 - $1,200 
Lot 738: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe signing autographs for fans on February 8, 1956, when she attended the premiere of Middle of the Night in New York City.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 739: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe, from July 13, 1956, as she and husband Arthur Miller departed New York City for England to film The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 740: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original candid black and white photograph of Marilyn Monroe taken on July 13, 1956, as she and husband Arthur Miller departed New York City for England to film The Prince and the Showgirl (Warner Bros., 1957).
3 1/2 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 742: MARILYN MONROE COLOR SLIDES
A group of 11 slides of Marilyn Monroe and husband Arthur Miller, from May 13, 1959, at the Italian Consulate on Park Avenue in New York City, where she attended a ceremony to receive the David di Donatello Award, the equivalent of the Academy Award, for her work in The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,200 
Lot 743: MARILYN MONROE VINTAGE PUBLICITY IMAGE ARCHIVE
An archive of approximately 30 vintage black and white publicity images related to Marilyn Monroe and The Prince and the Showgirl (Warner Bros., 1957). The photographs show Monroe at various press conferences, publicity events, and the premiere of the film.
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $300 
Lot 746: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original color photographs of Marilyn Monroe and husband Arthur Miller taken on May 13, 1959, as she arrived at the Italian Consulate on Park Avenue in New York City to receive the David di Donatello Award, the equivalent of the Academy Award, for her work in The Prince and the Showgirl (Warner Bros., 1957).
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 747: MARILYN MONROE COLOR SLIDES
A pair of color slides of Marilyn Monroe, from February 26, 1959, as Monroe was on her way to the French Film Institute to receive the Crystal Star Award, the French equivalent of the Academy Award, for her performance in The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300
Lot 748: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of seven original color photographs of Marilyn Monroe taken on February 26, 1959, when she was on her way to the French Film Institute to receive the Crystal Star Award, the French equivalent of the Academy Award, for her performance in The Prince and the Showgirl (Warner Bros., 1957). Monroe is seen in the photographs with members of the "Monroe Six," including Frieda Hull, Eileen Collins, Gloria Milone, and Edith Pitts. Three photographs show Monroe with James Haspiel. Some images in this lot are likely never before seen.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $600 - $800 
Lot 749: MARILYN MONROE ORIGINAL PHOTOGRAPHS SOLD WITH COPYRIGHT
A group of 15 photographs of Marilyn Monroe, circa 1957, likely taken at a New York City showing of The Prince and the Showgirl (Warner Bros., 1957). These photographs show Monroe with husband Arthur Miller at what appears to be a movie theater as a poster for the film can be seen on the theater lobby wall. Monroe is shown in the back of a cab signing autographs for fans, walking to the theater, and inside the lobby of the theater. This lot contains 12 color and three black and white photographs that are believed to be never before seen images.
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.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $8,000 - $9,000 
Lot 750: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe and husband Arthur Miller, from January 7, 1957, following their return from their honeymoon in Jamaica.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 751: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe, from November 18, 1957, when she and husband Arthur Miller attended Conversation Piece, a play in which Miller's sister Joan Copeland appeared.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 752: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of seven original color and black and white photographs of Marilyn Monroe taken on November 18, 1957, when she and husband Arthur Miller attended Conversation Piece, a play in which Miller's sister Joan Copeland appeared. James Haspiel appears in two images, "Monroe Six" member Gloria Malone in another. Some images in this lot are never before seen. This lot contains four black and white and three color photographs.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $600 - $800 
Lot 755: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original never before seen original color photographs of Marilyn Monroe taken on May 30, 1958, as she exited her apartment at 444 East 57th Street in New York City. Just three days prior, Monroe was photographed by Richard Avedon for Life magazine.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $600 - $800 
Lot 756: MARILYN MONROE COLOR SLIDES
A group of four never before seen original color slides of Marilyn Monroe, from May 30, 1958, as she exited her apartment at 444 East 57th Street in New York City. Just three days prior, Monroe was photographed by Richard Avedon for Life magazine.
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 753: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of four original candid color photographs of Marilyn Monroe taken on May 12, 1957, at Ebbets Field in Brooklyn, New York. Monroe was on hand to make the ceremonial first kick at a soccer match between the USA and Israel. It's reported that she sprained two of her toes while kicking the ball, yet she stayed until the end of the match to award the trophy to Israel, the winning team by a score of 6-4.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 754: MARILYN MONROE COLOR SLIDES
A group of eight color slides of Marilyn Monroe, from May 12, 1957, at Ebbets Field in Brooklyn, New York. Monroe was on hand to make the ceremonial first kick at a soccer match between the USA and Israel. It's reported that she sprained two of her toes while kicking the ball, yet she stayed until the end of the match to award the trophy to Israel, the winning team by a score of 6-4.
PROVENANCE From the Estate of Frieda Hull
Estimate: $700 - $900
Lot 757: MARILYN MONROE COLOR SLIDES
A group of four slides of Marilyn Monroe and husband Arthur Miller, from their departure from New York for Los Angeles for her to film Some Like It Hot (UA, 1959).
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 758: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of eight original color and black and white photographs of Marilyn Monroe and husband Arthur Miller as they departed New York for Los Angeles for her to film Some Like It Hot (UA, 1959). This lot contains five color and three black and white photographs, some never before seen.
Largest, 5 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $700 - $900 
Lot 759: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of 15 original color and black and white photographs of Marilyn Monroe taken on March 29, 1959. These images are believed to have been taken following the premiere of Some Like It Hot (UA, 1959) as Monroe and husband Arthur Miller traveled from the theater to the home of Lee and Paula Strasberg for a party they were throwing for Monroe. Many images are never before seen. This lot contains eight black & white and seven color photographs.
Largest, 6 3/4 by 5 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,500 - $2,000 
Lot 760: MARILYN MONROE COLOR SLIDES
A group of 11 slides of Marilyn Monroe, from March 29, 1959. These images are believed to have been taken following the premiere of Some Like It Hot (UA, 1959) as Monroe and husband Arthur Miller traveled from the theater to the home of Lee and Paula Strasberg for a party they were throwing for Monroe. Many images are never before seen.
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $1,200 
Lot 761: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe, from September 18, 1959, as she left her apartment at 444 East 57th Street. She was leaving to fly to Los Angeles to attend a gala in honor of Soviet Premier Nikita Khrushchev held by Twentieth Century Fox Studios.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 762: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original color photographs of Marilyn Monroe and husband Arthur Miller taken on September 18, 1959, when the couple left their apartment at 444 East 57th Street. Miller was escorting his wife to the airport, where she would fly to Los Angeles to attend a gala in honor of Soviet Premier Nikita Khrushchev held by Twentieth Century Fox Studios. Because this was an event in honor of a Communist leader, Miller didn't attend the gala as it wouldn't have been appropriate considering his appearance before the House Committee on Un-American Activities about his political leanings in June 1956.
Larger, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 763: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original black and white photographs of Marilyn Monroe taken on September 27, 1959, at the Bellevue-Stratford Hotel, where Monroe and husband Arthur Miller were attending the American Friends of The Hebrew University Awards Banquet, where Miller was honored for Distinguished Achievement in the Dramatic Arts. All the photographs in this lot are likely never before seen.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 764: MARILYN MONROE PHOTOGRAPHS
A group of four color photographs of Marilyn Monroe, likely reproductions, taken on September 21, 1959, at Henry Miller's Theatre on Broadway in New York City, where Monroe was attending An Evening with Yves Montand, accompanied by friend and co-star Montgomery Clift. All four photographs reference Terri Arden on the reverse.
Largest, 6 by 4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 765: MARILYN MONROE COLOR SLIDES
A group of three color slides of Marilyn Monroe, from November 2, 1959, when she and husband Arthur Miller departed New York City for Los Angeles to film Let's Make Love (20th Century, 1960). Of note, one slide in particular shows Monroe sitting in the back of a car holding a bird in a birdcage, likely Butch, the Millers' pet parakeet.
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $400 
Lot 766: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original candid color photograph of Marilyn Monroe, likely taken on April 16, 1960, as she attended Josephine Baker's show at the Hollywood Hartford Theatre, accompanied by Yves Montand.
3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 767: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original candid color photographs of Marilyn Monroe, likely taken on June 1, 1960, her 34th birthday. The cast and crew of Let's Make Love (20th Century, 1960) celebrated her birthday earlier that day. That evening, Monroe attended a party in her honor held by press agent Rupert Allan at his Beverly Hills home. In these photographs, Monroe wears the same clothing worn on the set earlier in the day.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 773: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original Marilyn Monroe black and white photographs, one of her with Clark Gable, believed to have been taken on July 24, 1960, at an event held for the cast and crew of The Misfits (United Artists, 1961) at the Mapes Hotel in Reno, Nevada. This was Monroe's final completed film.
Larger, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 779: MARILYN MONROE COLOR SLIDE
A color slide of Marilyn Monroe surrounded by fans and security, from March 14, 1961. Monroe was attending a benefit for the Lee Strasberg Actors Studio held at the Roseland Dance Hall in New York City.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 780: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original color photographs of Marilyn Monroe taken on March 14, 1961. Monroe was attending a benefit for the Lee Strasberg Actors Studio held at the Roseland Dance Hall in New York City.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $300 
Lot 835: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
An original photograph of Marilyn Monroe, circa 1950, with the words "Bel Air Hotel for Red Book Awards Party" written on verso. Likely never before seen.
3 3/4 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 838: MARILYN MONROE VINTAGE TRANSPARENCY
A vintage color transparency of Marilyn Monroe with Herman Hover, owner of Ciro’s nightclub, circa 1953.
2 1/2 by 2 1/2 inches
Estimate: $500 - $700 
Lot 846: MARILYN MONROE ORIGINAL SLIDES AND PHOTOGRAPHS WITH COPYRIGHT
A group of four color transparency slides and two color photographs of Marilyn Monroe taken by Sgt. Marvin Stamness in Korea when Monroe entertained troops there in 1954. Copyright of the images has been applied for. Once copyright is granted, it will be transferred to the winning bidder. Stamness was with the 189th Field Artillery 45th Division of the United States Army and served in the Korean War. At that time, he was from Barrett, Minnesota.
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.
Photographs, 2 1/8 by 3 1/8 inches; Slides, 2 by 2 inches
Estimate: $800 - $1,200 
Lot 861: MARILYN MONROE SEVEN YEAR ITCH PREMIERE TRANSPARENCY
A vintage color transparency of Marilyn Monroe and Joe DiMaggio at the premiere of The Seven Year Itch (20th Century, 1955).
2 1/2 by 2 1/2 inches
Estimate: $500 - $700 
Lot 894: MARILYN MONROE VINTAGE CONTACT SHEET
A vintage partial contact sheet of images of Marilyn Monroe and others. The black and white contact sheet includes nine images, six of which show Monroe taken by Milton Greene at the 1955 announcement of the formation of Marilyn Monroe Productions Inc.
5 by 10 inches
Estimate: $200 - $400 
Lot 895: MARILYN MONROE MMP ANNOUNCEMENT CONTACT SHEET
A vintage black and white partial contact sheet of images of Marilyn Monroe taken by Milton Greene at the 1955 announcement of the formation of Marilyn Monroe Productions Inc. The sheet contains 10 frames, with numbering below each image.
3 1/2 by 10 inches
Estimate: $200 - $400 
Lot 896: MARILYN MONROE MMP ANNOUNCEMENT CONTACT SHEET
A vintage black and white contact sheet of images taken at the 1955 announcement of the formation of Marilyn Monroe Productions Inc. Marlene Dietrich appears in many of the photographs along with Monroe and Milton Greene, among others. The sheet has 27 frames with grease pencil markings in red.
7 by 10 inches
Estimate: $600 - $800
Lot 901: MARILYN MONROE MILTON GREENE VINTAGE CONTACT SHEET
A vintage Milton Greene contact sheet of 34 black and white images taken at the Sheraton Astor Hotel in December 1955. Two of the images are of Marilyn Monroe.
