Making the Image: Eve Arnold’s Portrait of a Pensive Marilyn Monroe
Making the Image: Eve Arnold’s Portrait of a Pensive Marilyn Monroe
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Arnold's grandson explores her writings on the making of the famed image, and shares previously unseen contact sheets from the Nevada set of The Misfits
Le petit-fils d'Arnold explore ses écrits sur la création de la célèbre image et partage des planches contacts inédites du tournage au Nevada de The Misfits
Marilyn Monroe in the Nevada desert going over her lines for a difficult scene
she is about to play with Clarke Gable in the film 'The Misfits' by John Huston.
Nevada, USA. 1960. © Eve Arnold | Magnum Photos
Contact sheets: direct prints of sequences of negatives were – in the pre-digital era – key for photographers to be able to see what they had captured on their rolls of film. They formed a central part of editing and indexing practices, and in themselves became revealing of photographers’ approaches: the subtle refinements of the frame, lighting and subject from photograph to photograph, tracing the image-maker’s progress toward the final composition that they ultimately saw as their best. There is a voyeuristic aspect to looking at a contact sheet also: one can retrace the photographer’s movements through time and space, tracking their eye’s smallest twitches from left to right as their attention is drawn. It is as if one were inside their head, offered a privileged view through their very eyes from the front row of their brain.
Planche Contact: l'impression directe de séquences de négatifs était - à l'ère pré-numérique - la clé pour que les photographes puissent voir ce qu'ils avaient capturé sur leurs pellicules. Ils formaient une partie centrale des pratiques d'édition et d'indexation, et devenaient en eux-mêmes révélateurs des approches des photographes: les raffinements subtils du cadre, de l'éclairage et du sujet de la photographie à la photographie, retraçant les progrès du créateur d'images vers la composition finale qu'ils ont finalement vue comme leur meilleur. Il y a aussi un aspect voyeuriste à regarder une planche contact: on peut retracer les mouvements du photographe à travers le temps et l’espace, en suivant les moindres contractions de son œil de gauche à droite au fur et à mesure que son attention est attirée. C'est comme si on était à l'intérieur de leur tête, offrait une vue privilégiée à travers leurs yeux mêmes du premier rang de leur cerveau.
As Kristen Lubben wrote in her introduction to the book, Magnum Contact Sheets, first published in 2011 by Thames and Hudson:
“Unique to each photographer’s approach, the contact is a record of how an image was constructed. Was it a set-up, or a serendipitous encounter? Did the photographer notice a scene with potential and diligently work it through to arrive at a successful image, or was the fabled ‘decisive moment’ at play? The contact sheet, now rendered obsolete by digital photography, embodies much of the appeal of photography itself: the sense of time unfolding, a durable trace of movement through space, an apparent authentication of photography’s claims to transparent representation of reality.”
Comme Kristen Lubben l'a écrit dans son introduction au livre, Magnum Contact Sheets, publié pour la première fois en 2011 par Thames et Hudson:
«Unique à l'approche de chaque photographe, le contact est un enregistrement de la façon dont une image a été construite. Était-ce une mise en place ou une rencontre fortuite? Le photographe a-t-il remarqué une scène avec du potentiel et l'a-t-il travaillé avec diligence pour arriver à une image réussie, ou le légendaire «moment décisif» était-il en jeu? La feuille de contact, maintenant rendue obsolète par la photographie numérique, incarne une grande partie de l'attrait de la photographie elle-même: le sens du temps qui se déroule, une trace durable de mouvement à travers l'espace, une authentification apparente des revendications de la photographie à une représentation transparente de la réalité."
Below, Michael Arnold – grandson of Eve Arnold, and a representative of the Eve Arnold Estate – writes about the making of the (above) famed image of a concerned Marilyn Monroe, seemingly isolated on the set of The Misfits. Offering personal insight and archival context on the star’s troubled time on set, he also shares previously unseen contact sheet images from the work Arnold made during the film’s production.
Ci-dessous, Michael Arnold - petit-fils d'Eve Arnold, et un représentant du domaine Eve Arnold - écrit sur la création de la célèbre image (ci-dessus) d'une Marilyn Monroe concernée, apparemment isolée sur le tournage de The Misfits. Offrant un aperçu personnel et un contexte d’archivage sur le temps troublé de la star sur le plateau, il partage également des images de planches de contact inédites du travail réalisé par Arnold pendant la production du film.
As a photographer, Eve Arnold was known for getting beneath the surface of her subjects, for capturing something of the real person hidden behind the persona.
In this well-known picture, actress Marilyn Monroe is memorizing her lines on the set of the film The Misfits. Monroe found it very difficult to memorize her lines and felt insecure about this. Because of the close bond Eve gained from working with Marilyn over several years she was able to capture the fragility and vulnerability behind her usually confident, and instantly recognizable exterior.
En tant que photographe, Eve Arnold était connue pour se cacher sous la surface de ses sujets, pour capturer quelque chose de la personne réelle cachée derrière le personnage.
Dans cette image bien connue, l'actrice Marilyn Monroe mémorise ses lignes sur le tournage du film Les Misfits. Monroe a eu beaucoup de mal à mémoriser ses lignes et se sentait mal à l'aise à ce sujet. En raison du lien étroit qu'Eve a noué en travaillant avec Marilyn pendant plusieurs années, elle a pu capturer la fragilité et la vulnérabilité derrière son extérieur habituellement confiant et immédiatement reconnaissable.
Eve describes this fragility in her book, In Retrospect:
“My most poignant memory of Marilyn is of how distressed, troubled and still radiant she looked when I arrived in Nevada to work on The Misfits. She asked immediately how she looked, and she wanted and needed reassurance. It was four years since we had worked together, and she looked into my eyes for a long moment to make sure she could still trust me. Then she drew her breath, sighed and said, “I’m thirty-four years old. I’ve been dancing for six months [on Let’s Make Love]. I’ve had no rest, I’m exhausted. Where do I go from here ?” She was not asking me – she was asking herself. This was less than a year before she died. It occurred to me then that when she had lived with the fantasy of Marilyn that she had created, that fantasy had sustained her, but now the reality had caught up with her and she found it too much to bear.”
Eve décrit cette fragilité dans son livre, In Retrospect:
«Mon souvenir le plus émouvant de Marilyn est de voir à quel point elle avait l'air affligée, troublée et toujours radieuse quand je suis arrivée au Nevada pour travailler sur The Misfits. Elle a immédiatement demandé à quoi elle ressemblait et elle voulait et avait besoin d'être rassurée. Cela faisait quatre ans que nous avions travaillé ensemble, et elle m'a regardé dans les yeux pendant un long moment pour s'assurer qu'elle pouvait encore me faire confiance. Puis elle retint son souffle, soupira et dit: «J'ai trente-quatre ans. J'ai dancé pendant six mois [sur Let’s Make Love]. Je n'ai pas eu de repos, je suis épuisée. Où dois-je aller d'ici ? » Elle ne me demandait pas à moi - elle se posait la question. C'était moins d'un an avant sa mort. Il m'est alors venu à l'esprit que lorsqu'elle avait vécu avec le fantasme de Marilyn qu'elle avait créé, ce fantasme l'avait soutenue, mais maintenant la réalité l'avait rattrapée et elle trouvait cela trop difficile à supporter."
Clark Gable, Marilyn Monroe, Montgomery Clift on the set of 'The Misfits'.
1960. Reno. Nevada. USA. © Eve Arnold | Magnum Photos
Eve spoke further about the filming of The Misfits in a BBC documentary, Eve and Marilyn:
“…When Arthur [Miller] met Marilyn he then rewrote the story. It then became the basis for the film called The Misfits. It had Clarke Gable in the lead. It had Marilyn as the female lead. It had Montgomery Clift, Ely Wallach. It was meant to be exquisitely made. It was meant to be a small statement but very serious. And it was meant to bring Marilyn forward as a very serious actress. And this was Miller’s valentine to Marilyn. The marriage was already over but what he had wanted to do with it was to give her a gift.
She adored all of it. She loved the attention and she loved these very handsome men. What she didn’t like was the fact that they were all such polished actors. When they kept changing lines they would just reel them off and they would be word-perfect. And she would have difficulty because a) she didn’t have the training, and b) because she was troubled and it was difficult to remember the lines when she was going through a trying time.
She was ill at the time and she was disturbed. She had twice taken an overdose of sleeping tablets. I’m sure by accident because her big enemy was that she couldn’t sleep. And so, nights she would take two pills and then two more pills and then forgetting, she’d wake up and be muzzy, and in the morning she could hardly find her way around.”
Eve a parlé plus en détail du tournage de The Misfits dans un documentaire de la BBC, Eve et Marilyn:
«… Quand Arthur [Miller] a rencontré Marilyn, il a ensuite réécrit l'histoire. C'est ensuite devenu la base du film intitulé The Misfits. Il avait Clarke Gable en tête. Il avait Marilyn comme femme principale. Il y avait Montgomery Clift, Ely Wallach. Il était censé être fait de manière exquise. C'était censé être une petite déclaration mais très sérieuse. Et cela visait à faire de Marilyn une actrice très sérieuse. Et c'était la Saint-Valentin de Miller à Marilyn. Le mariage était déjà terminé mais ce qu'il avait voulu en faire, c'était lui faire un cadeau.
Elle adorait tout cela. Elle a adoré l'attention et elle a adoré ces très beaux hommes. Ce qu’elle n’a pas aimé, c’était le fait qu’ils étaient tous des acteurs aussi raffinés. Quand ils continuaient à changer de lignes, ils les enroulaient simplement et ils étaient parfaits. Et elle aurait des difficultés parce que a) elle n’a pas eu la formation, et b) parce qu’elle était troublée et qu’il était difficile de se souvenir des répliques quand elle traversait une période difficile.
Elle était malade à l'époque et elle était perturbée. Elle avait pris deux fois une surdose de somnifères. J'en suis sûre par accident car son grand ennemi était qu'elle ne pouvait pas dormir. Et donc, les nuits où elle prenait deux pilules, puis deux autres pilules, puis en oubliant, elle se réveillait et était confuse, et le matin, elle pouvait à peine trouver son chemin. "
Clark Gable, Marilyn Monroe and Montgomery Clift practice a scene during the filming of 'The Misfits'.
Nevada, USA. 1960. Contact sheet. © Eve Arnold | Magnum Photos
When I was 18, I worked with Eve for a summer as her assistant. By that time we had become very close. As we worked, Eve would lovingly introduce me to the world of photography and to different parts of her vast archive. I remember being particularly drawn to this image of Marilyn in the desert learning her lines. I didn’t know the backstory at the time but there was something mesmerizing about the way the picture was composed. The barren desert in the foreground, ethereal, textured clouds in the sky and this legendary Hollywood star standing under a boom microphone, looking like a little girl, lost in thought. It was no wonder to me that this was one of Eve’s most iconic images.
Quand j'avais 18 ans, j'ai travaillé avec Eve pendant un été en tant qu'assistant. À ce moment-là, nous étions devenus très proches. Pendant que nous travaillions, Eve me présentait avec amour le monde de la photographie et les différentes parties de ses vastes archives. Je me souviens avoir été particulièrement attiré par cette image de Marilyn dans le désert apprenant ses lignes. Je ne connaissais pas la trame de fond à l'époque, mais il y avait quelque chose de fascinant dans la façon dont l'image était composée. Le désert aride au premier plan, des nuages éthérés et texturés dans le ciel et cette légendaire star hollywoodienne debout sous un microphone à perche, ressemblant à une petite fille, perdue dans ses pensées. Il n’était pas étonnant pour moi que ce soit l’une des images les plus emblématiques d’Eve.
A few years later I was looking through Eve’s contact sheets and saw the full contact sheet this image was taken from. I was quite taken aback. None of the other images on the sheet looked anything like this one. I had imagined that Eve had set the scene up knowing what she wanted and had taken quite a few images, waiting for the right light and expression on Marilyn’s face. But no, there were only three other images of the same scene, and all of them were in portrait format. Then suddenly, as shown by the contact sheet, Eve had turned her 35mm camera around to use landscape format, and in an instant, the whole composition came together, never to be repeated. In that instant something of the poignancy of Marilyn’s experience on The Misfits was caught on camera.
Quelques années plus tard, je regardais à travers les planches contact d'Eve et vis la planche complète à partir de laquelle cette image était prise. J'ai été assez surpris. Aucune des autres images de la feuille ne ressemblait à celle-ci. J'avais imaginé qu'Eve avait préparé la scène en sachant ce qu'elle voulait et avait pris pas mal d'images, en attendant la bonne lumière et l'expression sur le visage de Marilyn. Mais non, il n'y avait que trois autres images de la même scène, et toutes étaient au format portrait. Puis tout à coup, comme le montre la planche contact, Eve avait tourné son appareil photo 35 mm pour utiliser le format paysage, et en un instant, toute la composition s'est réunie, pour ne jamais être répétée. À cet instant, quelque chose de l’émotion de l’expérience de Marilyn sur The Misfits était saisie par l'objectif.
I recently got the chance to look through Eve’s contact sheets and transparencies from The Misfits again. They are currently housed at Yale University’s Beinecke Library and I was there exploring a digitization project which seeks to make more of Eve’s previously unseen images available. Within just a few minutes I found some wonderful images on contact sheets that I had never seen, marked in grease pencil with an “E”, by Eve herself.
J'ai récemment eu la chance de parcourir à nouveau les planches contact et les transparents d'Eve sur The Misfits. Ils sont actuellement stockés à la bibliothèque Beinecke de l’université de Yale et j’y étais pour explorer un projet de numérisation qui vise à rendre disponibles davantage d’images inédites d’Eve. En quelques minutes, j'ai trouvé de merveilleuses images sur des feuilles de contact que je n'avais jamais vues, marquées au crayon gras avec un «E», par Eve elle-même.
Photograph of Eve Arnold contact sheet, by Michael Arnold
plus de photos inédites sur evearnold.com/unseen-images
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by Magnum.
The Misfits: Story of a Shoot
The Misfits: Story of a Shoot
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Arthur Miller and Inge Morath's recollections of an infamous cinematic production
Les souvenirs d'Arthur Miller et d'Inge Morath d'une production cinématographique tristement célèbre
Set of "The Misfits". Marilyn Monroe and Arthur Miller in their suite in Reno’s Mapes Hotel after a day’s shooting.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
John Huston’s 1961 movie, ‘The Misfits’, was to be the last completed production for two of its stars: Marilyn Monroe and Clark Gable. Gable died shortly after the film wrapped, while Monroe died in August 1962 having worked on the uncompleted movie ‘Something’s Got to Give’.
Le film de John Huston de 1961, «The Misfits», devait être la dernière production achevée pour deux de ses stars: Marilyn Monroe et Clark Gable. Gable est décédé peu de temps après la fin du film, tandis que Monroe est décédé en août 1962 après avoir travaillé sur le film inachevé «Something’s got to give».
Scripted by Arthur Miller, a raft of Magnum photographers were hired to photograph the making of the film – among them Inge Morath and Henri Cartier-Bresson, who were the first photographers to arrive on set.
Scénarisé par Arthur Miller, une série de photographes Magnum ont été embauchés pour photographier la réalisation du film - parmi lesquels Inge Morath et Henri Cartier-Bresson, qui ont été les premiers photographes à arriver sur le plateau.
As many of the images, and indeed Morath’s remembrances, attest – the photographers and the actors enjoyed a degree of camaraderie in spite of the film’s widely reported troubled production – one aspect of which was the deteriorating marriage between Miller and Monroe that came to an end that summer.
Comme de nombreuses images, et même les souvenirs de Morath, l'attestent - les photographes et les acteurs ont bénéficié d'une certaine camaraderie malgré la production troublée largement rapportée du film - dont l'un des aspects était la détérioration du mariage entre Miller et Monroe qui a pris fin cet été là.
In James Goode’s 1963 book, The Story of ‘The Misfits’ – a day-by-day account of the shoot – he hints at the friendly atmosphere the photographers and the actors shared in:
August 1 – Monday. Still no shooting call. To pass the time, Eli Wallach has gotten himself into character clothes and makeup as Sigmund Freud, to be photographed by Inge Morath. The object is to paste the resulting photograph on an album cover as a birthday present for John Huston, whose next picture will be ‘Freud’. Eli, Inge and Dick Rowan, a Magnum representative here on location, drove out to a nearby ranch and Eli posed next to a couch in the middle of a corral, with some interested horses looking on. Eli looked frighteningly authentic.
Dans le livre de James Goode de 1963, The Story of «The Misfits» - un récit quotidien du tournage - il fait allusion à l’atmosphère amicale que les photographes et les acteurs ont partagé:
1er août - lundi. Tournage toujours pas débuté. Pour passer le temps, Eli Wallach s'est habillé dans les vêtements du personnage et s'est maquillé comme Sigmund Freud, pour être photographié par Inge Morath. L’objectif est de coller la photographie obtenue sur une couverture d’album comme cadeau d’anniversaire pour John Huston, dont la prochaine photo sera «Freud». Eli, Inge et Dick Rowan, un représentant de Magnum ici sur place, se sont rendus dans un ranch voisin et Eli a posé à côté d'un canapé au milieu d'un corral, avec quelques chevaux à l'allure intéressante. Eli avait l'air terriblement authentique.
