Timbres République du Tchad, 2022
"60è anniversaire de sa mort MARILYN MONROE"
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14/01/1945 - Lettre de Norma Jeane à Grace Goddard
Lettre de 4 pages du 14 janvier 1945 (datée par erreur en 1944) écrite par Norma Jeane Dougherty (Marilyn Monroe) à Grace McKee Goddard, qui était partie vivre avec son mari Ervin 'Doc' Goddard et la fille de celui-ci Bebe Goddard à Huntington, dans l'Etat de Virginie.
Norma Jeane n'a que 18 ans, mariée depuis deux ans et demie avec Jim Dougherty souvent absent (il est engagé dans la Marine marchande), et elle se sent seule: sans doute est-ce pour cette raison qu'elle s'est payée un manteau, alors qu'elle ne gagne pas beaucoup d'argent. Elle fait aussi des cadeaux à Grace puisqu'elle lui demande si le peignoir est à sa taille.
Elle raconte aussi à Grace que l'usine où elle travaille, Radioplane, a congédié (temporairement, pour deux semaines), l'ensemble des ouvriers et ouvrières (sans leur verser de salaire), certains étant même licensié définitivement.
Elle parle de son retour de l'Est, faisant ainsi référence à sa visite aux Goddard (Doc et Bebe) en Virginie et sa demie-soeur Berniece à Détroit à l'automne 1944.
Il semble que Norma Jeane porte beaucoup d'affection envers Doc Goddard, elle l'appelle "Papa" dans sa lettre.
On ressent surtout l'isolement de la jeune Norma Jeane, terminant sa lettre par son espoir de revoir les Goddard revenir en Californie.
Letter of 4 pages in January 14, 1945 (mistakenly dated 1944) written by Norma Jeane Dougherty (Marilyn Monroe) to Grace McKee Goddard, who had gone to live with her husband Ervin 'Doc' Goddard and his daughter Bebe Goddard in Huntington, Virginia.
Norma Jeane is only 18 years old, married for two and a half years to Jim Dougherty, who is often absent (he is engaged in the Merchant Marine), and she feels alone: no doubt this is why she paid for a coat, although she doesn't earn much money. She also gives Grace gifts because she asks her if the robe is at the good size.
She also tells to Grace that the factory where she works, Radioplane, has dismissed (temporarily, for two weeks), all the workers (without paying them a salary), some of them being even definitively dismissed.
She talks about her return from the East, thus referring to her visit to the Goddards (Doc and Bebe) in Virginia and her half-sister Berniece in Detroit in the fall of 1944.
It seems that Norma Jeane has a lot of affection for Doc Goddard, she calls him "Dad" in her letter.
We especially feel the isolation of young Norma Jeane, ending her letter with her hope of seeing the Goddards back in California.
Traduction de la lettre:
Ma très chère Grace,
Je suis désolée de ne pas avoir écrit plus tôt, mais honnêtement, j'ai été très occupée. En ce moment, j'ai deux semaines de vacances. (sans être payée).
Jimmie n'est pas encore rentré mais s'attend à être à la maison à tout moment. Il m'a envoyé 100 $ pour Noël alors j'en ai mis un peu plus et je suis maintenant l'heureuse propriétaire d'un manteau de singe Gold Coast. Oh c'est tout simplement magnifique ! J'ai obtenu la meilleure qualité possible parce que je pensais que je pourrais aussi bien obtenir quelque chose qui durerait. (Je ne veux pas que tout le monde sache que ça a coûté autant que ça le devait au départ, c'est mon affaire, tu ne crois pas ?
Tout le monde dit qu'ils ne peuvent pas comprendre à quel point j'ai changé depuis que je suis revenue de l'Est. Au travail, ils disent tous que je suis pleine de vie, de peps et de vitalité. Je n'ai pas travaillé très dur, je me suis juste laissé aller, mais j'ai quand même terminé tout mon travail. Radioplane Company a licencié près de la moitié de ses travailleurs. Mais je suis toujours là bien que je sois en vacances maintenant, comme tout le monde dans mon département, ce n'est que pour deux semaines.
S'il te plaît envoie-moi le livre d'anglais et de grammaire, tu avais dit que tu le ferais.
J'espère que tu as aimé ton peignoir. Était-ce la bonne taille ? As-tu mis des chaussons pour aller avec ?
Je suis contente que tu ne travailles pas chez Wildings parce que tu travaillais juste trop dur. J'espère que tu te reposes beaucoup. S'il te plaît, donne mon affection à Papa et Bebe. Vous me manquez certainement tous.
Dan Hill est vraiment génial, je n'ai pas eu beaucoup de temps pour le voir. Mais je l'aime beaucoup.
J'ai hâte de voir Papa en février. Chaque fois que je vois Dan, il n'arrête pas de demander "Quand est-ce que "Doc" revient ?"
Aujourd'hui, je suis allée à l'église et Mme Dougherty m'a accompagnée. Mon Dieu, je peux à peine attendre que vous reveniez tous ici, j'espère que ce sera bientôt.
Tout mon amour,
Norma Jeane,
PS j'écrirai plus tard
Letter transcription:
My dearest Grace,
I'm sorry I havn't written sooner but honestly I've been so busy. At the present time I'm having a two weeks vacation. (without pay).
Jimmie hasn't come home yet but expects to be home most any time. He sent me $100.00 for Christmas so I put some more with it and I am now the happy owner of a Gold Coast monkey coat. Oh its simply beautiful! I got the finest quality obtainable because I thought I might as well get something that would last. (I don't want everyone to know that it cost as much as it did in the first place its my own business, don't you think ?
Everyone says they can't get over how much I've changed since I've come back from the East. At work they all say I'm full of life, pep and vitality. I havn't been working very hard, just sort of taking it easy but I still get all of my work finished. Radioplane Company laxed almost half of its workers off. But I'm still there although I'm Having a vacation now so is everyone in my dept, its only for two weeks.
Please send me the English and Grammar book, you said you would.
I hope you liked your robe. Was it the right size? Did you get slippers to go with it ?
I'm glad you are not working at wildings because you were just working too hard. I hope you are getting a lot of rest.
Please give Daddy and Bebe my love. I certainly do miss all of you.
Dan Hill is really swell, I havn't had much time to see him. But I do like him very much.
I can hardly wait to see Daddy in February. Every time I see Dan he keeps asking "When is "Doc" coming back ?"
Today I went to church and Mrs. Dougherty went with me.
Golly I can hardly wait until all of you move back here, I hope it will be soon.
All my love,
Norma Jeane,
P.S. I shall write later
source Lettre vendue aux enchères en 2017 par Freeman's
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
28/10/1944, Chicago - Carte de Norma Jeane à Cathy Staub
Carte postale écrite par Norma Jeane (Marilyn Monroe) à son amie Cathy (Catherine) Staub, postée le 28 octobre 1944 de Chicago, où s'est rendue Norma Jeane pour rendre visite à Grace Mc Kee.
Postcard written by Norma Jeane (Marilyn Monroe) to her friend Cathy (Catherine) Staub, posted on October 28, 1944 from Chicago, where Norma Jeane travels to visit Grace McKee.
Traduction de la lettre:
hello à Bud
Ma très chère Cathy,
J'écrirai bientôt chérie, mais j'ai été très occupée.
Je passe un bon moment.
J'ai reçu 3 lettres de Jimmie, j'étais si heureuse.
Je reviendrai bientôt, tu me manques Cathy.
Avec amour,
Norma Jeane.
Letter transcription:
Bud hello
My dearest Cathy,
I will write soon honey, but have been awfully busy.
I'm having a grand time.
I received 3 letters from Jimmie I was so happy.
Will be back soon, I miss you Cathy.
Love,
Norma Jeane.
source Lettre vendue aux enchères en 2015 par Pop Culture Auction
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Fin 1945, Lettre de Norma Jeane à Cathy Staub
Lettre de deux pages écrite par Norma Jeane (Marilyn Monroe) à son amie Cathy (Catherine) Staub, non datée - cette lettre a été écrite vers fin 1945, car la jeune Marilyn y parle de son congé de son travail d'inspectrice de parachutistes chez Radioplane et du retour de Jim Dougherty.
Two-page letter written by Norma Jeane (Marilyn Monroe) to her friend Cathy (Catherine) Staub, undated - this letter was written around the end of 1945, because young Marilyn talks about her leave from her job as a parachute inspector at Radioplane and of Jim Dougherty's return.
Traduction de la lettre:
Jeudi.
Ma très chère Cathy,
merci pour ton petit mot doux, et pourquoi bien sûr je t'aime beaucoup ma chère, tu le sais. Si je semble parfois un peu négligente, c'est parce que je suis tellement occupée que je ne semble pas avoir le temps de rattraper ma correspondance, mais je promets qu'après cela, je ferai mieux, honnêtement je le ferai.
Jimmie est arrivé il y a environ trois semaines et tu peux imaginer à quel point j'étais ravie. Je souhaite seulement qu'il n'ait pas à repartir.
Jimmie et moi sommes allés à Big Bear Lake pendant une semaine et nous nous sommes bien amusés. J'espère que toi et Bud serez bientôt là parce que j'aimerais que vous le rencontriez tous les deux.
J'ai pris congé de Radioplane. Je te raconterai tout quand je te verrai chérie ou je t'écrirai plus tard. J'ai tellement de choses à faire que je ferais mieux de terminer pour l'instant mais j'écrirai bientôt.
Dis bonjour à Bud pour moi.
Avec amour,
Norma Jeane.
Letter transcription:
Thursday.
My dearest Cathy,
thank you for your sweet little note, why of course I like you dear very much, you know that. If I seem a little neglectful at times its because I'm so busy I don't seem to have any time to catch up on my correspondence, but I promise after this, I shall, do better, honestly I will.
Jimmie arrived about three weeks ago and you can imagine how thrilled I was. I only wish he didn't have to go back.
Jimmie and I went up to Big Bear Lake for a week and had a grand time I hope you and Bud will be down soon because I would love for you both to meet him.
I've been on leave of absence from Radioplane. I shall tell you all about it when I see you honey or I shall write to you later. I have so many things I have to do so I had better close for now but I shall write soon.
Tell Bud Hello for me.
Love,
Norma Jeane.
source Lettre vendue aux enchères en 2019 par Profiles in History "Hollywood: A Collector's Ransom Auction 109"
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Doc - Robert Mitchum, le mauvais garçon d'Hollywood
Robert Mitchum, le mauvais garçon d'Hollywood
Année: 2017
Réalisation: Stéphane Benhamou
Pays: France, Arte / Lobster
Durée: 55 min
Par son naturel, le "bad boy" Robert Mitchum a conquis le public et les plus grands cinéastes, d'Otto Preminger à Vincente Minnelli en passant par Howard Hawks. Sans occulter ses frasques, ce séduisant portrait dévoile la sensibilité que l'acteur dissimulait sous sa désinvolture.