8 by 10 inches
Estimate: $600 - $800 
Lot 903: MARILYN MONROE MEDIA PHOTOGRAPHS
A group of three vintage Marilyn Monroe media photographs. Each is stamped by a media outlet or includes a snipe. Two images are of Monroe with husband Arthur Miller. One image is of Monroe with Jack Warner and Milton Greene from a press conference announcing the production of The Prince and the Showgirl (Warner Bros., 1957). Accompanied by one contemporary print of Monroe at a party for the film Let's Make Love (20th Century, 1960).
Largest, 8 by 10 inches
Estimate: $200 - $600 
Lot 917: MARILYN MONROE AND ARTHUR MILLER CANDID PHOTOGRAPHS
A group of 12 black and white photographs of Marilyn Monroe with husband Arthur Miller. Each photograph is dated in the margin "Jul 56" and marked "Pitts" on verso in an unknown hand.
5 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $1,200 - $1,400 
Lot 934: MARILYN MONROE CANDID PHOTOGRAPHS
A group of seven vintage black and white candid photographs of Marilyn Monroe.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $600 - $800 
Lot 935: MARILYN MONROE CANDID PHOTOGRAPHS
A group of 11 vintage black and white candid photographs of Marilyn Monroe attending various events.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $1,000 - $1,500 
Lot 936: MARILYN MONROE CANDID PHOTOGRAPHS
A group of 10 vintage black and white candid photographs of Marilyn Monroe attending various events.
5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $1,000 - $1,500 
Lot 937: MARILYN MONROE CANDID PHOTOGRAPHS
A group of five candid vintage black and white photographs of Marilyn Monroe at an event.
4 3/4 by 3 1/4 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $600 - $800 
Lot 938: MARILYN MONROE VINTAGE NEW YORK PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip dating the photograph to February 22, 1956, and stating the pair were leaving Monroe’s apartment for lunch with Elsa Maxwell.
9 1/2 by 13 3/4 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $800 - $1,200 
Lot 939: MARILYN MONROE VINTAGE NEW YORK PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip, dating the photograph to February 22, 1956, and stating the pair were leaving the Ambassador Hotel for a cocktail party.
10 3/4 by 11 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $800 - $1,200 
Lot 940: MARILYN MONROE NEW YORK PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip dating the photograph to February 22, 1956, and stating the pair were walking to the studio of Cecil Beaton.
14 by 10 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $800 - $1,200 
Lot 944: MARILYN MONROE CONTACT SHEET
A contact sheet containing 10 vintage black and white candid images of Marilyn Monroe and one additional photograph from the set of an unknown production. The photographs were taken by Lois Weber.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $400 - $600 
Lot 945: MARILYN MONROE CANDID PHOTOGRAPHS
A pair of vintage candid black and white photographs of Marilyn Monroe beside a plane.
5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $200 - $400 
Lot 946: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner in 1959. The photograph shows Monroe during an interview in her hotel living room at the Ambassador East Hotel in Chicago, Illinois. Monroe was in Chicago to promote the film Some Like It Hot (UA, 1959). Photographer's and other stamps on verso.
9 1/2 by 10 inches
Estimate: $1,000 - $2,000 
Lot 947: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner in 1959 while Monroe was in Chicago to promote the film Some Like It Hot (UA, 1959). Photographer’s stamp on verso with additional stamp that reads “Kindler Und Schiermeyer Verlag AG Archiv.”
13 1/2 by 10 1/2 inches
Estimate: $1,500 - $2,000 
Lot 948: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner circa 1959. Photographer's stamp and other notations on verso.
14 by 9 1/2 inches
Estimate: $400 - $600 
Lot 949: MARILYN MONROE AND ARTHUR MILLER PHOTOGRAPH BY MANFRED KREINER
A vintage black and white photograph of Marilyn Monroe and Arthur Miller at the New York City premiere of Some Like It Hot (UA, 1959) taken by Manfred Kreiner. Photographer's stamp on verso along with information about the photograph in an unknown hand, written with pencil in German.
10 1/2 by 13 1/2 inches
Estimate: $1,000 - $2,000 
Lot 950: 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 (UA, 1959). Photographer's stamp on verso.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Estimate: $600 - $800 
Lot 971: MARILYN MONROE MONROE, MONTAND AND CUKOR SIGNED PHOTOGRAPH
A Marilyn Monroe, Yves Montand, and George Cukor signed black and white photograph. The image was taken at a party for the film Let’s Make Love (20th Century ,1960) in which Monroe and Montand starred and Cukor directed. The photograph is inscribed “To Herbert Stern from his first director with every good wish George Cukor,” “For Herbert Love & Kisses Marilyn Monroe,” and “Pour Herbert Stern amical souvenir Y Montand 60.”
8 by 10 inches
Estimate: $8,000 - $10,000 
Lot 976: MARILYN MONROE GOLDEN GLOBE CEREMONY PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe at the 1962 Golden Globes award ceremony taken by Gene Daniels. Monroe won the award for Female World Film Favorite. Photographer's stamp on verso with additional “Revue” stamp and notation.
9 by 13 1/2 inches
Estimate: $400 - $600 
Lot 977: MARILYN MONROE GOLDEN GLOBE CEREMONY PHOTOGRAPH
A vintage black and white photograph of Marilyn Monroe at the 1962 Golden Globes award ceremony taken by Gene Daniels. Monroe won the award for Female World Film Favorite. Photographer's stamp on verso with additional “Revue” stamp and notation.
13 1/2 by 9 inches
Estimate: $400 - $600 
Photographies - Joseph Jasgur
Photographs
Lot 796: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
A black and white photograph of Marilyn Monroe taken by Joseph Jasgur in 1946 with infrared film. Gelatin silver print. Printed by the artist. Artist’s copyright sticker on mount verso.
13 1/4 by 10 inches, mounted
Estimate: $600 - $800 
Lot 797: MARILYN MONROE COLOR PHOTOGRAPHS
A group of six color photographs of Marilyn Monroe taken by photographer Joseph Jasgur. The images are of Monroe alone, and one image shows her with other models at Zuma Beach in 1946.
Each, 11 by 14 inches
Estimate: $600 - $800 
Lot 798: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
Two black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946 at Zuma Beach, California. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $800 - $1,200 
Lot 799: MARILYN MONROE JOSEPH JASGUR NEGATIVE
A Joseph Jasgur black and white negative of Marilyn Monroe produced in 1946. Accompanied by a photograph of the image, printed 2000–2001. Signed in ink lower right.
Negative, 2 1/4 by 2 1/4 inches; Photograph, 14 by 11 inches
Estimate: $400 - $600 
Lot 800: MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
Six Joseph Jasgur black and white negatives of Marilyn Monroe produced in 1946. Accompanied by a photograph of a cropping of the image, printed 2000–2001. Library of Congress number VA 308-684. The winning bidder is responsible for transfer of copyright.
One Negative, 2 1/4 by 2 1/4 inches; Five Negatives, 5 by 4 inches; Photograph, 14 by 11 inches
Estimate: $800 - $1,200 
Lot 801: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
A sepia toned photograph of Marilyn Monroe taken by Joseph Jasgur in 1946. Toned gelatin silver print. Printed by the artist.
20 by 16 inches, mounted
Estimate: $400 - $600 
Lot 802: MARILYN MONROE PHOTOGRAPHS BY JOSEPH JASGUR
Two black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. One is a cropped portrait from the full image. Gelatin silver prints. Printed by the artist. Each with the artist’s stamp on mount verso.
10 by 8 inches each, mounted
Estimate: $500 - $700 
Lot 803: MARILYN MONROE JOSEPH JASGUR NEGATIVE AND COPYRIGHT
A Marilyn Monroe negative of an image taken by Joseph Jasgur in 1946, accompanied by copyright. The black and white negative shows Monroe on the beach with Tom Burton.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arriving as a result of any imperfection in copyright given.
5 by 4 inches
PROVENANCE Partial Lot 986, "Hollywood Legends," Julien's, Beverly Hills, April 11, 2014
Estimate: $1,500 - $2,000 
Lot 804: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
A group of three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $600 - $800 
Lot 805: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
A group of three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $600 - $800 
Lot 806: MARILYN MONROE BLACK AND WHITE PHOTOGRAPHS
A group of nine black and white photographs of Marilyn Monroe taken by photographer Joseph Jasgur. Jasgur photographed Monroe in 1946 when she was still known as Norma Jeane Dougherty and was a model with the Blue Book Model Agency.
Largest, 11 by 14 inches
Estimate: $800 - $1,200 
Lot 807: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
A group of four black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Two with photographer’s stamp on mount verso.
10 by 8 inches each
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $600 - $800 
Lot 808: MARILYN MONROE PHOTOGRAPHS BY JOSEPH JASGUR
Three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946 using infrared film. Gelatin silver prints. Printed by the photographer. Two with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $400 - $600 
Lot 809: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
A black and white photograph of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver print. Printed by the artist. Artist’s stamp on mount verso.
10 by 8 inches, mounted
Estimate: $600 - $800 
Lot 810: MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
A group of three Joseph Jasgur black and white negatives of Marilyn Monroe produced in 1946. Copyright to this image will be transferred to the winning bidder.
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.
5 by 4 inches, each
PROVENANCE From the Estate of Joseph Jasgur
Estimate: $1,000 - $2,000 
Photographies - André De Dienes
Photographs
Lot 795: MARILYN MONROE LIMITED EDITION ANDRE DE DIENES PRINT
A Marilyn Monroe black and white photograph taken by Andre De Dienes in 1945, printed in a limited edition, gelatin print made from the original transparency, numbered 29/50. This print is stamped, signed, and hand numbered by the estate of Andre De Dienes and stamped and hand numbered by OneWest Publishing.
19 1/2 by 16 inches
Estimate: $800 - $1,200 
Lot 813: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A black and white gelatin silver print montage photograph of Marilyn Monroe. Taken in 1949 by Andre de Dienes, printed circa 1960. Hand stamped on verso.
16 by 16 inches
PROVENANCE From the Estate of Andre de Dienes
Estimate: $1,000 - $2,000 
Lot 814: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
A black and white gelatin silver print montage photograph of Marilyn Monroe by Andre de Dienes. Notations on the front of the photograph read "7/7 1949 A.D." in black ink.
24 by 20 inches
PROVENANCE From the Estate of Andre de Dienes
Estimate: $1,000 - $2,000 
Lot 850: MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin vintage print of Marilyn Monroe taken by Andre de Dienes in 1953. The photograph is hand printed circa 1958 on double-weight paper and stamped by the photographer on verso.
19 1/2 by 16 inches
Estimate: $800 - $1,200 
Lot 851: MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin vintage print of Marilyn Monroe taken by Andre de Dienes in 1953. The photograph is hand printed circa 1958 on double-weight paper and stamped by the photographer on verso.
20 by 16 inches
Estimate: $800 - $1,200 
Lot 852: MARILYN MONROE VINTAGE ANDRE de DIENES PHOTOGRAPH
A photograph of Marilyn Monroe taken by Andre de Dienes in 1953. Silver gelatin print, printed circa 1955. Signed at lower right, photographer's stamp on verso.
24 by 20 inches
PROVENANCE Lot 420, "Hollywood Legends," Julien's, Beverly Hills, March 31, 2012
Estimate: $2,000 - $4,000 
Lot 853: MARILYN MONROE VINTAGE ANDRE de DIENES PHOTOGRAPH
A photograph of Marilyn Monroe taken by Andre de Dienes in 1953. Silver gelatin print, printed circa 1955. Signed at lower right, photographer's stamp on verso.
24 by 20 inches
PROVENANCE Lot 421, "Hollywood Legends," Julien's, Beverly Hills, March 31, 2012
Estimate: $2,000 - $4,000 
Lot 865: MARILYN MONROE INSCRIBED MAGAZINE PAGE
A black and white page of an unknown magazine inscribed to child star Linda Bennett. Inscription reads "To Linda, I saw you in the Seven Little Foys - Great Marilyn Monroe."
