04 février 2014

Robe noire portée à Londres

Black dress with a bare midriff covered in chiffon
robe noire ceinturée d'une mousseline de soie

dress-1956-07-15-savoy

Cette robe a été conçue par le créateur américain James Galanos, qui fut sacré à la conception de la "parfaite robe noire". Il est devenu connu pour ses robes de cocktail en crêpe de laine. Il créa aussi des costumes de cinéma dans les années 1950s. 

C'est une tenue de la garde robe personnelle de Marilyn Monroe: c'est une robe assez longue, très avant-gardiste pour son époque. Le côté classique et sobre (robe noire à la découpe droite), est assorti d'une provocation avec un large turban, cousu sur la robe, de mousseline de soie transparente qui enroule la taille et laisse apercevoir le ventre à travers le tissu. Marilyn a minimisé les accessoires: elle ne porte aucun bijou, mais seulement des gants blancs, et des chaussures noires.
En janvier 1957, the 'Assiocated Press' rapporte que "Marilyn définit la tendance du style britannique.
La robe qu'elle a porté l'été dernier a gagné l'approbation des faiseurs de mode de Londres. Pas moins que le couturier personnel de la reine Elizabeth, Norman Hartnell, a dévoilé dans sa nouvelle collection de printemps des tenues au ventre nu voilé". 

Elle ne porte la robe qu'à un seul événement public: le 15 juillet 1956 à Londres. D'abord, pour la conférence de presse donnée au Savoy Hotel avec Arthur Miller et Lawrence Olivier, où elle arrive avec un manteau ivoire en satin à double boutonnage de perles et avec de larges revers, apposé sur ses épaules:

1956_07_15_savoy_010_1  1956_07_15_savoy_070_04 1956_07_15_savoy_060_01_2  

Puis, de retour à Parkside House avec son mari Arthur Miller, ils posent ensemble pour les photographes dans le jardin. Marilyn ôte les gants blancs:

1956_07_15_parkside_011_3 1956_07_15_parkside_020_3  1956_07_15_parkside_030_03


La robe a été vendue lors de la vente aux enchères organisée par Christies en octobre 1999. Estimée entre 30 000 et 50 000 Dollars, elle fut vendue pour la somme de 74 000 Dollars.
Description: A COUTURE COCKTAIL DRESS BY GALANOS Of black wool crpe, the bare midriff with chiffon overlay, labeled Galanos and Bergdorf Goodman, On the Plaza, New York, the tag inscribed, MIS MONROE, DATE: 6/22/56 No Maltide.

dress-1956-07-15-parkside-dress-1 


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copyright text by GinieLand. 

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26 décembre 2013

'Hollywood Auction 62' 12/2013


Photographies


lot 47: Oversized Photograph of Marilyn Monroe in The Seven Year Itch
(TCF, 1955) Vintage original 9.75 x 12 in. gelatin silver glossy borderless photo print of Marilyn Monroe and Tom Ewell from The Seven Year Itch. The production photo exhibits some minor flaws from the negative and very minor corner bumping. In vintage very good condition.
Sold: $300
lot47


 lot 48: Collection of (7) Photos of Marilyn Monroe
(Various studios, 1957-1961)
Gelatin-silver glossy approx. 8 x 10 in. prints (7) all featuring Marilyn Monroe in (3) films:
The Prince and the Showgirl (Warner Bros., 1957) (1), Let’s Make Love (TCF, 1960) (5),
and The Misfits (United Artists, 1961) (1).
All are in very fine condition and (1) has descriptive studio snipes on verso
Sold: $350
lot48a  lot48b 
lot48c  lot48d  


lot 128: Collection of (32) contact sheet Prints of Marilyn Monroe with Milton Berle  and Maurice Chevalier and Marlene Dietrich by Milton h. Greene
(32) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe with Marlene Dietrich at
cocktail party announcing formation of MM Productions, Milton Berle for Mike Todd Circus at Madison Sq. Garden and at Friars’ Club Roast, and Maurice Chevalier for Look, dated 1/7/55, 3/15/55 and 9/30/55. Very good.
Estimate: $200 - $300
Sold: $3 250 
lot128 
lot128a  lot128b 
lot128c  lot128d 


lot 129: Collection of (10) contact sheet Prints of Marilyn Monroe from Seven Year Itch  and other sittings by Milton H Greene.
(10) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe from Seven Year Itch (20th Century-Fox, 1955), “Nude,” “Nightgown and Mink Stole,” “White Robe” and “Gypsy” sittings by Milton H. Greene, dated 9/2/53, 10/7/53, 9/13/54, 3/8/55 and 4/15/56. Very good.
Estimate: $200 - $300
Sold: $ 1 000
lot129 
lot129a  lot129b 
lot129c  lot129d 


  lot 130: Collection of (8) contact sheet Prints of Marilyn Monroe from “balalaika” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (2 double-weight) from 2.25
x 2.25 in. and 35mm negatives of Marilyn Monroe from “Balalaika” sitting by Milton
H. Greene, dated 9/2/53. Very good to Fine.
Estimate: $300 - $500
Sold: $ 1 200
lot130 
lot130a  lot130b 
lot130c  lot130d


lot 131: Collection of (8) contact sheet Prints of Marilyn Monroe from “ballerina” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (1 double-weight) from 2.25 x 2.25 in. negatives of Marilyn Monroe from “Nightgown and Mink Stole” “Ballerina” and “White Robe” sittings by Milton H. Greene, dated 10/7/53, 10/6/54 and 3/8/55. Very good.
Estimate: $300 - $500
Sold: $ 1 600 
lot131 
lot131a  lot131b 
lot131c  lot131d  


lot 132: Collection of (14) contact sheet Prints of Marilyn Monroe with Marlon Brando Edward R. Murrow by Milton H Greene
(14) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. and 35mm negatives of Marilyn Monroe
with Marlon Brando for Actor’s Studio Benefit for Muscular Dystrophy and Edward R. Murrow for Person to Person by Milton H. Greene, dated 4/1/55 and 12/12/55. Very good.
Estimate: $200 - $300
Sold: $ 1 600 
lot132a  lot132b
lot132c1  lot132c2 
lot132c3  lot132c4 