Retranscription des passages liés à Marilyn Monroe:
(à 08 min) - En mars 1940, il se marie avec Dorothy qui l'a rejoint à Los Angeles. Elle tombe enceinte, et Mitchum doit abandonner ses petits boulots et le théâtre pour trouver un emploi stable. Il est embauché à l'usine Lockheed. L'Amérique vient d'entrer en guerre et les cadences sont infernales sur les chaînes de fabrication de bombardiers. Il se lie avec un collègue, Jim Dougherty, tout juste marié à une jolie fille d'à peine 16 ans, Norma Jeane Baker. Ils sont loin d'imaginer, eux, les enfants de la crise qui peinent à boucler leurs fins de mois, qu'ils se retrouveront stars, douze ans plus tard, sur "Rivière sans retour".
(à 16 min) - Il préfère les soirées plus intimes. Comme celle où il est invité chez la jeune comédienne Lila Leeds. La soirée est brutalement interrompu par la police de Los Angeles, qui surprend les invités en train de fumer de la marijuana. Michum est embarqué dans une voiture de police. Et, chose étrange, la presse se bouscule déjà au commissariat où on le ramène avec les autres invités. Tout cela ressemble tellement à l'un de ces films noirs que Mitchum déclare aussitôt au Los Angeles Times qu'une arrestation pour usage de drogue, ça ruine une carrière. Il en a tellement tourné des histoires comme celle-ci où un soit-disant mauvais garçon paie pour les fautes des autres, qu'il est certain de l'issue de cette sale affaire. Son producteur et patron, Howard Hughes, est appelé au milieu de la nuit. On l'informe que sa jeune vedette risque jusqu'à six ans de prison. Il n'a pas échappé au procureur que Mitchum a déjà été condamné. Peu importe qu'il l'ait été seulement pour vagabondage quand il avait 16 ans. Hugues engage aussitôt le meilleur avocat de la ville, Jerry Giesler. Mitchum ne se fait guère d'illusion sur son sort. Au greffier, qui lui demande son métier, il répond "ancien acteur". Lors de son procès en février 1949, son avocat prouve qu'il a été victime d'une sombre histoire de chantage. Le juge accorde les circonstances atténuantes et Mitchum et Leeds sont condamnés à 60 jours de prison. Pour Lila Leeds, qui n'a encore qu'un statut de starlette, sa carrière va s'arrêter là. Et le film qu'elle tourne très rapidement pour raconter cette histoire sera son dernier.
(à 27 min) - Ceux qui travaillent avec lui savent très bien qu'il n'y a rien à gagner à le provoquer. Le réalisateur Otto Preminger va l'apprendre à ses dépends sur le tournage de "Un si doux visage". Mitchum doit donner une gifle à Jean Simmons, pour la sortir de sa torpeur. Mais Preminger ne trouve pas la scène assez convaincante. Il la fait refaire plusieurs fois. Il exige que Mitchum donne une gifle plus forte, et, encore plus forte, jusqu'au moment où Mitchum s'avance vers Preminger et lui envoie une énorme claque en lui demandant: "Et comme ça, c'est assez fort ?".
(...) Après avoir été giflé, Preminger demande à Howard Hugues le renvoie de Mitchum, qu'il n'obtient pas. Cela n'empêche pas de réclamer Mitchum pour son film suivant, une super production en technicolor. Mitchum retrouve une vieille connaissance, celle qu'on appelle maintenant Marilyn Monroe. Malgré son air indifférent, Mitchum est un partenaire précieux. Il dissuade sa vieille copine Marilyn de suivre les conseils de sa répétitrice. Juste avant de tourner, il lui donne une claque dans le dos et lui demande d'abandonner ses airs affectés de grande tragédienne. Des airs qu'elle ne prend jamais quand elle se retrouve en famille chez les Mitchum.
Christopher Michum, fils de Robert Mitchum: "Je me souviens du jour où je l'ai rencontré à Mandeville, ils tournaient "La rivière sans retour". J'étais assis devant la cheminée, dans le salon, sur un petit banc haut comme ça, recouvert de tapisserie rembourrée. J'étais là, en plein hiver, à me réchauffer le dos au coin du feu. Je devais avoir dans les 10 ans. Elle est entrée, elle s'est retournée, et elle a relevé sa robe pour se réchauffer le postérieur au coin du feu. Et moi, j'étais là, à regarder... (rire). Arrive mon père, qui lui demande: "Tu as fait connaissance avec mon fils ? Là, elle se retourne, et elle me dis: "Bonjour, je m'appelle Norma Jeane." Apparemment, elle ne m'avait pas vu. Mais ça ne l'a pas troublée du tout. Ce premier contact m'a fait forte impression. Voilà comment j'ai rencontré Marilyn Monroe ! (rire)."
Carrie Mitchum, petite-fille de Robert Mitchum: "Je crois que les grandes amitiés que Bob a tissé, pas seulement avec des actrices, mais aussi avec des acteurs, d'autres hommes, était basé sur une compréhension réciproque de leur histoire. C'est une génération qui a survécu à la Dépression, à la pauvreté, à la dureté du quotidien. Ils étaient liés par cette expérience de la survie. Ils savaient tous parfaitement d'où ils venaient. Et ils ne voulaient pas retourner en arrière".
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Saturday Evening Post, 1956/05/05
Saturday Evening Post
- The New Marilyn Monroe - Part 1
pays magazine: USA
paru le 5 mai 1956
article: 1ère partie "The New Marilyn Monroe"
en ligne sur saturdayeveningpost.com
The New Marilyn Monroe
This three-part series by Pete Martin was originally published in The Saturday Evening Post, May 5–19, 1956:
By Pete Martin
Originally published on May 5, 1956
A Post editor’s surprisingly candid report on the girl with the horizontal walk. He reveals things about the phenomenal blonde that even Marilyn herself doesn’t know.
The new Marilyn Monroe in Hollywood after returning from
her self-imposed exile in New York. Not quite 30,
she possesses what is possibly the most
photographed face and figure in history. (Gene Lester, © SEPS)
I said to Marilyn Monroe, “Pictures of you usually show you with mouth open and your eyes half closed. Did some photographer sell you the idea that having your picture taken that way makes you look sexier?”
She replied in what I’d come to recognize as pure Monroese. “The formation of my lids must make them look heavy or else I’m thinking of something,” she told me. “Sometimes I’m thinking of men. Other times I’m thinking of some man in particular. It’s easier to look sexy when you’re thinking of some man in particular. As for my mouth being open all the time, I even sleep with it open. I know, because it’s open when I wake up. I never consciously think of my mouth, but I do consciously think about what I’m thinking about.”
Tucked away in that paragraph like blueberries in a hot muffin were several genuine Monroeisms. I had studied the subject long enough to be able to tell a genuine Monroeism from a spurious one.
When I asked her, “Has anyone ever accused you of wearing falsies?” she came through with a genuine Monroeism.
“Yes,” she told me, her eyes flashing indignantly. “Naturally,” she went on, “it was another actress who accused me. My answer to that is, quote: Those who know me better know better. That’s all. Unquote.”
Another Monroeism followed hard on the heels of that. I said, “I’ve heard that you wowed the marines in Korea when you climbed up onto a platform to say a few words to them, and they whistled at you and made wolf calls.”
“I know the time you’re talking about,” she said. “It wasn’t in Korea at all; it was at Camp Pendleton, California. They wanted me to say a few words, so I said, ‘You fellows down there are always whistling at sweater girls. Well, take away their sweaters and what have you got?’ For some reason they screamed and yelled.”
Another example came forth when Marilyn was asked if she and the playwright, Arthur Miller, were having an affair. “How can they say we’re having a romance?” she replied. “He’s married.”
Still another Monroeism had emerged from a press conference in the Plaza Hotel, in New York City. It was held to announce her teaming with Sir Laurence Olivier in an acting- directing-producing venture — a get-together described by one of those present as “one of the least likely duos in cinematic history.” The big Monroeism of that occasion was Marilyn’s answer to the query, “Miss Monroe, do you still want to do The Brothers Karamazov on Broadway?”
“I don’t want to play The Brothers,” she said. “I want to play Grushenka from that book. She’s a girl.”
Listening to her as she talked to me now, I thought, Nobody can write dialogue for her which could possibly sound half as much like her as the dialogue she thinks up for herself.
Nunnally Johnson, who produced the film, How to Marry a Millionaire, costarring Marilyn, told me, “When I talked to her when she first came on the lot, I felt as if I were talking to a girl under water. I couldn’t tell whether I was getting through to her or not. She lived behind a fuzz curtain.”
Johnson also directed How to be Very, Very Popular, and when Sheree North took Marilyn’s place in that film, he announced: “Sheree will not use the Monroe technique in How to be Very, Very Popular. She will play the entire role with her mouth closed.”
Marilyn’s last sentence to me: “I never consciously think of my mouth, but I do consciously think about what I’m thinking about” seemed a trifle murky, but I had no time to work on it, for, without pausing, she said, “Another writer asked me, ‘What do you think of sex?’ and I told him, ‘It’s a part of nature. I go along with nature.’ Zsa Zsa Gabor was supposed to write an article for a magazine on the subject: ‘What’s Wrong With American Men,’ and I did marginal notes for it. The editor cut out my best lines. I wrote, ‘If there’s anything wrong with the way American men look at sex, it’s not their fault. After all, they’re descended from the Puritans, who got off the boat on the wrong foot — or was it the Pilgrims? — and there’s still a lot of that puritanical stuff around.’ The editor didn’t use that one.”
I carefully wrote down every word she said to me. She told me that she’d rather I wouldn’t use a tape-recording machine while interviewing her. “It would make me nervous to see that thing going round and round,” she insisted. So I used pencils and a notebook instead. But I didn’t use them right away.
I had to wait for her to walk from her bedroom into the living room of her apartment, where I sat ready to talk to her. It took her an hour and a half to make that journey. At 3:45, Lois Weber, the pleasant young woman who handled the Monroe New York publicity, admitted me to the apartment Marilyn was occupying. She pushed the buzzer outside of a door on the eighth floor of an apartment building on Sutton Place South, and a voice asked, “Who is it?”
“It’s me,” said my chaperone.
The lock clickety-clicked open, but when we went in, Marilyn was nowhere in sight. She had retreated into a bedroom. Her voice said to us through the door, “I’ll be out in just seven minutes.”
A publicity man to whom I’d talked at Marilyn’s studio in Hollywood had warned me, “She’ll stand you up a couple of times before you meet her. Then she’ll be late, and when I say late, I mean real late. You’ll be so burned at her before she walks in that you’ll wrap up your little voice-recording machine and get ready to leave at least three times — maybe four times — before she shows. But somebody will persuade you to wait, and finally Marilyn will come in, and before you know it, she’ll have you wrapped up too. For she’s warmhearted, amusing and likable, even if her lateness is a pain in the neck. And after that, if somebody says, ‘That was mighty thoughtless of old Marilyn, keeping you waiting like that,’ you’ll want to slug him for being mean.
“What you won’t know,” that studio publicity man went on, “is that while you’re having hell’s own headache waiting for her, whatever publicity worker is trying to get her to see you is having an even bigger headache. Marilyn will be telling that publicity worker that her stomach is so upset that she’s been throwing up for hours; she hasn’t been able to get her make-up on right; or that she’s got a bum deal in the wardrobe department and hasn’t anything to wear.”