17 1/2 by 14 inches, framed; 7 1/4 by 6 3/4 inches, sight
Estimate: $3,000 - $5,000 
Photos Tom Kelley & Calendriers 'Golden Dreams'
Tom Kelley's Photos & Calendars 'Golden Dreams'
Lot 35: MARILYN MONROE UNCUT TIN TRAY
A circa 1950s uncut tin tray, illustrated with two nude photographs of Marilyn Monroe, "Golden Dreams" and "A New Wrinkle" both taken during a photo session with Tom Kelley in 1949.
Framed, 26 1/2 by 36 1/2 inches
PROVENANCE Lot 110, “Film & Entertainment,” Christie's, South Kensington, Sale number 9771, December 16, 2003
Estimate: $200 - $400
Lot 817: MARILYN MONROE RED VELVET SESSION PHOTOGRAPHS
A group of four color Marilyn Monroe photographs from the Red Velvet session with Tom Kelley in 1949. The group of contemporary prints includes an interesting composite image of Monroe and other less often seen images from the session. Mackie was given the photographs by a fan who knew that he had worked on Monroe’s costumes and that he was a fan of Monroe's. Printed circa 2004.
15 by 10 inches
PROVENANCE From the Collection of Bob Mackie
Estimate: $2,000 - $4,000 
Lot 818: MARILYN MONROE PHOTOGRAPH FROM THE REMASTERED RED VELVET COLLECTION
A photograph of Marilyn Monroe from the 1949 Red Velvet session with Tom Kelley. The limited edition print is part of the “Remastered Red Velvet Collection” issued by the estate of Tom Kelley in 2004. The image is numbered 2/500 and is signed by Tom Kelley Jr. in the lower right corner. The image is referred to as pose number 7.
27 3/4 by 23 1/2, framed
Estimate: $600 - $800 
Lot 819: MARILYN MONROE VINTAGE NUDE PHOTOGRAPH
A vintage Marilyn Monroe “New Wrinkle” photograph from her 1949 photo session with Tom Kelley. The black and white print is affixed to foam core board. The absence of optical brighteners in the print indicates that this print was made prior to 1953.
Photograph, 10 by 8 1/4 inches; 15 1/4 by 13 1/2 inches, overall
Estimate: $400 - $600 
Lot 36: MARILYN MONROE CALENDAR
A U.S. calendar from 1952, featuring a color print of nude Marilyn Monroe photographed by Tom Kelley.
Matted, 30 by 21 1/2 inches
PROVENANCE Lot 64, “Film & Entertainment Memorabilia,” Christie's, South Kensington, Sale number 5238, December 19, 2007
Estimate: $200 - $400 
Lot 310: MARILYN MONROE GOLDEN DREAMS CALENDAR
A calendar from Connors Bar & Grill New York City, 1958, all months intact. Paper loss to lower edge, tape residue along top edge.
15 1/2 by 9 1/2 inches
Estimate: $600 - $800 
Lot 626: 1955 MARILYN MONROE CALENDAR
A four-page calendar with spiral-bound top edge featuring images of Marilyn Monroe taken by Tom Kelley in the late 1940s. The calendar features a modesty cover with added lace overprint to cover Monroe and three pin-up images of Monroe in cowboy boots, all over triple month pages. Together with original envelope advertising the calendar as "The Most Talked of Calendar in the World" for 50 cents.
12 1/4 by 8 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $600 - $800 
Lot 833: MARILYN MONROE GOLDEN DREAMS 1952 CALENDAR
A 1952 Marilyn Monroe “Golden Dreams” calendar. This is an early version of Monroe’s famously posed calendar and does not have her name printed on the calendar itself. A note attached to the lower portion of the calendar does identify the model as Monroe, reading in part, “This Champion Calendar was posed by Marilyn Monroe. ...Since that time she has received much publicity in the daily newspapers and national magazines and has been [sic] starred in two movies.” The calendar advertises San Fernando Valley Motor. Housed in a frame.
37 by 19 inches, framed
Estimate: $700 - $900 
Photographies - Bert Stern
Photographs
Lot 984: MARILYN MONROE PHOTOGRAPH BY BERT STERN
A color photograph of Marilyn Monroe lying in bed, signed by Bert Stern. The photograph is contained in an orange portfolio.
23 3/4 by 19 3/4 inches
Estimate: $1,000 - $2,000 
Lot 985: MARILYN MONROE PHOTOGRAPH BY BERT STERN
A color photograph of a nude Marilyn Monroe holding a striped scarf, signed by Bert Stern.
23 3/4 by 19 3/4 inches
Estimate: $6,000 - $8,000 
Lot 986: MARILYN MONROE PHOTOGRAPH BY BERT STERN
A Marilyn Monroe color photograph taken by Bert Stern in 1962 during "The Last Sitting." Numbered 188/250 and signed by Stern in the lower right. A Martin Lawrence Galleries label attached to backing of the framed photograph is typed with the title "Last Sitting: Not Bad For 36."
27 1/2 by 26 1/4 inches, framed
Estimate: $2,000 - $3,000 
Lot 1006: MARILYN MONROE BERT STERN SIGNED PHOTOGRAPH
A black and white digital print photograph of Marilyn Monroe resting her chin on her hand, inscribed and dated in black marker to the upper left "For Bill/ 3-3-08" and signed and dated in red grease pen to the lower right "Bert Stern/ 2008" with Stern's copyright stamp on the verso.
8 1/2 by 11 inches
Estimate: $200 - $400 
Photographies - George Barris
Photographs
Lot 996: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe talking on the telephone signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso.
7 by 5 inches
Estimate: $200 - $400 
Lot 997: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe talking on the telephone signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
14 by 11 inches
Estimate: $800 - $1,200 
Lot 998: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A color photograph of Marilyn Monroe dressed in orange signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
11 by 14 inches
Estimate: $800 - $1,200 
Lot 999: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A color photograph of Marilyn Monroe leaning against a cinder block wall signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
11 by 14 inches
Estimate: $800 - $1,200 
Lot 1000: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A color photograph of Marilyn Monroe standing in the surf signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
10 by 8 inches
Estimate: $400 - $600 
Lot 1001: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A color photograph of Marilyn Monroe in a bikini signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
14 by 11 inches
Estimate: $800 - $1,200 
Lot 1002: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe standing in the surf signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
8 by 10 inches
Estimate: $400 - $600 
Lot 1003: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
A photographic print of Marilyn Monroe, limited edition numbered 21/50, taken in 1962 by George Barris. Silver gelatin print, printed on double-weight fiber paper under the guidance and approval of George Barris by OneWest Publishing. Signed by the photographer and stamped by OneWest Publishing.
20 by 16 inches
Estimate: $1,000 - $2,000 
Photographies - Milton H Greene
Photographs
Lot 257: MARILYN MONROE OUTTAKE PHOTOGRAPH
A black and white test print on archival paper of Monroe during the Mandolin Sitting with photographer Milton Greene. The image is stamped on verso "Reproduction Forbidden" with additional pencil notations documenting the exposure settings for the print.
7 by 5 inches
Estimate: $500 - $700 
Lot 890: MARILYN MONROE VINTAGE CONTACT SHEET
A vintage black and white partial contact sheet of Marilyn Monroe and Milton Greene. The sheet, which consists of two partial contact sheets stapled together, contains 17 images of Monroe.
4 1/2 by 10 inches
Estimate: $500 - $700 
Lot 891: MARILYN MONROE VINTAGE MILTON GREENE CONTACT SHEET
A vintage partial black and white contact sheet of Marilyn Monroe. The Milton Greene contact sheet includes 12 images of Monroe in a black cocktail dress.
3 by 10 inches
Estimate: $400 - $600 
Lot 892: MARILYN MONROE VINTAGE MILTON GREENE CONTACT SHEET
A vintage partial black and white contact sheet of Marilyn Monroe. The Milton Greene contact sheet includes 10 frames with images of Monroe and others. The images were taken by Milton Greene at the 21 Club in New York in 1954. Monroe can be seen talking to the restaurant owner, Robert Kriendler.
4 by 8 inches
Estimate: $400 - $600 
Lot 893: MARILYN MONROE VINTAGE CONTACT SHEET
A vintage black and white partial contact sheet of Marilyn Monroe and Milton Greene. The sheet includes 10 images of Monroe. Most of the images were likely taken by Greene circa 1955.
3 by 10 inches
Estimate: $400 - $600 
Lot 909: MARILYN MONROE VINTAGE MILTON GREENE PRINTS
A group of four vintage black and white contact sheet prints of Marilyn Monroe, Laurence Olivier, Arthur Miller and others taken by Milton Greene circa 1956 during the preparation for and filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 4 by 5 inches
Estimate: $400 - $600 
Lot 910: MARILYN MONROE MONROE, OLIVIER AND RATTIGAN CONTACT SHEET IMAGES
A group of four vintage black and white contact sheet prints of Marilyn Monroe with Laurence Olivier and Terence Rattigan taken by Milton Greene. The photographs were taken during a 1956 publicity photo session for The Prince and the Showgirl (Warner Bros., 1957). Two of the images show Monroe with Olivier, who co-starred with Monroe and directed the film. One image is of Monroe and Olivier with Rattigan, author of the play on which the film was based and of the screenplay for the film, and one image is of Olivier and Rattigan. Notations on verso.
Each, 2 1/2 by 3 inches
Estimate: $400 - $600 
Lot 911: MARILYN MONROE MONROE, OLIVIER AND RATTIGAN CONTACT SHEET IMAGES
A group of four vintage black and white contact sheet prints of Marilyn Monroe with Laurence Olivier and Terence Rattigan taken by Milton Greene. The photographs were taken during a 1956 publicity photo session for The Prince and the Showgirl (Warner Bros., 1957). Three of the images show Monroe with Olivier, who co-starred with Monroe and directed the film. One image is of Monroe and Olivier with Rattigan, author of the play on which the film was based and of the screenplay for the film. Notations on verso.
Each, 2 1/2 by 3 inches
Estimate: $400 - $600 
Lot 913: MARILYN MONROE VINTAGE MILTON GREENE PRINTS
A group of six vintage black and white contact sheet prints of Marilyn Monroe, Laurence Olivier, Arthur Miller, Vivien Leigh and others taken by Milton Greene circa 1956 during the preparation for and filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 4 by 5 inches
Estimate: $400 - $600 
Lot 921: MARILYN MONROE PHOTOGRAPH BY MILTON GREENE
A vintage black and white photograph of Marilyn Monroe and Laurence Olivier taken by Milton Greene in 1956. Photographer's stamp on verso.
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $600 - $800 
Lot 922: MARILYN MONROE PHOTOGRAPH BY MILTON GREENE
A vintage black and white photograph of Marilyn Monroe, Terence Rattigan and Laurence Olivier taken by Milton Greene in 1956. Photographer's stamp on verso.
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $600 - $800 
Lot 1010: MARILYN MONROE PRINT BY MILTON GREENE
A large-scale silkscreen print of Marilyn Monroe removing her stockings. Marked "A/P" [Artist's Proof] to the lower left and signed to the lower right by photographer Milton H. Greene.
46 by 35 1/2 inches, framed
PROVENANCE From the Collection of Allan Rich
Estimate: $600 - $800 
Lot 1011: 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 218/300 and signed by Greene at lower right.
35 by 46 inches
Estimate: $600 - $800 
Lot 1012: MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
A silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 44/300 and signed by Greene in pencil at lower right.
Estimate: $600 - $800 
Photographies - Divers photographes
Photographs - Various photographers
Lot 37: MARILYN MONROE AND JOHNNY HYDE PHOTOGRAPH
A black and white gelatin silver photograph featuring Marilyn Monroe dancing with talent agent Johnny Hyde, to whom she owed much of her success, presumably taken by Bruno Bernard. Numbered 9/350 in ink to the lower left.