lot 133: Collection of (17) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(17) Silver gelatin glossy 8 x 10 in. proof prints (1 double-weight) of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 1/1/56. Fine.
Estimate: $200 - $30
Sold: $ 2 750
lot133a  lot133b 
lot133c  lot133d  


  lot 134: Collection of (98) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(98) Silver gelatin glossy 4 x 5 in. proof prints of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Good to Fine; with missing corners to some.
Estimate: $300 - $500
Sold: $ 1 900
lot134a  lot134b  lot134c 
lot134d  lot134e 
lot134f  lot134g  lot134h  


  lot 135: Collection of (33) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(33) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. (4) and 35mm negatives of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Very good.
Estimate: $200 - $300
Sold: $ 900 
lot135  lot135c  lot135d 
lot135a  lot135b 


 lot 136: Collection of (9) contact sheet Prints of Marilyn Monroe  from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(9) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 6/26/56. Very good.
Estimate: $200 - $300
Sold: $ 700 
lot136 
lot136a  lot136b  lot136c 
lot136d  lot136e 


lot 137: Collection of (33) contact sheet Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(33) Silver gelatin glossy 4 x 5 in.
contact sheet prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller at press reception at Heathrow for
The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very good to Fine.
Estimate: $200 - $300
Sold: $ 1 400  
lot137a  lot137b 
lot137c  lot137d 


lot 138: Collection of (170) contact Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(170) Silver gelatin glossy 2.25 x 2.25 in. contact prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and
Arthur Miller at press reception at Heathrow for The Prince and the Showgirl
by Milton H. Greene, dated 7/56. Very good.
Estimate: $200 - $300
Sold: $ 1 100 
lot138a  lot138b  
lot138c1  lot138c2 
lot138c3  lot138c4 


 lot 139: Collection of (17) contact sheet Prints of Marilyn Monroe with Lawrence Olivier from The Prince and the Showgirl by Milton H. Greene (Warner Bros., 1957)
(17) Silver gelatin glossy 8 x 10 in. proof prints (5) and contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe with Lawrence Olivier at press reception for The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very
good.
Estimate: $200 - $300
Sold: $ 1 500 
lot139a  lot139b  lot139c3 
lot139c1  lot139c2  lot139c4


Lot 140: Collection of (15) contact sheet Prints of Marilyn Monroe and Lawrence Olivier with Terence Rattigan from The Prince and the Showgirl by Milton H. Greene (Warner Bros.,1957)
(15) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn Monroe and Lawrence Olivier with
Terence Rattigan in publicity sitting for The Prince and the Showgirl by Milton H. Greene, dated 7/56; with
photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 2 750 
lot140a  lot140b 
lot140c1  lot140c2 
lot140c3  lot140c4  


 Lot 141: Collection of (496) contact Prints of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(496) Silver gelatin glossy contact prints including (164) 2.25 x 2.25 in. and (332) 35mm negatives of Marilyn Monroe for The Prince and the Showgirl by Milton H. Greene, dated 6/28/56; with photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 3 750  
lot141  lot141a  lot141b 
lot141c  lot141d 


Lot 142: Collection of (14) camera negatives of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(14) Black-and-white 2.25 x 2.25 in. camera negatives (3 with contact print) of Marilyn Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 11/29/73. Very fine.
Estimate: $200 - $300
Sold: $ 1 100  
lot142  lot142b 
lot142a  lot142c  lot142d 


Lot 161: Travilla “subway dress” costume design for The Seven Year Itch. (TCF, 1955)
In this landmark film from the mid-1950s, Tom Ewell reprises his Broadway role as a husband whose wife goes on a brief vacation with their children. He remains behind in New York on business, alone for the first time in seven years of marriage, and begins fantasizing about a model who has sublet the apartment above. Marilyn Monroe plays The Girl with her characteristic mix of innocence and sexual allure. The Seven Year Itch storyline, unlike some of Monroe’s earlier films, held forth no promise as a costume showcase. It was not a period piece and she had no dance routines. Still, this was to become the vehicle for Travilla’s most famous dress design. It was a deceptively simple dress, classic but sexy, and it was meant to make Monroe look cool on the hot, sticky sidewalks of New York. “I’m going to have my precious baby standing over a grate,” Travilla remembered. “I wanted her to look fresh
and clean. So I wondered what could I do with this most beautiful girl that Marilyn was to play to make her look clean, talcum-powdered and adorable,” Travilla mused. “What would I give her to wear that would blow in the breeze and be fun and pretty? I knew there would be a wind blowing so that would require a skirt.” In his trademark painterly style, Travilla then drew his visualization of what would become the most famous garment in Hollywood history – a white crepe bias-cut dress with a halter-top and sunburst pleated skirt. Accomplished in gouache and ink on a 15 in. x 20 in. sheet of artist’s illustration board, the sketch features the now-famous skirt billowing around her waist, in the scene that would electrify audiences all over the world and reportedly bring an abrupt end to Marilyn’s celebrated marriage to slugger Joe Dimaggio.
Giving the actress a broad smile, Travilla positioned her left arm delicately across her body, while her hand holds up the skirt in a playful tease. The sketch is signed boldly at the lower right of the image in black ink, “Travilla”, with notation at the upper right corner in dark graphite, “7 Year Itch – Wind Scene at Subway”. When she stood over the subway grate and a blast of air caused her pleated skirt to swirl above her waist, Monroe made Hollywood history. Travilla’s contribution was almost forgotten, although he often mused in private about the fame of The Dress. “Here’s how famous it was,” he said. “We were traveling in London to promote the Littlewoods catalog in the 1970s, and my copy of the dress was on display along with millions of dollars in jewelry.” There was a break-in at the show, but the only item stolen was The Dress (which was later anonymously returned). This sketch perfectly embodies the many competing themes of American life during the conservative 1950s, all of which seemed to converge in this film and in this dress at the very moment Marilyn paused over the Subway grate: the responsibilities of modern life as represented by Tom Ewell’s character, the growing independence of American women, and the changing attitude of the country towards
sex and desire, which would culminate in the sexual revolution of the 1960s just a few years away. The crown jewel of Travilla’s Lost Collection, this sketch is not only a wonderful piece of Hollywood history, but an important snapshot of American popular culture from the apex of Marilyn Monroe’s meteoric film career. Provenance: Profiles in History Auction 20, Lot 114.
Estimate: $60,000 - $80,000
Sold: $ 80 000
lot161c 
lot161a  lot161b   