So, in an effort to be witty, when Marilyn said, through the closed door, “I’ll be out in just seven minutes,” I said, “I’ll settle for eight.” Time was to prove it the unfunniest remark I’ve ever made. One hour later I asked Lois Weber, “What do you suppose she’s doing in there?”
“You know how it is,” my publicity-girl chaperone said soothingly, “a girl has to put on her face.”
“What has she got, two heads?” I asked politely. A half hour later I suggested that Lois Weber go into the next room and see what was causing the delay.
Waiting for Lois Weber, I roamed the apartment. On a table lay a play manuscript. Typed on its cover was: Fallen Angels, by Noel Coward. Among the books which seemed in current use were Bernard Shaw’s Letters to Ellen Terry, Shaw’s Letters to Mrs. Patrick Campbell, Gertrude Lawrence as Mrs. A., by Richard Aldrich.
Mute evidence of Marilyn’s widely publicized drama studies at the Actors’ Studio, where she was said to be seeking out the secrets of artistic acting, was a copy of James Joyce’s Ulysses. Several lines of dialogue from that volume had been penciled on a piece of paper, obviously to be recited by or to a group of drama students; then the piece of paper had been thrust part way into the book. Lying on the floor was a large recording of John Barrymore as Hamlet.
That dialogue from Ulysses and the Barrymore recording represented one of the reasons why I was there. I’d read that Marilyn had gone “long hair” and “art theaterish,” and I wanted to see for myself. Just seeing it in print didn’t make it true.
Millions of words had been written about the alluring blonde in whose living room I sat, but most of those words had been of the “authorized” or “with-Marilyn’s-blessing” variety. Several millions of them had appeared in fan magazines — after having first been O.K.’d by the 20th Century-Fox publicity department.
I’d read a lot of those words, but I still felt that I didn’t understand this dame and I was sure that a lot of other people felt the same way about her and that, like myself, they’d been asking themselves for years, “What’s she really like?”
On top of that, they were probably asking themselves other questions — as I was doing. “Why did she blow her marriage with Joe DiMaggio? Why did she walk out on a movie career which was paying her heavy money? Why did she duck California in favor of New York? Why, after she holed up there, did she attend the art-for-art’s-sake Actors’ Studio — surely an unlikely place for a girl who, up to that time, had done most of her acting with her hips?”
I hoped that when I talked to her she would tell me the answers to some of these things. Maybe I’d even see the “new Marilyn Monroe” I’d heard existed.
Lois Weber came back to report: “She thinks the maid must have gone off with the top of her tapered slacks. She’s running around without a top on.”
In an effort to keep me from brooding, Lois Weber said, “The azalea people down in Wilmington, North Carolina, want her for a personal appearance in April, but I told them they’d have to call me in April. Who knows where she’ll be then?”
The minutes crawled by and I thought of various things that people had told me about Marilyn before I’d begun my marathon wait in her Sutton Place apartment. Every male friend I had told I was doing a story about Marilyn had asked me, “Can I go along to hold your notebook?” or “You call that work?” or “You get paid for that?” or “Can’t I go along and hold the flash bulbs?” Apparently they felt that if they failed to go into a blood-bubbling, heman routine at the drop of her name, their maleness was suspect. When Marilyn appeared breathless and friendly as a puppy, I told her of this phenomenon. “How do you explain it?” I asked. “Have you become a symbol of sex?”
She gave my query thought before answering. “There are people to whom other people react, and other people who do nothing for people,” she said. “I react to men, too, but I don’t do it because I’m trying to prove I’m a woman. Personally I react to Marlon Brando. He’s a favorite of mine. There are two kinds of reactions. When you see some people you say, ‘Gee!’ When you see other people you say, ‘Ugh!’ If that part about my being a symbol of sex is true, it ought to help at the box office, but I don’t want to be too commercial about it.” Quite seriously she said, “After all, it’s a responsibility, too — being a symbol, I mean.”
I told her I’d heard that among the titles bestowed upon her were Woo-Woo Girl, Miss Cheesecake, The Girl With the Horizontal Walk. “I don’t get what they mean by ‘horizontal walk,’” she said. “Naturally I know what walking means — anybody knows that — and horizontal means not vertical. So what?” I thought of trying to blueprint it for her; then decided not to.
The Hollywood publicity worker who had warned me that she would be “real late” had talked to me quite frankly about Marilyn; he had pulled no punches; but since it is unfair to quote a publicity worker by name, I’ll call him Jones. And since “flack” is Hollywood slang for publicity man, I’ll call him Flack Jones.
Jones worked for 20th Century-Fox during the years before Marilyn staged her walkout. Since then he has moved on to bigger — if not better — things. He has opened his own public-relations office, with branches in Paris and Rome. He is bald as a peeled egg. He is as broad as a small barn door; a junior-executive-size Mister Five-by-Five. He wears black-rimmed glasses instead of the clear tortoise-shell plastic variety.
“A thing that fascinates me is this,” I told Flack Jones: “the first time I ever saw her I was sitting with a friend in the Fox commissary and this girl came in without any make-up on. She was wearing a blouse and skirt, and she sat against the wall. She bore no resemblance to anybody I’d ever seen before, but, to my amazement, my friend said, ‘That’s Marilyn Monroe.’ What I want to know is: Does she have to get into her Marilyn Monroe suit or put on her Marilyn Monroe face before she looks like Marilyn Monroe?”
“This is true of all platinum blondes or whatever you call the highly dyed jobs we have out here,” Flack Jones said. “If their hair isn’t touched up and coiffured exactly right; if they’re not gowned perfectly and their make-up is not one hundred per cent, they look gruesome. This is not peculiar to Monroe; it’s peculiar to every other synthetic blonde I’ve ever known in picture business. There are very few natural blondes in Hollywood and, so far as I know, there have been no natural platinum blondes in mankind’s history, except albinos. They are strictly a product of the twentieth century. They’re created blondes, and when you create a blonde you have to complete your creation with make-up and dramatic clothes, otherwise you’ve got only part of an assembly job.”
I also talked to a member of the Fox Studio legal staff, who told me a Monroe story I found provocative. “One day,” he said, “she was in this office, and I said to her, ‘It would be better for you to sign this contract this year instead of next. It will save you money.’ She looked at me and said, ‘I’m not interested in money. I just want to be wonderful.’ Then she walked out.” The legal light looked at me helplessly and shrugged. “What do you suppose she meant by that?” he asked. I said I had no idea, but that I’d try to find out.
And I asked a friend high enough up in the Fox hierarchy to know the answer, “Why do you think your studio let her come back to work for it after she walked out and stayed in New York for fifteen months?”
“Our attitude was that she’d never work on our lot again,” he announced firmly; then he grinned, “unless we needed her.”
One of my longer talks was with Billy Wilder, who directed her in the film The Seven Year Itch.
“What do you want to know?” he asked when I went to see him in his Beverly Hills home.
“One of the interesting things about this Monroe girl, to me,” I said, “is she seemed in danger of spoiling what had begun as a successful career by running away from it. I began to ask myself: How long can a movie actress afford to stay away from moviemaking and still remain a star? The mere strangeness of her staying away gets her a terrific press for a while and makes everyone in the country conscious of her, but is it possible to stay away so long that you’re forgotten? Was that about to happen to Marilyn?”
“I don’t think there was any danger of Marilyn sinking into oblivion,” Wilder said. “A thing like her doesn’t come along every minute.”
I asked, “What do you mean ‘a thing like her’?”
“She has what I call flesh impact,” he told me. “It’s very rare. Three I remember are Clara Bow, Jean Harlow and Rita Hayworth. Such girls have flesh which photographs like flesh. You feel you can reach out and touch it.”
“I’ve heard that it’s a moot question as to whether Marilyn’s an actress or not,” I said.
“I’ve heard that, too,” he replied. “Before we go further I must tell you that I like the girl, but it’s also moot whether you have to be an actor or an actress to be a success in pictures. I’m sure you’ve heard the theory that there are two kinds of stars — those who can act and those who are personalities. I’ll take a personality any time. Something comes down from the screen to you when you see them, in a way that it doesn’t always come from the indifferently paid actors, although they may be perfect at their jobs.”
“It’s nothing against them or for them,” Flack Jones said, when I repeated Wilder’s idea to him. “It’s the way this business is put together. If the public likes a personality, he or she goes over. You take Tab Rock,” he said (only Tab Rock is not the name he used). “Old Tab’s a terrific personality. I doubt if he’s ever made a flop picture, but he’s never made a really good picture. This fellow can’t pick up his hat without instruction, yet he’s always picking up villains and throwing them across a bar singlehanded. He can clean up any barroom on the frontier, but he can’t clean up a kitchen. He’s a nice guy, but no one has ever called him an actor. You take Lloyd Nolan now, or Van Heflin. That’s acting for you. You believe them. There are lights and shades and meaning to what they do. But when old Tab Rock comes on the screen, he’s got to throw somebody around to prove his art. He can do this quicker than anybody in Hollywood, and this is his great value.”
“He sounds brave,” I said.
“No one is braver or more scornful about it,” Flack Jones said. “His bravery is without parallel in the industry. He’s the only man I ever saw who could take a forty-five and go to the Near East and clean the whole mess up in a day or two. He never fails. That’s the difference between a personality and an actor.”
When I talked to Wilder I said that I’d read that when Marilyn had announced that she wanted to appear in a movie version of The Brothers Karamazov, some people hooted.
“The hooters were wrong,” Wilder told me. “She meant that she wanted to play the part of Grushenka in that book, and people who haven’t read the book don’t know that Grushenka is a sex pot. People think this is a long-hair, very thick, very literary book, but Dostoevsky knew what he was doing and there is nothing long-hair about Grushenka. Marilyn knows what she’s doing too. She would be a good Grushenka.
“It was after she said that she wanted to be in The Brothers Karamazov,” Wilder went on, “that she started going to the Actors’ Studio School of Dramatic Arts in New York. She didn’t do it for publicity. She’s sincerely trying to improve herself, and I think she should be admired for that. She could have sat here in Hollywood on her pretty little fanny and collected all of the money any ordinary actress would ever want, but she keeps trying.
“Right now, as of today, no matter what she thinks, Marilyn’s great value is as a personality, not as an actress. [Wilder told me these things while Marilyn was still in New York being groomed by the Actors’ Studio. It may be that what happened to her during her Eastern schooling in new dramatic ways may change his opinion, but 1 haven’t talked to him since her return to Hollywood.] If she sets out to be artistic and dedicated, and she carries it so far that she’s willing to wear Sloppy-Joe sweaters and go without make-up and let her hair hang straight as a string, this is not what has made her great to date. I don’t say that it’s beyond the realm of possibility that she can establish herself as a straight dramatic actress — it is possible — but it will be another career for her, a starting all over.”
Back in New York, when Marilyn made that long, long journey from her bedroom to her living room in her apartment, I said to her, “I’ve heard your childhood referred to as ‘the perfect Cinderella story.’”