Here, ahead of the 60th anniversary of last day of the film’s shooting on location in Nevada (October 18th), we share both Miller and Morath’s personal reflections upon the film’s production and its at times troubled, yet charming stars alongside little-seen images from the production, and archival materials.
Ici, avant le 60e anniversaire du dernier jour du tournage du film dans le Nevada (le 18 octobre), nous partageons les réflexions personnelles de Miller et Morath sur la production du film et ses stars parfois troublées mais charmantes aux côtés d'images peu vues de la production et les documents d'archives.
Inge Morath's story list 1960. © Inge Morath.
Inge Morath Photographs and Papers Collection,
courtesy the Beinecke Rare Book and Manuscript Library, Yale University.
The first day of shooting "The Misfits." Clapperboard is marked scene 1 take 2.
Director John Huston and author Arthur Miller watching in the background.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
Arthur Miller
Frank Taylor, who was an old friend of mine, and who I inveigled into being the producer [of ‘The Misfits’], thought it would be a great idea to get Magnum to send over as many people as they could to photograph it. I didn’t know any photographers and I had no opinion about it; it was the last thing in the world I was worried about. Henri [Cartier-Bresson] and Inge [Morath] decided to do a motor trip across the country [on their way to the set in Reno]. Both of them were Europeans, of course, and they thought that, diving across the country, they would run into all kinds of wonderful, different cooking experiences as they would in Europe. When confronted with the inevitable hamburger everywhere, they were driven back to eating carrots and apples and tea.
Frank Taylor, qui était un vieil ami à moi, et que j’ai incité à devenir le producteur [de ‘The Misfits’], a pensé que ce serait une excellente idée que Magnum envoie autant de personnes que possible pour photographier. Je ne connaissais aucun photographe et je n’avais aucune opinion à ce sujet; c'était la dernière chose au monde qui m'inquiétait. Henri [Cartier-Bresson] et Inge [Morath] ont décidé de faire un voyage en voiture à travers le pays [en route vers le plateau de Reno]. Tous deux étaient européens, bien sûr, et ils pensaient qu'en plongeant à travers le pays, ils vivraient toutes sortes d'expériences culinaires merveilleuses et différentes comme ils le feraient en Europe. Lorsqu'ils ont été confrontés à l'inévitable hamburger partout, ils ont été ramenés à manger des carottes, des pommes et du thé.
Inge wrote a diary of this trip. It’s a brilliant description of 60s America. It’s a European’s wise and, at the same time, wide-eyed view of this crazy country. She caught all the insane contradictions that were here because they were very fresh to her..."
Inge a écrit un journal de ce voyage. C'est une brillante description de l'Amérique des années 60. C'est une vision européenne sage et, en même temps, les yeux écarquillés de ce pays fou. Elle a saisi toutes les contradictions insensées qui étaient ici parce que c'était très frais pour elle ..."
Goldfield, Nevada. USA. 1960. © Inge Morath | Magnum Photos
The 60s in America, of course, was the despair and the secret hope of a lot of European intellectuals. The freedom, the local inventiveness, the friendliness, charmed them. And Inge, I know, was pleasantly surprised by how dear the people were. Of course, most people were to her; she was very affectionate toward people, and they reacted in a similar way. However, it was a difficult trip because she couldn’t eat meat and Henri liked more delicate cooking. So they were driven half mad by the carrots and the apples and the tea. And they arrived in Reno half starved and ready to work.
Les années 60 en Amérique, bien sûr, étaient le désespoir et l'espoir secret de nombreux intellectuels européens. La liberté, l'inventivité locale, la convivialité les ont charmés. Et Inge, je le sais, a été agréablement surprise de voir à quel point les gens étaient adorables. Bien sûr, la plupart des gens l'étaient pour elle; elle était très affectueuse envers les gens, et ils ont réagi de la même manière. Cependant, ce fut un voyage difficile car elle ne pouvait pas manger de viande et Henri aimait une cuisine plus délicate. Alors ils ont été rendus à moitié fous par les carottes, les pommes et le thé. Et ils sont arrivés à Reno à moitié affamés et prêts à travailler.
Inge wrote a diary of this trip. It’s a brilliant description of 60s America. It’s a European’s wise and, at the same time, wide-eyed view of this crazy country. She caught all the insane contradictions that were here because they were very fresh to her; she was unprepared for them. You’ve got to remember that World War Two was still engraved on their minds. They had witnessed, and in Inge’s case she had suffered a great deal in Nazi Germany from the effects of the war. So this fresh country was overwhelming. At the same time, she had some odd experiences here. When she arrived she had to apply for a visa and one of the questions was “Your Color.” So she put down “pink.” It never dawned on her that any government would ask what color you were, and it was quite a shock. She didn’t know what to make of it.
Inge a écrit un journal de ce voyage. C’est une brillante description de l’Amérique des années 60. C’est une vision européenne sage et, en même temps, des yeux écarquillés de ce pays fou. Elle a saisi toutes les contradictions insensées qui étaient ici parce qu'elles étaient très fraîches pour elle; elle n'était pas préparée pour ça. Vous devez vous rappeler que la Seconde Guerre mondiale était toujours gravée dans leur esprit. Ils en avaient été témoins et, dans le cas d’Inge, elle avait beaucoup souffert en Allemagne nazie des effets de la guerre. Donc, ce pays frais était écrasant. En même temps, elle a eu des expériences étranges ici. À son arrivée, elle a dû demander un visa et l'une des questions était «Votre couleur». Alors elle a mis «rose». Il ne lui est jamais venu à l'esprit qu'un gouvernement vous demanderait de quelle couleur vous étiez, et ce fut un vrai choc. Elle ne savait pas quoi en penser.
Small travel notebook. © Inge Morath.
Inge Morath Photographs and Papers Collection,
courtesy the Beinecke Rare Book and Manuscript Library, Yale University.
Set of "The Misfits". Rehearsal of Roslyn's dance in Guido's garden.
John Huston with Marilyn Monroe in the first frame.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
- Arthur Miller:
"Inge took comparatively few pictures.
When she pointed the camera
she felt a certain responsibility for what it was looking at.
Her pictures of Marilyn are particularly empathetic
and touch as she caught Marilyn’s anguish beneath her celebrity..."
"Inge a pris relativement peu de photos.
Quand elle a pointé la caméra,
elle se sentait responsable face à ce qu'elle regardait.
Ses photos de Marilyn sont particulièrement empathiques
et touchantes alors qu'elle captait l'angoisse de Marilyn sous sa célébrité ..."
Set of "The Misfits". Marilyn Monroe in the first frame. Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
Inge, as an Austrian, had found herself in a defensive position in London and Paris, where she had been working and living [after the war]. Americans, in contrast, were far less ready to condemn her. Ironically, she felt uneasy here because we didn’t condemn fascism enough, nor did we see the signs of it in American culture. She was quick to notice whenever that smell came up of repression and racism.
Inge, en tant qu'Autrichienne, s'était retrouvée dans une position défensive à Londres et à Paris, où elle avait travaillé et vécu [après la guerre]. Les Américains, en revanche, étaient beaucoup moins disposés à la condamner. Ironiquement, elle s'est sentie mal à l'aise ici parce que nous n'avons pas assez condamné le fascisme, et nous n'en avons pas vu les signes dans la culture américaine. Elle a vite remarqué chaque fois cette odeur de répression et de racisme qui se dégageait.
Reno, initially, and ‘The Misfits’ in particular, was a circus for Inge; a rich mine of subjects. My first glimpse of her was in the Mapes Hotel coffee shop, where she was sitting at a table laughing with John Huston. She had worked on Huston’s film ‘Moulin Rouge’ some time earlier, and had earned his respect as an artist. Huston’s admiration and respect came in part from the work, of course, but it was also because of her bravery. As far as he was concerned, that was the major virtue of anyone.
Reno, au départ, et «The Misfits» en particulier, était un cirque pour Inge; une mine riche de sujets. La première fois que je l'ai vue, elle était dans le café de l'hôtel Mapes, assise à une table en train de rire avec John Huston. Elle avait travaillé sur le film de Huston «Moulin Rouge» quelque temps auparavant et avait gagné son respect en tant qu’artiste. L’admiration et le respect de Huston provenaient en partie du travail, bien sûr, mais c’était aussi à cause de sa bravoure. En ce qui le concernait, c'était la principale vertu de quiconque.
Set of "The Misfits". Clark Gable and Marilyn Monroe.
The two are now lovers and Gay, who has been up early,
comes to wake her and surprise her with breakfast.
Roslyn sits up in bed slowly, delightedly.
Movie camera cuts shot of Roslyn’s back a little under her shoulders.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
1/"The Misfits." Marilyn Monroe and Arthur Miller.
2/ Set of "The Misfits". John Huston and Arthur Miller wait and brood over the next scene.
This close cooperation of author and director often brought about last minute changes
that kept the work on the movie at an exhilarating pace.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
John Huston, Marilyn Monroe & Arthur Miller during the filming of "The Misfits".
Arthur & Marilyn were separated at the time.
Nevada. Reno. USA. 1960. © Inge Morath | Magnum Photos
Inge believes that to photograph a place you had to know the language. So she studied Chinese for about seven years before she went to China, and she did, similarly, with Russian before she went to Russia. Travel with her was a privilege because I would never have been able to penetrate that way. She was unobtrusive and she simply took [her subjects’] side of the lens. People quickly caught on that she was a different kind of a person than they were expecting in a photographer. She had a great talent for drawing people in, even without the camera.
Inge pense que pour photographier un endroit, il fallait en connaître la langue. Elle a donc étudié le chinois pendant environ sept ans avant de se rendre en Chine, et elle a fait de même avec le russe avant de se rendre en Russie. Voyager avec elle était un privilège car je n'aurais jamais pu m'immerger de cette façon. Elle était discrète et elle a simplement pris le côté [de ses sujets] de l'objectif. Les gens ont vite compris qu'elle était une personne différente de celle à laquelle ils s'attendaient chez un photographe. Elle avait un grand talent pour attirer les gens, même sans caméra.
© Arthur Miller Literary and Dramatic Property Trust. Text excerpted from a discussion of Inge Morath’s photographs at the Howard Greenberg Gallery, New York, May 26, 2004.
Montgomery Clift on the set of "The Misfits." Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos
Inge Morath
The coverage of ‘The Misfits’ was a very special thing. The producer had a unique idea of creating a document of the shooting of this movie, for which he hired Magnum photographers. We were paired up and I was going to photograph with Henri Cartier-Bresson. We planned to go across the country because America was a big adventure. I didn’t know much about America at all, so we rented a car and went a very complicated route; Blue Ridge Mountains and Mississippi and we saw all the literary sights.
Le reportage de "The Misfits" était une chose très spéciale. Le producteur a eu une idée unique de créer un document du tournage de ce film, pour lequel il a engagé des photographes Magnum. Nous étions jumelés et j'allais photographier avec Henri Cartier-Bresson. Nous avions prévu de parcourir le pays car l'Amérique était une grande aventure. Je ne savais pas grand-chose du tout de l'Amérique, alors nous avons loué une voiture et avons emprunté un chemin très compliqué; Blue Ridge Mountains et Mississippi et nous avons vu tous les sites littéraires.
Anyway we arrived in Reno, which is American and so western. It’s just marvelous to look at. The Mapes Hotel was where more or less everybody was lodged, and I was so intrigued because in the hotel room there was a machine and you could make your own coffee in the morning. I’d never seen such a thing. This was exotic. And naturally, such an American movie was also exotic to us. So we approached it from our very European point of view, which was fun. We started early, often waited for very long times, and finished quite late. And it got hotter and hotter.
Bref, nous sommes arrivés à Reno, qui est américaine et tellement western. C’est tout simplement merveilleux à regarder. L'hôtel Mapes était l'endroit où plus ou moins tout le monde était logé, et j'étais tellement intrigué parce que dans la chambre d'hôtel il y avait une machine et vous pouviez faire votre propre café le matin. Je n’avais jamais vu une chose pareille. C'était exotique. Et naturellement, un tel film américain était aussi exotique pour nous. Nous l'avons donc abordé de notre point de vue très européen, ce qui était amusant. Nous avons commencé tôt, avons souvent attendu très longtemps et avons terminé assez tard. Et il faisait de plus en plus chaud.
Henri and I had worked together before, so we were never in each other’s way. Because two photographers on one movie could be really falling over each other. But we had very different territories and interests, at least in the approach to something. I think everybody has a certain distance at which he or she is most comfortable. There is a certain way of seeing the same thing in a different composition, or from a very different angle. That’s the interesting part; everybody has their own was of attacking a subject. I’m one who always wanders around a lot, always looking. And so doe Henri, but boy is he fast. Wow.
Henri et moi avions déjà travaillé ensemble, donc nous ne nous sommes jamais opposés. Parce que deux photographes sur un même film pourraient vraiment tomber l'un sur l'autre. Mais nous avions des territoires et des intérêts très différents, du moins dans l'approche de quelque chose. Je pense que chacun a une certaine distance à laquelle il ou elle est le plus à l'aise. Il y a une certaine manière de voir la même chose dans une composition différente, ou sous un angle très différent. C’est la partie intéressante; chacun a sa manière propre d'attaquer un sujet. Je suis celle qui erre toujours beaucoup, toujours à la recherche. Et Henri aussi, mais garçon est rapide. Sensationnel.
Henri Cartier-Bresson with actor Eli Wallach (right) during the production of "The Misfits."
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
1/ Clark Gable and John Huston during the filming of The Misfits.
2/ Marilyn Monroe during the filming of The Misfits. USA. Reno, Nevada. 1960.
© Inge Morath | Magnum Photos
- Inge Morath:
"Eli and Marilyn were like buddies, and you can see it.
Monty and Marilyn were kindred souls.
They were both terribly vulnerable.
And Clark Gable was Clark Gable"
«Eli et Marilyn étaient comme des copains, et vous pouvez le voir.
Monty et Marilyn étaient des âmes apparentées.
Ils étaient tous les deux terriblement vulnérables.
Et Clark Gable était Clark Gable»
Arthur Miller (foreground) and Marilyn Monroe during the filming of "The Misfits."
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
John Huston I’d worked with before. He was terrific to me. My very first movie job was with him in ‘Moulin Rouge.’ I had never been in a film studio, and I went up to him and I said, “Look, I’ve never been in a film studio so you’d better help me.” He thought that was very funny. So I worked with him several times later. Monty Clift was also a great friend of mine whom I adored. He was supposed to be so difficult and erratic but actually he shot the most difficult scene in one take. Thelma Ritter was marvelous because it was a part which was not very glamourous, but she anchored this very American thing. And Eli Wallach. Eli is a funny guy and a wonderful actor. Eli and Marilyn were like buddies, and you can see it. Monty and Marilyn were kindred souls. They were both terribly vulnerable. And Clark Gable was Clark Gable.
John Huston, j'avais déjà travaillé avec lui avant. Il a été formidable avec moi. Mon tout premier boulot au cinéma était avec lui au 'Moulin Rouge.' Je n'avais jamais été dans un studio de cinéma, et je suis allée vers lui et j'ai dit: “Écoutez, je n'ai jamais été dans un studio de cinéma alors vous feriez mieux de m'aider." Il a trouvé que c'était très drôle. J'ai donc travaillé avec lui plusieurs fois plus tard. Monty Clift était aussi un grand ami à moi que j'adorais. Il était censé être si difficile et erratique, mais en fait, il a tourné la scène la plus difficile en une seule prise. Thelma Ritter était merveilleuse car c'était un rôle qui n'était pas très glamour, mais elle a ancré ce truc très américain. Et Eli Wallach. Eli est un gars drôle et un acteur merveilleux. Eli et Marilyn étaient comme des copains, et vous pouvez le voir. Monty et Marilyn étaient des âmes apparentées. Ils étaient tous les deux terriblement vulnérables. Et Clark Gable était Clark Gable.
Set of "The Misfits". Marilyn Monroe and Thelma Ritter during the scene in the bar of Harrah’s Club in Reno.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
- Inge Morath
"They were all very interesting to watch.
Actually, Marilyn was fascinating to watch.
The way she moved, her expressions; she just was extraordinary.
There was such strength and energy combined with this fragility"
"Ils étaient tous très intéressants à regarder.
En fait, Marilyn était fascinante à regarder.
La façon dont elle bougeait, ses expressions; elle était juste extraordinaire.
Il y avait une telle force et énergie combinées à cette fragilité"
1/ Marilyn Monroe in a casino during the production of "The Misfits."
2/ The Misfits." Clark Gable.
Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
But it was very professional. You see, these were not people who were start stuck of anything. I mean, you were just there and you did a job; you watched as photographers have to do. They were all very interesting to watch. Actually, Marilyn was fascinating to watch. The way she moved, her expressions; she just was extraordinary. There was such strength and energy combined with this fragility. It was vert interesting and quite unique. What I wanted to do was the unposed person. Marilyn knew all the tricks about how to pose, but when I watched her and saw that vulnerability, I figured to get something of her that is not posed, some inner side of her that can be revealed if possible with the camera. You might see in some of the close-ups, behind the smile there is a tragic undertone.