Lot 226: Marilyn Monroe hand–signed and inscribed photograph.
Vintage 8 in. x 10 in., black & white, gelatin silver photo of the sex symbol in a low-cut, clinging blouse. Inscribed in blue ink on the image, “To Lou, When you come back – come around, Marilyn Monroe”. With chipped, upper right hand corner. Pinholes in corners and minor creasing not affecting image or signature. In good condition.
Estimate: $15,000 - $20,000
Sold: $19 000
lot226 


Lot 227: Original Marilyn Monroe anniversary Playboy cover artwork by Victoria Fuller, signed by Hugh Hefner.
Original commemorative Marilyn Monroe Playboy magazine cover painting accomplished in oil paints and silkscreen on a 30 x 40 in. stretched canvas. A one of a kind collection of 11 paintings were created by artist Victoria Fuller in celebration of the 60th anniversary of Marilyn Monroe’s appearance in the first issue of Playboy in December, 1953. The art depicts the iconic cover of the first issue of Playboy. In addition to being a fine art painter, Fuller was one of Playboy’s most popular Playmates, and the most photographed ‘Bunnies’ in the magazine’s last 50. She is also the first and only artist to ever receive a licensing contract from Playboy allowing her to use the famous trademark Rabbit Head Playboy, and Bunny Costume as subjects of her paintings and limited addition prints. The piece is hand-signed by the artist and Playboy Magazine founder and American icon Hugh Hefner. In fine condition.
Estimate: $6,000 - $8,000
Sold: $ Pass
lot227 


 Documents papiers


Lot 224: Marilyn Monroe contract for The Asphalt Jungle. (MGM, 1950)
1-page, printed, typed contract on approx. 21 x 8.5 paper, signed, “Marilyn Monroe” dated 29 November 1949. In John Huston’s The Asphalt Jungle, an unknown actress named Marilyn Monroe in her early breakthrough roll as “Angela Finlay”, a small but important roll in this film noir classic. This oversize “Screen Actors Guild Minimum Contract for Freelance Players” outlines the terms of Monroe’s employment on the film. The contract states that Monroe will play the role of “Angela” in the “photoplay” The Asphalt Jungle and be paid the sum of $300 for 1 week of work beginning on November 9th, 1949. The contract lists Monroe’s’ current address as, “1301 N. Harper Ave. Los Angeles, California” and her phone number, “Hampstead 9943”. The contract verso exhibits an additional amendment typed on 8 x 4 in. paper, tipped to the contract. Signed at the bottom of the page by MGM casting director “Fred A Datig” and below that, in black pen, “Marilyn Monroe”. Retaining original folds. In very good condition.
Estimate: $2,500 - $3,500
Sold: $ 4 750
lot224a  lot224b 


Lot 225: Marilyn Monroe’s personal title and service agreement to her 1950 Pontiac
Marilyn Monroe Pontiac sedan paperwork consisting of (3) documents, including: (1) 8.5 x 3.75 in. Beverly Motor Company, tri-folded, printed Pontiac Service Policy. With typed “Miss Marilyn Monroe / 1301 N. Harper Ave. / Los Angeles, CA”. Inside there are terms of ownership and two attached, perforated 1000 and 2000 mile service coupons also type to “Miss Marilyn Monroe” with other information filled in, dated July 1, 1950, (1) 7.25 x 3.25 in folded printed warranty for the car’s Delco Battery. Type written to Miss Marilyn Monroe and with other technical information, dated July 1, 1950 and (1) State of California DMV “pink slip” certificate of ownership printed to “Monroe Marilyn / 1301 N Harper AV / Los Angeles” including vehicle engine number, make, model, total fees ($24.00) and Monroe’s license number, “19B29921”. All documents in fine condition.
Estimate: $1,000 - $1,500 
sold: $ 1 400
lot225a  
lot225d  
lot225b  lot225c  


 Objets Divers


Lot 231: Warner Bros. commemorative key. (c. 1950s)
10 x 3.75 in. brass key to Warner Brothers Studios. The key’s bow is shield-shaped and features the raised “WB” letters synonymous with the studio. One side of the key blade reads, in raised letters, “Welcome to Warner Bros. Studios” and the reverse side, “The Largest in the World”. In vintage very fine condition.
Estimate: $1,000 - $1,500
Sold: $2 500
lot231a  lot231b 
lot231c 


Lot 764: Jane Russell extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Jane Russell created from the original concrete impression at the Chinese Theatre when she placed her hand and footprints in the cement along with Marilyn Monroe for the west coast premiere of Gentlemen Prefer Blondes.  Rumor has it that Both Jane and Marilyn wanted to make more than just hand and foot print impressions in the forecourt and that they actually wanted to imprint the physical attributes that they were both known for. Theatre management turned down this request though as it would have been considered too risqué. Measuring 37.25 x 41 in. Inscribed, “Jane Russell 6 26 53” and then “Gentleman” as the beginning of the Gentlemen Prefer Blondes title which begins on her square and ends on Monroe’s. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Jane Russell name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $4,000
lot764 


Lot 765: Marilyn Monroe extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Marilyn Monroe created from the original concrete impression at the Chinese Theatre which is, by far, the most photographed imprint square in the TCL Chinese Theatre forecourt, honored with the opening of her film Gentlemen Prefer Blondes. She originally wanted them to dot the “I” in her name with a diamond, but theatre management suggested that someone would steal the diamond and suggested an earring be placed instead. A short time later someone over night came along and attempted to steal the earring. The top broke off, but the back remains firmly implanted in the cement to this day. 42.5 x 42.25 in. Inscribed, “Marilyn Monroe” and then “Prefer Blondes” as half of the Gentlemen Prefer Blondes title started on Jane Russell’s square and finished on Monroe’s. Marilyn’s “I” is dotted by a faux diamond imbedded in the square. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Marilyn Monroe name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $7 500
lot765  


Vêtements


lot 701: Marilyn Monroe “Pola Debevoise” black felt hat from How to Marry a Millionaire. (TCF, 1953)
 Black felt hat with soft ruffle brim and simple bow. Bodies by Lee yellow stamp. Internal bias label handwritten “1-39-1-4691 A-705-54 M. MONROE”. Created by Travilla for Marilyn Monroe as “Pola Debevoise” in How to Marry a Millionaire but not in the final version of the film. Lot includes a wardrobe test photo showing Monroe wearing the hat. This hat was originally created for the scene with David Wayne on the plane but was replaced with a simple beret.
Estimate: $15,000 - $20,000
Sold: $15, 000 
lot701a  lot701b  lot701c 
lot701d 

02 septembre 2013

Mai 1956 Passeport de Marilyn

En mai 1956, Marilyn Monroe obtient son passeport afin de se rendre à Londres où elle doit tourner "Le Prince et la danseuse".
Il est intéressant de remarquer qu'à la mention du "père", Marilyn a indiqué le nom de "Edward Mortensen".