“I don’t know where they got that,” she told me. “I haven’t ended up with a prince, and I’ve never had even one fairy godmother. My birth certificate reads Norma Jean Mortenson. I was told that my father was killed in an automobile accident before I was born, so that is what I’ve always told people. There was no way I could check on that because my mother was put into a mental institution when I was little, and I was brought up as an orphan.”
I had read that she spent her childhood being farmed out to foster parents and to orphanages, but, talking to her, I discovered that there’d been only one orphanage, although it was true about the foster parents. “I have had eleven or twelve sets of them,” she told me, “but I don’t want to count them all again, to see whether there were eleven or twelve. I hope you won’t ask me to. It depresses me. Some families would keep me longer; others would get tired of me in a short time. I must have made them nervous or something.”
She thought of something else. “I had one pair of foster parents who, when I was about ten, made me promise never to drink when I grew up, and I signed a pledge never to smoke or swear. My next foster family gave me empty whisky bottles for playthings. With them I played store. I guess I must have had the finest collection of empty whisky bottles any girl ever had. I’d line them up on a plank beside the road, and when people drove along I’d say, ‘Wouldn’t you like some whisky?’ I remember some of the people in the cars driving past my ‘whisky’ store saying, ‘Imagine! Why, it’s terrible!’ Looking back, I guess I used to play-act all the time. For one thing, it meant I could live in a more interesting world than the one around me.
“The first family I lived with told me I couldn’t go to the movies because it was sinful,” Marilyn said. “I listened to them say the world was coming to an end, and if I was doing something sinful when it happened, I’d go down below, below, below. So the few times I was able to sneak into a movie, I spent most of the time that I was there praying that the world wouldn’t end.”
The famous British photographer, Cecil Beaton, shoots Marilyn.
Says the lady: “It’s a responsibility — being a symbol of sex, I mean.”
(Hans Knopf, © SEPS)
Apparently I had been misinformed about her first marriage, to a young man named Jim Dougherty. I’d got the idea that she’d married him while they were both in Van Nuys High School; that she’d got a “crush” on him because he was president of the student body there, and a big wheel around school.
“That’s not true,” she told me. “In the first place, he was twenty-one or twenty-two — well, at least he was twenty-one and already out of high school. So all I can say is that he must have been pretty dumb if he were still in high school when I married him. And I didn’t have a crush on him, although he claimed I did in a story he wrote about us. The truth is the people I was staying with moved East. They couldn’t afford to take me because when they left California they’d stop getting the twenty dollars a month the county or the state was paying them to help them clothe and feed me. So instead of going back into a boarding home or with still another set of foster parents, I got married.
“That marriage ended in a divorce, but not until World War Two was over. Jim is now a policeman. He lives in Reseda, in the San Fernando Valley, and he is happily married and has three daughters. But while he was away in the merchant marines I worked in the dope room of a plane factory. That company not only made planes, it made parachutes.
“For a while I’d been inspecting parachutes. Then they quit letting us girls do that and they had the parachutes inspected on the outside, but I don’t think it was because of my inspecting. Then I was in the dope room spraying dope on fuselages. Dope is liquid stuff, like banana oil and glue mixed.
“I was out on sick leave for a few days, and when I came back the Army photographers from the Hal Roach Studios, where they had the Army photographic headquarters, were around taking photographs and snapping and shooting while I was doping those ships. The Army guys saw me and asked, ‘Where have you been?’
“’I’ve been on sick leave,’ I said. “Come outside.’ they told me. ‘We’re going to take your picture.’
“‘Can’t,’ I said. ‘The other ladies here in the dope room will give me trouble if I stop doing what I’m doing and go out with you.’ That didn’t discourage those Army photographers. They got special permission for me to go outside from Mr. Whosis, the president of the plant. For a while they posed me rolling ships; then they asked me. ‘Don’t you have a sweater?’
“‘Yes,’ I told them, ‘it so happens I brought one with me. It’s in my locker.’ After that I rolled ships around in a sweater. The name of one of those Army photographers was David Conover. He lives up near the Canadian border. He kept telling me, ‘You should be a model,’ but I thought he was flirting. Several weeks later, he brought the color shots he’d taken of me, and he said the Eastman Kodak Company had asked him, ‘Who’s your model, for goodness’ sake?’
“So I began to think that maybe he wasn’t kidding about how I ought to be a model. Then I found that a girl could make five dollars an hour modeling, which was different from working ten hours a day for the kind of money I’d been making at the plane plant. And it was a long way from the orphanage, where I’d been paid five cents a week for working in the dining room or ten cents a month for working in the pantry. And out of those big sums a penny every Sunday had to go into the church collection. I never could figure why they took a penny from an orphan for that.”
“How did you happen to sign your first movie contract?” I asked.
She tossed a cascade of white-blond tresses from her right eye and said, “I had appeared on five magazine covers. Mostly men’s magazines.”
What, I asked, did she mean by men’s magazines? “Magazines,” she said, “with cover girls who are not flat-chested. I was on See four or five months in a row. Each time they changed my name. One month I was Norma Jean Dougherty — that was my first husband’s name. The second month I was Jean Norman. I don’t know what all names they used, but I must have looked different each time. There were different poses— outdoors, indoors, but mostly just sitting looking over the Pacific. You looked at those pictures and you didn’t see much ocean, but you saw a lot of me.
“One of the magazines I was on wasn’t a man’s magazine at all. It was called Family Circle. You buy it in supermarkets. I was holding a lamb with a pinafore. I was the one with the pinafore. But on most covers I had on things like a striped towel. The towel was striped because the cover was to be in color and the stripes were the color, and there was a big fan blowing on the towel and on my hair. That was right after my first divorce, and I needed to earn a living bad. I couldn’t type. I didn’t know how to do anything. So Howard Hughes had an accident.”
I wondered if I’d missed something, but apparently I hadn’t. “He was in the hospital,” she went on, “and Hedda Hopper wrote in her column: ‘Howard Hughes must be recuperating because he sent out for photographs of a new girl he’s seen on five different magazines.’ Right after that Howard Hughes’ casting director got my telephone number somehow, and he got in touch with me and he said Howard Hughes wanted to see me.
“But he must have forgotten or changed his mind or something,” she said, “because instead of going to see him, I went over to the Fox Studio with a fellow named Harry Lipton, who handled my photography modeling. Expensive cars used to drive up beside me when I was on a street corner or walking on a sidewalk, and the driver would say, ‘I could do something for you in pictures. How would you like to be a Goldwyn girl?’ I figured those guys in those cars were trying for a pick-up, and I got an agent so I could say to those fellows, ‘See my agent.’ That’s how I happened to be handled by Harry Lipton.”
Harry took her to see Ivan Kahn, then head of Fox’s talent department, and also to see Ben Lyon, who was doing a talent-scouting job for Fox.
I asked her how it happened that she changed her name from Norma Jean Dougherty to Marilyn Monroe.
“It was Ben Lyon who renamed me,” she said. “Ben said that I reminded him of two people, Jean Harlow and somebody else he remembered very well, a girl named Marilyn Miller. When all the talk began about renaming me, I asked them please could I keep my mother’s maiden name, which was Monroe; so the choice was whether to call me Jean Monroe or Marilyn Monroe, and Marilyn won.”
I asked Flack Jones, “What happened when she came to your studio?”
“She came twice,” he said. “The first time was in 1946. We did our best with her, but she just hadn’t grown up enough. She was great as far as looks went, but she didn’t know how to make the most of her looks — or what to do with them. That came with practice. Not that you have to mature mentally to be a star. In fact, it can be a holdback. It might even defeat you. Stars who are mature mentally are in the minority. But actually we had no stories lying around at that time in which she would appear to advantage. So we tried her out in a picture or two in which she played bit parts — secretaries, the pretty girl in the background. Then we let her go, and she went over to RKO and did a picture with Groucho.”
“I didn’t see the film,” I said, “but you’d think with the Marx Brothers chasing her, like a bosomy mechanical bunny romping about the sound stage a couple of jumps ahead of the greyhounds, the fun would have been fast and furious.”
“The trouble was that while the Marx Brothers always chased a dame in their pictures,” Flack Jones told me, “they never caught the dame. And usually the dame never became a star, so the whole thing was a waste of time. It was amusing while you were watching it, but the girls usually outran the Marx boys and a career.”
The author interviewing Marilyn. Says Pete Martin:
“Every male friend I told I was doing a story about
her asked me, ‘Can I go along to hold your notebook?'”
(Hans Knopf, © SEPS)
Marilyn gave me her own version of Flack Jones’ story:
“Most of what I did while I was at Fox that first time was pose for stills. Publicity made up a story about how I was a baby sitter who’d been baby-sitting for the casting director and that’s how I was discovered. They told me to say that, although it strictly wasn’t true. You’d think that they would have used a little more imagination and have had me at least a daddy sitter.”
Flack Jones had filled me in on some more Monroe chronology: “After she left us she went to Metro and appeared in The Asphalt Jungle, directed by John Huston,” he said. “Marilyn’s role was small. She was only a walk-on, but she must have looked good to Darryl Zanuck, for when he saw it, he re-signed her. Asphalt Jungle was one of those gangster things. There was a crooked legal mouthpiece in it, a suave fellow, played by Louis Calhern. Marilyn was his ‘niece’; which was a nice word for ‘keptie.’ She’d say a few lines of dialogue; then she’d look up at him with those big eyes and call him ‘Uncle.’”
“When did you first notice her impact on the public?” I asked.
“Once we got her rolling, it was like a tidal wave,” he said. “We began to release some photographs of her, and as soon as they appeared in print, we had requests for more from all over the world. We had the newspapers begging for art; then the photo syndicates wanted her; then the magazines began to drool. For a while we were servicing three or four photos to key newspapers all over the world once a week — and that was before she had appeared in a picture.
“Once this building-up process started,” Flack Jones explained, “other people got interested in her. We called up the top cameramen around town who had their own outlets, and we told them what we had, and we asked them if they’d like to photograph her. They said, ‘Ho, boy, yes.’
“We told them what the deal was,” Flack Jones went on. “We said, ‘We think this girl has a great future; she’s beautiful, her chassis is great, and are you interested?’ Each guy had his own idea of what he wanted, and he let his imagination play upon her. This is the way such things get done. They’re not created by one person. They’re the creation of all of the press representatives who cover Hollywood for all the publications in the world, which means about three hundred and fifty people.
“Everybody in the studio publicity department worked on her.” Jones ticked them off on his fingertips, “The picture division, the magazine division, the fan-magazine division, the planters who plant the columnists, the radio planters, and so forth. Then, when you make a motion picture, a ‘unit man’ or ‘unit woman’ is assigned to cover its shooting, and he or she handles publicity for that film alone. In addition, the whole department works on the same picture. Our department is highly specialized, but each specialist makes his contribution to the personality we’re erecting in the public’s mind.”
“I’ve met a couple of press agents who’ve been unit men on Marilyn’s films,” I said.