Mais c'était très professionnel. Vous voyez, ce n'étaient pas des gens qui étaient coincés dans quoi que ce soit. Je veux dire, vous étiez juste là et vous avez fait un travail; vous avez regardé comme les photographes doivent faire. Ils étaient tous très intéressants à regarder. En fait, Marilyn était fascinante à regarder. La façon dont elle bougeait, ses expressions; elle était juste extraordinaire. Il y avait une telle force et énergie combinées à cette fragilité. C'était très intéressant et assez unique. Ce que je voulais faire, c'était la personne sans pose. Marilyn connaissait toutes les astuces pour poser, mais quand je l'ai regardée et que j'ai vu cette vulnérabilité, j'ai pensé obtenir quelque chose d'elle qui n'est pas posé, un côté intérieur d'elle qui peut être révélé si possible avec la caméra. Vous pourriez voir dans certains des gros plans, derrière le sourire, il y a une nuance tragique.
The thing is that she was very unsecure about herself. Marilyn was nervous about many scenes and she would really try to have different takes on things. She went back to the script and sometimes that took up a considerable amount of time. So people were sitting in the heat, and it was very hot. I remember Clark Gable, with whom I got on very well, told me all his adventures in the movies. It was very funny. Clark was wonderful. He said, “I will inscribe your jacket for you,” you know, I never had the idea of asking for an autograph. So he wrote on the back of my collar, “Clark Gable, Reno, Nevada, July 21st, 1960.” And he said, “You’d better have somebody embroider this so it won’t wash out.” So I had it made in Paris, embroidered on the back of the collar.
Le fait est qu'elle n'était pas sûre d'elle-même. Marilyn était nerveuse à propos de nombreuses scènes et elle aurait essayé vraiment d'avoir des points de vue différents sur les choses. Elle revenait sur le scénario et parfois cela prenait un temps considérable. Les gens étaient donc assis dans la chaleur, et il faisait très chaud. Je me souviens que Clark Gable, avec qui je m'entendais très bien, m'a raconté toutes ses aventures au cinéma. C'était très drôle. Clark était merveilleux. Il a dit: «Je vais signer votre veste pour vous», vous savez, je n'ai jamais eu l'idée de demander un autographe. Il a donc écrit au dos de mon col: «Clark Gable, Reno, Nevada, 21 juillet 1960». Et il a dit: "Tu ferais mieux de faire broder ça par quelqu'un pour qu'il ne s'efface pas." Je l'ai donc fait fabriquer à Paris, brodée à l'arrière du col.
We wanted to be as invisible as possible as photographers. You have to be pretty much invisible because you are in the way most of the time. so we always were dressed in all drab stuff. And I think there’s something to it, to serving your subject by not putting yourself close too much. The thing was to find your way around. You knew more or less what scenes would come up but you didn’t know what was actually going to happen. The surprise elements were in how the actors created a scene, and John Huston kind of let them find their way. I mean, there was a general direction, but within this they found their own way.
Nous voulions être aussi invisibles que possible en tant que photographes. Vous devez être à peu près invisible parce que vous êtes gênant la plupart du temps. Donc nous étions toujours vêtus de couleur terne. Et je pense qu'il y a quelque chose à faire, à servir votre sujet en ne vous mettant pas trop près. Le truc était de trouver son chemin. Vous saviez plus ou moins quelles scènes allaient se produire mais vous ne saviez pas ce qui allait réellement se passer. Les éléments de surprise étaient dans la façon dont les acteurs ont créé une scène, et John Huston les a en quelque sorte laissés trouver leur chemin. Je veux dire, il y avait une direction générale, mais à l'intérieur de cela, ils ont trouvé leur propre chemin.
Shooting "The Misfits". 1960. The photographer Inge Morath and Clark Gable.
Nevada state. USA. © Henri Cartier-Bresson | Magnum Photos
1/ Marilyn Monroe and Eli Wallach. Reno, Nevada. USA. 1960
2/ Set of "The Misfits". Clark Gable and Marilyn Monroe. Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos
"The Misfits." Clark Gable and Eli Wallach in the car. Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos
I had read the short story and I get a script. If you’re not used to reading movie scripts its quite something, because you don’t imagine everything. So it’s kind of a dry enterprise. But we knew more or less what the character were, which is really what you want to know; what makes these people tick ? I mean, what the author meant making tick. Naturally, I was kind of in awe of Arthur Miller because I’d seen ‘Salesman’ and ‘The Crucible’ and I though, oh God, this man will be very sad all the time. the first time I really met him, it was very hot. John Huston took Henri and me to where they were swimming and playing tennis. We didn’t go in the pool because we were busy photographing.
J'avais lu la nouvelle et je reçois un scénario. Si vous n’avez pas l’habitude de lire des scripts de films, c’est quelque chose, car vous n’imaginez pas tout. C’est donc une sorte d’entreprise sèche. Mais nous savions plus ou moins ce qu'était le personnage, ce que vous voulez vraiment savoir; qu'est-ce qui motive ces gens ? Je veux dire, ce que l'auteur voulait dire faisant tique. Naturellement, j'étais un peu impressionnée par Arthur Miller parce que j'avais vu "Salesman" et "The Crucible" et je pensais, oh mon Dieu, que cet homme serait très triste tout le temps. La première fois que je l'ai vraiment rencontré, il faisait très chaud. John Huston a emmené Henri et moi là où ils nageaient et jouaient au tennis. Nous ne sommes pas allés dans la piscine car nous étions occupés à photographier.
Arthur was swimming a backstroke, and he told a very funny story, swimming all the time. It was a short story which he wrote about a guy who was making shoulder pads. I never heard of anyone making shoulder pads; that was in itself exotic. But it was a very funny story, and very long. And then he finished the story and got out of the water, and I got a whole new idea about Arthur Miller being a funny fellow.
Arthur nageait sur le dos et il a raconté une histoire très drôle, nageant tout le temps. C'était une histoire courte qu'il a écrite sur un gars qui fabriquait des épaulettes. Je n'ai jamais entendu parler de quelqu'un qui fabriquait des épaulettes; c'était en soi exotique. Mais c'était une histoire très drôle et très longue. Et puis il a terminé l'histoire et est sorti de l'eau, et j'ai eu une toute nouvelle idée du fait qu'Arthur Miller était un garçon marrant.
[© Inge Morath. Text compiled from a conversation with Inge Morath by Gail Levin for the film ‘Making the Misfits’, Great Performances, Thirteen/WNET, 2001.]
Both Arthur Miller’s and Inge Morath’s texts appear in Inge Morath’s The Road to Reno, edited by John P. Jacob. Steidl: Germany, 2006.
Set of "The Misfits". Marilyn Monroe. Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by Magnum.
Doc - Le Cinéma dans l'oeil de Magnum
Le cinéma dans l'oeil de Magnum
Année: 2017
Réalisation: Sophie Bassaler
Pays: France
Durée: 54 min
À l’occasion des 70 ans de Magnum, retour sur le lien noué entre les photographes de l'agence mythique et le monde du cinéma. Une plongée unique dans le regard des créateurs, parmi lesquels Robert Capa, Cartier-Bresson, ou Josef Koudelka.
L'agence Magnum, créée en 1947 par Robert Capa, est intimement liée au cinéma depuis soixante-dix ans. Ses photographes iconiques, Capa lui-même, Cartier-Bresson, ou plus tard Josef Koudelka ont accompagné des tournages, leurs réalisateurs et leurs vedettes. Ils ont ainsi documenté des scènes de vie quotidienne, de travail, ou choisi de s'écarter du cadre pour immortaliser leur propre vision artistique. Venant du reportage de guerre ou du documentaire, ces photographes du réel ont appliqué leurs méthodes de travail à ce monde d’illusions : appareil léger, lumière naturelle, photo sur le vif et sans retouches. Marilyn Monroe, James Dean, Kate Winslet, Michelangelo Antonioni ou Theo Angelopoulos sont passés sous l'œil de l'agence, instaurant un lien unique qui ne s'est pas défait en soixante-dix ans.
Fiction et réel
C’est par amour pour l’actrice Ingrid Bergman que Robert Capa prend la toute première photo de cinéma de Magnum sur le tournage des Enchaînés d’Alfred Hitchcock, inaugurant cette histoire entre l’agence et le cinéma. À partir de nombreux récits inédits, le documentaire retrace toute une vie d’histoires croisées entre deux mondes qu’a priori tout oppose : la fiction et le réel, comme cette rencontre en 1994 entre le réalisateur Theo Angelopoulos et le jeune photographe Josef Koudelka. Ils puiseront dans les Balkans, lieu de tournage du film Le regard d'Ulysse, des clichés et plans extraordinaires, tout en gardant chacun leur signature unique. Un témoignage passionnant sur le regard des créateurs, artistes de l'image, qu'ils soient derrière une caméra ou un appareil photo.
>> Diffusé en France sur arte le 31 mai 2017
Retranscription du passage lié à Marilyn Monroe:
(à 19min 30sec) - Peter Marlow (photographe): Quand on a ce genre de relations, cela rend les choses très différentes; ça permet d'atteindre ce niveau d'intimité.
David Hurn (photographe): L'exemple parfait, c'est Marilyn Monroe et Eve Arnold. Elles étaient très amies et totalement à l'aise ensemble.
Eve Arnold (photographe): Marilyn avait vu une série de photos que j'avais faite de Marlene Dietrich. C'était au début des années 50; ça devait être en 52. A cette époque, les photos étaient toutes retouchées. Tout était très mis en scène. Moi, je ne savais rien de tout ça, j'étais une photojournaliste. J'ai photographié Marlene comme elle était. Elle ne posait pas. Il n'y avait pas de décor ou d'éclairage, juste moi et elle qui chantait. Quelques temps plus tard, je suis allée à une fête donnée pour John Huston. C'est Sam Shaw, un ami commun, qui m'a présentée à Marilyn. Elle m'a regardée et m'a dit: "Vous avez fait du beau travail avec Marlene. Imaginez ce que vous pourriez faire avec moi." J'ai trouvé ça merveilleux. Il se dégageait d'elle une vraie naïveté, mais en même temps, elle avait le sens de son image et savait se vendre. Je suis sûre qu'elle a tout de suite sentie ce que nous pourrions faire ensemble. Un jour, une nuit plutôt, vers 4 heures du matin, elle m'a appelée pour savoir si j'acceptais de la rejoindre à 10 heures du matin à l'aéroport. J'aurai droit à un reportage exclusif, car elle voyageait seule avec son coiffeur.
Isabella Rossellini (actrice, réalisatrice): Eve avait sa délicatesse qui je pense, lui a permis de gagner la confiance d'autres actrices. Notamment, celle de Joan Crawford.
(... à 21min 50sec) - Eve Arnold: C'était à Chicago durant une escale qui s'éternisait. Marilyn est allée aux toilettes et comme je suis une femme, je l'ai suivie. Je n'avais pas l'intention de la photographier, mais elle était si belle avec sa jupe relevée sur ses petites jambes potelées. J'avais toujours pensé qu'elle était mince. Elle avait cette merveilleuse capacité à se faire plus grande qu'elle n'était.
David Hurn: Cette photo est tellement intime. Et j'aime à pense que Eve était si proche d'elle, que Marilyn lui faisait tellement confiance. Cette photo, pour moi, c'est la quintessence de la photographie.
Eve Arnold: Je l'ai photographiée sur une période de 10 ans. La plus courte de nos séances n'a duré que deux heures et la plus longue, deux mois, sur le tournage du film "The Misfits" de John Huston. Arthur Miller avait écrit une nouvelle dans laquelle il racontait l'histoire de trois hommes qui travaillaient dans le désert et capturaient des mustangs qu'ils vendaient ensuite pour faire de la nourriture pour chiens. C'est dans ce cadre sauvage qu'apparaît Marilyn. Clark Gable et Marilyn étaient le couple vedette. Il y avait aussi Montgomery Clift, Eli Wallach. Le film a été conçu dans le but de donner enfin un rôle sérieux à Marilyn.
Alain Bergala (essayiste): Les "Misfits" est totalement exceptionnel sur plein de points. Mais quand le film a commencé à se tourner, personne ne pouvait savoir à quel point, ce serait un film exceptionnel.
Voix Off: Le tournage du film "The Misfits" est un cas unique dans l'histoire des relations entre photographie et cinéma. Neuf grands photographes de Magnum Photos vont suivre ce tournage chaotique durant les trois mois de l'été 1960 à Reno et dans le désert du Nevada. Se succédant deux à deux toutes les deux semaines. Cet accord exceptionnel n'était pas uniquement le fait des liens de John Huston et de l'agence, mais revient à l'initiative de Lee Jones, à l'époque responsable des projets spéciaux du bureau de New York, qui a eu le pressentiment que ce film au casting de rêve mériterait une couverture exceptionnelle.
Alain Bergala: C'était la première fois dans l'histoire du cinéma où une agence obtenait l'exclusivité. Alors que toute la presse du monde aurait voulu être là. Il l'a obtenu pour une raison simple c'était que Marilyn était déjà mal en point au début du tournage et si elle avait vu arriver des photographes du monde entier, elle aurait craqué.
Voix Off: Les deux premiers photographes à arriver à Reno sont Inge Morath et Henri Cartier-Bresson.
Agnès Sire (directrice de la fondation Henri Cartier-Bresson): Cartier-Bresson, ça ne l'intéressait pas du tout. Et puis il a entrepris un voyage aux Etats-Unis l'année du tournage des "Misfits" et je pense que Lee Jones et tous les autres à Magnum lui ont dit: "Ca serait bien, on a l'exclu sur ce tournage. Ca serait bien que tu viennes, il y a Marilyn Monroe, etc..." Donc, il est allé sur le tournage; il n'est pas resté très longtemps. Mais il a fait beaucoup de photos; il a fait un portrait de Marilyn Monroe qui est très, très beau. Sa définition du portrait, qui est l'idée de saisir le silence intérieur d'une victime consentante, on voit vraiment, dans la photo de Marilyn Monroe, son silence intérieur.
Inge Morath (photographe -en 2001): Tout était exotique. Le caractère si américain du film était aussi exotique pour nous. Nous adoptions un point de vue très européen.
Agnès Sire: Arthur Miller a donc épousé Inge Morath qu'il a connue sur ce tournage des "Misfits". Arthur Miller était encore marié à Marilyn Monroe, mais c'était en train de se déliter totalement.
Alain Bergala: C'est hallucinant ce qu'on voit là dans les photos de ce tournage. Des scènes privées. C'est à dire que tout était destroy et du coup, tout était possible. Le photographe pouvait rentrer et faire la scène du ménage qui avait lieu à côté. Cela a évidemment beaucoup joué. Et ils ont senti ça, que tout allait mal.
Elliott Erwitt (photographe): Le chaos qui régnait sur le tournage était dû aux constants retards de Marilyn, à sa nervosité, et à sa grande détresse de façon générale.
Alain Bergala: Quand les acteurs arrivent, ils sont tous en très mauvais état. Clark Gable n'est pas en mauvais état mais il est très vieux, et Marilyn, ce film se trouve être son dernier film et elle le fait en très très mauvais état.
Bruce Davidson (photographe): Ce n'est pas le sex-appeal de Marilyn qui m'a attiré, mais sa fragilité. C'était une artiste qui luttait contre la dépression. Il y a cette photo que j'ai prise d'elle avec Huston qui m'a mis mal à l'aise. Elle souffrait beaucoup.
Susan Richards (auteure): Monty Clift était un peu comme elle. Les acteurs que Dennis trouvait les plus humains sortaient souvent de l'Actor's Studio. Ils essayaient de rester eux-mêmes à Hollywood où tout le monde porte un masque. Et Monty Clift ne jouait pas ce jeu là.
Alain Bergala: L'homosexualité qu'il s'interdisait de faire savoir, névrose absolue, drogues, lui, il avait tout à la fois. Et c'est magnifique. Evidemment, la scène dans l'arrière-cour où ils sont tous les deux complètement destroy, parce qu'ils étaient réellement destroy. Et Huston détestant les homosexuels... En plus, c'était pas simple pour eux, le rapport avec Huston.
Marilyn Monroe: Ce travail peut être si... On essaie d'être sincère. Cela nous amène parfois au bord d'une sorte de folie. Ce n'est pas vraiment de la folie. Il s'agit plutôt d'essayer d'extraire de soi une part de vérité. Et c'est très dur. Enfin, disons, que c'est pas facile.
Alain Bergala: Marilyn, comme toutes les stars, contrôlait les images qu'on pouvait montrer d'elle. Sur les photos qu'elle ne voulait pas voir diffuser, on voit tout ce qui la menace. C'est à dire pour elle, la beauté n'était pas donnée, n'était pas acquise, qu'est ce qu'il a fallu de travail et d'efforts pour qu'on ait une autre image que ça. Cette lutte l'a tuée. D'être toujours une image, à un moment, ça ne tient plus. C'est le film où ça ne tient plus.