In May 1956, Marilyn Monroe gets her passport to travel to London, where she will shot "The Prince and the Showgirl."
It is interesting to notice that on the mention of "father," Marilyn gave the name "Edward Mortensen."

1956_passport_for_london_1 


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

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24 août 2013

Paris Match 10/11/1956

pm_n396_coverLe magazine Paris Match n°396, du 10 novembre 1956, consacrait un article dans la rubrique "Elles & Eux" sur la rencontre entre la Reine Elizabeth d'Angleterre et Marilyn Monroe.

pm_n396_article 

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09 novembre 2012

Paris Match 25/08/1956

mag_parismatch_1956_08_25_num385_cover Le magazine Paris Match n°385, du 25 août 1956, consacrait un article d'une page sur Marilyn Monroe dans la rubrique "La photo de la semaine": "Marilyn pédaleuse de charme".

mag_parismatch_1956_08_25_num385_p1 

Posté par ginieland à 13:21 - - Commentaires [0] - Permalien [#]
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15 octobre 2012

13/07/1956 Trajet New York - Londres

Le 13 juillet 1956, Marilyn Monroe et Arthur Miller partent de New York pour se rendre en Angleterre où Marilyn doit tourner "The Prince and the Showgirl" (Le prince et la danseuse). Une foule de personnes s'est regroupée à l'aéroport new-yorkais pour apercevoir le couple qui prend l'avion, accompagné par les parents d'Arthur. De nombreux journalistes de la presse écrite et aussi des caméras, sont sur les lieux. La presse va rapporter que le couple voyage avec 27 valises.

1956-london  
1956_07_13_NY_airport_010_1 1956_07_13_NY_airport_010_1a 1956_07_13_NY_airport_011_1
1956_07_13_NY_airport_020_1 1956_07_13_NY_airport_030_1 1956_07_13_NY_airport_031_2 
1956_07_13_NY_airport_020_2 1956_07_13_NY_airport_031_1 1956_07_13_NY_airport_032_1 

> de la collection de James Collins, un fan des Monroe Six
-from the personal collection of James Collins, one of the 'Monroe Six'

lot89019g  

> captures
londres_arrivee_cap01 londres_arrivee_cap02 londres_arrivee_cap03
londres_arrivee_cap04 londres_arrivee_cap07 londres_arrivee_cap09
londres_arrivee_cap11 londres_arrivee_cap13 londres_arrivee_cap14


Le couple arrive à Londres le 14 juillet. La nouvelle de l'arrivée de Marilyn avait fait la Une des journaux, allant jusqu'à éclipser un très important discours du Premier Ministre Anthony Eden sur la catastrophe économique en Angleterre. Marilyn et Arthur sont assaillis dès leur descente d'avion à Idlewild Airport: près de 70 policiers sont présents pour assurer la sécurité car plus de 200 journalistes et photographes sont agglutinés sur le tarmac et dans l'aéroport.

1956_07_14_london_idlewild_1_airport_010_1 1956_07_14_london_idlewild_1_airport_010_2 1956_07_14_london_idlewild_1_airport_011_1
1956_07_14_london_idlewild_1_airport_020_1 1956_07_14_london_idlewild_1_airport_020_2 1956_07_14_london_idlewild_1_airport_020_3
1956_07_14_london_idlewild_1_airport_021_1 1956_07_14_london_idlewild_1_airport_021_2a 1956_07_14_london_idlewild_1_airport_021_3

> captures
londres_arrivee_cap15_2 londres_arrivee_cap18 londres_arrivee_cap18_2 


Dans le hall de l'aéroport, c'est la cohue entre journalistes et photographes. Laurence Olivier et sa femme Vivien Leigh viennent à la rencontre de Marilyn et Arthur. 

1956_07_14_london_idlewild_2_hall_010_1 1956-article-2054116-0E096E8D00000578-634_306x282 1956_07_14_london_idlewild_2_hall_012_1a 
1956_07_14_london_idlewild_2_hall_010_1a 1956_07_14_london_idlewild_2_hall_010_2 1956_by_tom_gallagher_1 
1956_07_14_london_idlewild_2_hall_011_1 1956_07_14_london_idlewild_2_hall_011_1a
1956_07_14_london_idlewild_2_hall_012_1 1956_07_14_london_idlewild_2_hall_013_1 1956_07_14_london_idlewild_2_hall_020_1 
juliens_lot561 1956_07_14_london_idlewild_2_hall_020_2 1956_07_14_london_idlewild_2_hall_021_1 1956_07_14_london_idlewild_2_hall_021_2
1956_07_14_london_idlewild_2_hall_021_3 1956_07_14_london_idlewild_2_hall_022_1 1956_07_14_london_idlewild_2_hall_024_1
1956_07_14_london_idlewild_2_hall_022_2 1956_07_14_london_idlewild_2_hall_022_2a 1956_07_14_london_idlewild_2_hall_023_1
 1956_07_14_london_idlewild_2_hall_030_1 1956_07_14_london_idlewild_2_hall_030_2 1956_07_14_london_idlewild_2_hall_030_3
1956_07_14_london_idlewild_2_hall_031_1 1956_07_14_london_idlewild_2_hall_031_2 1956_07_14_london_idlewild_2_hall_031_2_press
1956_07_14_london_idlewild_2_hall_032_3 1956_07_14_london_idlewild_2_hall_032_4 1956-london-1
1956_07_14_london_idlewild_2_hall_031_3 1956_07_14_london_idlewild_2_hall_032_1 1956_07_14_london_idlewild_2_hall_032_2
1956_07_14_london_idlewild_2_hall_032_1a 1956_07_14_london_idlewild_2_hall_033_1
1956_07_14_london_idlewild_2_hall_033_2 1956_07_14_london_idlewild_2_hall_033_3 1956_07_14_london_idlewild_2_hall_033_4
1956_07_14_london_idlewild_2_hall_033_5 1956_07_14_london_idlewild_2_hall_034_1 1956_07_14_london_idlewild_2_hall_034_2
1956_07_14_london_idlewild_2_hall_040_1 1956_07_14_london_idlewild_2_hall_041_1 1956_07_14_london_idlewild_2_hall_043_1
1956_07_14_london_idlewild_2_hall_041_1a 1956_07_14_london_idlewild_2_hall_041_1b
1956_07_14_london_idlewild_2_hall_041_2 1956_07_14_london_idlewild_2_hall_041_3 1956_07_14_london_idlewild_2_hall_041_4
1956_07_14_london_idlewild_2_hall_042_1 1956_07_14_london_idlewild_2_hall_042_1a 1956_07_14_london_idlewild_2_hall_042_2