“But the unit man is not always the same for a certain star’s pictures,” Jones said. “Sonia Wilson’s been unit woman on Monroe pictures, and Frankie Neal’s been a unit man on her pictures, but Roy Craft has been her unit man more than anyone else. Roy likes her. He gets along with her fine.”
There was something else I wanted to know. “In addition to distributing her photographs,” I asked, “did you have her show up at different places where you thought her appearance would do her good?”
“We took her to all of the cocktail parties we thought were important,” Flack Jones said. “For instance, one picture magazine had its annual cocktail party, and we told Marilyn she ought to show so we could introduce her to various editors, columnists and radio and TV people. She waited until everybody had arrived; then she came in in this red gown. That gown became famous. She’d had sense enough to buy it a size or two too small, and it had what Joe Hyams calls ‘break-away straps.’
“When she came in, everybody stopped doing what they were doing and their eyes went, ‘Boing, boing,’” Flack Jones went on. “The publisher of the magazine who was picking up the tab for the party shook hands with her a long, long time. After a while he turned to one of his associate editors and said, ‘We ought to have a picture of this little girl in our book.’ Then he looked at her again and said, ‘Possibly we should have her on the cover.’”
Flack Jones grinned. “So that’s the way things went,” he said. “Some months there were as many as fifteen or sixteen covers of her on the newsstands at once. She came back to the Fox lot in 1950 to appear in All About Eve, but she was not anyone’s great, big, brilliant discovery until we got our still cameras focused on her and started spreading those Marilyn Monroe shots all over the universe.”
“What did she do in All About Eve?” I asked. “I don’t remember.”
“She’s the dumb broad who walks into a party at Bette Davis’ place leaning on George Sanders’ arm,” he said. “There’s dialogue which shows you that Sanders is a critic, like George Jean Nathan; and he brings this beautiful dish Marilyn in, and he sights a producer played by Gregory Ratoff. Sanders points at Ratoff and says to Marilyn, ‘There’s a real live producer, honey. Go do yourself some good.’ So Marilyn goes off to do herself some good while Sanders stays in his own price class with Bette.”
“Do you remember the first day she came to work?” I asked.
“Do I remember?” he said. “She was in an Angora sweater out to there. While we were shooting her in photography, the word got around and the boys rushed across the hall to get an eyeful. Next we did some layouts with her for picture magazines. We put her in a negligee, and she liked it so much that she wouldn’t take it off. She walked all over the lot in it, yelling, ‘Yoo hoo’ at strangers as far away as the third floor of the administration building. Pretty soon the whole third floor was looking down at her. The first and second floors looked too.”
Flack Jones did an abrupt shift into the present tense, “It’s a bright, sunny day; the wind is blowing and she has Nature working with her. It has taken Nature quite a while to bring her to the ripe-peach perfection she reaches on that day, but it finally makes it. The wind does the rest. She walks all over the lot, has a ball for herself, and so does everybody else.”
Then he shifted back again, “After that we took her to the beach with a lot of wardrobe changes. But the basic idea was that this is a beautiful girl with a great body, and that idea was always the same, although we had different approaches to it. We had color shots, we had black-and-white shots, we had mountain shots, we had field shots, faked water-skiing shots — every type of approach we could think of. Picnicking, walking — anything a person does, we let her do it. When we began to see what she did best, we concentrated on it.
“Women always hate the obvious in sex,” Flack Jones said, “and men love it.” Apparently he had given this matter a lot of thought. He had even worked out a philosophy about it. “Guys are instinctively awkward and blundering and naïve — even worldly-wise ones — and subtlety in sex baffles them. Not only that, but they don’t have the time. Women who are not supporting a husband have all the time in the world for it. But men have other things to do, like making a dollar; and they like their love-making without preliminaries which last four or five hours. Instinctively Marilyn knows this. She is very down-to-earth, very straightforward.”
I asked Marilyn when I talked to her back on Sutton Place, “Do you think men like their sex subtle or fairly obvious?” This was a double check. I already had the male answer.
It seemed to me that she hedged. “Some men prefer subtleties and other men don’t want things so subtle,” she said. “I don’t believe in false modesty. A woman only hurts herself that way. If she’s coy she’s denying herself an important part of life. Men sometimes believe that you’re frigid and cold in the development of a relationship, but if they do, it’s not always your fault. Religion has to do with it and how you’re brought up. You’re stuck with all that.”
I remembered something else Wilder had told me before Marilyn’s recent return to Hollywood to make the film version of the New York stage hit Bus Stop. “You take Monroe, now,” he remarked. “Aside from whether she’s an actress or not, she’s got this lovely little shape, it twitches excitingly, and the public likes to watch it, either coming toward them or going away. There are two schools of thought about her — those who like her and those who attack her — but they both are willing to pay to watch her. Their curiosity is good for eighty cents or a dollar and a quarter or whatever the price of the ticket.”
He shook his head thoughtfully. “And she went back East to study at a slow-take arty place, where they feature understatement. Here’s a girl who’s built herself a career on overstating something, and she’s made up her mind to understate. It won’t be long before we’ll know whether she’s right and whether she needs the wardrobe department and the hairdressing department as much as she needs artistic lines to say. It’ll be interesting to watch and I hope it works out the way she wants it to, but the lines that the public really wants from her so far are not written in English. They are her curves.”
The voice of Flack Jones echoed in the back of my head. “I forgot to tell you. When she finished that Marx Brothers picture, she went over to Columbia for a couple of shows, but she didn’t click, and they released her too. After that she was around town for a while going broke. It was then that she posed for that famous nude calendar — the composition of glowing flesh against a red velvet background which threw the public into a tizzy when they learned about it.”
I asked Marilyn to tell me the story of that nude calendar herself, and she said, “When the studio first heard about it, everybody there was in a frenzy. They telephoned me on the set where I was working in a quickie called Don’t Bother to Knock. The person who called asked me, ‘What’s all this about a calendar of you in the nude? Did you do it?’
“‘Yes,’ I said. ‘Is there anything wrong with it? So they’ve found out it’s me on that calendar. Well, what do you know!’
“‘Found out!’ he almost screamed. ‘There you are, all of you, in full color!’ Then he must have gotten mixed up, for first he said, ‘Just deny everything’; then he said, ‘Don’t say anything. I’ll be right down.’”
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by Saturday Evening Post.
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
Icons & Idols Feat Joan Collins 12/2015 - Photos
Andre De Dienes
Lot 478 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1945. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$512 - Estimate: $400 - $600 
Lot 479 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1946. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso.
20 by 16 inches
Winning bid:$896 - Estimate: $400 - $600 
Lot 480 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
17 by 16 inches
Winning bid:$750 - Estimate: $400 - $600 
Lot 481 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 482 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso. Additionally handwritten on verso is "17/67 given to [illegible] Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 483 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso. Additionally inscribed on verso "25/67 given to Chad Lewis Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 484 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$576 - Estimate: $400 - $600 
Lot 485 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600 
Lot 486 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600 
Lot 487 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$640 - Estimate: $400 - $600 
Bruno Bernard
Lot 502 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “Valentine Heart” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 503 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “Sailor Girl” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 504 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe titled “My Girl Friday” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 505 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white pin-up photograph of Marilyn Monroe taken by Bruno Bernard circa 1946. Signed on verso “Bernard of Hollywood.”
10 by 8 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $6,000 - $8,000 
Lot 510 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition black and white photograph of Marilyn Monroe titled “Poolside” taken by Bruno Bernard circa 1949. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$4,062.50 - Estimate: $3,000 - $4,000 
Lot 511 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe signing autographs taken by Bruno Bernard circa 1954. Signed on verso “Bernard of Hollywood.”
11 by 14 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $6,000 - $8,000 
Lot 512 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition black and white photograph of Marilyn Monroe wearing a costume dress from her film Gentlemen Prefer Blondes (20th Century, 1953) taken by Bruno Bernard circa 1953. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000 
Lot 513 MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe on the set of The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Signed on verso "Bernard of Hollywood" and contained in a brown Bernard of Hollywood folder.
14 by 11 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$12,500 - Estimate: $10,000 - $20,000 
Lot 514 MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
A limited edition color photograph of Marilyn Monroe wearing the famous white dress from her film The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Numbered 16/50 and signed by The Estate of Bruno Bernard in the lower margin.
24 by 20 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $5,000 
George Barris
Lot 537 MARILYN MONROE GEORGE BARRIS PHOTOGRAPHS
A pair of black and white photographs of Marilyn Monroe taken by George Barris. Each photograph is signed by Barris. One of the photographs is stamped “© 1987 George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved,” and both photographs are stamped “The Private Collection of Kim Goodwin.”
Winning bid:$448 - Estimate: $600 - $800 
Lot 538 MARILYN MONROE GEORGE BARRIS PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by George Barris in the summer of 1962. Signed by the photographer at lower right and stamped “The Kim Goodwin Collection” on verso.
Winning bid:$250 - Estimate: $800 - $1,200 
Lot 539 MARILYN MONROE GEORGE BARRIS LAST PHOTOGRAPHS PORTFOLIO
A folder containing eight color prints of George Barris’ photographs of Marilyn Monroe. White folder reads on the cover “Marilyn Monroe/ 25th/ The Last Photos.” Interior left of folder reads “Limited Edition/ Original Photographs by/ George Barris.” Interior right of folder reads “As seen in/ ‘Marilyn’ Norma Jeane/ text by Gloria Steinem.” Accompanied by a card that gives the edition number as 74/99. Each photograph is signed by Barris and stamped on verso “Copyright 1987/ Marilyn Monroe/ Weston Editions LTD.” The photographs are additionally stamped “The Private Collection of Kim Goodwin.”
Photographs, 10 by 8 inches; Folder, 10 1/2 by 9 inches
Winning bid:$2,240 - Estimate: $1,000 - $2,000 
Photos Diverses
Lot 19 JOAN COLLINS TWO FRAMED POSTERS
The first, titled "Marilyn Monroe as Jean Harlow," is from a series of photographs photographer Richard Avedon produced with Marilyn Monroe, signed by Avedon. Other photographs from the series show Monroe dressed as actresses Lillian Russell, Marlene Dietrich, Theda Bara, and Clara Bow. The second, an Erte exhibition poster from 1972.
Larger, 32 by 24 1/4 inches
Winning bid:$640 - Estimate: $200 - $300 
Lot 488 MARILYN MONROE ARCHIVE OF PHOTOGRAPHS BY JOSEPH JASGUR
An archive of photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. The photographs were taken of a 19-year-old Norma Jeane Dougherty, before she was Marilyn Monroe. Taken in Los Angeles for Blue Book Modeling Agency, these photographs comprise one of Monroe’s first modeling portfolios. It was this portfolio she presented to Ben Lyon, the casting director at 20th Century Fox who signed her to the studio and shortly after changed her name. Jasgur’s images of Norma Jeane Dougherty mark the beginning of her career and offer us a unique glimpse of Marilyn Monroe, before she was Marilyn.