16 by 20 inches
PROVENANCE Lot 332, “Film and Entertainment,” Christie's, South Kensington, Sale Number 6343, December 17, 1993
Estimate: $400 - $600 
Lot 94: MARILYN MONROE EARLY SNAPSHOT
A circa late 1940s black and white glossy photograph of Monroe with her Chihuahua. The photograph was taken by Richard C. Miller.
4 by 5 inches
Estimate: $300 - $500 
Lot 100: MARILYN MONROE MODELING PHOTOGRAPH
A vintage black and white glossy photograph of photographer Richard C. Miller posing as he takes a photo of Monroe in hunting clothing holding a rifle during a 1946 photo session. The back of the photograph has pencil notation dating the photograph, "4/5/46."
3 3/4 by 4 3/4 inches
Estimate: $300 - $500 
Lot 434: MARILYN MONROE PHOTOGRAPH BY CECIL BEATON
A vintage copy of Monroe's favorite image of herself by Cecil Beaton. As evidenced by receipts among Monroe's documents, she ordered reprints of this photograph to sign for people. This is one of her vintage copies of the image, ordered during her lifetime.
8 by 10 inches
Estimate: $1,000 - $1,500 
Lot 663: MARILYN MONROE PHOTOGRAPH ARCHIVE
An archive of approximately 20 photographs featuring or related to Marilyn Monroe, some vintage and some reproductions, collected by Frieda Hull.
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $200 
Lot 664: MARILYN MONROE COLOR SLIDES
A group of four slides of Marilyn Monroe from various points in her career: a costume test shot from Something's Got To Give ; on the set of Something’s Got To Give ; a double exposure from the Red Velvet session by Tom Kelley; and an early photo of Monroe by Richard C. Miller.
PROVENANCE From the Estate of Frieda Hull
Estimate: $300 - $500 
Lot 665: MARILYN MONROE VINTAGE PHOTOGRAPH
A large, glossy black and white publicity photograph of Marilyn Monroe in white dress, heels and gloves.
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $800 - $1,200 
Lot 793: MARILYN MONROE PHOTOGRAPH BY LASZLO WILLINGER
A large-scale Cibachrome color photograph of Marilyn Monroe taken by Laszlo Willinger. Stamp-signed on verso.
34 1/2 by 30 1/2 inches, framed
Estimate: $400 - $600 
Lot 794: MARILYN MONROE HURRELL STAMPED PHOTOGRAPH
A photograph of Marilyn Monroe with a George Hurrell attribution statement on verso signed by Hurrell-endorsed authenticator Allan Rich.
14 by 12 1/2 inches, framed
PROVENANCE From the Collection of Allan Rich
Estimate: $200 - $400 
Lot 811: MARILYN MONROE ORIGINAL VINTAGE PHOTOGRAPH BY BERNARD OF HOLLYWOOD
An original vintage photograph of Marilyn Monroe taken by Bruno Bernard in 1946. The photograph is titled “Mistletoe” and is part of the Discovery Series. Signed on verso “Bernard of Hollywood.” The photograph is accompanied by a copy of Monroe’s model release signed “Norma Jeane Dougherty” on July 24, 1946. This image was among the photographs that Bernard gave to Twentieth Century Fox.
11 by 14 inches
PROVENANCE From the Estate of Bruno Bernard
Estimate: $4,000 - $6,000 
Lot 812: MARILYN MONROE VINTAGE NEGATIVE
A vintage black and white negative of Marilyn Monroe. The image was taken by Ed Cronenweth while Monroe did her hair and makeup during the time of production for Ladies of the Chorus (Columbia, 1948). Accompanied by a contemporary print of the negative.
5 by 4 inches
PROVENANCE From the Collection of Ted Stampfer
Estimate: $200 - $400 
Lot 821: MARILYN MONROE VINTAGE TRANSPARENCY
A Marilyn Monroe vintage color transparency of an image taken in 1951. The image shows Monroe in the gown she wore to the 23rd Academy Awards ceremony, where she presented the award for Best Sound Recording. The award went to All About Eve (20th Century, 1950).
5 by 4 inches
Estimate: $500 - $700 
Lot 822: MARILYN MONROE VINTAGE ED CLARK TRANSPARENCY
A Marilyn Monroe vintage color transparency of an image taken in 1950 by Ed Clark, a LIFE photographer.
5 by 4 inches
Estimate: $400 - $600 
Lot 825: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A color photograph of Marilyn Monroe taken by Bruno Bernard in 1952. In the photograph, Monroe is wearing the hot pink dress she wore in her role as Rose Loomis in Niagara (20th Century, 1953). The photograph is numbered 15/90 and signed “From the estate of Bernard of Hollywood."
16 by 20 inches
PROVENANCE From the Estate of Bruno Bernard
Estimate: $1,500 - $2,500 
Lot 826: MARILYN MONROE PHILLIPPE HALSMAN PHOTOGRAPH
A black and white image of Marilyn Monroe taken by Phillippe Halsman during a 1952 photo session for LIFE magazine. Numbered 81/250.
14 by 11 inches
Estimate: $400 - $600 
Lot 827: MARILYN MONROE HAROLD LLOYD PHOTOGRAPH
A limited edition poster photograph print of Marilyn Monroe taken by Harold Lloyd in 1952. The color print is numbered 25/250 at lower right. The photograph was taken by silent screen star turned photographer Harold Lloyd during a photoshoot at Monroe’s Los Angeles apartment with Philippe Halsman. Later in 1952, a photograph from Halsman’s session appeared on the cover of LIFE magazine. Printed on crystal archive paper from the original 35mm Kodachrome negative in 2005. Blind stamped in the lower right corner by the Harold Lloyd Trust.
20 by 20 inches
PROVENANCE Lot 204, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
Estimate: $2,000 - $4,000 
Lot 828: MARILYN MONROE HAROLD LLOYD PHOTOGRAPH
A limited edition poster photograph print of Marilyn Monroe taken by Harold Lloyd in 1952. The color print is numbered 25/250 at lower right. The full-length photograph of Monroe speaking to photographer Philippe Halsman was taken by silent screen star turned photographer, Harold Lloyd, during a photo shoot at Monroe’s Los Angeles apartment with Halsman. Later in 1952, a photograph from Halsman’s session appeared on the cover of LIFE Magazine. Printed on crystal archive paper from the original 35mm Kodachrome negative in 2005. Blind stamped in the lower right corner by the Harold Lloyd Trust.
20 by 20 inches
PROVENANCE Lot 206, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
Estimate: $2,000 - $4,000 
Lot 831: MARILYN MONROE AND JOHN FLOREA PHOTOGRAPH NEGATIVES
A pair of vintage original negatives showing Marilyn Monroe with photographer John Florea. The first image was taken during a publicity photograph session for the film Monkey Business (20th Century, 1952). The second was taken while shooting publicity images for How To Marry a Millionaire (20th Century, 1953). The negatives were originally from the collection of John Florea.
6 by 2 1/2 inches
Estimate: $400 - $600 
Lot 839: MARILYN MONROE JOHN FLOREA SIGNED PHOTOGRAPH
A black and white photograph of Marilyn Monroe stacking thousand-dollar bills next to photographer John Florea, likely from a series of promotional photos for the Monroe film How To Marry A Millionaire (20th Century, 1953). Signed on the verso by Florea with a copyright stamp.
14 by 11 inches
Estimate: $300 - $500 
Lot 840: MARILYN MONROE AND OTHERS FRANK WORTH PHOTOGRAPHS
A group of five black and white Frank Worth images, including two of Marilyn Monroe. All are blind stamped “Frank Worth Estate Limited Edition.” The first is an image of Monroe wearing a dress she made famous in the film How To Marry a Millionaire (20th Century, 1953). In the second image, Monroe is wearing the same dress and leaning against a car in the background, and Sammy Davis Jr. is in mid-leap, dancing in the foreground. The remaining photographs are portraits of Frank Sinatra, Elizabeth Taylor and James Dean.
Each, 12 by 17 1/2 inches
Estimate: $500 - $700 
Lot 857: MARILYN MONROE SIGNED AND INSCRIBED PORTRAIT
A vintage print full-length black and white studio portrait shot by Bernard of Hollywood, signed and inscribed by Marilyn Monroe as she appeared in a floral corset with lace trim, fishnet stockings and high-heel shoes in a provocative pose. Inscription reads in full, “To Carole, It’s a pleasure to work with you/ Marilyn Monroe.”
18 1/2 by 17 inches, overall; 9 1/2 by 7 1/2 inches, sight
PROVENANCE Lot 173, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, California, June 4, 2005
Estimate: $3,000 - $5,000 
Lot 866: MARILYN MONROE SIGNED PHOTOGRAPH
A vintage black and white matte photograph signed in green ink "Dear Inez, My love and deepest thanks, Marilyn."
8 by 10 inches
Estimate: $15,000 - $20,000 
Lot 867: MARILYN MONROE PHOTOGRAPH BY CECIL BEATON
A vintage black and white image of Marilyn Monroe taken by Cecil Beaton in 1956 at the Ambassador Hotel. Camera Press stamp on verso with additional typed label that reads in part, "Monroe by Beaton:/ THE ETERNAL MARILYN/ Sophisticated innocence.../ Please acknowledge: photograph by Cecil Beaton/ Camera Press London."
9 1/4 by 8 inches
Estimate: $1,000 - $2,000 
Lot 872: MARILYN MONROE VINTAGE PHOTOGRAPHS
A vintage Marilyn Monroe photograph and contact sheet prints circa 1956. The black and white image, which shows Monroe having her photograph taken, is stamped with Hans Knopf photographer's stamp on verso. With nine additional vintage contact sheet photographs assumed to have been taken at the same time. The contact sheet prints were all affixed to black paper at one time.
Largest, 8 by 10 inches
Estimate: $600 - $800 
Lot 873: 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
Estimate: $600 - $800 
Lot 874: 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
Estimate: $1,000 - $2,000 
Lot 878: MARILYN MONROE SIGNED AND INSCRIBED PHOTOGRAPH
A framed photograph of Marilyn Monroe signed "To David, so you're still counting my money - what money? Marilyn Monroe."
20 1/2 by 17 1/2 inches, overall; 13 by 10 1/4 inches, sight
Estimate: $4,000 - $6,000 
Lot 919: MARILYN MONROE VINTAGE PUBLICITY PHOTOGRAPH
A vintage Marilyn Monroe black and white publicity photograph with a notation in pencil on verso in an unknown hand "500 8x10's ordered 6/16/58 deliver and bill MM."
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $600 - $800 
Lot 972: MARILYN MONROE PORTRAIT IMAGES
A group of nine Marilyn Monroe portrait images from film studios for reference or publicity and from photoshoots, with photographers Eric Skipsey and Richard Avedon. Eight of the images are in black and white with one color image from the film Let's Make Love (20th Century, 1960).
Most, 8 by 10 inches
Estimate: $800 - $1,200 
Lot 1009: MARILYN MONROE DOUGLAS KIRKLAND PORTFOLIO
A limited edition portfolio of Marilyn Monroe photographs taken by Douglas Kirkland and published by the Govinda Gallery in Washington, D.C. Each of the six photographs is numbered 16/30 to the lower left and signed by Kirkland to the lower right. Housed in a blue cloth clamshell case with gilt-stamped morocco label.