 > captures
londres_arrivee_cap20 londres_arrivee_cap21_1 londres_arrivee_cap21_3
londres_arrivee_cap21_4 londres_arrivee_cap21_5 londres_arrivee_cap21_6
londres_arrivee_cap21_7 londres_arrivee_cap21_8 londres_arrivee_cap21_9
londres_arrivee_cap22 londres_arrivee_cap23 londres_arrivee_cap26
londres_arrivee_cap27_1 londres_arrivee_cap27_2 londres_arrivee_cap27_3
londres_arrivee_cap27_4 londres_arrivee_cap27_5 londres_arrivee_cap27_6
londres_arrivee_cap27_7 londres_arrivee_cap27_8 londres_arrivee_cap27_9
londres_arrivee_cap31 londres_arrivee_cap32 londres_arrivee_cap34 
londres_arrivee_cap36_1 londres_arrivee_cap36_2 londres_arrivee_cap36_3
londres_arrivee_cap36_4 londres_arrivee_cap36_5 londres_arrivee_cap36_6
londres_arrivee_cap36_7 londres_arrivee_cap36_8 londres_arrivee_cap36_9
londres_arrivee_cap36_10 londres_arrivee_cap36_11 londres_arrivee_cap36_12


Une conférence de presse est organisée dans le petit salon de l'aéroport et au bar du petit hôtel. Les journalistes posent des questions idiotes à Marilyn, la considérant comme une petite blonde stupide; ils lui demandent notamment ses habitudes de sommeil, ce à quoi elle réplique:
-"Maintenant que je suis en Angleterre, disons que avant de dormir, j'aime me parfumer avec de la lavande de Yardley's".
Les journalistes -quasiment tous masculins- vont être finalement totalement séduits par la star et sont surpris par ses réparties délicieuses. Le journal 'The London Evening News' va écrire dans ses colonnes: "Elle marche. Elle parle. Elle est aussi savoureuse que des fraises à la crème."  

1956_07_14_london_idlewild_3_hall_010_1 1956_07_14_london_idlewild_3_hall_011_1 1956_07_14_london_idlewild_3_hall_011_1a 
1956-london-filmland2572a 
1956_07_14_london_idlewild_3_hall_020_1 1956_07_14_london_idlewild_3_hall_020_2 1956_07_14_london_idlewild_3_hall_020_2a
1956_07_14_london_idlewild_3_hall_020_3 1956_lot128503 1956_07_14_london_idlewild_3_hall_020_5
1956_07_14_london_idlewild_3_hall_020_6 1956_07_14_london_idlewild_3_hall_020_7 1956_07_14_london_idlewild_3_hall_021_1b
1956_07_14_london_idlewild_3_hall_021_1 1956_07_14_london_idlewild_3_hall_021_1a 1956_07_14_london_idlewild_3_hall_022_1
1956_07_14_london_idlewild_3_hall_030_1 1956_07_14_london_idlewild_3_hall_030_2a 1956_07_14_london_idlewild_3_hall_030_3
1956_07_14_london_idlewild_3_hall_030_2 lot1114-H3257-L78860397 1956_07_14_london_idlewild_3_hall_030_5
 1956_07_14_london_idlewild_3_hall_031_1 1956_07_14_london_idlewild_3_hall_031_1a 1956_07_14_london_idlewild_3_hall_031_2
1956_07_14_london_idlewild_3_hall_031_4 1956_london_RDA00097604 
1956_07_14_london_idlewild_3_hall_031_3 1956_07_14_london_idlewild_3_hall_031_5 1956_07_14_london_idlewild_3_hall_031_5a
1956_07_14_london_idlewild_3_hall_032_1 1956_07_14_london_idlewild_3_hall_032_2

> captures 
londres_arrivee_cap37 londres_arrivee_cap38 londres_arrivee_cap39
londres_arrivee_cap40 londres_arrivee_cap41 londres_arrivee_cap42
londres_arrivee_cap43 londres_arrivee_cap44 londres_arrivee_cap45
londres_arrivee_cap45_1 londres_arrivee_cap45_2 londres_arrivee_cap45_3
londres_arrivee_cap45_4 londres_arrivee_cap45_5 londres_arrivee_cap45_6
londres_arrivee_cap45_7 londres_arrivee_cap45_8 londres_arrivee_cap45_9


> photographies de Milton H Greene
  lot137d 1956-london-by_mhg-5 1956-london-by_mhg-H5945-L69789829
lot138c1  lot138c2 
 lot138a  lot138b  


Marilyn et Arthur sont escortés jusqu'à une limousine (une Austin Princess) qui les amènent à Parkside House, une propriété située à Englefield Green à Egham, à moins d'une heure en voiture de Londres. Le photographe Milton Greene et l'attaché de presse de Marilyn, Arthur Jacobs, s'y rendent aussi; ils sont escortés par quatre policiers en motos. Le couple Olivier les suivent dans une Bentley.