All prints in this lot are from these early photoshoots and are directly from the estate of Joseph Jasgur. Included in the archive are approximately 400 color and black and white later prints, size 11 by 14 inches; approximately 120 black and white gelatin silver prints, size 8 by 10 inches; approximately 10 black and white gelatin silver prints, size 11 by 14 inches; some oversize prints, contact prints, and a wooden camera tripod used by Jasgur. Some prints are signed or stamped by the photographer, others are not. Print dates vary. Condition varies.
Sizes vary
PROVENANCE From the Estate of Joseph Jasgur
Winning bid:$8,320 - Estimate: $600 - $800 
Lot 489 MARILYN MONROE JOSEPH JASGUR NEGATIVE AND COPYRIGHT
One Joseph Jasgur black and white negative of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder.
5 by 4 inches
Winning bid:$1,280 - Estimate: $1,000 - $1,500 
Lot 490 MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
Two Joseph Jasgur black and white negatives of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder. Accompanied by a photograph of the image, printed 2000-2001.
Negatives, 5 by 4 inches; Photograph, 14 by 11 inches
Winning bid:$384 - Estimate: $1,000 - $2,000 
Lot 491 MARILYN MONROE FAMILY PHOTOGRAPH
An original vintage black and white photograph of Marilyn Monroe circa 1946, with her half sister Berniece Baker Miracle, her mother Gladys, and her niece Mona Rae. Originally from the collection of Eleanor Goddard.
3 1/2 by 2 1/2 inches
PROVENANCE Lot 84, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$875 - Estimate: $400 - $600 
Lot 492 MARILYN MONROE INSCRIBED JIM DOUGHERTY PHOTOGRAPH
A pair of original vintage photographs of Marilyn Monroe's first husband, Jim Dougherty. The first is a passport style portrait, and the second shows Dougherty sleeping on the beach and is inscribed on the back in Monroe's hand "(zzz.....zzz) Jimmie sound asleep." Originally from the collection of Eleanor Goddard.
Larger, 3 3/4 by 4 3/4 inches
PROVENANCE Lot 80, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$750 - Estimate: $400 - $600 
Lot 496 MARILYN MONROE TOM KELLEY SIGNED PHOTOGRAPH
A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949 during his famous photoshoot with Monroe. Numbered 146 of 300 to the lower left and signed by Tom Kelley to the lower right. Includes certificate of authenticity from Mirage Editions.
44 by 36 inches, framed
PROVENANCE From the Collection of James Heeren
Winning bid:$1,562.50 - Estimate: $1,000 - $2,000 
Lot 497 MARILYN MONROE HUGH HEFNER SIGNED EARL MORAN PHOTOGRAPH
A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 1 of 75 and signed by Playboy founder Hugh Hefner to the lower left. Embossed with the Playboy Legacy Collection logo to the lower right.
Winning bid:$6,400 - Estimate: $1,000 - $2,000 
Lot 498 MARILYN MONROE EARL MORAN PHOTOGRAPH
A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 5 of 75 to the lower left and embossed with the Playboy Legacy Collection logo to the lower right. Housed in a cloth-bound clamshell box with gilt titling and includes a Playboy certificate of authenticity.
24 by 20 inches
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 499 MARILYN MONROE HUGH HEFNER SIGNED PHOTOGRAPH
A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949. This is the iconic Marilyn pose used in the first issue of Playboy magazine. Numbered 171 of 300 to the lower left and signed by Playboy founder Hugh Hefner to the lower right. Includes certificate of authenticity from Light Signatures.
42 by 34 inches, framed
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 500 MARILYN MONROE FRANK WORTH PHOTOGRAPH
A large-format gelatin silver photograph of Marilyn Monroe posing in her dress from the film How to Marry a Millionaire (20th Century Fox, 1953) printed from a negative created by Frank Worth. Numbered 9 of 95 to the lower left and embossed by the Frank Worth Estate. Includes cloth-bound clamshell box with gilt-stamped titling and a certificate of authenticity from the Frank Worth Estate.
25 3/4 by 21 3/4 by 1 3/4 inches
PROVENANCE From the Collection of James Heeren
Winning bid:$768 - Estimate: $800 - $1,200 
Lot 517 MARILYN MONROE EARL LEAF CONTACT SHEET
A contact sheet containing eight vintage black and white images of Marilyn Monroe taken by Earl Leaf. They were taken at the home of talent agent Johnny Hyde, where Monroe occasionally lived, on May 17, 1950. The images are attached to a sheet of cardstock with numerous notations, including the date the photographs were taken and Monroe’s name; stamped at the bottom left with the photographer's stamp.
EXHIBITED Etherton Gallery, Tucson, Arizona, "Marilyn Monroe Collection," Number 46
10 by 8 inches
Winning bid:$2,187.50 - Estimate: $800 - $1,200 
Lot 519 MARILYN MONROE ORIGINAL 1954 SLIDES
A group of 12 original vintage color slides showing Marilyn Monroe entertaining members of the United States military in Korea in 1954. Accompanied by a printed mage of each slide and two additional slides showing other performers that do not include Monroe.
This item sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given .
2 by 2 inches, each
PROVENANCE Lot 135, "Entertainment Memorabilia," Christie's, New York, Sale number 8525, July 19, 2001
Winning bid:$2,240 - Estimate: $4,000 - $6,000 
Lot 520 MARILYN MONROE 1954 NEGATIVES
A pair of black and white negatives of Marilyn Monroe taken in 1954 while the actress was entertaining troops in Korea on a break from her honeymoon with Joe DiMaggio.
This item is sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Strip of negatives, 4 1/2 by 1 3/8 inches
Winning bid:$768 - Estimate: $1,000 - $2,000 
Lot 523 MARILYN MONROE EVE ARNOLD PHOTOGRAPH
A color photograph of Marilyn Monroe taken by Eve Arnold. The image shows Monroe in a one-piece leopard print swimsuit lying in a marsh, taken circa 1955. The photograph is affixed to a board. Some handwritten markings on verso and stamped “The Kim Goodwin Collection.”
15 1/2 by 19 1/2 inches
Winning bid:$768 - Estimate: $1,000 - $2,000 
Lot 524 MARILYN MONROE AND MARLON BRANDO DIGITAL PRINTS
A group of eight digital prints of Marilyn Monroe and Marlon Brando taken by Milton Greene in November 1955. The photographs were used to publicize a performance of The Rose Tattoo to benefit The Actors Studio. A paper label is affixed to the back of each image from the Milton H. Greene Collection.
Each, 19 by 13 inches
Winning bid:$1,920 - Estimate: $600 - $800 
Lot 526 MARILYN MONROE CECIL BEATON PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by Cecil Beaton in 1956. The photograph, from Monroe's personal archive, is mounted to board and contained in a brown folder.
Photograph, 9 by 9 1/4 inches; 16 by 14 1/2 inches, overall
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000 
Lot 527 MARILYN MONROE VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage portrait publicity photograph from her personal collection.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$576 - Estimate: $600 - $800 
Lot 528 MARILYN MONROE AND ARTHUR MILLER VINTAGE PHOTOGRAPH
A Marilyn Monroe and Arthur Miller black and white vintage original photograph. Taken by Paul Schumach at the premiere of Some Like It Hot (USA, 1959). Photographer stamp on verso.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$896 - Estimate: $600 - $800 
Lot 530 MARILYN MONROE CANDID PHOTOGRAPHS
A group of nine vintage candid snapshots of Marilyn Monroe. Eight images are in color and one is black and white. Three of the images show Monroe and husband Arthur Miller at the premiere of Some Like It Hot (UA, 1959). Eight of the nine images were sold together as a lot in a previous Christie's auction.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE Partial Lot 15, "Entertainment Memorabilia," Christie's, New York, Sale number 8609, November 19, 2001
Winning bid:$1,250 - Estimate: $1,000 - $2,000 
Lot 540 MARILYN MONROE DOUGLAS KIRKLAND PHOTOGRAPH
A color photograph of Marilyn Monroe taken by Douglas Kirkland on November 17, 1961, on assignment for Look magazine. Signed by Kirkland and numbered 17/49 at lower right.
20 by 16 inches
Winning bid:$1,920 - Estimate: $600 - $800 
Lot 541 MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
A limited edition silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 85/300 and signed by Greene at lower right.
Winning bid:$750 - Estimate: $600 - $800 
Lot 542 MARILYN MONROE BILL RAY PHOTOGRAPH
A black and white photograph of Marilyn Monroe at the May 19, 1962, birthday celebration of President John F. Kennedy, taken by Bill Ray. The photograph is inscribed at the lower margin “To Kim, With Best Wishes, Bill Ray 1982.” Stamped “Kim Goodwin” on verso.
Winning bid:$640 - Estimate: $1,000 - $2,000 
Le tableau de chasse de Marilyn Monroe
Le tableau de chasse de Marilyn Monroe
Publié le 05/04/2012,
en ligne sur puretrend.com
Profession : Actrice et chanteuse.
Pourquoi elle plaît ? Marilyn c'est Marilyn. Un mythe, une icône, l'idole des hommes, qui n'arrivaient jamais à lui résister. Sa bouche charnue et ses yeux bleu azur en ont séduit plus d'un. Ses formes généreuses et sa poitrine pulpeuse sont aujourd'hui encore objet de fantasme. Mais ce qui plaisait aussi chez Marilyn c'était son image de jeune femme avec une âme en perdition. Fragile, bouleversée, rongée par la détresse, Monroe aurait pu être sauvée par bon nombre d'hommes... Tous devenus fous face au caractère presque bipolaire de l'actrice.
Son style de proie ? Les hommes de pouvoir, les acteurs célèbres comme Paul Newman ou Marlon Brando. Mais aussi les écrivains, comme son troisième époux Arthur Miller ou les sportifs version italien : Joe Dimaggio. Marilyn Monroe aimait plaire aux hommes et voulait toujours être sensuelle, sexy et désirable à leurs yeux. Née sans connaitre son père, elle a longtemps chercher a retrouver celui-ci au travers des hommes qu'elle séduisait.
Ses conquêtes ? Beaucoup. Trop nombreuses, avec également bon nombres de rumeurs, on en a ici sélectionné 29. Et c'est déjà pas mal ! Des hommes comme Yves Montand ou Eddie Fisher en passant par des femmes, des belles. On pense surtout à Brigitte Bardot ou Joan Crawford.
Avec qui elle aurait pu roucouler ? Si le mythe Marilyn Monroe ne s'était pas terminé trop tôt, on aurait bien imaginé celle-ci flirter avec des hommes plus jeunes. Une sorte de cougar version icône glamour. L'actrice aurait dû avoir 86 ans cette année, elle aurait donc pu flirter avec un beau gosse d'une cinquantaine d'années, connu pour son image de Don Juan. George Clooney m'entends-tu ?
Le tableau de chasse de Marilyn Monroe :
Paul Newman / Robert Wagner / Peter Lawford
Porfirio Rubirosa / Dean Martin / Mickey Rooney
Jeanne Carmen / Eddie Fisher / Jim Dougherty
De 1941 à 1946, Marilyn Monroe est mariée à James Dougherty, surnommé "James le veinard" suite à son mariage avec cette dernière. Mais Marilyn ayant beaucoup souffert de l'abandon plus jeune ne supporta pas quand son époux parti s'engager dans la Marine. Elle expliqua plus tard que "son mariage n'était ni heureux ni malheureux" et cette première séparation officielle ne fut qu'une simple formalité.