Eve Arnold: On l'a tous utilisée, cela ne fait aucun doute. Nous, photographes, devons accepter le fait qu'on a besoin de l'image des autres. Bien sûr, sans la photographie, Marilyn n'aurait jamais été Marilyn. On l'aurait jamais vue car c'est ainsi que beaucoup de gens l'ont découverte. C'est un cercle vicieux, tout le monde utilise tout le monde. Elle m'a utilisée pour l'aider à aller là où elle voulait, moi et des centaines d'autres. Je n'étais pas unique. J'était unique que dans le sens où elle faisait totalement confiance.
Elliott Erwitt: Les photographes qui ont travaillé sur ce tournage n'étaient pas des paparazzis. Nous étions des photographes Magnum. Personne ne cherchait à nuire ou à créer de scandales. Je ne pense pas qu'il y ait eu des gens comme ça parmi nous.
Voix Off: Le tournage des "Misfits" s'achève le 4 novembre 1960. Le lendemain, Clark Gable est victime d'une crise cardiaque dont il décèdera quelques jours plus tard. Rarement la frontière entre la fiction et la réalité fut aussi mince; et la proximité entre les photographes et les stars aussi grandes.
Alain Bergala: C'est un film 'bascule'. Le cinéma hollywoodien ne sera jamais plus la même chose qu'avant. C'est terminé, donc Il a filmé, en même temps, la décomposition d'un système.
Voix Off: Concurrencé par la télévision, le système des studios s'est essouflé. Et bientôt, les grands magazines suivront. Pour Magnum et le cinéma, une page se tourne.
© All images are copyright and protected by their respective owners, assignees or others.
Marilyn Monroe Auction - 11/2016 - effets personnels 1
Vêtements
Clothes
Lot 15: MARILYN MONROE ROBE
A cream cotton mandarin style robe owned by Marilyn Monroe and gifted to her personal assistant Vanessa Reis, sisterin-law of May Reis. The robe has seven self-frog closures, an internal label reading “Tuji” and the collar stamped "REIS." Accompanied by a copy of a letter to Reis dated August 14, 1993, in which Ralph Roberts writes, "Reference Marilyn robe and bracelet. As best I recall, late one Saturday afternoon Marilyn and I were in the dining area of the Miller 9th floor suite at the Mapes Hotel. She had just changed into a robe, sitting on one of the chairs and I was massaging her back and shoulders. She showed me a bracelet she'd brought to Reno with thought of possibly wearing it as a (undecipherable) comment for Roslyn. Upon discussing it, she and Paula had decided somehow it wouldn't be appropriate. Just then May Reis entered with Vanessa Reis (the widow of Irving Reis, May's greatly loved brother and film director). Vanessa had come up from LA for a long weekend visit - there'd been some talk of our going out to some of the casinos to do a bit of gambling. Vanessa told Marilyn how lovely she looked in that robe. Marilyn thanked her + impulsively held out the bracelet, Take this + wear it as a good luck charm. I was wearing it during dance rehearsals for Let's Make Love, smashed into a prop, so a stone is loosened. I wish I could go with you, but Raffe is getting some Misfits knots out. And I should go over that scene coming up Monday.' They left. Marilyn asked me to remind her to have the robe cleaned to give to Vanessa. Whitey, Agnes, May - all of us - knew from experience we couldn't compliment Marilyn on any personal items or had to be very careful. She'd be compulsive about giving it, or getting a copy - to you."
Estimate: $5,000 - $7,000 
Lot 23: MARILYN MONROE IVORY KNIT TOP
A knitted mohair and wool vest-top in cream owned by Marilyn Monroe. A label reads “Hand Knitted, Made in Italy." Accompanied by an original Christie’s sale tag.
PROVENANCE: Partial Lot 160, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $2,000 - $4,000 
Lot 24: MARILYN MONROE TURQUOISE KNITTED TOP
A knitted mohair and wool vest-top in turquoise owned by Marilyn Monroe. A label reads “Hand Knitted, Made in Italy.” Accompanied by an original Christie’s sale tag.
PROVENANCE: Partial Lot 160, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $2,000 - $4,000 
Lot 25: MARILYN MONROE LANVIN GOWN
A Castillo for Jeanne Lanvin circa 1950s gown owned by Marilyn Monroe. The ivory silk gown is embellished with gold bullion embroidery, simulated pearls, and faceted glass in a tri-squared classical cascading foliate motif. The boned bodice has a silk lining. Hand finishing work is present to the interior. “Jeanne Lanvin” and “Castillo” labels are present.
PROVENANCE: Lot 13, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $20,000 - $40,000 
Lot 27: MARILYN MONROE CEIL CHAPMAN COCKTAIL DRESS
A Ceil Chapman black figure-hugging cocktail dress worn by Marilyn Monroe on December 19, 1953 when she appeared at the Ambassador Hotel in Los Angeles to receive the Miss Press Club Award and to the restaurant, La Rue. The ruched jersey dress has a black silk taffeta three-tiered detail attached to the hip and a Ceil Chapman label. Chapman was one of Monroe’s favorite designers. A Christie’s lot tag and an in-house inventory tag inscribed “Strasberg #16” with an inventory number to the verso are present.
PROVENANCE: Lot 210, “The Personal Property of Marilyn Monroe,” Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $30,000 - $40,000 -> SOLD $50,000
Lot 28: MARILYN MONROE ROSE TATTOO PREMIERE GOWN
A black slender-fitting evening gown worn by Marilyn Monroe while accompanying Marlon Brando to the New York City premiere of The Rose Tattoo (Paramount, 1956) in December 1955. The jersey bias-cut gown has spaghetti straps, a décolletage neckline, and a graduated weighted hemline. The gown is believed to have been custom made for Monroe by the studio wardrobe department and has silk lining and hand finishing work to the interior. Monroe was photographed numerous times at this event, interestingly with studio rival Jayne Mansfield, quite possibly the only time the two were photographed together. Accompanied by the original Christie’s lot tag.
PROVENANCE: Lot 217, “The Personal Property of Marilyn Monroe,” Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $50,000 - $70,000 
Lot 84: HISTORIC DRESS WORN BY MARILYN MONROE WHEN SHE SANG HAPPY BIRTHDAY TO JFK AT MADISON SQUARE GARDEN IN 1962
A Jean Louis designed illusion gown worn by Marilyn Monroe at Madison Square Garden in New York City on May 19, 1962, at a Democratic fundraiser and 45th birthday celebration for President John F. Kennedy.
Early in 1962, Monroe asked famed Hollywood costume designer Jean Louis to create a dress “that only Marilyn Monroe could wear.” The nude soufflé chiffon gown, perfectly matching Monroe’s skin tone, was embellished with hand-sewn round crystals, carefully placed since the dress was created with no underlining layer. Monroe wore no undergarments that night, instead relying on Louis’ masterful swirls of crystals in precisely the right places. Under the stage lights of Madison Square Garden, the fabric of the dress appeared to melt away, leaving only twinkling rays of light from the crystals reflected by the spotlight covering Monroe. The gown was designed as a sleeveless column dress with a scoop neck and open back with clear zipper, covered by hook and eye tab closure and a small train at the back hem. Despite the zipper and closures, the gown was so form fitting that Louis later disclosed that Monroe had to be sewn into the back closure. His hand stitching is still evident beneath the lower back hook and eye tabs. Since 1999, the dress has been displayed on a custom conservator mannequin.
In this dress, Monroe sang her unique version of “Happy Birthday” to President Kennedy and a crowd of 15,000 well-wishers. Some have posited that Monroe’s delayed appearance on stage and her breathless performance can be attributed to getting lost and racing to the stage as Peter Lawford joked about Monroe’s penchant for never being on time.
The effect of her performance was far reaching – not only for Monroe but also for American 1960s culture. Monroe’s seductive serenade remains a crossroads of Hollywood and political touch points more than 54 years later. Part of the appeal may be the intrigue: Were Monroe and Kennedy having an affair? Did she just stand up in front of 15,000 people and sing him that song that way ? The performance has taken on a life of its own, outside the context of the gala. While Monroe’s performance is instantly recognizable and the most memorable of the night, it was one of many that night that included Jack Benny, Ella Fitzgerald, Henry Fonda and Maria Callas. However, it is Monroe singing in this dress that is remembered. It has come to epitomize who Marilyn was in popular culture, including the lyrics she wrote herself for the evening:
Happy Birthday to you
Happy Birthday to you
Happy Birthday Mr. President
Happy Birthday to you
Thanks Mr. President
For all the things you've done
The battles that you've won
The way you deal with U.S. Steel
And our problems by the ton
We thank you so much
Everybody! Happy Birthday!
As an enormous birthday cake was wheeled onstage, President Kennedy commented on Monroe’s performance, joking, “I can now retire from politics after having had ‘Happy Birthday’ sung to me in such a sweet, wholesome way.”
On that special evening, Monroe could not have known that she would live fewer than three months. Perhaps she thought another future performance would replace this as the moment that would epitomize her and her life. Sadly, John F. Kennedy was assassinated eighteen months later, and if tragedy had not intervened, this may not have been the singular iconic moment we associate with Monroe and Kennedy.
Although Monroe could not have known that this performance would be the last image of her remembered by so many following her untimely death, she expended a great deal of effort and money to bring this moment to life. Monroe’s financial statements from this period reveal a great deal about the extraordinary amount of money she put behind her performance. Her May 1962 financial statements list a special expense category titled “New York Birthday Salute to the President” with a $5,000 expense, Monroe’s ticket/donation made to attend the event. Expenses also include $1,000 listed as pertaining to the birthday gala for her maid, Hazel Washington, to accompany Monroe to New York. The expense is coded as “business maid, plane fare, salary.” Her last checkbook also records a check paid to Mary Irvine for makeup for “special appearance at Madison Square Garden.” Monroe’s financial statements also list a $300 deposit paid to Western Costume Company to create this gown with matching shoes in May and a payment for the remaining balance of $1,140.33 in June 1962. There were no doubt other expenses involved in Monroe’s appearance, but the ticket to the event, dress, and the expenses listed above total more than $7,000 in 1962, which with inflation would equate to $60,000 in 2016.
These costs do not begin to take into account the cost Monroe paid professionally for her appearance. At the time she was filming Something’s Got To Give, and Twentieth Century Fox executives would not give Monroe permission to leave filming to attend the event. According to some sources, the employees on the crew were aware, in advance, that Monroe was traveling from Los Angeles to perform at the celebration. Whatever miscommunication or machinations there were behind the absence, it became another strike against the actress on an already contentious film set. Monroe’s unauthorized departure was used against her as she was ultimately fired from the film.
The performance that night in May also had an impact on Monroe’s personal life. Monroe biographer Lois Banner, in her book Marilyn: The Passion and the Paradox (New York: Bloomsbury, 2012), asserts that Monroe told the event planners that she would dress discreetly. When viewed under normal lighting, the dress did appear modest, but under the glare of the Madison Square Garden stage lights, the Jean Louis creation magically transformed into a sparkling second skin. The dress and the song were too much for the political dynasty, and according to Banner, that evening ended whatever relationship Monroe and John F. Kennedy shared and severed her from the rest of the Kennedy family. The magic and myth of Marilyn Monroe as legend was certainly sealed that evening in May 1962, made permanent by her mysterious death a short time later. The fact that she remains a contemporary role model and muse all these decades later is extraordinary and a feat achieved by few. Ten years after her death, Elton John and Bernie Taupin penned “Candle in the Wind” about Monroe, repurposing the lyrics twenty-four years later for the funeral of Princess Diana. From Andy Warhol to Cindy Sherman to Richard Avedon and Bert Stern, the art and photography world has always taken Marilyn Monroe seriously. In fact, it was Monroe’s death in 1962 that inspired Warhol to create the “Marilyn Diptych” among more than 20 silkscreen paintings of her, all based on the publicity photograph from her 1953 film Niagara, plucking her from pop culture, forever immortalized as art.
PROVENANCE Lot 55, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27–28, 1999
Estimate: $2,000,000 - $3,000,000 
Lot 218: MARILYN MONROE MINK COAT
A three-quarter-length mink coat with bell sleeves, wide lapel, two front velvet lined pockets and rose form buttons edged in citrine rhinestones. Label has been cut from front right lining.
It was and still is customary for furriers to embroider an owner’s name onto a label that is attached to the lining or directly onto the lining of high-end fur jackets. Due to the fact that Inez Melson and her family held this and other furs that belonged to Monroe and her estate for many years in violation of Monroe’s wishes as outlined by her will, we believe that the label, which likely featured Monroe’s embroidered name, was removed from the jacket in an effort to conceal the fact that it was a fur owned by Monroe. The labels cut from these furs have never been recovered.
Estimate: $20,000 - $30,000 
Lot 221: MARILYN MONROE FUR JACKET
A tourmaline mink, cropped jacket with three-quarter-length sleeves, two plastic gold colored buttons and front inside left seam pocket. Label has been cut from front right lining.
It was and still is customary for furriers to embroider an owner’s name onto a label that is attached to the lining or directly onto the lining of high-end fur jackets. Due to the fact that Inez Melson and her family held this and other furs that belonged to Monroe and her estate for many years in violation of Monroe’s wishes as outlined by her will, we believe that the label, which likely featured Monroe's embroidered name, was removed from the jacket in an effort to conceal the fact that it was a fur owned by Monroe. The labels cut from these furs have never been recovered.
Estimate: $10,000 - $15,000 
Lot 222: MARILYN MONROE FUR CAPE
A chinchilla cape with wide lapel, front vertical seamed pockets and notched sides. Label has been cut from front right lining.
It was and still is customary for furriers to embroider an owner’s name onto a label that is attached to the lining or directly onto the lining of high-end fur jackets. Due to the fact that Inez Melson and her family held this and other furs that belonged to Monroe and her estate for many years in violation of Monroe’s wishes as outlined by her will, we believe that the label, which likely featured Monroe’s embroidered name, was removed from the jacket in an effort to conceal the fact that it was a fur owned by Monroe. The labels cut from these furs have never been recovered.
Estimate: $10,000 - $15,000 
Lot 223: MARILYN MONROE CARDIGAN WITH FUR LAPEL
A white wool cardigan with lace and tulle lining, rhinestone button closure and rhinestone cufflinks. The cardigan features a removable white and lunaraine mink shawl collar lapel attached with small snaps. Label inside sweater reads "Bonnie Briar Full Fashioned Fur Blend 10% Angora 70% Wool."
Estimate: $10,000 - $15,000 
Lot 224: MARILYN MONROE STOLE
A white fox fur stole with white silk lining and single hook and eye closure.
Estimate: $8,000 - $12,000 
Lot 294: MARILYN MONROE PORTRAIT DRESS
A red-orange dress worn by Marilyn Monroe in a 1957 portrait and to a circa 1957 event with Arthur Miller that appears to be a showing of The Prince and the Showgirl (Warner Brothers, 1957). The dress has a fitted jersey halter bodice with a layered silk crepon full skirt. A "Designed by Jax" label is present.
Estimate: $60,000 - $80,000 
Lot 295: MARILYN MONROE JAX KNITTED TOP
A black sleeveless knitted top with plunging V to front and back. A Designed by Jax label is present.
Estimate: $3,000 - $5,000 
Lot 296: MARILYN MONROE JAX TOP
An ivory jersey sleeveless cropped top. The top has large pearlized buttons to the back and a Jax label.
Estimate: $3,000 - $5,000 
Lot 376: MARILYN MONROE JACKET
A black wool tailored jacket. The fitted jacket is lined with pale pink and ivory striped silk. Monroe wore the jacket with a fur lined collar while attending a meeting to launch the New Watergate Club in London with Arthur Miller on September 10, 1956. The unfinished collar indicates that it was originally lined with fur.
Estimate: $8,000 - $12,000 
Lot 377: MARILYN MONROE LAMB JACKET
A broadtail lamb cropped long-sleeve jacket with fox fur collar and single black velvet with braided cord trim, front button closure. Label has been cut from front right lining.
It was and still is customary for furriers to embroider an owner’s name onto a label that is attached to the lining or directly onto the lining of high-end fur jackets. Due to the fact that Inez Melson and her family held this and other furs that belonged to Monroe and her estate for many years in violation of Monroe’s wishes as outlined by her will, we believe that the label, which likely featured Monroe’s embroidered name, was removed from the jacket in an effort to conceal the fact that it was a fur owned by Monroe. The labels cut from these furs have never been recovered.
Estimate: $15,000 - $20,000 
Lot 382: MARILYN MONROE SATIN COAT DRESS
An ivory satin coat dress. The dress has mother of pearl buttons and a self-tie belt. A Rudi Gernreich design for Walter Bass label is present.
Estimate: $8,000 - $12,000 
Lot 388: MARILYN MONROE SUNDRESS
A silky ivory sundress. The dress has bows to the shoulders and a silk lining.