19 3/4 by 16 1/2 inches, overall
PROVENANCE From the Collection of Allan Rich
Estimate: $800 - $1,200 
Enregistrer
3/05/1952 Révélation de l'existence de Gladys
Alors que Marilyn Monroe a toujours déclaré être orpheline, l'existence de sa mère Gladys Baker est révélée dans la presse. Les studios demandent à Marilyn de clarifier la situation: elle donne donc une interview au chroniquer Erskine Johnson. Mais l'entretien a été répété et travaillé auparavant avec son ami Sidney Sklosky. L'article sera publié le 3 mai 1952 dans le Los Angeles Daily News:
MARILYN MONROE AVOUE:
MA MERE EST EN VIE ET VIT A HOLLYWOOD
par Erskine Johnson
Marilyn Monroe -la poupée glamour de Hollywood qui a récemment fait la une des journaux en reconnaissant qu'elle avait posé nue pour un calendrier - nous livre aujourd'hui une nouvelle confession.
Rendue célèbre par les agences publicitaires hollywoodiennes comme étant une pauvre orpheline n'ayant jamais connu ses parents, Marilyn reconnaît qu'elle est la fille d'une ancienne monteuse de la RKO, Gladys Baker et déclare: "Je l'aide et veux continuer à l'aider tant qu'elle aura besoin de moi."
En convalescence après une opération de l'appendicite au Los Angeles Hospital, Marilyn m'a donné des informations exclusives par l'intermédiaire de la Twentieth Century Fox, après l'apparition dans les studios de cinq femmes revendiquant Marilyn comme étant "leur fille perdue de longue date".
La reine du glamour hollywoodien a dit:
"Mes amis proches savent que ma mère est en vie. A mon insu, alors que j'étais enfant, ma mère passa de nombreuses années dans un hôpital public. Par l'intermédiaire du comté de Los Angeles, ma tutrice m'a placée dans plusieurs familles d'accueil, et j'ai passé plus d'un an à l'orphelinat de Los Angeles. Je n'ai jamais connu ma mère intimement et, depuis que je suis adulte et à même de lui venir en aide, je suis entrée en contact avec elle. Je l'aide à présent, et veux continuer à l'aider tant qu'elle aura besoin de moi."
Les amis de sa mère fournirent les informations complémentaires:
"Lorsque Marilyn était enfant, son père mourut dans un accident de voiture, à la suite de quoi sa mère souffrit de dépression nerveuse. Une amie de sa mère était sa tutrice légale. La mère de Marilyn recouvra la santé en 1945 et vécut peu de temps avec sa fille, en 1946. La même année, elle se remaria et redevint veuve pour la seconde fois, la semaine dernière, quand son mari mourut après une courte maladie."
La nouvelle que la mère de Marilyn était vivante fut une grande suprise, car les studios avaient largement tablé leur publicité sur le fait que Marilyn ne connaissait ni sa mère ni son père. Mais la nouvelle confession de la star, reconnaissant que sa mère, deux fois veuve, vit à Hollywood et qu' "elle lui vient en aide" est un grand soulagement pour le service judiciaire de la Twentieth Century Fox, très ennuyée par les revendications violentes de femmes prétendant que Marilyn était leur "fille".
MARILYN MONROE CONFESSES
MOTHER ALIVE, LIVING HERE
By Erskine Johnson
Marilyn Monroe - Hollywood's confessing glamour doll who made recent headlines with the admission thatshe was a nude calendar cutie - confessed again today. Highly publicized by Hollywood press agents as an orphan waif who never knew her parents, Marilyn admitted that she's the daughter of a one-time RKO studio film cutter, Gladys Baker, and that "I am helping her and want to continue helping her when she needs me."
Recovering from an appendectomy in a Los Angeles hospital, Marilyn gave me an exclusive statement through the Twentieth Century-Fox studio following the appearance at the studio of five women claiming Marilyn as their "long-lost daughter."
Said Hollywood's new glamour queen:
"My close friends know that my mother is alive. Unbeknown to me as a child, my mother spent many years as an invalid in a state hospital. I was raised in a series of foster homes arranged by a guardian through the County of Los Angeles and I spent more than a year in the Los Angeles Orphans Home. I haven't known my mother intimately, but since I have become grown and able to help her I have contacted her. I am helping her and want to continue helping her when she needs me."
Hollywood friends of her mother supplied the rest of the story: "When Marilyn was a small child her father was killed in an automobile accident and her mother subsequently suffered a nervous breakdown. A friend of her mother was appointed her legal guardian. Marilyn's mother recovered from her illness in 1945 and lived with her daughter for a short time in 1946. In the same year her mother remarried and became a widow for the second time last week when her husband died following a short illness."
The news that Marilyn's mother is alive in Hollywood came as an eyebrow-lifting suprise because of the extensive studio publicity that Marilyn had never known her mother or her father. But the new star's confession that her twice-widowed mother is in Hollywood and that "I am helping her" came as a relief to the Twentieth Century-Fox legal department, which has been confronted with wild claims by women insisting that Marilyn is their "daughter."
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copyright text by GinieLand.
M comme Monroe, Gladys
Gladys Pearl Monroe
( 1902 - 1984 )
Mère de Marilyn Monroe
Gladys Pearl Monroe (appelée aussi Gladys Baker, Gladys Mortensen, Gladys Eley) naît le 27 mai 1902 à Porfirio Diaz (aujourd'hui nommé Piedra Negra) au Mexique et est la première des deux enfants de Della Mae Hogan et Otis Elmer Monroe (les grands-parents de Marilyn). Son existence est déclarée civilement cinq jours après sa naissance (le 1er juin) à un juge civil mexicain. Son père, Otis, travaille dans les chemins de fer mexicains depuis 1901. Après la naissance de leur fille Gladys, la petite famille retourne aux Etats-Unis, menant une vie itinérante le long de la Côte Ouest, jusque dans le Nord des Etats-Unis pendant un an, puis s'installent à Los Angeles au printemps 1903 où son père décroche un emploi à la Pacific Electric Raimway. Ils vivent dans un petit bungalow d'une seule pièce dans la 37ème Rue Ouest (secteur sud du centre-ville). C'est là que naît le frère de Gladys, Marion Otis Elmer (l'oncle de Marilyn), en 1905. La famille vit dans une certaine précarité et n'a pas de foyer stable (ils vivent dans près de onze foyers différents -maisons ou appartements- entre 1903 et 1909). Gladys et Marion vivent ainsi leur enfance dans la pauvreté et l'insécurité, sans pouvoir se lier d'amitié avec des amis de leurs âges.
>> Certificats de naissance de Gladys 
>> 1906 - Gladys, 4 ans
En 1907, la santé de son père Otis Elmer se dégrade. Porté sur la boisson et souffrant de troubles de la mémoire, son état s'empire rapidement: maux de tête, tremblements, instabilité émotionnelle avec des accès de rage, des crises de larmes et même des attaques cardiaques. L'été 1908, suite à une crise, Otis se retrouve à moitié paralysé. Admis à l'hôpital 'Southern California State Hospital' à Patton, en Californie, en novembre 1908, où sa mère Della espace de plus en plus ses visites car Otis ne reconnaît même plus son épouse, il y meurt, le 22 juillet 1909, à l'âge de 43 ans. Il était atteint de parésie, le stade ultime de la syphilis qu'il avait contracté au Mexique, à cause des piètres conditions d'hygiène. C'est ainsi que seulement âgée de 7 ans, Gladys se retrouve orpheline de père. Gladys souffrira beaucoup de l'absence de son père. Sans doute terrifiée par le fulgurent déclin mental de son mari, Della Mae racontera à ses enfants que leur père était devenu fou, à cause de l'alcool et de sa vie désordonnée. Pourtant, le dossier médical qu'on lui avait remis après la mort d'Otis, explique qu'il était décédé d'une maladie organique et non d'une maladie mentale.
Se retrouvant veuve à seulement 33 ans, sa mère Della Mae vit une deuxième jeunesse en fréquentant de nombreux hommes qu'elle reçoit chez elle entre 1910 et 1911, avant de se marier le 7 mars 1912 avec Lyle Arthur Graves, un aiguilleur en chef à la Pacific Electric, où il avait travaillé avec Otis. Ils vont vivre dans la maison de Graves, au 324 bis South Hill Street dans la partie nouvelle du quartier d'affaires de Los Angeles. Lyle semble être un bon beau-père, offrant des cadeaux aux enfants de Della. Mais le couple ne tient pas, Otis étant aussi porté sur la boisson que son précédent mari, et ils divorcent le 17 janvier 1914.
>> 1912 - Gladys, 10 ans, et son frère Marion, 7 ans 
>> 1916 - Gladys, 13 ans
A la fin de l'année 1916, Della Mae loue une chambre dans une pension de famille au 26 Westminster Avenue sur la toute nouvelle plage du district de Venice, en Californie, au sud de Santa Monica. Le propriétaire de la pension de famille s'appele John Baker et l'engage pour diriger sa propriété pendant qu'il s'occupe d'une salle de jeux sur la plage. Della envoie son fils Marion, âgé de 11 ans, vivre chez des cousins à San Diego car elle pense qu'un garçon doit être élevé par un homme, et seule Gladys reste vivre auprès de sa mère. Gladys est une jeune fille coquette, brillante, expansive, aux cheveux châtains clairs, parlant d'une voix limpide et haut perchée, au rire facile, et à la recherche d'attention des hommes mûrs (sans doute en lien avec son enfance, était-elle à la recherche d'une figure paternelle). Sa mère, Della, ne tarde pas à rester bien longtemps seule et elle fréquente un veuf, Charles Grainger. Cette nouvelle liaison rend Gladys malheureuse, qui se braque contre le nouveau compagnon de sa mère, en lui opposant un silence absolu, et se montrant de très mauvaise humeur. Gladys devient alors un boulet pour Della, qui avait peur de perdre Charles Grainger. C'est alors qu'elle décide de la marier.
Gladys, qui n'a alors que 14 ans, commence à avoir un certain succès auprès des hommes. Et c'est Jasper Newton "Jap" Baker (le fils de John Baker, qui est pompiste ou releveur de comptes à gaz selon les biographes) âgé de 26 ans, qui, aidé de Della Mae, certifie que Gladys était en âge de se marier, 18 ans (alors qu'elle n'en avait que 15) sous prétexte que les preuves de sa date de naissance ont disparu suite aux nombreux déménagements, et l'épouse le 17 mai 1917 (certificat de mariage ci-contre). En fait, Gladys était enceinte de deux mois au moment du mariage. Della assiste gaiement au mariage et donne sa chambre de Westminster Street aux jeunes mariés, pour, de son côté, emménager dans le bungalow de Charles Grainger. Gladys et Jasper Baker ont deux enfants: un fils Robert 'Jack' 'Kermit' Baker (le demi-frère de Marilyn) qui naît le 10 novembre 1917, et une fille Berniece Inez Gladys (la demie-soeur de Marilyn) qui naît le 30 juillet 1919.
A la naissance de Berniece, le couple donne l'adresse de Della Monroe (1410 Coral Canal Court) sur le certificat de naissance. C'est ainsi qu'à 17 ans, Gladys se retrouve épouse et mère de deux enfants. Cependant, suite à son enfance chaotique, l'exemple d'une vie mouvementée de sa mère, ayant connue de nombreux beaux-pères, et par son jeune âge (elle est encore adolescente), Gladys se montre peu maternelle avec ses enfants, dont l'envie serait plutôt de sortir pour aller s'amuser. Il lui arrive d'ailleurs de confier ses enfants à des voisins pour sortir dans les bals et fêtes organisés sur les plages, pendant que son mari travaille de longues heures comme représentant de commerce.