1956_07_14_london_idlewild_4_go_to_car_01_1 1956_07_14_london_idlewild_4_go_to_car_01_1a
1956_07_14_london_idlewild_4_go_to_car_02_1 1956_07_14_london_idlewild_4_go_to_car_02_1a
1956_07_14_london_idlewild_4_go_to_car_03_1
 

> captures
londres_arrivee_cap46 londres_arrivee_cap47 londres_arrivee_cap48


Puis Marilyn, Arthur, Laurence Olivier et Vivien Leigh se retrouvent à Parkside House, où Marilyn et Arthur vont loger. Ils la louent à Lord Moore, directeur du Financial Times, et à sa femme, la pianiste Joan Moore. Donald Zec, journaliste au 'Mirror' est présent pour accueillir le couple. D'ailleurs Marilyn permit aux photographes d'accéder à la propriété pour prendre des photos.

1956_07_14_parkside_010_1a  
1956_07_14_parkside_010_1 1956_07_14_parkside_010_2
1956_07_14_parkside_011_1 1956_07_14_parkside_011_2 1956_07_14_parkside_011_2a
1956_07_14_parkside_011_3 1956_07_14_parkside_011_4 1956_07_14_parkside_011_5
1956_07_14_parkside_020_1 1956_07_14_parkside_020_2 1956_07_14_parkside_020_3
1956_07_14_parkside_021_1 1956_07_14_parkside_021_1_press_a 1956_07_14_parkside_021_2 
1956_07_14_parkside_with_Donald_Zec_writer_for_Mirror_1 1956_07_14_parkside_with_Donald_Zec_writer_for_Mirror_1a 
1956_07_14_parkside_with_Donald_Zec_writer_for_Mirror_2 1956_07_14_parkside_with_Donald_Zec_writer_for_Mirror_3 1956_07_14_parkside_with_Donald_Zec_writer_for_Mirror_4


> video 1

> video 2

> video 3

> video 4

> video "Marilyn and Miller go to England" sur youtube     

> video "MM arrives in England" sur youtube   

> video 'British Movietone News'


> dans la presse 
1956_london_27_luggage_MM_in_London 1956_london_mag_cover_G2SIO 1956_london_mag_idolos


On July 13, 1956, Marilyn Monroe and Arthur Miller leave New York, going to London where Marilyn should shoot 'The Prince and the Showgirl'. They travel with 27 pieces of luggage.
They arrive in London the July 14 where they meet Laurence Olivier and Vivien Leigh. More than 200 journalists and photographs are here and 70 policemen make the security service. A press conference is organised in the airport's hall.
They go after to Parkside House.


sources:
> Les vies secrètes de Marilyn Monroe, d'Anthony Summers.
> Marilyn Monroe et les caméras.
> Marilyn Monroe, de Barbara Leaming.
> Marilyn Monroe Les inédits, de Marie Clayton.

 

 

13 septembre 2012

20/07/1956 Londres en voiture

Clichés de paparazzis montrant Marilyn Monroe à Londres le 20 juillet 1956; bien cachée sur la banquette arrière derrière un rideau, portant lunettes noires et foulard.

1956_london_car_1a 1956_london_car_1b 
1956-london-1a  1956-london-1b

 > Photos publiées dans le Paris Match du  18/08/1956 .

Pictures of Marilyn Monroe hidden back of a car in London, 1956.

Posté par ginieland à 12:57 - - Commentaires [0] - Permalien [#]
Tags : , ,

27 août 2012

15/07/1956 Conférence de Presse au Savoy Hotel et Parkside House

Le 15 juillet 1956, Marilyn Monroe et Laurence Olivier donnent une conférence de presse pendant une heure dans le salon Lancaster du Savoy Hotel de Londres devant un parterre de près de 250 journalistes et une foule de badeaux se tenant dans la rue, devant les vitrines de l'hôtel. Si les photographes étaient si nombreux aux conférences de presse londoniennes, c'est parce que Olivier avait annoncé que le film The Sleeping Prince (qui était alors le titre provisoire) serait tourné à huit clos, écartant ainsi du plateau photographes et journalistes. Les conférences de presse étaient alors un moyen de satifaire les photographes et la presse. 
Parmi les photographes présents: Jack Esten, Douglas Miller, René Vital et Tony Davis.
Les photographes étaient déçus de voir la star Marilyn si sobrement vêtue (elle portait une robe noire classique, à l'empiècement ceinture transparent) mais ils la prirent en photos sous toutes les coutures.

Malgré sa promesse à Olivier, Marilyn arrive avec une heure de retard. Pendant ce temps, Olivier avait fait patienter seul les journalistes et n'était pas d'humeur charmante, voire même d'une humeur infecte- quand Marilyn arriva. Avant l'arrivée de Marilyn, il avait déclaré aux journalistes qu'il était autrefois tombé amoureux de Marilyn, mais elle désormais mariée et sa femme Vivien attendait un enfant, ce qui présageait un nouveau départ pour le couple britannique.
Quand Marilyn arriva, elle semblait être ailleurs et sa voix était à peine audible. Néanmoins, Olivier fut impressionné par sa capacité à charmer le public. Il y avait tellement de bruit dans le salon, qu'Olivier prenait le soin de répéter à Marilyn chacune des questions qu'on lui posait, afin qu'elle puisse aussi réfléchir quelques secondes aux réponses qu'elle donnerait. Malgré ses petites attentions, Olivier était beaucoup plus réservé que lorsque Marilyn le rencontra à New York; les manières de l'acteur rendait Marilyn anxieuse et elle le jugea peu sympathique.
Mais à son habitude, Marilyn envoûte l'auditoire et enjôle les reporters, même les plus audacieux, comme l'a remarqué Winifried Carr du 'Daily Telegraph': "Après avoir observé la plupart des critiques qui emplissaient la pièce, j'étais éberlué de voir ces hommes, les mâles les plus cyniques et les plus snobs de la ville, ces journalistes mordants, se comportant comme des adolescents. Même ceux qui étaient venus en ricanant restaient accrochés à ses mots comme des écoliers trop influençables et riaient devant tant de subtilité avant même qu'elle ait terminé sa phrase."
En effet, la presse britannique va adorer Marilyn, qui fera les gros titres des journaux durant tout son séjour en Angleterre. Le lendemain de la conférence, on pouvait lire notamment ces quelques déclarations des journalistes dans la presse:
-"Cette blonde n'est pas stupide."
-"Il n'y a aucun vice ni scandale en elle."
-"Ce n'est pas une nouvelle Marilyn mais l'ancienne qui se fait connaître."
-"Elle a aussi quelque chose dans les yeux."