Estimate: $8,000 - $12,000 
Lot 427: MARILYN MONROE IVORY DRESS
A figure-hugging ivory silk dress worn during a 1959 photo shoot with Manfred Kreiner while in Chicago promoting Some Like It Hot as shown in photograph at left. The short-sleeve dress has a weighted hem.
Estimate: $8,000 - $12,000 
Lot 480: MARILYN MONROE SILK WRAPPER
An ivory silk wrapper with ruffle trim.
Estimate: $5,000 - $7,000 
Lot 889: MARILYN MONROE PURPLE BLOUSE
A Marilyn Monroe purple cotton short-sleeve button-down blouse. Label reads “Gabey Original.” The fitted shirt has cuffed sleeves and four-button closure, size 12.
PROVENANCE Partial Lot 50, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
Estimate: $2,000 - $4,000 
Costumes Séances Photos
Shooting Sitting Costumes
Lot 58: MARILYN MONROE PORTRAIT BODICE
A 19th Century-style bodice worn by Marilyn Monroe in a 1956 Jack Cardiff photo session. The boned faille bodice is embellished with ivory lace, black silk velvet, and jet-like foliate buttons. Originally from The Jack Cardiff Collection. Accompanied by a piece of the original missing button and a copy of Cameraman: The Life and Work of Jack Cardiff (Modus Operandi Films, 2010).
PROVENANCE: Lot 93, “Film and Entertainment,” Christie’s, South Kensington, Sale number 9538, December 17, 2002
Estimate: $20,000 - $40,000 
Lot 61: MARILYN MONROE RICHARD AVEDON PHOTOSHOOT COSTUME AND LIFE MAGAZINE
A costume worn by Marilyn Monroe as Lillian Russell for a pictorial feature in the December 22, 1958 issue of Life magazine, photographed by Richard Avedon. The lavender satin, boned leotard has a décolletage neckline trimmed with bouquets of fabric flowers and pink, lavender and cream draped chiffon sashes across the front, embellished with pink satin bows and trimmed in lavender, pink and cream chiffon. The costume has minor post-photoshoot alterations. Monroe also dressed as Theda Bara, Clara Bow, Jean Harlow, and Marlene Dietrich for this series of photographs. Accompanied by a copy of the magazine.
PROVENANCE: Lot 748, “Collectibles & Hollywood Entertainment,” Christie's East, New York, Sale number 7513, December 18, 1993
Estimate: $20,000 - $40,000 
Costumes de films & Bijoux
Movies costumes & Jewels
Lot 30: MARILYN MONROE HOW TO MARRY A MILLIONAIRE EARRINGS
A pair of simulated pearl and simulated diamond costume earrings worn by Marilyn Monroe in How To Marry A Millionaire (20th Century, 1953) and in numerous publicity photographs. Monroe also wore the earrings to a St. Jude charity event at the Hollywood Bowl in September 1953 and to Charles Coburn's birthday Party on June 17, 1953. Accompanied by the Christie’s lot card.
Length approximately 2 1/2 inches
PROVENANCE: Lot 230, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $80,000 - $100,000 
Lot 38: MARILYN MONROE STUDIO EVENING GOWN
A black velvet evening gown with plunging neckline from an unknown production with a bias label inscribed "M. Monroe 1 27 3 0396." Accompanied by a matching black velvet belt.
PROVENANCE: Lot 225, "Collector’s Carrousel, Including Dolls, Toys, Slot Machines, Hollywood and Rock ‘N’ Roll Memorabilia," Sotheby's New York, Sale number 6384, December 17, 1992
Estimate: $20,000 - $30,000 
Lot 39: MARILYN MONROE NIAGARA NEGLIGEE
A slender-fitting black chiffon negligee with an applied silk red rose made for Marilyn Monroe as Rose Loomis in the thriller Niagara (20th Century, 1953). The gown is trimmed with lace and has a flesh tone chiffon underlayer. A bias label is inscribed “1-69-1-1180 Marilyn Monroe A-678.” Monroe’s role in this film established her as a star and showcased her dramatic acting abilities. Costume design by Dorothy Jeakins. Post-production alterations are present. The dress is not in the final cut of the film but is documented on Monroe in wardrobe test shots.
PROVENANCE: Lot 224, "Collector’s Carrousel, Including Dolls, Toys, Slot Machines, Hollywood and Rock ‘N’ Roll Memorabilia," Sotheby's New York, Sale number 6384, December 17, 1992
Estimate: $20,000 - $40,000 
Lot 40: MARILYN MONROE SOME LIKE IT HOT COCKTAIL DRESS AND STUDIO IMAGE
A figure-hugging sheer black and nude embellished cocktail dress worn by Marilyn Monroe while singing “I’m through with Love” atop a grand piano in Billy Wilder’s Some Like It Hot (United Artists, 1959). The dress is composed of black souffle and nude silk jersey embellished with columns of jet-like beads and sequins, scattered beaded butterfly appliques, and beaded fringes. The dress has a built-in bra and an illusion of a deep plunging back that was considered extremely daring for its’day. Hand finishing work is present to the interior. A Western Costume label inscribed “Marilyn Monroe 1575-1” is attached to the interior of the bra. Legend tells that Monroe had to be lifted to the piano for this scene as the dress was very form fitting. Some Like It Hot is considered to be one of the greatest film comedies of all time. It was voted as the top comedy film by the American Film Institute on their list on AFI's 100 Years...100 Laughs poll in 2000. The film won the 1960 Golden Globe awards for Best Motion Picture-Comedy or Musical, Best Actress in Motion Picture-Comedy or Musical for Monroe, and Best Actor in Motion Picture-Comedy or Musical for Jack Lemmon. Orry-Kelly won the 1959 Academy Award for costume design for his work on this film. Some restoration work is present. Accompanied by a black and white publicity image.
PROVENANCE: Lot 586, “Entertainment, Memorabilia & Collectibles,” Christie's, New York, Sale Number 7327, June 29, 1992
Estimate: $400,000 - $600,000 
Lot 41: MARILYN MONROE NIAGARA DRESS
A carnation pink linen halter-style “wiggle dress” made for Marilyn Monroe as Rose Loomis in the thriller Niagara (20th Century, 1953). The dress has pearlized magenta buttons, silk lining and a bias label inscribed “1-27-1-7790 Marilyn Monroe A678-05.” Monroe’s role in this film established her as a star and showcased her dramatic acting abilities. Costume design by Dorothy Jeakins. The dress is not in the final cut of the film but is documented on Monroe in wardrobe test shots, publicity images, and public appearances. Some post production alterations are present.
PROVENANCE: Lot 226, "Collector’s Carrousel, Including Dolls, Toys, Slot Machines, Hollywood and Rock ‘N’ Roll Memorabilia," Sotheby's New York, Sale number 6384, December 17, 1992
Estimate: $30,000 - $50,000 
Lot 46: MARILYN MONROE JANE RUSSELL GENTLEMEN PREFER BLONDES EMBELLISHED GOWN AND MAGAZINE COVERS
A ruby red sequin embellished figure-hugging crepe gown worn by Jane Russell in the opening scene of Gentlemen Prefer Blondes (20th Century, 1953) while performing "We're Just Two Little Girls from Little Rock" with Marilyn Monroe. The gown has a built-in leotard with boning, sequins and paillettes in a vermicelli pattern, a high front slit, and a graduated hemline. Hand finishing work is present. Costume design by Academy Award winner William "Billy" Travilla. Accompanied by a cover of the May 25, 1953 issue of Life magazine and a cover of an August 15, 1953, issue of Picture Post. Necklace not included.
PROVENANCE: Lot 245, “Collectors' Carrousel,” Sotheby's, New York, Sale number 5956, December 15, 1989
Estimate: $30,000 - $50,000 
Lot 47: MARILYN MONROE JANE RUSSELL GENTLEMEN PREFER BLONDES COSTUME
A black sequined dance leotard made for Jane Russell as Dorothy Shaw in Gentlemen Prefer Blondes (20th Century, 1953). The costume consists of a black satin boned leotard embellished with jet-like sequins in a vermicelli pattern and rhinestone trim and a matching sequin bicorne hat. The costume is not seen in the final cut of the film. Russell and Marilyn Monroe wear the costumes in the film’s official trailer and many publicity images. Post-production alterations present. Costume design by Academy Award winner William “Billy” Travilla.
Estimate: $8,000 - $10,000 
Lot 48: MARILYN MONROE GENTLEMEN PREFER BLONDES COSTUME AND STUDIO IMAGE
A black sequined dance leotard worn by Marilyn Monroe as Lorelei Lee in Gentlemen Prefer Blondes (20th Century., 1953). The costume consists of a black satin boned leotard embellished with black sequins in a vermicelli pattern and rhinestone trim with dangling teardrop rhinestones and a matching black sequin covered bicorne hat. The leotard has a bias label inscribed “1-25-1-4288 Marilyn Monroe A698-69." The hat has a bias label inscribed “1-25-1-4288 M. Monroe A698-69." Costume design by Academy Award winner, William “Billy” Travilla. The costume is not in the final cut of the film, but Monroe and costar Jane Russell wear these costumes in the film’s official trailer and several publicity images. Accompanied by artificial pink roses that are not original to the costume and a studio image.
Estimate: $20,000 - $40,000 
Lot 49: MARILYN MONROE NO BUSINESS LIKE SHOW BUSINESS GOWN
A figure-hugging embellished gown worn by Marilyn Monroe while singing “After You Get What You Want You Don’t Want It” in the musical There’s No Business Like Show Business (20th Century, 1954). The flesh tone crepe gown has a netting overlay and is generously embellished with silver and pearlized bugle beads in a starburst and foliate motif, scattered rhinestones, bouquets of bugle beads top with sequins and seed beads, with a cluster of monofilament fiber with silver and glittering flowers to the waist-high left leg slit. A sheer pleated vanity panel is present to the slit and was added post production for alternate filming and publicity images for release in countries that forbade such a revealing costume. Hand finishing work and a couture waistband are present to the interior. A 20th Century label with no inscription and a bias label inscribed “1-25-1-4692 M. Monroe A-729-28” are present. Costume design by William Travilla. Accompanied a matching headpiece of silver and glitter flowers, accented with a spray of monofilament fibers with a bias label inscribed “1-25-4-4692 A729-29 M.Monroe.” Accompanied by a pair of strappy satin Pacelle Saks Fifth Avenue high heels that are not original to the costume.
PROVENANCE: Lot 105, “Television and Film Memorabilia and Posters,” Christie's, New York, Sale number 7741, June 28, 1995
Estimate: $100,000 - $200,000 
Lot 50: MARILYN MONROE NO BUSINESS LIKE SHOW BUSINESS SWIM COSTUME
An embellished one-piece swim costume made for Marilyn Monroe as Vicky Hoffman in the musical There’s No Business Like Show Business (20th Century, 1954). The costume consists of a black cotton boned bathing suit with scattered polka dots, two matching bows, a matching belt and a wrap of white cotton decorated with black polka dots. The swimsuit has a couture waistband and a bias label inscribed “1-18-3-1221 A729-41 M.Monroe.” Together with an ivory sequined bathing cap in the form of a flower, with edges trimmed in silver bugle beads with a bias label inscribe “1-25-4-4691-A729-29 M.Monroe.” Costume design by Academy Award winner William "Billy" Travilla. Sir Elton John donated this piece to a charity auction in 1990.
PROVENANCE: Lot 104, “Pop,” Christie's, South Kensington, Sale number 4259, April 25, 1991
Estimate: $20,000 - $40,000 
Lot 54: MARILYN MONROE BUS STOP COSTUME, STUDIO IMAGE AND TEAR SHEET
A jade green embellished satin leotard worn by Marilyn Monroe while singing “That Old Black Magic” in a saloon scene in Joshua Logan’s Bus Stop (20th Century, 1956). The film was based on William Inge’s play. The boned leotard has black netting overlay to a nude wire brassiere, jet-like sequins in a fish scale pattern, scalloped gold bullion fringe trimmed with topaz-colored faceted glass. A bias label inscribed “Marilyn Monroe” and a 20th Century label inscribed “A-769-03” are present. Post-production alterations are present. The film’s costume designer is Academy Award winner William “Billy” Travilla. Monroe received a Golden Globe nomination for Bus Stop , and the film was nominated for the Best Motion Picture-Musical or Comedy Golden Globe. Accompanied by a studio publicity image and a tear sheet from PhotoPlay magazine.
PROVENANCE: Lot 386, Christie’s Collectibles, Christie's East, New York, Sale number 6841, June 21, 1989
Estimate: $80,000 - $100,000 
Lot 55: MARILYN MONROE AND BUS STOP CAST SIGNED STETSON AND FRAMED IMAGE
A tan felt Karam’s Stetson purportedly worn by an extra in the rodeo sequence of Bus Stop (20th Century, 1956) and signed in black ballpoint pen by 11 members of the cast and crew of the film, including Marilyn Monroe, Don Murray, Joshua Logan, George Axelrod, Robert Bray, Arthur O'Connell, Betty Field, Eileen Heckart, and Hans Conried, among others. Accompanied by a copy of a letter from the original consigner regarding the provenance of the Stetson and a framed image of Monroe on the set of the film.
Stetson, approximately 5 by 15 by 13 ½ inches; Framed image, approximately 25 by 25 inches
PROVENANCE: Lot 119, “Film & Entertainment,” Christie's, South Kensington, Sale number 9771, December 16, 2003
Estimate: $8,000 - $10,000 
Lot 56: MARILYN MONROE BUS STOP STUDIO PROMOTIONAL BODICE AND MAGAZINE COVER
A pale green bodice with black floral lace overlay created by 20th Century Fox in the style of a bodice worn by Marilyn Monroe in Bus Stop (20th Century, 1956) and given away as a promotional prize. The fitted bodice has ribbon ties to neck and sleeves, a snap back closure, an interior bias label inscribed “Marilyn Monroe,” and a 20th Century Fox label inscribed "A-769-04.” The bodice was offered to Picture Show & Film Pictorial magazine in 1956 as the grand prize for a reader contest and was originally described as the blouse Monroe wore in the film. While the blouse contains a 20th Century Fox studio label with Marilyn’s name the and the studio’s accurate production number for Bus Stop, the blouse does not match the costume Monroe wears in the final production of the film or in publicity photos. Accompanied by an original Picture Show & Film Pictorial magazine cover, a clipping announcing that Mrs. Fulcher had won the bodice, the original letter from the magazine addressed to the contest’s winner, Mrs. A.M. Fulcher, reading, “My very sincere congratulations on your postcard entry which wins this unique prize of Marilyn Monroe’s blouse, worn by her during the filming of 'Bus Stop.' I hope you will tell the friends to whom you show your prize that regularly something worn or used by a British or American star in a film will be offered in a free competition to be won by a reader of Picture Show. Again my congratulations. Yours sincerely, The Editor. P.S. If you would like to send an acknowledgement to Marilyn Monroe I will see that it is delivered to her.”
PROVENANCE Lot 471, “Film and Animation Art,” Sotheby's, London, June 8, 1993
Estimate: $5,000 - $10,000 
Lot 57: MARILYN MONROE FUR STOLE
A Russian sable fur stole originally acquired by costume designer Beatrice Dawson for Marilyn Monroe to wear in The Prince and The Showgirl (Warner Bros., 1957). Accompanied by documentation from Betty Highwood, an associate of Dawson’s who purchased the fur post production from Dawson. Highwood notes that, according to Dawson, Monroe declined to wear the fur due to its dark color. In scenes near the end of the film, Monroe wears a white fur that more closely matches her costume, a full-length white evening gown.
PROVENANCE: Lot 246, “Film & Entertainment,” Christie's, South Kensington, Sale number 3577, December 20, 1989
Estimate: $5,000 - $10,000 
Lot 59: MARILYN MONROE THE PRINCE AND THE SHOWGIRL GOWN AND WINDOW CARDS
A figure-hugging ivory gown worn by Marilyn Monroe throughout the majority of the romantic drama The Prince and The Showgirl (Warner Bros., 1957). The satin gown has a draped souffle overlay that is adorned with simulated pearls, pearlized bead and faceted glass florets, and beaded fringe and has a weighted mermaid tail. Though Monroe was not nominated for an American Academy Award for this film, she won the French and Italian equivalents for her portrayal of Elsie Marina in this film opposite Sir Laurence Olivier. Costume design by Beatrice Dawson. Accompanied by three window cards.
PROVENANCE Lot 2000, ”Marilyn Monroe: The Red Velvet Images,” Butterfields, Los Angeles, Sale number 7232B, March 22, 2001
BIDDING ON THIS LOT WILL REQUIRE SPECIAL REGISTRATION REQUIREMENTS. Please email info@juliensauctions.com or call 310-8361818 for additional information and approval for this lot.
Estimate: $60,000 - $80,000 
Lot 60: MARILYN MONROE SEVEN YEAR ITCH GLOVES
A pair of custom-made opera gloves embellished with graduated rows of jet-like sequins worn by Marilyn Monroe in the "Rachmaninoff" scene of The Seven Year Itch (Warner Bros., 1955). Hand finishing work is present. A leather label reads “Made for Marilyn Monroe by Billi Cheatwood Beverly Hills.” Accompanied by a copy of the film.