>> vers 1917/1918 - Gladys, Robert Baker et une amie
>> 1918 - Gladys, 16 ans 
>> 30/07/1919 - Certificat de naissance de Berniece 
>> 1919 - Gladys avec ses enfants et sa mère Della Mae
>> 1919 - Gladys avec Robert Baker et leurs enfants
>> vers 1920 - Gladys et Robert Baker
Au cours de l'année 1921, le couple part en voyage à Flat Lick, dans le Kentucky, ville d'où est originaire Jasper, pour rendre visite à la famille de celui-ci. Durant le trajet, pendant que Gladys et Robert se disputent, leur fils Jackie tombe de la voiture dans un virage et se blesse à la hanche. Robert, furieux, reproche à Gladys son manque d'attention. Pendant leur séjour à Flat Lick, Gladys part un jour en randonnée dans les bois avec Audrey, le frère cadet de Jasper. Bien que Jasper est bel homme, il est jaloux de son frère. Quand Gladys revient de la promenade, Jasper la frappe avec une bride dans le dos. Gladys s'enfuit et part en ville, où elle y montre son dos aux passants, en hurlant et pleurant qu'elle a peur de son mari. Finalement, elle revient et ils repartent ensemble avec les enfants pour retourner en Californie. Un jour, elle surprend son mari avec une autre femme dans la rue (d'après ce que rapportera plus tard Gladys à Berniece). C'en est trop pour Gladys qui finit par demander le divorce en 1921 selon les motifs suivants: "Cruauté extrême sous forme de mauvais traitements, d'insultes et de langages orduriers à son égard et en sa présence, de coups et blessures." John rétorque que sa femme a une conduite impudique et lascive.
Après avoir quitté le domicile conjugual, Gladys loue un bungalow au 46 Rose Avenue, à Venice, qu'elle partage avec sa mère Della Mae. Gladys avait signé le bail sous le nom de sa mère Della Monroe, et sous-loue deux des chambres, afin d'être payée comme gérante, ce qui lui permet de verser 100$ par mois aux propriétaires absents, Adele Weinhoff et Susie Noel.
Fin juin 1922, le dernier chèque du loyer n'avait pas été posté. Une dispute éclate entre Gladys et Della, chacune accusant l'autre de dilapider l'argent. N'ayant d'emploi ni l'une ni l'autre, l'essentiel de leurs revenus leur était versé par Charles Grainger, le compagnon de sa mère, et le reste consistant en une modeste somme qu'envoyait Jasper Baker. La courte expérience de colocataires entre mère et fille prend fin en juillet 1922, sous une menace d'expulsion. Della, avec la permission de Charles Grainger, part alors vivre dans un bungalow vide qu'il posséde à Hawthorn.
>> Gladys et sa mère Della Mae 
Le divorce de Gladys et John est prononcé le 11 mai 1923 et Gladys obtient la garde des enfants (jugement de divorce ci-contre). Mais lors d'un week-end de garde, déjà bien avant que le divorce ne soit prononcé, Jasper ne ramène pas les enfants -Robert et Berniece- et les emmène dans sa ville d'origine Flat Lick dans le Kentucky, pour s'installer chez sa mère, pensant que les enfants recevront une meilleure éducation et de son côté, il espère recommencer sa vie.
Leur fils Robert, qui garde des séquelles de sa blessure à la hanche, boite. Il est hospitalisé dans un hôpital de Louisville et porte un plâtre à la jambe.
Quand à Gladys, qui souhaite récupérer ses enfants mais qui reste sans nouvelles, elle se rend à San Diego car elle pense que Jasper y a trouvé un emploi et s'y est installé. Puis elle reçoit un courrier de son ex beau-frère l'avertissant que Jasper et les enfants se trouvent à Flat Lick. Elle s'y rend donc en demandant de l'aide à sa belle-soeur Myrtle (la soeur de Jasper) qui non seulement refuse, mais va avertir Jasper. C'est alors que Jasper et sa mère cachent Berniece et avertissent les médecins de l'hôpital pour empêcher Gladys d'emmener son fils. Mais Gladys n'abandonne pas: elle s'installe à Louisville et y trouve un emploi de femme de ménage, en attendant que l'état de Robert s'améliore. Gladys va rester presqu'une année, vivant chez la famille Cohen (Margaret et John 'Jack' Cohen), où elle officie en tant que nounou de leur fille de trois ans, prénommée Norma Jeane (d'où l'origine du prénom de Marilyn Monroe et non pas Norma pour Norma Talmadge et Jean pour Jean Harlow comme bon nombre de biographes pensent). Il semblerait que Gladys aurait reporté tout son amour maternel sur la petite fille, allant jusqu'à projeter de la kidnapper pour l'emmener avec elle à Los Angeles.
De son côté, Jasper se remarie. S'avouant vaincue, ne pouvant voir ses enfants que de façon irrégulière, et réalisant qu'elle ne pourra jamais les récupérer définitivement, Gladys décide de repartir à Los Angeles et va finir par perdre de vue ses enfants.
Marilyn écrira plus tard: "Ma mère dépensa toutes ses économies pour récupérer les enfants. Finalement, elle les retrouvera dans le Kentucky où ils vivaient dans une belle maison. Leur père s'était remarié et vivait dans l'aisance. Elle le rencontra mais ne lui demanda rien, pas même d'embrasser les enfants qu'elle avait recherché pendant si longtemps."
A Los Angeles, Gladys parvient à trouver un emploi dans la florissante industrie du cinéma: elle travaille six jours sur sept comme monteuse pour la Consolidated Film Industries, puis pour la Columbia et enfin pour la RKO. A la Consolidated Film Industries, elle se lie d'amitié avec une collègue, la surveillante Grace McKee. A la fin de l'été 1923, elles dédicent alors de partager un appartement au 1211 Hyperion Avenue (aujourd'hui le Silver Lake) à Los Angeles, à quelques kilomètres à l'Est de Hollywood. Gladys change d'apparence et teint ses cheveux en rouge cerise. Les deux femmes -Gladys et Grace- mènent une vie joyeuse de femmes célibataires, se promenant en ville et faisant beaucoup la fête. Un collègue de Gladys, Vernon S. Harbin dira que Gladys "avait la réputation d'être un pilier de bar". Mrs Leila Fields, qui travaillera avec Gladys à la RKO, dira d'elle: "C'était une belle femme, une des plus belles femmes que j'ai eu le privilège de rencontrer. Elle avait bon coeur, était une bonne copine et était toujours de bonne humeur avant sa maladie."
C'est aussi dans cette usine -la Consolidated Film Ind.- que Gladys rencontre un bel homme, Charles Stanley Gifford (le père "présumé" de Marilyn, portrait photographique ci-dessus), un véritable coureur de jupons, éléguant et distingué.
>> Gladys au Noël de la Consolidated Film Industries 
Pendant l'été 1924, Gladys fréquente assidûment un homme, Edward Mortensen (photographie ci-contre) immigrant norvégien, bel homme qui est un bon parti, avec un travail stable. Ils se marient le 11 octobre 1924. Mais Gladys, sans doute trop frivole et incapable de partager une vie maritale, se lasse très vite de sa nouvelle vie; elle confie à Grace que la vie avec son mari est certes convenable, mais ennuyeuse à mourir et à peine quatre mois après son mariage, elle quitte le domicile conjugual le 26 mai 1925 pour aller revivre avec Grace. Le couple finit donc par divorcer. Et Gladys de reprendre sa vie légère faites d'aventures et d'amusement entre amis. Elle renoue quelques temps une liaison avec Charles Stanley Gifford.
En 1924, elle retourne tout de même dans le Kentucky afin de revoir ses enfants mais ces derniers sont restés trop longtemps éloignés de leur mère, et aussi probablement manipulés; pour eux, leur mère n'est qu'une étrangère. Gladys se résoud à laisser la garde définitive à leur père.
>> Certificat de mariage avec Mortensen 
>> Gladys (2ème en partant de la droite) et des amies
avec annotation de Marilyn 
>> vers 1924 - Portraits de Gladys
A la fin de l'année 1925, Gladys se retrouve enceinte. Elle donne naissance à une petite fille qu'elle prénomme Norma Jeane Mortenson (future Marilyn Monroe) le 1er juin 1926. A l'hôpital, dont le séjour est payé grâce à une collecte de ses collègues, elle affirme que ses deux premiers enfants sont décédés. Elle déclare que le "père" de l'enfant est Martin Edward Mortensen, son précédent mari, mais il semblerait que le père soit Charles Stanley Gifford, son collègue qu'elle fréquente épisodiquement depuis 1923 et qui l'aurait abandonné dès qu'il aurait su qu'elle était enceinte. Cependant, des biographes citent d'autres pères potentiels, tous des collègues de Gladys: Harold Rooney, Clayton MacNamara, ou encore Raymond Guthrie qui avait fait une cour enflammée à Gladys au cours de l'année 1925.
Plusieurs années après, Gladys sympathisera avec une jeune infirmière Rose Anne Cooper qui rapportera les propos de Gladys: "Elle disait qu'elle avait été intime avec un certain nombre d'hommes et elle parlait de son passé, disant ouvertement que lorsqu'elle était jeune, elle était 'très sauvage' comme elle disait. Cependant, pour elle, le seul genre d'intimité pouvant mener à une grossesse était celle qu'elle avait partagé avec 'Stan Gifford'. Elle avait toujours été ennuyée par le fait que personne ne semblait vouloir la croire, mais que c'était la vérité. Elle disait que même sa propre mère ne la croyait pas. 'Tout le monde pensait que je mentais ou que je ne le savais pas. Je savais. J'ai toujours su', racontait-elle".
Elle ne réclamera jamais de soutien ni moral ni financier à Charles Stanley Gifford.
Marilyn Monroe racontera plus tard: "Elle ne parlait presque jamais sauf pour dire "Ne fais pas tant de bruit, Norma." Elle me disait ça même quand j'étais au lit le soir avec un livre. Même le bruit d'une page de livre qu'on tournait l'agaçait. Il y avait un objet dans l'appartement de ma mère qui me fascinait. C'était une photographie accrochée au mur. Il n'y avait rien d'autre sur les murs que cette photographie encadrée. Chaque fois que je rendais visite à mère, je restais plantée devant en retenant mon souffle tellement j'avais peur qu'elle m'ordonne d'arrêter de la regarder. Un jour, elle m'a surprise ainsi, mais elle ne m'a pas grondée, bien au contraire. Elle m'a fait monter sur une chaise pour que je la vois mieux. Elle m'a dit :"C'est ton père." J'étais tellement bouleversée que j'ai failli tomber de la chaise. C'était si bon d'avoir un père, de pouvoir regarder sa photo et de savoir que j'étais de lui. Et quelle merveilleuse photo, en plus ! Il était coiffé d'un grand chapeau mou qu'il portait incliné sur le côté. Il avait des yeux rieurs et pleins de vie et une petite moustache à la Clark Gable. Cette photo me réconfortait... J'ai demandé à ma mère comment il s'appelait. Elle ne m'a pas répondu. Elle est allée s'enfermer dans sa chambre."
>> 01/06/1926 - Certificats et Acte de naissance de Norma Jeane
Après la naissance de l'enfant, Gladys rentre chez elle avec son bébé, au 5454 Wilshire Boulevard. Mais le 13 juin 1926, soit douze jours après la naissance de Norma Jeane, Gladys place le bébé dans une famille d'accueil -les Bolender- qui vivent à Hawthorn, à environ 25 km de chez elle, et non loin d'où vit Della Mae. Gladys avait echoué dans son rôle de mère avec ses deux premiers enfants, et avec son travail à plein temps et son goût pour les plaisirs et sorties, elle est incapable d'élever une enfant. C'est d'ailleurs sa mère Della Mae qui lui a conseillé de placer le bébé chez une famille d'accueil, les Bolender, un couple sérieux et dévot qu'elle connait bien, puisqu'ils sont voisins. Cependant, cette situation semble n'être que temporaire pour Gladys: elle s'installe quelques temps chez les Bolender, avant de retourner vivre chez elle et de verser 25 Dollars par mois à la famille d'accueil. Elle rend aussi visite à sa fille le week-end, comme le racontera Wayne Bolender: "Gladys venait presque tous les samedis vers midi. Il lui arrivait de passer la nuit ici, mais généralement, elle avait un rendez vous le samedi soir ou bien elle était invitée à une soirée, auquel cas elle repartait pour Hollywood au bout de quelques heures." Marilyn racontera plus tard que quand sa mère venait la voir, jamais elle ne lui montrait une marque d'affection; elle lui parlait à peine, ne l'embrassait pas et ne lui souriait pas: "C'était la belle dame qui souriait jamais. Je l'avais vue souvent auparavant mais je ne savais pas exactement qui elle était. Quand je lui ai dit:"Bonjour Maman", elle m'a regardée avec stupeur. Elle ne m'avait ni embrassée ni prise dans ses bras, elle ne m'avait jamais tellement parlé."