1956_07_15_savoy_010_1_by_Tony_Davis 1956_07_15_savoy_010_1 1956_07_15_savoy_010_3 
1956-london-savoy-Long Live The Queen a  
1956_07_15_savoy_010_4 1956-london-1 1956_07_15_savoy_011_1 
1956_07_15_savoy_011_1a 1956_07_15_savoy_011_2 1956_07_15_savoy_012_1
1956_07_15_savoy_020_1 1956_07_15_savoy_020_2a 
1956_07_15_savoy_021_1 1956-press 1956_by_Larry_Burrows_life2 
1956_07_15_savoy_020_2 1956_07_15_savoy_020_2b 1956_london_robenoire 1956_07_15_savoy_022_1
1956_07_15_savoy_030_1 1956_07_15_savoy_031_1 1956_07_15_savoy_032_1 1956_07_15_savoy_050_2
1956-london-Long Live The Queen b 1956-london-Long Live The Queen bc
1956_07_15_savoy_033_1 1956_07_15_savoy_050_1 1956_07_15_savoy_050_1a
1956_07_15_savoy_052_1  1956-london-savoy-Long Live The Queen ab  1956_07_15_savoy_053_2 
1956_07_15_savoy_054_01 1956_07_15_savoy_054_01a 1956_07_15_savoy_054_05
1956_07_15_savoy_054_02 1956_07_15_savoy_054_03
1956_07_15_savoy_054_04_1 1956-london-savoy-Long Live The Queen aa 1956_07_15_savoy_054_04_2 
1956_07_15_savoy_054_06 1956_07_15_savoy_054_07_1 1956_07_15_savoy_054_07_2 1956_07_15_savoy_056_01 
1956_07_15_savoy_055_01 1956_07_15_savoy_055_02 1956_07_15_savoy_056_01a
1956_07_15_savoy_059_01_1 1956_07_15_savoy_059_01_1a 1956_07_15_savoy_059_02_1
1956_07_15_savoy_060_01_1 1956_07_15_savoy_060_01_2 1956_07_15_savoy_060_01_3
1956_07_15_savoy_060_02_1 1956_07_15_savoy_060_02_2 1956_07_15_savoy_060_02_2a
1956_07_15_savoy_060_03 1956_07_15_savoy_061_01 1956_07_15_savoy_061_02
1956_07_15_savoy_062_01_1   1956_07_15_savoy_062_03  
1956_07_15_savoy_062_01_2 1956_07_15_savoy_062_05 1956_07_15_savoy_062_06 
 1956_07_15_savoy_062_04_2 1956-london-2 1956_07_15_savoy_062_04_3
1956_07_15_savoy_063_01 1956_07_15_savoy_063_02 1956_07_15_savoy_063_03
1956_07_15_savoy_063_04 1956_07_15_savoy_063_05 1956_07_15_savoy_063_06
1956_07_15_savoy_064_02 1956_07_15_savoy_064_03 1956_07_15_savoy_064_04
1956_07_15_savoy_064_01 1956_07_15_savoy_070_01a 1956_07_15_savoy_070_03
1956_07_15_savoy_070_01 1956_07_15_savoy_062_02 
  1956_07_15_savoy_053_1 1956_07_15_savoy_070_04 1956_07_15_savoy_070_02

Marilyn avait déclaré à la presse: "Je vais faire de la bicyclette dans la campagne". Alors, le journal Daily Sketch lui offre une bicyclette.

1956_07_15_savoy_080_01 1956_07_15_savoy_080_02 1956_07_15_savoy_080_02a 
1956-london-Long Live The Queen bb 


> Photographies de Milton H Greene
1956-london-by_mhg-H5945-L69789972  1956-london-by_mhg-H5945-L69790044
H3257_L44539924 H3257_L44539922 H3257_L44539921
 lot137a  lot137b  lot137c
1956-london-by_mhg  1956-london-by_mhg3  
lot138c3 


   > captures
1956_07_15_savoy_cap01_01 1956_07_15_savoy_cap01_02 1956_07_15_savoy_cap01_03
1956_07_15_savoy_cap02_01 1956_07_15_savoy_cap02_02 1956_07_15_savoy_cap02_03 
londres_conf_cap01 londres_conf_cap02 londres_conf_cap03
londres_conf_cap04 londres_conf_cap05 londres_conf_cap06

1956-07-15-london-cap01-1 1956-07-15-london-cap01-2 1956-07-15-london-cap01-3
1956_07_15_savoy_cap02_04 1956_07_15_savoy_cap02_05 1956_07_15_savoy_cap02_06
1956_07_15_savoy_cap02_07 1956_07_15_savoy_cap02_08 1956_07_15_savoy_cap02_09
1956_07_15_savoy_cap02_10 1956_07_15_savoy_cap02_11 1956_07_15_savoy_cap02_12
londres_conf_cap07 londres_conf_cap08 londres_conf_cap09 
1956_07_15_savoy_cap03_1 1956_07_15_savoy_cap03_2 1956_07_15_savoy_cap03_3
1956_07_15_savoy_cap04_01 1956_07_15_savoy_cap04_02 1956_07_15_savoy_cap04_03
1956_07_15_savoy_cap04_04 1956_07_15_savoy_cap04_05 1956_07_15_savoy_cap04_06
1956_07_15_savoy_cap04_07 1956_07_15_savoy_cap04_08 1956_07_15_savoy_cap04_09
1956_07_15_savoy_cap05_01 1956_07_15_savoy_cap05_02 1956_07_15_savoy_cap05_03
1956_07_15_savoy_cap05_04 1956_07_15_savoy_cap05_05 1956_07_15_savoy_cap05_06

 > videos

> une video sur britishpathe.com  

> trois videos sur gettyimages.fr 


La présence de Marilyn suscita à Londres une vive curiosité et la foule se rassemblait partout où elle allait. Comme à Parkside House, où elle posa pour les photographes avec son mari Arthur Miller, où même les enfants se bousculent devant la grille et où quelques privilégiés se mettent en file indienne afin d'obtenir un autographe. 
Photographies de Sidney Martin