PROVENANCE Lot 142, “Entertainment Memorabilia,” Christie's East, New York, Sale number 7565, June 2, 1994
Estimate: $4,000 - $6,000 
Lot 64: MARILYN MONROE LET’S MAKE LOVE BLOUSE
A custom-made pale pink silk blouse worn by Marilyn Monroe as Amanda Dell in Let’s Make Love (20th Century, 1960). The fitted blouse is tailored with simulated pearl buttons and hand finishing work to the interior. A Twentieth Century Fox label with no inscription is present. Accompanied by a copy of the fim.
PROVENANCE Lot 238, “Film and Entertainment,” Christie's, South Kensington, Sale number EPH 3127, December 16, 1988
Estimate: $20,000 - $40,000 
Lot 65: MARILYN MONROE LET'S MAKE LOVE WRAP SKIRT
A vibrant orange wool wrap skirt worn by Marilyn Monroe in Let's Make Love (20Th Century, 1960). The tailored skirt is lined with pink cotton and has hand finishing work. A Twentieth Century Fox label inscribed “F-13 M. Monroe” is present. Costume design by Dorothy Jeakins. Accompanied by a copy of the film.
PROVENANCE: Lot 143, “Entertainment Memorabilia,” Christie's East, New York, Sale number 7565, June 2, 1994
Estimate: $10,000 - $20,000 
Lot 774: MONTGOMERY CLIFT THE MISFITS SHIRT
A western style shirt worn by Montgomery Clift in The Misfits (United Artists, 1961). The shirt has pearlized snap closures and is labeled "Panhandle Slim." Accompanied by a copy of the book The Making of The Misfits by James Goode, a December 1960 issue of Cosmopolitan , and an August 29, 2004, article from the Los Angeles Times .
PROVENANCE From the Estates of Jack Larson and James Bridges
Estimate: $4,000 - $6,000 
Chaussures
Shoes
Lot 21: MARILYN MONROE SALVATORE FERRAGAMO HEELS
A pair of white leather heels owned by Marilyn Monroe, originally from the estate of Marilyn Monroe. The three-inch spiked heels have perforated dot detailing. Size 7.5B. The heels were originally donated by Anna Strasberg for the benefit of the Hereditary Disease Foundation in Los Angeles, California. Accompanied by a copy of a letter of authenticity signed by Strasberg, dated March 10, 1986. Previously exhibited at the Victoria and Albert Museum in the “Shoes: Pleasure and Pain” exhibit, June 13, 2015- January 31, 2016.
PROVENANCE: Lot 483, “Entertainment & Sports Memorabilia," Christie's East, Sale number 7073, June 20, 1990
Estimate: $2,000 - $4,000 
Lot 101: MARILYN MONROE SANDALS WORN AS A MODEL
A pair of simple brown leather platform sandals with crisscrossing ankle straps by Cabalano, with 3 1/4-inch heels. Monroe can be seen in a number of early modeling photographs wearing these shoes. Impressions of Monroe's feet are well worn onto the insoles, demonstrating how frequently she wore them.
Estimate: $4,000 - $6,000 
Lot 276: MARILYN MONROE FERRAGAMO SHOES
A pair of white leather stiletto heels, hand made in Italy by Salvatore Ferragamo. No size is stamped to leather sole of shoe, but handwritten notations on interior of each shoe read, "AL 3678 7 1/2 B 899." The shoes are heavily scuffed, and the uppers have been polished with white shoe polish while the heel is a couple of shades darker.
Size 7.5
Estimate: $3,500 - $4,500 
Lot 390: MARILYN MONROE FERRAGAMO SHOES
A pair of white silk satin stiletto heels, hand made in Italy by Salvatore Ferragamo. The number six is stamped to leather sole of each shoe.
Size 6
Estimate: $4,000 - $6,000 
Lot 394: MARILYN MONROE WHITE SATIN SHOES
A white satin right-foot shoe by I. Miller Beautiful Shoes with "Marilyn Monroe/ 433/ 22004" handwritten inside and 3 3/4-inch heel. Together with a single white satin shoe by Dal Co. from the Rome boutique, with 3 3/4-inch heel and handwritten notation inside shoe reading "1619."
Estimate: $1,000 - $1,500 
Lot 393: MARILYN MONROE FERRAGAMO SHOE
A single white leather left-foot Ferragamo stiletto heel with scuffed heel, sides and toe. Handwritten notation inside shoe reads "PE-925-7 1/2 B- 899."
Estimate: $500 - $700 
Lot 396: MARILYN MONROE BURGUNDY SATIN PLATFORM SANDALS
A pair of custom handmade sandals with 1 3/4-inch platforms and a heel measuring more than four inches. The bespoke shoes were made by Anello & Davide of London, perhaps most famous for hand crafting the Beatles boots worn by the Fab 4 in the 1960s. Together with two pink plastic and metal shoe forms. Sole of shoe is stamped with maker's mark and UK size 4 1/2. Monroe custom ordered the shoes to match the dress she wore to the premiere of then husband Arthur Miller's play A View From The Bridge in London in October 1956.
Estimate: $4,000 - $6,000 
Lot 397: MARILYN MONROE RED LEATHER DAL CO. HEELS
A pair of red Italian leather heels by Dal Co. listing a boutique address in Rome. Significant wear to heels and soles with nonslip inserts at heel. Leather soles stamped with a "1" and "38," presumably a European size 38.
Estimate: $4,000 - $6,000 
Lot 398: MARILYN MONROE RED I. MAGNIN HEELS
A pair of red canvas heels from I. Magnin & Co. of California with 3 1/2-inch heels. Soles of shoes have handwritten notation reading "1-12-3-7440 M Gaynor" and inside strap with handwritten notation reading "5m D6298 01-698."
Estimate: $3,000 - $5,000 
Lot 399: MARILYN MONROE BEIGE DAL CO. SHOES
A pair of beige heels by Dal Co. with no-slip heel inserts, worn heels and soles, and very scuffed toes and sides. The shoes are stamped both "38" and "15."
Estimate: $2,500 - $3,500 
Lot 400: MARILYN MONROE WHITE LEATHER SANDALS
A pair of white leather open-back sandals with 3 1/2-inch heels. The back of one heel is separating from shoe with multiple scuffs to leather. Handwritten notations inside shoes read "7 1/2 S 30338."
Estimate: $2,500 - $3,500 
Lot 404: MARILYN MONROE PURPLE ALIATA SHOES
A pair of handmade Italian purple leather shoes by Aliata with 3 1/3-inch heels. Sole is stamped simply "8."
Estimate: $3,000 - $5,000
Lot 405: MARILYN MONROE GREY ALIATA HEELS
A pair of grey suede stiletto heels with inset cutouts featuring colorful embroidered paisley designs by Aliata. Each shoe, with 4-inch heel, is hand inscribed "ART 705 8 B 899."
Estimate: $3,500 - $4,500 
Lot 406: MARILYN MONROE BLACK ALIATA HEELS
A pair of handmade Italian black leather stiletto heels with leather lacing detail and cutaway arch by Aliata. The shoes have a 3 3/4-inch heel and size stamp on interior of shoe reading "7 1/2 with (AA 899)" and lavender and brown leather detail on sole of shoe.
Estimate: $3,000 - $5,000 
Lot 407: MARILYN MONROE BLACK SATIN DAL CO. HEELS
A pair of black satin Italian shoes by Dal Co. with 4-inch stiletto heels. The shoes list the address of the company’s Rome boutique, and each shoe contains handwritten notation in black ink reading "1360."
Estimate: $2,500 - $3,500 
Lot 408: MARILYN MONROE BLACK OVERSHOE
A single black, snap-front overshoe with manufacturer’s mark on bottom reading “Goodyear’s I.R.G.M. Co. Glove Brand” as well as a size “5 1/2” stamped to bottom. Together with red and grey plastic spring-form shoe stretcher.
Estimate: $300 - $500 
Lot 410: MARILYN MONROE PLATFORM SANDALS
A pair of woven straw platform summer sandals by Fortuna Shoe of Trieste, Italy, with 3-inch platform heels. Both uppers completely detached at toes.
Estimate: $400 - $600 
Lot 428: MARILYN MONROE WHITE SATIN DELMAN HEELS
A pair of white satin pumps by Delman of New York and Paris with "Especially for Marilyn Miller" embossed in gold inside. Handwritten notation inside each shoe, with 3 1/2-inch heel, reads " BP79741 - 7 1/2 aaa – Venetian."
Estimate: $2,500 - $3,500 
Lot 493: MARILYN MONROE FERRAGAMO SHOES
A pair of beige leather stiletto heels, hand made in Italy by Salvatore Ferragamo. No size is stamped to leather sole of shoe, but handwritten notations on interior of each shoe read, "PE 925 7 1/2 B 899." The shoes are heavily worn, and the left shoe is missing the tip to the stiletto heel.
Size 7.5
Estimate: $3,500 - $4,500 
Lot 494: MARILYN MONROE FERRAGAMO SHOES
A pair of beige leather stiletto heels, hand made in Italy by Salvatore Ferragamo. No size is stamped to leather sole of shoe, but handwritten notations on interior of each shoe read "PE 925 7 1/2 B 899." The shoes are heavily worn and are missing the tips to the stiletto heels, revealing the inner metal structure of the heels.
Size 7.5
Estimate: $3,000 - $5,000 
Lot 395: MARILYN MONROE SHOE FORMS
A pair of quilted champagne silk satin shoe forms.
4 inches
Estimate: $300 - $500 
Accessoires
accessories
Lot 303: MARILYN MONROE EVENING GLOVES
A pair of white cotton ladies evening gloves featuring an elaborate floral pattern done in white seed beads, minor 1 1/2-inch area of discoloration on back of left glove, although gloves have been cleaned and pressed.
12 inches
Estimate: $1,500 - $2,000 
Lot 304: MARILYN MONROE EVENING GLOVES
A pair of white cotton ladies evening gloves featuring a cuff with white cotton bows. Label reads "K Gloves The Hand of Fashion."
Size 6.5
Estimate: $800 - $1,200 
Lot 306: MARILYN MONROE LACE GLOVES
A pair of black lace gloves. The gloves are labeled "Cornelia James Made in England." Size 7 1/2.
Estimate: $3,000 - $5,000 
Lot 307: MARILYN MONROE GLOVES
A pair of black cotton ladies evening gloves featuring elaborate custom beading with black seed and bugle beads throughout. Label reads, "100% double woven cotton made in the British Crown."
8 1/2 inches
Estimate: $1,500 - $2,000 
Lot 145: MARILYN MONROE FUR HEADBAND
A mink fur headband.
Estimate: $500 - $700 
Lot 146: MARILYN MONROE VELVET HAT
A black velvet hat with black satin ribbon trimmed velvet bow at front. Label inside reads "Dawson New York."
Estimate: $2,000 - $3,000 
Lot 147: MARILYN MONROE FUR TOQUE
A mink toque, no label present.
Estimate: $4,000 - $6,000
Lot 148: MARILYN MONROE FEATHER HAT
A lace-lined, white feather covered hat. Label inside reads "Emme Boutique."
Estimate: $1,800 - $2,000 
Lot 150: MARILYN MONROE OWNED WOOL DRIVING CAP
A houndstooth wool driving cap. The interior has a label that reads "By appointment to the Majesty the Queen Hatters Herbert Johnson (Bond Street) Ltd. Made in England for Brooks Brothers."
Size 6/8.
Estimate: $2,000 - $4,000
Lot 151: MARILYN MONROE HAT BOX
A cardboard hat box with lid from Harryson Fifth Ave. New York. Top of lid is detached from frame.
Estimate: $300 - $500 
Lot 152: MARILYN MONROE SATIN HAT
A white satin pillbox hat, with bow at front ornamented with three faux pearl pins. Label inside reads "Fashioned by Ronnie" with two small hair combs sewn to inside brim.
Estimate: $3,000 - $5,000 
Lot 153: MARILYN MONROE FEATHER CLOCHE
A two-tone tan wool cloche hat with peach ostrich feather spray. Label printed on hat reads "100% wool, Glenover Henry Pollak, Inc. New York." This was a family business in Manhattan that imported raw materials for hats and knitwear from 1928 to 1958.
Estimate: $3,000 - $5,000 
Lot 837: MARILYN MONROE VELVET HAT
A Marilyn Monroe scarlet velvet pillbox hat with pendant hearts trimmed with black beads to either side and combs on the interior. No size present.
PROVENANCE Partial Lot 165, "The Personal Property of Marilyn Monroe," Christie’s, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $1,000 - $2,000 
Lot 963: MARILYN MONROE WINTER ITEMS
A group of three Marilyn Monroe winter items: a Scottish maroon wool and cashmere blend scarf, label for Johnstons of Elgin; a grey wool cashmere scarf, label for Frank Brothers of New York; and a cornflower blue wool cap.
PROVENANCE Lot 13, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 
Lot 16: MARILYN MONROE NUDE STOCKINGS AND PARKSIDE HOUSE TABLE NAPKIN SIGNED BY VISITORS
A pair of sheer, seamed nylon thigh-high stockings gifted by Marilyn Monroe to Marianne Geltner, the cook at Parkside House, Englefield Green, Surrey, where Monroe resided with her husband Arthur Miller during the shooting of the film The Prince and the Showgirl (Warner Bros.,1956). Accompanied by a linen table napkin that was signed for Geltner and her husband by approximately 50 visitors to Parkside House between the years 1956 and 1958, including Lee, Paula, and Susan Strasberg, Jack Cardiff, Mrs. Milton H. Greene, Jean Stein, Barbara Hutton von Cramm, Zachary Scott, Charles Coburn and others; a letter from Geltner stating that Marilyn Monroe gave her several things from her wardrobe, including these stockings; and five reproduction images of Geltner and her husband Frank at Parkside House.
Napkin, 22 by 23 1/2 inches
PROVENANCE: Lot 109, “Film and Entertainment,” Christie's, London, Sale number 9287, December 12, 2001
Estimate: $300 - $500 
Lot 34: MARILYN MONROE FISHNET STOCKINGS
A pair of black fishnet thigh-high stockings with elastic leg bands owned by Marilyn Monroe. A Christie’s tag is pinned to garment intended to be sold in 1999 The Personal Property of Marilyn Monroe sale.
PROVENANCE: Lot 85, Property from the Estate of Marilyn Monroe, Julien's Auctions, June 4, 2005
Estimate: $600 - $800 
Lot 912: MARILYN MONROE NYLON STOCKING
A Marilyn Monroe sheer nylon stocking with light blue stitching at the top hem and stitchmarked “60.” Monroe gave the stocking to Marianne Geltner, the English cook who worked for Monroe while she was in London shooting The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE Partial Lot 89, "Film and Entertainment," Christie's, London, Sale number 9538, December 17, 2002
Estimate: $200 - $400 
Lot 954: MARILYN MONROE SILK SCARF
A Marilyn Monroe black silk scarf embellished with red and silver beads. Accompanied by Christie's 1999 lot tag.
Approximately, 26 by 26 inches
PROVENANCE Partial Lot 135, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $1,000 - $2,000 
Lot 568: MARILYN MONROE PURPLE MARABOU FEATHER FAN
With a faux tortoiseshell handle.
Length, 26 inches
Estimate: $600 - $800 
Lot 569: MARILYN MONROE GROUP OF FIVE LOOSE BROWN FEATHERS
Vintage marabou.
Length, 16 inches
Estimate: $400 - $600 
Lot 570: MARILYN MONROE VINTAGE BLACK OSTRICH FEATHER FAN
A folding hand fan made of ostrich feathers and faux tortoiseshell handle. (Feathers damaged, glass lacking.)
13 1/4 by 21 by 2 inches
Estimate: $400 - $600
Lot 571: MARILYN MONROE WHITE MARABOU FEATHER FAN
Four feathers bound by a gold fabric fastener.
Length, 20 inches
Estimate: $400 - $600 
Lot 488: MARILYN MONROE VINTAGE BLACK MINI PARASOL
With a Bakelite tip and wood cane handle, the fabric marked "NYLON" around the edges.
Length, 37 inches; Diameter, 18 inches
Estimate: $600 - $800 
Lot 486: MARILYN MONROE GARMENT HANGERS
A pair of gold velvet covered padded hangers with matching ribbon bows.
Estimate: $800 - $1,200 
Lot 487: MARILYN MONROE FUR HANGERS
Three hangers from Meshekow Bros. wholesale furs featuring extended hooks to accommodate the bulk of a fur coat. Each is branded with the Meshekow Bros. logo, a Los Angeles based wholesale furrier established in 1937.
Estimate: $1,000 - $1,500 
Sacs
Bags
Lot 137: MARILYN MONROE HANDBAG
A gold metal and transparent plastic ladies evening purse bordered with round prong set rhinestones and a rhinestone accented snap closure.