Sans doute les Bolender aurait peut être voulu adopter Norma Jeane, comme ils l'ont fait avec d'autres enfants dont ils s'occupaient, mais Gladys s'y est opposée, espérant reprendre un jour sa fille.
Le 18 août 1926, le divorce d'avec Mortenson est prononcé.
>> 1926 - Gladys et Norma Jeane
Au début de l’année 1927, Gladys s'installe chez sa mère Della Mae qui rencontre de sérieux problèmes de santé; elle est notamment atteinte de fréquentes infections respiratoires. Malgré le surcroît de transport en trolley pour aller à son travail, Gladys s'occupe de sa mère et se retrouve ainsi aussi dans la même rue des Bolender, ce qui lui permet alors de voir plus fréquemment sa fille.
La maladie du coeur de sa mère s'aggrave rapidement, suivie d'une profonde dépression: elle souffre de délires, d'euphorie, de sautes d'humeur, de colères et d' hallucinations. Elle est hospitalisée au Norwalk State Hospital le 4 août 1927 où on lui diagnostique une myocardite aiguë (inflammation du coeur et des tissus environnants ) et elle y décède le 23 août 1927, à l'âge de 51 ans, d'un arrêt cardiaque pendant une crise de folie. Gladys s'occupe des funérailles, faisant enterrer sa mère auprès du premier mari de celle-ci et père de Gladys, Otis Elmer Monroe, au Rose Hill Cemetery, à Whittier. Gladys sombre dans la déprime, mais parvient à faire face au deuil et reprend son activité de monteuse pour les studios de cinéma (à la Columbia et à la RKO).
>> 1928, Santa Monica - Gladys et sa fille Norma Jeane,
son frère Marion avec sa femme Olive et leur fille Ida May
Pendant sept ans, Norma Jeane va rester chez les Bolender, recevant la visite de sa mère qui de temps en temps, la prenait pour un week-end. En 1933, lorsque Norma Jeane est atteinte de la coqueluche, Gladys va rester quelques jours chez les Bolender, puis quelques temps après, elle retire sa fille de chez les Bolender car la petite restait inconsolable après la mort de son chien Tippy, tué par un voisin. Marilyn se souviendra: "Un jour, ma mère est venue me voir. J'étais en train de faire la vaisselle. Elle me regardait sans dire un mot. Quand je me suis retournée, j'ai été surprise de voir ses yeux pleins de larmes. Elle m'a dit: "Je vais faire construire une maison et nous y vivrons toutes les deux. Elle sera peinte en blanc et il y aura un petit jardin derrière."
Elles vivent ensemble dans l'appartement de Gladys au 6021 Afton Place, situé près des studios de Hollywood où elle travaille comme monteuse en free-lance avec son amie Grace. Gladys et Grace emmènent parfois Norma Jeane visiter les studios d'Hollywood, mais aussi au cinéma pour aller voir les derniers films sortis. La même année, en 1933, Gladys obtient un prêt de 5000 Dollars de la Mortgage Guarantee Company de Californie pour acheter une maison meublée de six pièces, dont trois chambres, au 6812 Arbol Street, près de Hollywood Bowl. Dans la maison, il y a aussi un piano demie-queue blanc de la marque Franklin (ayant appartenu à l'acteur Fredric March) qui a séduit Gladys. Pour faire face aux charges, Gladys loue une chambre de la maison à un couple d'anglais, George Atkinson, sa femme et leur fille. Pour Norma Jeane, c'est un nouveau mode de vie, elle expliquera plus tard: "La vie devint désinvolte et tumultueuse, c'était un changement radical après ma première famille. Quand ils travaillaient, ils travaillaient dur, et le reste du temps, ils s'amusaient. Ils aimaient danser et chanter, ils buvaient et jouaient aux cartes et avaient un tas d'amis. A cause de mon éducation religieuse, j'étais affreusement choquée -j'étais persuadée qu'ils finiraient tous en enfer. Je passais des heures à prier pour eux."
A cette époque, Norma Jeane ressent les premiers attraits vers le cinéma. Pendant les vacances scolaires, elle reste des heures dans les salles de cinéma, comme elle le racontera plus tard: "J'étais assise, toute la journée, quelques fois une partie de la nuit -face à l'écran tellement grand pour une petite fille comme moi, toute seule, et j'adorais ça. Rien ne m'échappait de ce qui se passait - et il n'y avait pas de pop-corn à l'époque."
Le 17 août 1933, le fils de Gladys, Robert 'Jackie Kermit' Baker qui vit dans le Kentucky avec son père, décède à l'âge de 16 ans des suites d'une infection rénale. Le garçon était atteint d'une tuberculose osseuse déclarée après son accident à la hanche quand il était petit. Gladys n'avait plus aucun contact avec ses enfants de son premier mariage. Robert 'Jackie' n'a donc jamais revu sa mère et n'a jamais su l'existence de sa demie-soeur Norma Jeane.
>> 1933, Californie - Gladys 
1933 - Gladys et sa fille Norma Jeane
Le 29 mai 1933, le grand-père de Gladys qu'elle n'a jamais connu, Tilford Hogan, s'est pendu. Gladys prend peur: son père et sa mère sont morts dans des hôpitaux psychiatriques, après des phases de démence; elle reste donc persuadée que ces problèmes sont héréditaires et que sa santé mentale est en jeu. Peu à peu, elle entre en dépression et est soignée par médicaments. En janvier 1934, Gladys fait une crise d'hystérie, tremblante et recroquevillée sous l'escalier. Les Atkinson se voient obligés d'appeler une ambulance qui emmène de force Gladys à l'hôpital Los Angeles General Hospital. Cet événement va marquer Norma Jeane à jamais; Marilyn se souviendra plus tard: "Soudain, il y eu un bruit épouvantable dans l'escalier, à côté de la cuisine. Je n'avais jamais rien entendu d'aussi effrayant. Des coups et des bruits sourds qui semblaient ne jamais devoir s'arrêter. J'ai dit :"Il y a quelque chose qui tombe dans l'escalier." L'anglaise m'a empêcher d'aller voir. Son mari est sorti et il est revenu dans la cuisine au bout d'un certain temps en disant: "J'ai fait appeler la police et une ambulance." J'ai demandé si c'était ma mère et il m'a répondu :"Oui, mais tu ne peux pas la voir." Je suis restée dans la cuisine et j'ai entendu des gens arriver et essayer d'emmener ma mère. Personne ne voulait que je la voie. Tout le monde me disait: "Sois mignonne, petite, reste dans la cuisine. Elle va bien. Ce n'est rien de grave!" Mais je suis sortie quand même et j'ai jeté un coup d'oeil dans l'entrée. Ma mère était là, debout. Elle hurlait et elle riait en même temps. Ils l'ont emmenée à l'hopital spychiatrique de Norwalk. Celui où on avait emmené le père de ma mère et ma grand mère quand ils avaient commencé à hurler et à rire ( ..) J'ai longtemps continué à entendre le bruit épouvantable dans les escaliers, avec ma mère qui hurlait et riait pendant qu'ils l'entrainaient hors du havre familial qu'elle avait tenté de construire pour moi". En février 1934, Gladys est autorisée à rentrer chez elle, mais elle est à nouveau hospitalisée pendant plusieurs mois dans un asile de Santa Monica, puis transférée au Los Angeles General Hospital et en décembre, elle rejoint le Norwalk State Hospital. Gladys va passer les quarante années suivantes entre diverses institutions. Il semble qu'elle souffrait de troubles mentaux et ne pouvait mener une vie normale hors d'un encadrement spécialisé. Cependant, les soins apportés à cette époque étaient quelques peu rudimentaires et il est possible qu'un traitement non adapté n'ait fait qu'empirer son état.
Durant cette période difficile, les Atkinson et Grace McKee s'occupent alternativement de Norma Jeane, qui parvient à voir sa mère lors de rares week-end où Gladys est autorisée à sortir; lorsque c'est le cas, Gladys, Grace et Norma Jeane vont déjeuner à l'Ambassador Hotel. Marilyn confiera: "Je veux tout simplement oublier tout le malheur, toute la misère qu'elle a eus dans sa vie, et tous ceux que j'ai eus dans la mienne. Je ne peux pas oublier, mais j'aimerais essayer. Quand je suis Marilyn Monroe et que je ne pense pas à Norma Jeane, cela marche quelquefois."
Le 15 janvier 1935, Gladys est déclarée aliénée, souffrant de schizophrénie paranoïde, par les médecins du Norwalk State Hospital. Le rapport du médecin chef déclare : "Sa maladie se caractérise par des préoccupations religieuses et par une dépression profonde et une certaine agitation. Cet état semble chronique".
Le 25 mars 1935, Grace McKee devient la représentante légale de Gladys, par décision de la Cour Supérieure de Justice de Californie. Le bilan de la situation financière de Gladys est dressé: elle dispose de 60$ sur son compte en banque, de 90$ en chèques non endossés sur une assurance, d'un meuble de radio (d'une valeur de 25$ dont 15 n'ont pas été payés et sont dus au magasin); ses dettes s'élèvent à 350$ sur une Plymouth et de 200$ d'arriérés sur le piano blanc.
Pour combler les dettes, Grace revend la voiture à son précédent propriétaire, vend le piano pour 235$, et revend le crédit de la maison.
>> 25/03/1935 - Décision de la Cour: Grace tutrice des biens de Gladys
et situation financière de Gladys:
>> Etat des finances de Gladys - 28/09/1936 
En 1938, Gladys tente de s'enfuir du Norwalk State Hospital. Elle racontera avoir reçu des appels téléphoniques de Martin Edward Mortensen, son précédent époux, ce qui est impossible car celui-ci est décédé dans un accident de moto neuf ans auparavant. Cependant, il existe un homonyme, un homme se nommant aussi Martin Edward Mortensen, vivant à Riverside Country en Californie, qui revendiquera bien longtemps après la paternité de Marilyn et pour lequel on retrouvera dans ses affaires après sa mort, le 10 février 1981, des documents le liant à Gladys (les papiers de mariage et divorce, mais aussi le certificat de naissance de Norma Jeane).
Après cette tentative d'évasion qui a échouée, Gladys est transférée au Agnew State Asylum, un établissement adapté pour les personnes souffrant d'hallucinations schizophrénique, situé à San José, près de San Francisco. C'est à partir de ce moment que Norma Jeane verra que très peu sa mère. Un jour, Grace emmène Norma Jeane à la pension de la clinique où vit Gladys: cette dernière ne lui adresse pas la parole jusqu'au moment de partir, où elle dit à sa fille: "Tu avais de si jolis petits pieds".
Durant l'Hiver 1938, Gladys écrit une lettre à sa fille Berniece, l'envoyant à Flat Lick chez les parents de Jasper. Mais ces derniers étant décédés, le facteur a transmis la lettre au frère de Jasper qui vit aussi à Flat Lick, qui la renvoie à son tour à Jasper qui vit désormais à Pineville, en Louisianne. Dans cette lettre, Gladys explique à Berniece qu'elle a une demi-soeur, Norma Jeane, âgée de douze ans, qui vit chez les Goddard (Grace McKee s'est mariée à Ervin Goddard en 1935). Gladys supplie aussi Berniece de la sortir de l'Agnew State Hospital, et lui donne l'adresse de sa tante (la soeur de Della Monroe), Dora Hogan Graham, qui vit à Portland, dans l'Oregon. Berniece répond à sa mère en lui informant qu'elle a contacté diverses personnes (dont Dora) et qu'elle va tout tenter pour la faire sortir.