1956_07_15_parkside_010_1 1956_07_15_parkside_010_2
1956_07_15_parkside_011_1 1956_07_15_parkside_011_2
1956_07_15_parkside_011_3 1956_07_15_parkside_012_2
1956_07_15_parkside_012_1 1956_parkside_1 1956_07_15_parkside_020_4
1956_07_15_parkside_020_1 1956_07_15_parkside_020_2 1956_07_15_parkside_020_3
1956_07_15_parkside_020_4a 1956_07_15_parkside_020_5 1956_07_15_parkside_030_01_1
1956_07_15_parkside_030_01_2 1956_07_15_parkside_030_02 1956_07_15_parkside_030_03 
1956-london-parkside-3 1956-london-parkside-1 1956-london-parkside-2 
1956_07_15_parkside_030_04_1 1956_07_15_parkside_030_05 1956_07_15_parkside_030_06 
1956_07_15_parkside_030_04_2 1956_07_15_parkside_030_07 1956_07_15_parkside_030_08


 > photo de presse 
1956-07-15-MONROE__MARILYN_-_1956_JULY_15_SAVOY_HOTEL_LONDON_PRESS_CO  1956-07-15-MONROE__MARILYN_-_1956_JULY_15_SAVOY_HOTEL_LONDON_PRES_001

> dans la presse
1956_07_15_savoy_mag_novella 1956_07_15_savoy_mag_radar


On July 15, 1956, Marilyn Monroe and Laurence Olivier give a press conference to the Lancaster Room at Savoy Hotel, in London.
Marilyn and Arthur Miller are also photographied at Parkside House.


Sources:
> Marilyn Monroe Les Inédits - de Marie Clayton
> Marilyn Monroe et les caméras
> Marilyn Monroe - de Barbara Leaming
> revue Paris Match n°381, du 28 juillet 1956


All photos are copyright and protected by their respective owners. 
copyright text by GinieLand. 

 

19 août 2012

Juillet 1956 Marilyn et Arthur en Angleterre

Marilyn Monroe et Arthur Miller sont photographiés en juillet 1956 pendant leur séjour en Angleterre, là où Marilyn tourne le film The Prince and the Showgirl (Le Prince et la danseuse). Sans doute sont-ils photographiés dans le grand jardin de la maison de Parkside House où le couple logeait.
Photographies de Milton H. Greene.

1956-large_Marilyn-Monroe-MHG-MMO-MW-037-DE 
1956_07_AM1a 1956_07_AM2a 1956_07_AM3a

1956_07_AM1 1956_07_AM2 1956_07_AM3
1956_07_AM4


Marilyn Monroe and Arthur Miller are photographed in july 1956 in England, where Marilyn shot The Prince and the Showgirl. Probably they are setting here in the garden of the Parkside House where the couple lived.
The photographer is Milton H. Greene.

Posté par ginieland à 18:17 - - Commentaires [0] - Permalien [#]
Tags : , , , ,

12 août 2012

16/07/1956 Conférence de Presse au Savoy Hotel

 Le 16 juillet 1956, Marilyn Monroe et Laurence Olivier, son partenaire et metteur en scène dans "The Prince and the Showgirl" ("Le Prince et la danseuse"), donnent une conférence de presse au Savoy Hotel de Londres. Marilyn donne notamment une interview à Donal Zec, journaliste au Mirror. Arthur Miller raccompagne ensuite son épouse.

> Marilyn 
 1956_07_16_london_savoy_020_1 1956-london-1
1956_07_16_london_savoy_021_1
1956-london-1 1956-london-filmland2572 1956-london-2
1956_07_16_london_savoy_022_1 1956_07_16_london_savoy_022_2 1956_07_16_london_savoy_022_3
1956_07_16_london_savoy_022_4 1956_07_16_london_savoy_022_5
1956_07_16_london_savoy_022_4a 1956_07_16_london_savoy_022_5a 1956_07_16_london_savoy_022_6

london-face-1  london-face-1a  1956-movieland3571
1956_07_16_london_savoy_023_1 1956_07_16_london_savoy_023_2
1956_07_16_london_savoy_023_3 1956_07_16_london_savoy_023_4
1956_07_16_london_savoy_023_2a 1956_by_Larry_Burrows_life1 

1956-london-2 

  > Marilyn et Laurence Olivier
1956_07_16_london_savoy_010_1 by_Harry_Kerr2  
1956_07_16_london_savoy_030_1_by_jack_esten_1 1956_07_16_london_savoy_030_1_by_jack_esten_1a
1956-london-filmland2571
1956_07_16_london_savoy_031_1 1956_07_16_london_savoy_031_2 
1956_07_16_london_savoy_032_1 1956_07_16_london_savoy_032_2 1956_07_16_london_savoy_032_3
1956_07_16_london_savoy_032_4 1956_07_16_london_savoy_032_5 1956_07_16_london_savoy_032_7
1956_07_16_london_savoy_032_8 
1956_07_16_london_savoy_032_9 
1956-london-1 1956-london-1a 1956_07_16_london_savoy_032_6
1956_07_16_london_savoy_033_1 1956_07_16_london_savoy_033_2 1956_07_16_london_savoy_033_3
1956_07_16_london_savoy_033_4_by_jack_esten_1 1956_07_16_london_savoy_033_5 1956_07_16_london_savoy_033_6 
1956_07_16_london_savoy_033_7 1956_07_16_london_savoy_033_8 1956_07_16_london_savoy_033_9

> Photographies de Milton H Greene 
MHG-MMO-PR-406 1956-london-by_mhg2 
1956-london-by_mhg-4  1956-london-by_mhg-H5945-L69790005
1956-london-by_mhg-H5945-L69789773 1956-london-by_mhg-H5945-L69789902 
  lot138c4  


> Marilyn et Arthur Miller
1956_07_16_london_leave_London_hotel_after_interview_with_Mirror_writer_Donald_Zec

> dans la presse
1956_07_16_london_savoy_mag_1


On July 16, 1956, Marilyn Monroe and Laurence Olivier -her actor partner and director of "The Prince and the Showgirl"- give a press conference to the Savoy Hotel, in London. Marilyn gives an interview to Donald Zec, the Mirror's writer. After, Arthur Miller and Marilyn leave the hotel.