5 by 8 inches
Estimate: $3,000 - $5,000 
Lot 215: MARILYN MONROE TRAVEL BAG
A navy vinyl Japan Airlines carry-on bag, with shoulder strap and outside pocket. Bag reads "JAL Japan Air Lines" with white piped trim. Possibly a bag used during Monroe's honeymoon in Japan with Joe DiMaggio.
9 1/2 by 14 1/2 inches
Estimate: $1,500 - $2,000 
Lot 237: MARILYN MONROE COIN POUCH
A red satin and gold thread hinged coin pouch.
2 3/4 inches square
Estimate: $100 - $150 
Lot 489: MARILYN MONROE CLUTCH
A ladies snap closure evening clutch with silver metal closure mounted with two round rhinestones. Bag is lined with white silk, and a label reading "Hand Made In Japan." Exterior completely beaded in white and clear seed beads in a scalloped pattern.
4 1/2 by 10 1/4 inches
Estimate: $4,000 - $6,000 
Lot 490: MARILYN MONROE CLUTCH
A ladies snap closure evening clutch with gold metal closure, mounted with two clear cabochon stones. White silk lining with label reading "Bags by Josef Hand Beaded in France." Bag completely covered in white seed beads with gold bugle bead meandering pattern.
3 1/2 by 8 1/2 inches
Estimate: $4,000 - $6,000 
Lot 456: MARILYN MONROE CLUTCH
A silver swirled plastic clutch with metal clasp closure and interior mirror. Clutch is stamped "Wilardy" on interior below mirror.
4 1/4 by 7 1/2 inches
Estimate: $4,000 - $6,000 
Lot 453: MARILYN MONROE DESIGNER HANDBAG
A chocolate brown 1950s alligator handbag with interior stamp that reads, "I. Magnin & Co." as well as a metal insignia mounted to the inside of the bag with lions flanking a crest that reads "Elegance" and a banner that reads "Evans" below. The handbag features gold metal hardware and burgundy leather interior with purpose-built pockets to accommodate matching accessories, including faux tortoise plastic comb, matching leather covered gold metal flint lighter, matching lipstick case containing an unused stick of bright red lipstick, and a matching leather powder compact with mirror.
9 by 9 1/2 inches
Estimate: $15,000 - $20,000 
Lot 454: MARILYN MONROE DESIGNER HANDBAG
A burgundy leather handbag with interior stamp reading "I. Magnin & Co. Rendl Original." The handbag features gold metal hardware, white leather interior and matching change purse chained to the bag's interior.
9 by 10 inches
Estimate: $8,000 - $12,000 
Lot 457: MARILYN MONROE HANDBAG
A green swirled plastic ladies handbag, with gold metal clasp closure and hardware and mirror mounted to the inside lid with "Wilardy" stamped on the inside metal frame.
9 inches
Estimate: $3,000 - $5,000 
Lot 491: MARILYN MONROE HANDBAG
A white leather ladies handbag with peach silk interior and gold metal hardware and frame with elastic gold handle. Interior has stamped gold label reading "Duette," which was a model offered by the Evans Company in the late 1940s and early 1950s. Interior pockets hold clear plastic comb and small compact mirror.
10 by 10 inches
Estimate: $3,000 - $5,000 
Lot 492: MARILYN MONROE HANDBAG
A confetti box style Lucite ladies handbag with gold metal hardware and interior sticker label that reads "Gilli Originals New York."
8 3/4 by 3 1/2 by 4 inches
Estimate: $3,000 - $5,000 
Lot 585: MARILYN MONROE MEXICAN HANDBAG
A grey pony handbag with gold metal front closure and black leather interior with label reading "Productos Overa, S.A. TEL 17.14.99 Hecho En Mexico D.F." The handbag contains a plastic faux crocodile bi-fold wallet containing three one-peso Mexican bills. It is well documented that Monroe made frequent trips to Mexico for holidays and to purchase furnishings for her Los Angeles home.
7 by 13 inches
Estimate: $4,000 - $6,000 
Bijoux
Jewels
Lot 29: MARILYN MONROE SIMULATED DIAMOND EARRINGS
A pair of simulated diamond, triple drop, mixed cut fringe ear pendants with clip fitting worn by Marilyn Monroe to the world premiere of The Seven Year Itch (20th Century, 1955) on June 1, 1955, in New York City. Accompanied by the Christie’s lot card.
Length, approximately 3 ½ inches
PROVENANCE: Lot 4, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $80,000 - $100,000 
Lot 31: MARILYN MONROE SIMULATED DIAMOND BROOCH
A floret styled brooch of simulated diamonds owned by Marilyn Monroe. Accompanied by the Christie’s lot card.
Diameter, 2 inches
PROVENANCE: Lot 249, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $5,000 - $10,000 
Lot 32: MARILYN MONROE RHINESTONE BRACELET
A rhinestone bracelet owned by Marilyn Monroe and gifted to Vanessa Reis, the sister-in-law to May Reis, Monroe’s personal assistant and secretary. The bracelet has eight rectangular jeweled panels, each centered with a rounded faceted glass and linked with square rhinestone. The clasp is embossed with Bogoff. In a letter to the consigner dated November 28, 1994, Ralph Roberts, Monroe’s masseur, writes, “Reference Marilyn robe and bracelet. As best I recall, late one Saturday afternoon Marilyn and I were in the dining area of the Miller 9th floor suite at the Mapes Hotel. She had just changed into a robe, sitting on one of the chairs and I was massaging her back and shoulders. She showed me a bracelet she’d brought to Reno with thought of possibly wearing it as a [undecipherable comment] for Roslyn [Monroe’s character in The Misfits]. Upon discussing it, she and Paula [Paula Strasberg was Monroe’s acting coach and friend] had decided somehow it wouldn’t be appropriate. Just then May Reis entered with Vanessa Reis (the widow of Irving Reis, May’s greatly loved brother and film director). Vanessa had come up from LA for a long weekend visit – there’d been some talk of our going out to some of the casinos to do a bit of gambling. Vanessa told Marilyn how lovely she looked in that robe. Marilyn thanked her + impulsively held out the bracelet, ‘Take this + wear it as a good luck charm. I was wearing it during dance rehearsals for Let’s Make Love, smashed into a prop, so a stone is loosened. I wish I could go with you, but Raffe is getting some Misfits knots out. And I should go over that scene coming up Monday.’ They left. Marilyn asked me to remind her to have the robe cleaned to give to Vanessa. Whitey, Agnes, May – all of us – knew from experience we couldn’t compliment Marilyn on any personal items or had to be very careful. She’d be compulsive about giving it, or getting a copy – to you.” Accompanied by a copy of the letter.
PROVENANCE Lot 587, “Western Costume ‘Star Collection’ Part II and Entertainment Memorabilia,” Butterfield & Butterfield, Los Angeles, Sale number 6083B, July 17, 18 & 19, 1994
Estimate: $3,000 - $5,000 
Lot 227: MARILYN MONROE BLANCPAIN PLATINUM AND DIAMOND WATCH
A ladies platinum and diamond Art Deco cocktail watch by the Swiss watchmaking brand, Blancpain, the oldest watch brand in the world. The watchcase is stamped "KO 900 Plat 100 Irid" and numbered "115557." The watch and bracelet are set with round cut and marquise diamonds. The watch face reads Blancpain and the movement is signed "Blancpain, Rayville Watch Co.” The bracelet has two safety chains with fold over clasp featuring additional round diamonds. Despite her famous portrayal of the diamond obsessed Lorelei Lee in the 1953 film classic Gentlemen Prefer Blondes, Monroe owned very few pieces of fine jewelry.
6 1/4 inches
Estimate: $80,000 - $120,000 
Lot 228: MARILYN MONROE ART DECO WATCH
A ladies Art Deco white gold wristwatch set with round cut diamonds. The watch is mounted on a newer gold tone metal bracelet with later movement by Marvin.
5 1/2 inch wrist
Estimate: $15,000 - $20,000 
Lot 229: MARILYN MONROE TRIFARI COSTUME NECKLACE
A silver tone metal necklace featuring a single strand of small round rhinestones with a double circle clasp design signed, "Trifari."
15 inches
Estimate: $10,000 - $15,000 
Lot 230: MARILYN MONROE WEISS COSTUME NECKLACE
A rhinestone necklace featuring a continual strand of alternating and round prong-set stones set into plated rhodium with hood and chain clasp. Founded in New York City in 1942, Weiss was created by former Coro employee Albert Weiss. Weiss, whose height was during the 1950s and 1960s, offered high-end costume jewelry featuring high-quality Austrian rhinestones with exceptional clarity.
Adjustable 15 3/8 inch maximum length
Estimate: $8,000 - $12,000 
Lot 231: MARILYN MONROE SIGNED COSTUME JEWELRY BRACELET
A vintage rhinestone bracelet circa 1940s featuring alternating baguette set rectangles with small round stones, with box clasp and safety chain. Signed "EB Pat Pending" for Engel Bros. of New York founded circa 1931.
7 inches
Estimate: $6,000 - $8,000 
Lot 232: MARILYN MONROE COSTUME BRACELET
A vintage rhinestone bracelet with a central row of baguette stones lined on both sides by round cut stones with box clasp closure, unsigned.
7 inches
Estimate: $5,000 - $7,000 
Lot 233: MARILYN MONROE NECKLACE
A strand of faux pearls with fishhook clasp.
16 inches
Estimate: $4,000 - $6,000 
Lot 234: MARILYN MONROE BRACELET
A four-strand, faux pearl bracelet with four rows pearls with 14k gold stamped clasp featuring ornate foliate engraved surface mounted with a faux pearl.
7 inches
Estimate: $4,000 - $6,000 
Lot 235: MARILYN MONROE NECKLACE
A strand of faux 10mm pearls with fishhook clasp.
29 inches
Estimate: $5,000 - $7,000 
Lot 236: MARILYN MONROE EARRINGS
A pair of silver tone metal drop earrings with faux pearls and marquis cut stones and screw-post backs.
1 1/16 inches
Estimate: $3,000 - $5,000 
Lot 238: MARILYN MONROE EAR CLIPS
A pair of signed Eisenberg ear clips with crystal beads and round cut rhinestones. Block lettering signature dates the earrings to between 1945 and 1950.
1 1/4 inches
Estimate: $3,000 - $5,000 
Lot 239: MARILYN MONROE BROOCH
A silver tone metal brooch signed Eisenberg with crystal drops, each terminating in a prong set pear-shaped rhinestone, one drop detached. Bar closure features rhinestone rhondelle.
2 3/4 inches
Estimate: $2,000 - $3,000 
Lot 458: MARILYN MONROE HOBE PARURE
A vintage costume parure, signed "Hobe", including wide costume bracelet, ear clips, necklace and brooch featuring fuchsia oval cabochon and emerald and round cut rhinestones. Hobe et Cie was founded in Paris in 1887 by Jacques Hobe. Brought to America in 1915 by his son William, Hobe jewelry was popular not only with everyday customers but also with the Hollywood stars.
Necklace, 8 1/2 inches
Estimate: $15,000 - $20,000 
Lot 458A: MARILYN MONROE BRACELET
A costume bracelet featuring round cut rhinestones, with fold over rectangular hook clasp.
6 3/4 inches
Estimate: $4,000 - $6,000 
Lot 459: MARILYN MONROE BROOCH
A silver tone metal brooch with rhinestone brooch in a starburst design, including combination of round and marquis cut stones, with bar closure.
3 1/2 inches
Estimate: $3,000 - $5,000 
Lot 460: MARILYN MONROE EAR CLIPS
A pair of rhinestone ear clips each with concentric circles of alternating round and oval cut stones.
1 1/4 inches
Estimate: $2,000 - $3,000 
Lot 461: MARILYN MONROE NECKLACE
A strand of faux 6mm pearls with fishhook clasp.
17 3/8 inches
Estimate: $2,000 - $3,000 
Lot 462: MARILYN MONROE EAR CLIPS
A pair of silver tone metal ear clips signed "Japan" with faux pearls and round cut faux diamonds in a floret design.
1/2 inch
Estimate: $3,000 - $5,000 
Lot 463: MARILYN MONROE EAR CLIPS
A pair of curved rectangular rhinestone ear clips each with emerald and round cut stones. One piece missing clip on the back.
1 5/8 inches
Estimate: $1,500 - $2,000 
Lot 465: MARILYN MONROE BROOCH
A gold tone metal starburst brooch accented with round cut rhinestones and bar closure.
2 inches
Estimate: $3,000 - $5,000 
Lot 466: MARILYN MONROE BRACELET
A costume bracelet featuring round cut rhinestones, with fold over rectangular hook clasp.
6 3/4 inches
Estimate: $4,000 - $6,000 
Lot 467 : MARILYN MONROE BROOCH
An ornate foliate brooch of gold tone metal, signed "483/60 Boucher 7704," dating it to between 1955 and 1958, set with round cut stones.
3 inches
Estimate: $8,000 - $12,000 
Lot 468: MARILYN MONROE EARRINGS
A pair of 10k gold screw-post earrings with grape and gold foliate design, each featuring faux pearls.
1 1/8 inches
Estimate: $3,000 - $5,000 
Lot 469: MARILYN MONROE SUITE OF MIRIAM HASKELL JEWELRY
Includes a triple-strand necklace of jade and coral colored beads and a beaded clasp, a matching bangle, and pair of clip-on earrings. Housed in a vintage embroidered silk travel case.
Strand length, 12 inches
Estimate: $4,000 - $6,000
Lot 470: MARILYN MONROE RED LEATHER-BOUND CARTIER BOX
With a miniature enameled heart stick pin and a beaded heart inside.
4 1/2 by 3 1/2 inches
Estimate: $1,000 - $2,000 
Lot 471: MARILYN MONROE VINTAGE GUCCI STERLING HORSEHEAD BANGLE
Marked "16" and "*730/ F1/ 925." 1.84 troy oz.
Diameter, 2 1/4 inches
Estimate: $1,000 - $2,000 
Lot 243: MARILYN MONROE HARDSTONE FOO DOG PIN
A bronze pin with pendant ring in the shape of a foo dog made of white hardstone with coral and turquoise accents.
1 3/4 by 1 1/2 inches
Estimate: $1,000 - $2,000 
Lot 22: MARILYN MONROE GEMINI PENDANT
A gold and silver tone pendant with a debossed Gemini astrological symbol, from the estate of Marilyn Monroe. Gemini was Marilyn's astrological sign.
Height, 1¼ inches
PROVENANCE: Lot 96, “Fine Manuscripts,” Christie's Los Angeles, Sale 9814, September 20, 2001
Estimate: $300 - $500 
Cheveux
Hair
Lot 20: MARILYN MONROE HAIRBRUSH
A vintage gold tone hairbrush with a decorative light-blue enamel back and an image of painterly pink rose. Accompanied by a letter of provenance to the current owner from Anna Strasberg's law firm indicating that some of Marilyn Monroe's possessions were purchased directly from her, this hairbrush being one of them. Anna Strasberg was the second wife of Lee Strasberg, Monroe's acting coach, mentor and inheritor of her estate.
Length, 11 1/2 inches
Estimate: $300 - $500 
Lot 140: MARILYN MONROE VINTAGE BAKELITE COMB
With a decorative metal handle.
Length, 7 1/2 inches
Estimate: $600 - $800 
Lot 834: MARILYN MONROE HAIR PIN
A Marilyn Monroe star-shaped rhinestone hair pin. The silver tone pin has a star with multiple rhinestones.
Length, 2 inches
PROVENANCE Partial lot 222, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $3,000 - $5,000 
Lot 961: MARILYN MONROE HAIR STYLING ITEMS
A group of Marilyn Monroe hair styling items, including a spring-style wire hair curler, three double-prong curl clips, and three hair pins.
PROVENANCE Partial Lots 244 and 245, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005, and
Partial Lot 112, "Fine Manuscripts," Christie's, Los Angeles, Sale number 9814, September 20, 2001
Estimate: $2,000 - $4,000 
Lot 962: MARILYN MONROE HAIR CREAM
A box of Marilyn Monroe's hair cream. The box contains two tubes of Wella Kolestral conditioning cream for dry hair. Both of the tubes have been opened and partially used. Accompanied by a paper hair cap.
2 by 6 by 1 1/2 inches
PROVENANCE Partial Lot 252, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $600 - $800 
Beauté: Maquillage et Produits de Beauté
Beauty: Make Up & Cosmetics
Lot 136: MARILYN MONROE POWDER COMPACT
An Elizabeth Arden powder compact covered with prong set round rhinestones and an elaborate faux pearl design. The compact contains mirror, powder puff and loose powder.
2 1/2 by 2 1/4 inches
Estimate: $2,000 - $3,000 
Lot 139: MARILYN MONROE FOSTER JEWELRY CO. COMPACT WITH MARCASITE FLOWER
Cream colored Bakelite lid with applied marcasite flower. Brass bottom case with embossed floral decoration around the edge. Inside is a mirror, opening to a concealed rouge compartment, and the bottom is an empty powder compartment. Marked "FJ Co." and "1973433" inside the lid.
Diameter, 1 3/4 inches
Estimate: $2,000 - $3,000 
Lot 141: MARILYN MONROE BLUE OPAQUE GLASS VANITY JAR
With etched floral parcel gilt decoration and an embossed decorated silverplated lid.