>> Etat des finances de Gladys - 07/02/1940 
>> 1940s - Gladys et Grace (McKee) Goddard 
>> 1940s, Reno - Gladys 
En 1945, Dora Hogan Graham, qui vit à Portland, intervient auprès des autorités pour qu'on laisse sortir Gladys, qui en retour, accepte de vivre avec sa tante pendant un an. L'été 1945, l'hôpital 'Agnew State Hospital' la laisse alors sortir avec 200$ et deux robes, déclarant que Gladys ne représente plus un danger ni pour elle, ni pour les autres. Gladys part vivre chez sa tante Dora et trouve du travail en faisant le ménage et effectuant des soins non-médicaux à des patients en convalescence et invalides. Elle s'habille de blanc, comme une infirmière. Dora écrit une lettre à Berniece en lui racontant que Gladys s'intéresse beaucoup à la Science Chrétienne, et qu'elle souhaite soigner des gens malades sans l'apport de la médecine.
En novembre et décembre 1945, Norma Jeane voyage dans l'Ouest des Etats-Unis avec le photographe André DeDienes pour un reportage photographique: ils vont jusque dans le désert de Mojave et dans le Nevada. Lors de leur passage dans l'Oregon, ils font une halte à Portland pour rendre visite à Gladys où ils arrivent les bras chargés de cadeaux. Mais après des années passées dans des institutions, Gladys est devenue totalement asociale, fermée sur elle-même et très amaigrie. Ces retrouvailles vont marquer profondément Norma Jeane: elle embrasse sa mère et lui montre les photos prises par Dedienes. Gladys reste murée dans son silence, vissée dans son fauteuil. DeDienes racontera plus tard: "La rencontre entre la mère et la fille manquait de chaleur. Elles n'avaient rien à se dire. Mrs Baker était une femme d'un âge incertain, émaciée et apatique, ne faisant aucun effort pour nous mettre à l'aise. Norma Jeane faisait bonne figure. Elle avait déballé nos cadeaux: une écharpe, du parfum, des chocolats. Ils restèrent où nous les avions posés, sur la table. Il y eut un silence. Puis Mrs Baker cacha son visage dans ses mains et sembla nous oublier complètement. C'était très pénible. Apparement, ils l'avaient laissée sortir trop tôt de l'hopital." Déboussollée, Norma Jeane s'agenouille auprès de sa mère qui finit par lui murmurer: "J’aimerais tellement vivre avec toi Norma Jeane." Retenant ses larmes, Norma Jeane embrasse sa mère et lui laisse son adresse et son numéro de téléphone avant de partir. En reprenant la route avec Dedienes, elle restera inconsolable, ne cessant de pleurer. En effet, Gladys reste plus ou moins une étrangère pour Norma Jeane qui ne l'a, finalement, que très peu connue. De plus, Norma Jeane vient de signer un contrat de modèle et aspire à faire carrière. Elle se sent donc incapable de prendre soin de Gladys qui souffre de problèmes mentaux.
Gladys insiste et ne cesse d'implorer sa fille Norma Jeane lui réclamant de l'aide. En avril 1946, Norma Jeane cède et envoie de l'argent à sa mère pour qu'elle la rejoigne à Los Angeles. Elles partagent deux petites chambres louées par Norma Jeane, en dessous de chez "tante" Ana Lower, sur Nebraska Avenue. Gladys n'est pas en forme; elle est obsédée par la Science Chrétienne et découvre, par le biais des pouvoirs guérisseurs d'Ana Lower, les possibilités de l'esprit sur la maladie et étudie ainsi dévotement de nombreux livres sur ce thème. Elle assiste aussi aux services de l'Eglise tous les dimanches. Eleanor 'Bebe' Goddard (la fille de Doc Goddard, le mari de Grace McKee) racontera: "Elle errait et était imprévisible. Elle était docile mais absente."
Un jour, Gladys, toute de blanc vêtue, se rend à l'agence de modèle de sa fille (BlueBook) et déclare à la directrice Emmeline Snively, en lui saisissant la main: "Je suis simplement venue vous remercier personnellement pour tout ce que vous avez fait pour Norma Jeane. Vous lui avez offert une nouvelle vie."
En août 1946, Berniece se rend à Los Angeles avec sa fille Mona Rae pour rendre visite à sa famille. A leur arrivée à l'aéroport de Burbank, Norma Jeane, Grace McKee, Ana Lower et Gladys sont venues les accueillir.
>> Août 1946, Santa Monica - Gladys et ses filles
(Berniece et Norma Jeane) et sa petite fille Mona Rae
>> Août 1946, Los Angeles, dans un restaurant chinois:
Berniece, Mona Rae, Grace, Norma Jean, Ana Lower et Gladys. 
Après plusieurs semaines, Gladys rechute et doit à nouveau rejoindre l'hôpital Norwalk State Asylum. Grâce à ses salaires gagnés en tant que modèle, Norma Jeane envoie de l'argent pour améliorer la prise en charge de sa mère.
Gladys entretient une correspondance épistolaire avec Margaret Cohen (la mère de la petite Norma Jeane qu'elle gardait à Louisville en 1923); elle lui confie, dans une de ses lettres envoyée l'été 1946: "Mes propres filles ne me comprennent pas, elles n'essayent même pas". Gladys lui demande aussi des nouvelles de Norma Jeane Cohen, âgée désormais de 26 ans, souhaitant reprendre contact avec elle.
En février 1948, Gladys sort de l'hôpital et emmènage chez Ana Lower; elle trouve un emploi de femme de ménage.
Le 30 mai 1948, Gladys écrit une lettre à Berniece, lui reprochant notamment le fait qu'elle ne lui ait pas annoncée la mort de Tante Ana Lower, décédée le 14 mars, mais aussi car Berniece n'a pas répondu à sa dernière lettre:
>> Juin 1948 - Lettre de Gladys à Grace
>> Lettre non datée de Gladys à Norma Jeane
(merci à Eduardo) 
Le 20 avril 1949, Gladys épouse John Stewart Eley, un électricien originaire de Boise, dans l'Idaho. Norma Jeane apprend la nouvelle par une lettre que lui a envoyée Grace. Mais John est déjà marié et son épouse vit à Boise.
En 1951, Marilyn demande à Inez Melson, l'administratrice de ses affaires, de faire des visites régulières à Gladys, pour s'assurer de son bien être tandis qu'elle continue à fréquenter diverses institutions. En 1952, Inez Melson persuade Marilyn qu'elle la désigne comme tutrice légale de Gladys. Gladys travaille dans une clinique privée à Homestead Lodge, près de Pasadena.
Le 23 avril 1952, John Stewart Eley meurt d'une affection cardiaque à l'âge de 62 ans et Gladys se retrouve veuve. La semaine suivante, l'existence de la mère de Marilyn est révélée par le journaliste Erskine Johnson: Marilyn a toujours dit qu'elle était orpheline; mais avec le scandale du calendrier où elle a posé nue en 1949 et qui fait surface cette année là, des journalistes curieux enquêtent et découvrent que sa mère n'est pas morte, contrairement à ce qu'a encore déclaré Marilyn la semaine précédente dans une interview pour Redbook, et que celle-ci a fréquenté des institutions psychiatriques. Marilyn accorde alors une interview, publiée le 3 mai 1952, qu'elle a préparée avec Sidney Skolsky, et y déclare notamment: "Je n'ai jamais connu ma mère intimement et, depuis que je suis adulte, je suis entrée en contact avec elle. A présent, je l'aide et veux continuer à l'aider tant qu'elle aura besoin de moi." Puis Marilyn reçoit alors une lettre implorante de sa mère: "Chère Marilyn, Je t'en prie, ma chère fille, j'aimerais avoir de tes nouvelles. Je n'ai que des soucis ici, et j'aimerais bien partir le plus vite possible. Je préfèrerais avoir l'amour de mon enfant que sa haine. Tendrement, ta mère." Gladys continue à entretenir aussi des relations avec sa fille Berniece: elle lui rend visite en Floride au cours de l'année 1952.
>> 1952, Floride - Berniece, Gladys et Mona Rae 
Le 9 février 1953, d'après les conseils de Grace McKee, Marilyn fait transférer Gladys dans un établissement plus confortable, l'institution privée Rockhaven Sanatorium, à Verduga City, afin de protéger sa mère contre les journalistes trop curieux; Marilyn paie alors 300$ par mois pour les frais d'hospitalisation.
Marilyn racontera: "Longtemps, j'ai eu peur de m'apercevoir que je ressemblais à ma mère et que je finirais comme elle dans un asile de fous. Quand je déprime, je me demande si je vais craquer, comme elle. Mais j'éspère devenir plus forte."
>> 22/03/1956 - chèque de 600 Dollars de Marilyn
adressé à Inez Melson pour l'hospitalisation de Gladys
(merci à Eduardo) 
En 1959, Marilyn assure définitivement l'avenir financier de sa mère par un fonds de fidéicommis (qui désigne une disposition juridique -souvent testamentaire- par laquelle un bien est versé à une personne via un tiers). Pour Noël 1959, Gladys envoie ses souhaits à Marilyn, signant toujours du nom de son dernier époux décédé: "Loving Good Wishes, Gladys Pearl Eley":
>> Noël 1959 - Carte de voeux de Gladys pour Marilyn: 
Au cours du premier trimestre 1960, pendant que Marilyn tourne le film "Le Milliardaire" ("Let's Make Love"), elle donne une interview au journaliste George Belmont, à qui elle évoque notamment son enfance et sa mère. Elle déclare alors que sa mère est "morte".
Le 5 août 1962, le monde entier apprend le décès de Marilyn Monroe. Gladys en est très affectée; elle ne se rend pas à l'enterrement et fera plusieurs tentatives de suicide. Le 22 août 1962, elle écrit une lettre à Inez Melson, la remerciant de son soutien et rappelant qu'elle avait enseigné la science chrétienne à Norma Jeane: "I am very greatefull for your kind and gracious help toward Berniece and myself and to dear Norma Jeane. She is at peace and at rest now and may our God bless her and help her always. I wish you to know that I gave her (Norma) Christian Science treatment for approximately a year."
>> 22/08/1962 - Lettre de Gladys à Inez Melson: 
Un jour, en 1963, elle s'enfuit de Rockhaven Sanatorium; elle est retrouvée le lendemain, dans une église de San Fernando Valley, serrant dans ses mains une bible et un livre de prières de la Science chrétienne.
Inez Melson déclarera: "La mère de Marilyn se consacrait toute entière à sa religion, la Science chrétienne, et était principalement préoccupée par le mal. C'est là que se situait ses dysfonctionnements. Elle pensait avoir fait quelque chose de mal dans sa vie, et qu'elle serait punie pour cela."
>> 1963 - Gladys 
Le 27 avril 1966, elle est transférée au Camarillo State Hospital où elle y reste un an. Elle reçoit régulièrement la visite de Inez Melson:
>> 1966 - Gladys et Inez Melson
-photographies- 
-captures-
-video-
En 1967, elle part vivre chez sa fille Berniece en Floride.
En 1970, c'est sous le nom de Gladys Eley qu'elle intègre la maison de retraite Collins Court Home, à Gainesville en Floride. Aux journalistes curieux qui tentent de l'approcher pour qu'elle leur évoque sa célèbre fille Marilyn, elle leur répond: "Ne me parlez pas de cette femme !". En 1972, elle déclare à James Haspiel, un fan de Marilyn qui l'a connu et suivi pendant de nombreuses années: "Je n'ai jamais voulu qu'elle fasse ce métier !"
En 1980, c'est Lawrence Cusak qui devient son tuteur légal.
Le 11 mars 1984, c'est à l'âge de 81 ans que Gladys meurt d'une crise cardiaque; elle est incinérée.
>> Années 1980s - Gladys 
>