Darryl F Zanuck (1946) / George Jessel (1948) / Joseph Schenck (1948)
Milton Berle (1948) / Natasha Lytess (1949) / Tony Curtis (1949-1950)
Milton Greene (1949) / Paul Sanders (1950) / Elia Kazan (1951)
Joe DiMaggio (1952-1954) / Robert Mitchum (1954) / Joan Crawford (1954)
Joe DiMaggio est le deuxième mari de Marilyn Monroe. Le couple se rencontre en 1953 et ils se marièrent en janvier 1954. Ce joueur de baseball professionnel a divorcer pour se mettre avec Marilyn... Un mariage qui finalement ne durera que 9 mois. Malgré un divorce à l'amiable, le tribunal accuse officiellement Monroe de "cruauté mentale".
Arthur Miller / Marlon Brando (1955-1962) / Yul Brynner (1957)
De 1955 à 1961 Marilyn Monroe est avec son troisième et dernier mari: Arthur Miller. Une relation tumultueuse née alors, entre amour et infidélités. Finalement, l'écrivain dit les pires horreurs au sujet de sa femme: "C'est un monstre narcissique et méchant qui a pris mon énergie et m'a vidé de mon talent".
Franck Sinatra (1959-1961) / Yves Montand (1960)
En 1960 Marilyn Monroe flirte avec Yves Montand, pendant le tournage du film "Le Milliardaire". Simone Signoret la compagne de celui-ci déclara "Si Marilyn est amoureuse de mon mari, c'est la preuve qu'elle a bon goût.". Montand se lassa finalement des sentiments de Monroe à son égard et retourna avec Signoret.
John F Kennedy (1961-1962) / Robert F Kennedy (1962)
De 1961 à 1962, Marilyn Monroe créa le scandale en sortant avec le Président des USA : John F. Kennedy. Une relation très complexe qui selon certaines personnes est même à l'origine de la mort de l'actrice.
Property from the life and career of MM - 12/2014 - Photos
Photographies
Lot 692: MARILYN MONROE SIGNED 1941 SCHOOL PHOTOGRAPH
A Marilyn Monroe signed vintage original 1941 panoramic photograph from Ralph Waldo Emerson Jr. High School. Monroe can be seen in the seventh row from the bottom and the 15th person from the right. Inscribed by the future Marilyn Monroe, among other classmates, on verso, “To a swell, nice & perfect girl Norma Jeane Baker” with “41” possibly written below her name. The image was originally owned by Norma Jeane’s classmate, Joan Boggs, to whom the inscriptions are written.
8 by 24 3/4 inches
Winning bid:$2,560 - Estimate: $2,000 - $4,000 
Lot 693: GINGER ROGERS INSCRIBED PHOTOGRAPH TO NORMA JEANE BAKER
A vintage black and white RKO studio publicity photograph of Ginger Rogers inscribed, "To Norma Jean Baker Sincerely Ginger Rogers 1937." In 1937 the eleven-year old Norma Jean was living with Grace McGee, a friend of Monroe's mother and a film cutter at RKO. It is possible that McGee arranged for the signing of this photograph for the young Marilyn Monroe. Monroe went on to co-star with Rogers in Monkey Business (20th Century Fox, 1952) fifteen years after this photograph was signed.
10 by 8 inches
Winning bid:$1,920 - Estimate: $800 - $1,200 
Lot 694: MARILYN MONROE WEDDING IMAGE SIGNED BY JAMES DOUGHERTY
An image of Marilyn Monroe on her wedding day with first husband James Dougherty taken from a book. Inscribed and signed by Dougherty in blue ink. Attached to three other book pages of letters written by Monroe to Grace Goodard. This image can be found in the biography Marilyn: The Passion and the Paradox by Lois Banner (New York: Bloomsbury, 2012).
PROVENANCE From the Collection of Lois Banner
11 1/4 by 8 1/2 inches
Winning bid:$448 - Estimate: $200 - $300 
Lot 710: MARILYN MONROE AND JOE KIRKWOOD PHOTOGRAPH
A black and white original vintage photograph of Marilyn Monroe with actor and golfer Joe Kirkwood Jr. marked on verso in pencil with the actress and actors' names. This image can be found in the biography Marilyn: The Passion and the Paradox by Lois Banner (New York: Bloomsbury, 2012).
PROVENANCE From the Collection of Lois Banner
4 by 5 inches
Winning bid:$375 - Estimate: $300 - $500 
Lot 711: MARILYN MONROE ORIGINAL 1948 FOX STUDIOS PERFORMANCE PHOTOGRAPHS
A collection of five black and white original vintage photographs showing Marilyn Monroe in the Fox Studios employee stage show "Strictly for Kicks" in 1948. Accompanied by two copies of the April 1948 "Action" newsletter featuring an article on the production that includes photographs and mentions of Monroe. One of the photographs can be seen in the biography Marilyn: The Passion and the Paradox by Lois Banner (New York: Bloomsbury, 2012).
PROVENANCE From the Collection of Lois Banner
5 by 4 inches
Winning bid:$1,024 - Estimate: $500 - $700 
Lot 713: MARILYN MONROE VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage original photograph taken by Frank Powolny circa 1950.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$768 - Estimate: $400 - $600 
Lot 714: MARILYN MONROE LASZLO WILLINGER VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage original black and white publicity photograph taken by Laszlo Willinger for the film All About Eve (20th Century, 1950).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$4,062.50 - Estimate: $400 - $600 
Lot 716: MARILYN MONROE 1951 PHOTOGRAPH
A Marilyn Monroe vintage original photograph taken by Phil Burchman circa 1951. Believed to be taken for 20th Century Fox publicity photographs. Marked at lower right "F999-S-259."
PROVENANCE From the lost archive of Marilyn Monroe
5 by 4 inches
Winning bid:$768 - Estimate: $300 - $500 
Lot 717: MARILYN MONROE VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage original black and white photograph circa 1950.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$640 - Estimate: $400 - $600 
Lot 719: MARILYN MONROE VINTAGE PUBLICITY IMAGE
A black and white publicity image of Marilyn Monroe taken by Frank Powolny and used to publicize the film How to Marry a Millionaire (20th Century, 1953). The image is spuriously stamped on the back as being copyrighted by Robert F. Slatzer.
9 1/2 by 8 inches
Winning bid:$1,562.50 - Estimate: $400 - $600 
Lot 721: MARILYN MONROE VINTAGE PHOTOGRAPH
A Marilyn Monroe vintage black and white photograph.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$2,812.50 - Estimate: $400 - $600 
Lot 724: MARILYN MONROE CAMEL COAT SITTING PHOTOGRAPHS
A pair of vintage photographs of Marilyn Monroe taken by Milton Greene in 1953. Each stamped on verso "Reproduction Forbidden."
PROVENANCE From the lost archive of Marilyn Monroe
7 by 5 inches
Winning bid:$1,875 - Estimate: $400 - $600 
Lot 726: MARILYN MONROE PUBLICITY PHOTOGRAPH
A Marilyn Monroe vintage studio publicity photograph for the film How To Marry a Millionaire (20th Century, 1953).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$1,600 - Estimate: $400 - $600 
Lot 729: MARILYN MONROE GENTLEMEN PREFER BLONDES PUBLICITY IMAGE
A Marilyn Monroe vintage black and white studio publicity photograph for the film Gentlemen Prefer Blondes (20th Century, 1953).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $576 - Estimate: $200 - $400 
Lot 730: MARILYN MONROE GENTLEMEN PREFER BLONDES PUBLICITY IMAGE
A Marilyn Monroe vintage black and white studio publicity photograph for the film Gentlemen Prefer Blondes (20th Century, 1953).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $448 - Estimate: $200 - $400 
Lot 740: JOE DiMAGGIO PUBLICITY PHOTOGRAPH
A vintage black and white image of Joe DiMaggio signing a baseball.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $448 - Estimate: $150 - $300 
Lot 741: MARILYN MONROE 1954 HONEYMOON PHOTOGRAPHS
A pair of vintage original black and white photographs of Marilyn Monroe in Japan while on her honeymoon with Joe DiMaggio in 1954. DiMaggio can be seen in partial profile in the lower left of one image.
PROVENANCE From the lost archive of Marilyn Monroe
4 1/4 by 6 inches
Winning bid: $384 - Estimate: $400 - $600 
Lot 742: MARILYN MONROE VINTAGE PHOTOGRAPHS
A group of three vintage original black and white photographs of Marilyn Monroe at the Honolulu International airport in Hawaii during her honeymoon with Joe DiMaggio in 1954. The photographs were taken by a photographer who was tipped off that Monroe and DiMaggio were waiting in a secluded area of the airport. He and a friend, who was stationed in Hawaii with the Navy, went to photograph the newlyweds. The photographer gave the photographs he could not use to the friend, who kept them in his photo book of his time during the war and later sold the photographs at auction. Presumably, these photographs were never released for print. Monroe's thumb is bandaged, and some have accused DiMaggio of inflicting the injury. One of the images can be found in the biography Marilyn: The Passion and the Paradox by Lois Banner (New York: Bloomsbury, 2012).
PROVENANCE From the Collection of Lois Banner
and Lot 766, "Hollywood Legends," Julien's Auctions, Las Vegas, June 26, 2010
Largest, 9 1/2 by 7 1/2 inches
Winning bid: $1,875 - Estimate: $300 - $500 
Lot 744: MARILYN MONROE KOREA CONTACT SHEETS
A group of seven contact sheets and one half sheet from Marilyn Monroe’s 1954 visit to Korea to entertain American troops. The black and white sheets show Monroe on stage, signing autographs, posing with servicemen, and behind a changing curtain in addition to images of the servicemen in the audience. Photographer unknown. Sheets marked on verso with numeric notations.
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid: $1,562.50 - Estimate: $600 - $800 
Lot 745: MARILYN MONROE KOREA VISIT PHOTOGRAPHS
A group of four vintage original black and white photographs of Marilyn Monroe dining with troops in Korea in 1954. Also present is an image of a band performing on stage.
PROVENANCE From the lost archive of Marilyn Monroe
5 by 7 inches
Winning bid: $500 - Estimate: $400 - $600 
Lot 746: MARILYN MONROE 1954 KOREA VISIT PHOTOGRAPHS
A group of four original vintage photographs of Marilyn Monroe visiting troops in Korea. Three show Monroe at servicemen’s bedside. Each has carbon copied information snipes and credits on verso from the United States Signal Corps.
PROVENANCE From the lost archive of Marilyn Monroe
5 by 7 inches
Winning bid: $625 - Estimate: $400 - $600 
Lot 751: MARILYN MONROE AND JOE DiMAGGIO PHOTOGRAPH CUT IN HALF
An original vintage photograph of Marilyn Monroe and Joe DiMaggio taken while on their honeymoon in Japan. The photograph has been cut in half directly between the couple.
PROVENANCE From the lost archive of Marilyn Monroe
Each half, 4 1/4 by 3 1/8 inches
Winning bid:$1,280 - Estimate: $600 - $800 
Lot 756: MARILYN MONROE RIVER OF NO RETURN PHOTOGRAPHS
A pair of vintage candid images of Marilyn Monroe on the set of River of No Return (20th Century, 1954). Both images are believed to have been taken by Milton Greene; only one of the images bear his stamp on verso. Both photographs are stamped "Reproduction Forbidden."
PROVENANCE From the lost archive of Marilyn Monroe
7 by 5 inches
Winning bid:$576 - Estimate: $400 - $600 
Lot 762: MARILYN MONROE BEMENT CENTENNIAL RIBBON
A Marilyn Monroe beard contest judge ribbon and photograph from the 1955 Bement Centennial. The white ribbon with gold tone print reads "Bement/ Centennial/ Official/ 1855-1955." Cardstock affixed to the top of the ribbon reads "Marilyn Monroe." Accompanied by a vintage black and white photograph of Monroe at the event. Stamped on verso "News Gazette/ Photograph," with photocopies of articles about the event. Monroe attended the Centennial celebration and served as a judge in the beard contest, among other activities, after a resident assisted her in paying a hotel bill in exchange for her appearance. Originally from the estate of Peter Leonardi. The image can be found in the biography Marilyn : The Passion and the Paradox by Lois Banner (New York: Bloomsbury, 2012).
PROVENANCE From the Collection of Lois Banner
and Lot 718, "Julien's Summer Sale," Julien's Auctions, Las Vegas, June 26, 2009
Winning bid: $640 - Estimate: $600 - $800 
Lot 765: MARILYN MONROE CECIL BEATON PHOTOGRAPH
A black and white vintage photograph of Marilyn Monroe taken by Cecil Beaton in 1956. The photograph is mounted to board.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 9 inches
Winning bid: $3,840 - Estimate: $1,000 - $2,000 
Lot 766: MARILYN MONROE SECRETARIALLY SIGNED PHOTOGRAPH
A Marilyn Monroe secretarially signed photograph accompanied by transmittal envelope. It appears the photograph was mailed out from Marilyn Monroe Productions to Bogota, Columbia, and returned.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $11,250 - Estimate: $200 - $400 
Lot 772: MARILYN MONROE MILTON GREENE CONTACT SHEET
A contact sheet of 24 images of Marilyn Monroe taken by Milton Greene during a 1953 photoshoot on the Twentieth Century-Fox backlot. Monroe was shot by Greene preparing for the shoot (some images include Greene) and in a peasant costume worn by Jennifer Jones in Song of Bernadette (20th Century, 1943). Photographer's stamp and numeric note on verso.
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid: $896 - Estimate: $400 - $600 
Lot 780: MARILYN MONROE MILTON GREENE VINTAGE PHOTOGRAPH
An original vintage photograph of Marilyn Monroe taken by Milton Greene. Monroe is dressed as her character Chérie from the film Bus Stop (20th Century, 1956).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $1,125 - Estimate: $400 - $600 
Lot 781: MARILYN MONROE MILTON GREENE VINTAGE PHOTOGRAPH
An original vintage photograph of Marilyn Monroe taken by Milton Greene. Monroe is dressed as her character Chérie from the film Bus Stop (20th Century, 1956).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $1,600 - Estimate: $400 - $600 
Lot 782: MARILYN MONROE VINTAGE BUS STOP PHOTOGRAPH
A Marilyn Monroe vintage black and white photograph taken on the set of the film Bus Stop (20th Century, 1956).
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid: $1,024 - Estimate: $400 - $600 
Lots 787/788: MARILYN MONROE VINTAGE PHOTOGRAPH
A vintage photograph of Marilyn Monroe printed with two images of Monroe. Believed to have been taken by Sam Shaw circa 1958. The image shows Monroe in her New York apartment in front of her piano.
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Lot 787: Winning bid:$640 - Estimate: $200 - $400
Lot 788: Winning bid:$896 - Estimate: $300 - $500 
Lot 789: MARILYN MONROE VINTAGE PHOTOGRAPHS
A pair of Marilyn Monroe vintage black and white photographs. One shows Monroe at a party. The other was taken on set and has a Milton Greene photography stamp on verso.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 8 by 10 inches
Winning bid:$896 - Estimate: $600 - $800 
Lot 797: ARTHUR MILLER PHOTOGRAPH BY DAN WEINER
An original vintage black and white photograph of Arthur Miller taken by Dan Weiner circa 1952. Stamped by the photographer on verso with handwritten notions that have been crossed out.
9 1/2 by 13 1/2 inches
Winning bid:$128 - Estimate: $200 - $400 
Lot 805: ARTHUR MILLER VINTAGE PHOTOGRAPHS
A pair of vintage original black and white photographs of Arthur Miller. In one, Miller stands smiling next to a bicycle. Image marked on verso “Apr. 1955.” The second is a professional photograph of Miller. Stamped with photographer Daniel Bernstein’s stamp on verso.
PROVENANCE From the lost archive of Marilyn Monroe
7 by 5 inches
Winning bid:$128 - Estimate: $200 - $400
Lot 812: 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 stamp on verso.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$3,125 - Estimate: $400 - $600 
Lot 814: MARILYN MONROE MILTON GREENE CONTACT SHEETS
A collection of approximately five vintage contact prints of photographs taken by Milton Greene featuring Marilyn Monroe and Laurence Olivier at a press conference for the film The Prince and The Showgirl (Warner Bros., 1957) and Monroe with Marlon Brando at the premiere of the film The Rose Tattoo (Paramount, 1955). Also includes a contact sheet with images of an event where Sammy Davis Jr. was performing live.
Largest, 10 by 8 inches
Winning bid:$1,125 - Estimate: $1,000 - $2,000 
Lot 815: MARILYN MONROE MILTON GREENE PHOTOGRAPHS
A vintage 8-by-10-inch gelatin silver photograph taken by Milton Greene, depicting Marilyn Monroe with Laurence Olivier at a press conference for the film The Prince and The Showgirl (Warner Bros., 1957) in which they played the starring roles. The photograph has been encapsulated and includes a letter of authenticity from PSA grading it a "Type I" original photograph. The verso of the photograph is marked with Greene's identification stamp. Accompanied by a vintage medium-format print of the same image as well as an additional vintage print of Monroe laughing.
10 by 8 inches
Winning bid:$ 5,760 - Estimate: $2,000 - $4,000 
Lot 816 C: MARILYN MONROE PERSONAL PHOTOGRAPHS
A collection of Marilyn Monroe's personal photographs, including a photograph of Isador Miller (Monroe's father-in-law); two photographs of a television screen showing images of Monroe on The Jack Benny Program in 1953; a black and white image of an unknown woman, stamped by Milton Greene on verso; a color photograph of a manenquin holding up a champagne glass behind a sign that reads "Marilyn Monroe" dated "Mar 58"; a pair of images of two men in Scottish kilts; two photographs of children, one with an inscription on the back from "Ilah" (one of the children may be Joshua Greene); and a photograph taken behind the scenes of a film. Accompanied by a newspaper clipping of an image of Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 7 by 5 inches
Winning bid: $896 - Estimate: $300 - $500 
Lot 821: MARILYN MONROE CECIL BEATON TRIPTYCH
A three-panel sterling silver custom-made Cartier frame, gifted to Marilyn Monroe by Nedda and Joshua Logan. The center frame houses a black and white silver gelatin print of the portrait Cecil Beaton took of Monroe in 1956. This image is purported to be Monroe’s favorite image of herself. The portrait is mounted to board and signed on matte by Beaton. The center frame is engraved at the top “For Marilyn Monroe Miller” and at the bottom “Love Nedda and Joshua Logan.” Joshua Logan directed Monroe in her 1956 film Bus Stop . The left and right frames house a handwritten letter from Beaton describing Monroe. It reads in part, “But the real marvel is the paradox – somehow we know that this extraordinary performance is pure charade, a little girl’s caricature of Mae West. The puzzling truth is that Miss Monroe is a make-believe siren, unsophisticated as a Rhine maiden, innocent as a sleepwalker. She is an urchin pretending to be grown-up, having the time of her life in mother’s moth-eaten finery, tottering about in high-heeled shoes and sipping gingerale as though it were a champagne cocktail. There is an otherworldly, a winsome naiveté about the child’s eyes… .” The portrait can be seen in images of Monroe’s living room, where it was housed from 1956 until the actress’ death in 1962.
Please note: This item will not be available for shipment or pick-up until January 1, 2015.
PROVENANCE Lot 22 "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
16 by 46 1/2 inches, framed
Winning bid: $38,400 - Estimate: $30,000 - $40,000 
Lot 822: MARILYN MONROE AFHU DINNER VINTAGE PHOTOGRAPH
A vintage candid photograph of Marilyn Monroe at the September 27, 1959, American Friends of the Hebrew University (AFHU) awards ceremony in Philadelphia. Monroe's then husband, Arthur Miller, was honored at the event. Label affixed to the bottom center of the photograph reads "Hebrew University Dinner/ Sheraton Hotel Sunday Sept. 27."
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$448 - Estimate: $300 - $500 
Lot 823: MARILYN MONROE AFHU DINNER VINTAGE PHOTOGRAPH
A vintage candid photograph of Marilyn Monroe at the September 27, 1959, American Friends of the Hebrew University (AFHU) awards ceremony in Philadelphia. Monroe's then husband, Arthur Miller, was honored at the event. Label affixed to the bottom center of the photograph reads "Hebrew University Dinner/ Sheraton Hotel Sunday Sept. 27."
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$576 - Estimate: $300 - $500 
Lot 824: MARILYN MONROE PHOTOGRAPH BY JOHN BRYSON
An original vintage black and white photograph of Marilyn Monroe and Arthur Miller taken by photojournalist John Bryson in Los Angeles in 1960. Matted and framed. Christie's lot sticker affixed to frame back.
PROVENANCE Lot 340, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Sight, 13 by 9 1/2 inches
Winning bid:$1,920 - Estimate: $2,000 - $4,000 
Lot 943: MARILYN MONROE CANDID COLOR PHOTOGRAPH
A single Kodachrome wallet-sized candid photo print of Marilyn Monroe in her often seen disguise. The photo was taken in New York by a young fan who became acquainted with the star.
PROVENANCE From the Collection of Lois Banner
and Lot 788, "Julien's Summer Sale," Julien's Auctions, Las Vegas, June 26, 2009
3 1/2 by 2 1/2 inches
Winning bid: $640 - Estimate: $200 - $400 
Lot 985 : 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
unsold - Estimate: $1,000 - $2,000
Lot 994: MARILYN MONROE PHOTOGRAPH SIGNED BY ALLAN GRANT
An original vintage photograph signed by Allan Grant. This photograph was taken on July 7, 1962, in Marilyn Monroe’s Brentwood home for an article in LIFE magazine that went to newsstands on August 3, 1962. Monroe died two days later, on August 5.
29 by 26 inches, framed
Winning bid:$3,750 - Estimate: $3,000 - $5,000