4 1/4 by 4 inches
Estimate: $600 - $800 
Lot 144: MARILYN MONROE VINTAGE AVON PERFUME BOTTLE
A blue milk glass perfume bottle with parcel gilt rim. Marked on the base. (Lacking stopper.)
Height, 3 3/4 inches
Estimate: $100 - $200 
Lot 333: MARILYN MONROE ERNO LASZLO COSMETICS
A black and marbleized white plastic box once containing Active pHelityl soap from Erno Laszlo.
4 1/4 by 2 3/4 inches
Estimate: $1,000 - $1,500 
Lot 335: MARILYN MONROE ERNO LASZLO PHELITONE FACE CREAM
Labeled "Fair/ 128." In vintage 1 oz. black and white original packaging.
1 1/2 by 2 by 2 inches
Estimate: $2,000 - $3,000 
Lot 336: MARILYN MONROE ERNO LASZLO DUAL PHASE FACE POWDER
Labeled "Blush/ 1152." In vintage 2.75 oz. black and white original packaging.
2 by 3 by 3 inches
Estimate: $2,000 - $3,000 
Lot 341: MARILYN MONROE LIPSTICK CASE WITH MIRROR
An engraved decorated vanity lipstick case with a pop-up mirror and a cabochon turquoise catch. Marked illegibly. .64 troy oz.
2 by 3/4 by 3/4 inches
Estimate: $1,000 - $2,000 
Lot 135: MARILYN MONROE LIPSTICK
A gold metal lipstick lid embellished with round prong set rhinestones. The tube contains a used stick of "Bachelor's Carnation" by Revlon, "Non-Smear type, N. 1947, Dist. Revlon N.Y."
2 5/16 inches
Estimate: $3,000 - $5,000 
Lot 142: MARILYN MONROE MICHEL LIPSTICK
In a goldtone case marked "Michel Coral Pink."
Length, 2 1/8 inches
Estimate: $1,000 - $2,000 
Lot 342: MARILYN MONROE ELIZABETH ARDEN LIPSTICK
In a goldtone case with typewritten label reading "Orange Pink like Miss I./ sample 05022/ May 2, 1960."
Length, 2 1/4 inches
Estimate: $2,000 - $3,000 
Lot 343: MARILYN MONROE ELIZABETH ARDEN LIPSTICK
In a goldtone case. Color label marked "Subtle."
Length, 2 inches
Estimate: $1,000 - $2,000 
Lot 344: MARILYN MONROE ELIZABETH ARDEN LIPSTICK
In a goldtone case, with lid stuck in place. Label marked "Click Change."
Length, 2 1/2 inches
Estimate: $1,000 - $2,000 
Lot 345: MARILYN MONROE MICHEL LIPSTICK
In a goldtone case marked "Michel Pearl No. 1."
Length, 2 1/8 inches
Estimate: $1,000 - $2,000 
Lot 331: MARILYN MONROE EYEBROW PENCIL
A clear vinyl snap-closure case with mirror and eyebrow pencil.
Mirror, 2 by 3 inches
Estimate: $200 - $300 
Lot 958: MARILYN MONROE COSMETICS
A pair of Marilyn Monroe eye makeup items: an S.H. Swick dark brown eye pencil and an Elizabeth Arden “Eye Stopper” black eyeliner.
Longest, 5 inches
PROVENANCE Partial Lot 275, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 
Lot 959: MARILYN MONROE MAKEUP PENCIL
A Marilyn Monroe Maybelline makeup pencil, in light brown.
Length, 3 inches
PROVENANCE Partial Lot 275, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $600 - $800 
Lot 965: MARILYN MONROE MAKEUP PENCIL
A Marilyn Monroe Glorene of Hollywood makeup pencil in light brown.
Length, 4 3/4 inches
PROVENANCE Partial Lot 275, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $600 - $800 
Lot 966: MARILYN MONROE MAKEUP BRUSH
A Marilyn Monroe makeup brush with clear plastic handle and black bristles. The brush is typical of the brushes that would accompany cake mascara.
Length, 4 inches
PROVENANCE Partial Lot 275, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $600 - $800 
Lot 967: MARILYN MONROE ERNO LASZLO MAKEUP
A pair of Marilyn Monroe Erno Laszlo makeup bottles. The plastic bottles have black Laszlo branded caps. One bottle has a sticker affixed to the underside that identifies it as “Normalizer Shake-It/ Shade BLUSH.” The other bottle contains unidentified liquid makeup.
Height, 5 inches
PROVENANCE Partial Lot 112, "Fine Manuscripts," Christie's, Los Angeles, Sale number 9814, September 20, 2001
Estimate: $1,000 - $2,000 
Lot 968: MARILYN MONROE ERNO LASZLO MAKEUP
A jar of Marilyn Monroe Erno Laszlo pHelitone makeup. The plastic wide-mouth jar has a black Laszlo branded cap. The jar has a sticker affixed to the underside that identifies it as “pHelitone/ Shade BLUSH” and is additionally stamped “670.”
1 1/4 by 2 1/4 inches
PROVENANCE Partial Lot 112, "Fine Manuscripts," Christie's, Los Angeles, Sale number 9814, September 20, 2001
Estimate: $1,000 - $2,000 
Lot 969: MARILYN MONROE ERNO LASZLO LOTION
A Marilyn Monroe owned bottle of Erno Laszlo controlling lotion contained in its original box. According to the Erno Laszlo company website, Monroe and Laszlo were close friends, and he formulated one of his products specifically for her.
2 1/2 by 4 1/2 by 2 1/2 inches
PROVENANCE Partial Lot 112, "Fine Manuscripts," Christie's, Los Angeles, Sale number 9814, September 20, 2001
Estimate: $200 - $400 
Lot 138: MARILYN MONROE ACCESSORIES
A pair of ladies accessories covered in prong set round rhinestones, including a card case with brushed metal interior and hinged arm to one side, together with a faux tortoise plastic folding comb with rhinestone covered case.
Case, 3 by 4 inches
Estimate: $1,500 - $2,000 
Lot 330: MARILYN MONROE BEVELED GLASS PURSE VANITY MIRROR
With shagreen back.
2 1/4 by 2 inches
Estimate: $400 - $600 
Lot 329: MARILYN MONROE MIRRORED TRINKET BOX
A glass and brass box with a floral cut-glass lid and a mirrored base.
1 1/2 by 3 3/4 by 2 1/2 inches
Estimate: $400 - $600 
Property from the life and career of MM - 12/2014 - The Misfits
The Misfits
Lot 891: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe co-stars Clark Gable and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
Lot 892: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The images show Marilyn Monroe and co-star Clark Gable working a scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
Lot 893: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains various images of the principal cast of the film including Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
Lot 894: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe, Clark Gable and Montgomery Clift, including images of Monroe seated between takes talking to a child. One image is marked with an "X" and marked "6" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600 
Lot 895: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
Lot 896: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of seven images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and co-star Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 897: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains two images of Marilyn Monroe and Montgomery Clift. Clark Gable appears in all of the photographs. Eli Wallach is in six of the 10 images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
Lot 898: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images that include Marilyn Monroe. The remaining images show the principal male stars of the film, Clark Gable, Montgomery Clift and Eli Wallach, working with horses and lassos.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
Lot 899: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains three images that include Marilyn Monroe. The remaining images show the principal male stars of the film: Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 900: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe. Some images include co-star Clark Gable, and two images show director John Huston speaking to both Gable and Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 901: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
Lot 902: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car. Clark Gable is the driver in eight of the images. Monroe appears to be asleep in three of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
Lot 903: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 18 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach and a dog. Marked "222" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$320 - Estimate: $400 - $600 
Lot 904: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach, two desert views, and four images of Monroe speaking with a man whose back is to the camera. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 905: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver with Montgomery Clift in the car as well. Two of these latter images have a black X over Gable's face.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 906: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car with Clark Gable and Montgomery Clift. Other images are portrait shots of Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 907: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$75 - Estimate: $400 - $600 
Lot 908: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet from the set of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable during the film's swim scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$512 - Estimate: $400 - $600 
Lot 909: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Clark Gable and two candid images of Monroe by herself. Marked "170" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$320 - Estimate: $400 - $600
Lot 910: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of an intimate scene between Marilyn Monroe and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,920 - Estimate: $400 - $600 
Lot 911: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are from a desert scene with horses. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 912: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Eli Wallach in a car together, images of Montgomery Clift lying on the ground, and two images of three unknown persons on the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 913: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift. Director John Huston can be seen talking to the actors in some of the images. Marked "174" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 914: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 13 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 915: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift and horse wrangling scenes shot in the desert. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 916: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains behind-the-scenes images of Marilyn Monroe, Clark Gable, Eli Wallach, and Montgomery Clift with other members of the cast and crew. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 917: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe resting between takes, Arthur Miller reclining on set, five images of Clark Gable with a dog on set, and a candid portrait of Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 918: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, her longtime makeup artist Whitey Snyder with what appears to be a birthday cake, Arthur Miller, Eli Wallach and Clark Gable. One image of Gable seated with two other men has a red X drawn through it.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 919: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of nine behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains one image of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $200 - $400 
Lot 920: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with makeup man and friend Whitey Snyder. Other images are of the cast and crew on location. Marked "203" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 921: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are of Clark Gable pulling a rope. John Huston appears in one image with Gable. Marked "204" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 922: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with Montgomery Clift. Other images show Clark Gable with director John Huston and Eli Wallach in a plane, among other set shots. Marked "194" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 923: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 17 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe in a truck, and images of Clark Gable, Eli Wallach, and Montgomery Clift in the desert. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 924: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable as well as three group shots of the cast and crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$250 - Estimate: $400 - $600 
Lot 925: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of the principal characters, Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach, and six images of Monroe's and Paula Strasberg's personalized chairs from the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 926: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Paula Strasberg, Eli Wallach and one image of Monroe and Wallach with Montgomery Clift and Clark Gable, with other general set images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600 
Lot 927: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11inches
Winning bid:$768 - Estimate: $400 - $600 
Lot 928: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). Marilyn Monroe appears in six of the images. Co-stars Clark Gable, Eli Wallach and Montgomery Clift can be seen in some of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 929: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 930: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable and a behind-the-scenes image.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$576 - Estimate: $400 - $600 
Lot 931: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe, Eli Wallach, Montgomery Clift and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 932: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of the film's principal actors: Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift. Marked "193" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 933: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet from the filming of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable on the set in candid moments.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,000 - Estimate: $400 - $600 
Lot 934: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach and images of Monroe on horseback.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600 
Lot 935: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe on the set with crew members preparing for her swim scene in the film.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,562.50 - Estimate: $400 - $600 
Lot 936: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe alone and with Montgomery Clift, director John Huston, and an image of the crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600 
Lot 937: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe and Clark Gable, an image of Monroe with Arthur Miller, two images of Monroe alone, and other images taken on set of Monroe on horseback and in the water. Marked "176" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$512 - Estimate: $400 - $600 
Lot 938: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
A vintage black and white image of Marilyn Monroe with Eli Wallach on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$128 - Estimate: $300 - $500 
Lot 939: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
A vintage black and white image of Marilyn Monroe on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$384 - Estimate: $300 - $500 
Lot 940: MARILYN MONROE RELATED NOTE ON MISFITS LETTERHEAD
A letter written to Marilyn Monroe Productions on The Misfits (Seven Arts, 1961) letterhead, dated March 13, 1961. Written to May Reis, Monroe's private secretary from the comptroller of the film. The letter is dated one month following the release of the film in regard to Arthur Miller.
8 1/2 by 11 inches
Winning bid:$375 - Estimate: $300 - $500 
Lot 942: MARILYN MONROE'S PERSONAL COPY OF A MISFITS BEHIND-THE-SCENES FILM
A 16mm reel of behind-the-scenes footage shot on the set of The Misfits (Seven Arts, 1961). The reel comes with the original envelope that is addressed to Marilyn Monroe from United Artists. Notes on the envelope read "16mm publicity" and "The Misfits/ film for Foreign Screening." Accompanied by a document from UA titled “The Making of ‘The Misfits’/ (Narration for a 20-minute featurette)” with a personal note to Monroe affixed to the cover page.
The film begins with Marilyn Monroe arriving in Reno, Nevada, with Arthur Miller and being received at the airport, then then driving through Reno. The next scene appears to be a press conference with Monroe and co-stars Clark Gable, Montgomery Clift, Eli Wallach, Kevin McCarthy, Thelma Ritter, director John Huston and Monroe's husband, Arthur Miller.
The approximately 19-minute film goes on to show a variety of behind-the-scenes activities of the cast and crew beginning with the filming of Monroe and Ritter in a street scene that was cut from the final version of the film.
Other segments of the include Monroe at Harrahs Casino taking refreshment with Ritter, Houston and a dog Monroe attempts to feed; the cast on location; street filming in Reno with the cast in a vehicle followed by a parade of observers; Monroe signing autographs; Monroe greeting and get on a horse; shots of the cast being filmed riding together; aerial images of the set; a baseball game being played on set; a football being tossed on set with Miller and Houston joining in the game; and Monroe lounging with two other women on the hood of a car. The last part of the film shows the filming of a “Misfits” scene where Monroe is swimming and playing with a dog in the water. The very last image is of Monroe running from the water to embrace Gable. No audio. Accompanied by a DVD copy of the film.
PROVENANCE From the lost archive of Marilyn Monroe
8 1/4 inches
Winning bid:$4,800 - Estimate: $10,000 - $20,000 
16/10/1960 Dîner et Casino
Le soir ayant précédé le dernier jour de tournage des "Désaxés" sur place (au Nevada), John Huston offre une fête d'anniversaire commune à Montgomery Clift et Arthur Miller (tout deux nés un 17 octobre) dans un restaurant du Fairmont Hotel, à North Beach, à San Francisco le 16 octobre 1960. La soirée est joyeuse car elle marque le soulagement de la fin du tournage.
The evening before to the last day of filming "The Misftis" on location (in Nevada), John Huston organizes a common birthday party for Montgomery Clift and Arthur Miller (both born on October 17) in a restaurant in North Beach, San Francisco, on October 16 1960. The evening is joyfull as it marks the end of the filming.
> photo de presse
Après le dîner, les invités vont au bar pour jouer au craps. Pendant que John Huston donne les dés à Marilyn Monroe, elle lui demande:
-"Que pourrais-je demander au dés John ?", il répond:
-"Ne pense pas, chérie, lance simplement. C'est ta destinée. Ne pense pas, agis."
Pendant le tournage, John Huston a passé de longues heures, parfois des nuits entières, à jouer dans les casinos de Reno.
After dinner, guests are going to the bar to play craps. While John Huston gives the dice to Marilyn Monroe, she asks him:
-What shall I ask the dice for John?", his answer was:
-"Don't think honey, just throw. Don't think, do it".
While on location in Nevada, John Huston spent long hours, sometimes nights, at the gambling tables in Reno.
> Photographies de Eve Arnold
> Planches contact / Contact Sheet
> source:
Livre "Marilyn Monroe, Eve Arnold", Edition de La Martinière.
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Julien's Auction 11/2012 - The Misfits
lot n°587: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
A group of five negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The five images in this lot show Monroe on the set with various cast and crew members, including one photograph with Arthur Miller. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches each
Estimate: $1 000 - $2 000
lot n°588: MARILYN MONROE AND CLARK GABLE STILL
A black and white photograph of Marilyn Monroe and Clark Gable on location during the filming of The Misfits (United Artists/Seven Arts Productions, 1961). Stamped "Propiedad de Tito Franco" with production information on verso.
6 1/2 by 9 1/2 inches
Estimate: $200 - $300
lot n°589: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
A group of four negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The four images in this lot show Monroe on the set wearing a bathing suit and towel with her hairdresser and other crew. Together with a black and white photograph of Monroe on the set. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°590: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
A negative of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photograph offered here was taken on the Nevada set of the film by Thomas Kaminski. The image in this lot shows Monroe seated on the ground with various cast and crew members behind her. Rights to this image will be transferred to the winning bidder.
Negative, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°591: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
A group of three negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits, written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The three images in this lot show Monroe on horseback. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°592: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
Two negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The two images in this lot show Monroe wearing sunglasses on the set with various cast and crew members. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°593: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
A negative of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photograph offered here was taken on the Nevada set of the film by Thomas Kaminski. The image in this lot shows Monroe seated among cameras on the set wearing jeans and cowboy boots. Rights to this image will be transferred to the winning bidder.
Negative, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°594: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
Two negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The two images in this lot show Monroe in a bikini walking on the sand and coming out of the water. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot n°595: MARILYN MONROE AND CLARK GABLE THE MISFITS NEGATIVES AND COPYRIGHT
A group of 38 negatives of Marilyn Monroe, Clark Gable, and others on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits, written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The images in this lot show Monroe, Gable, and other cast and crew on the set and filming various scenes, including one with horses. Together with five contact sheets of these images. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000 
Le Nouvel Observateur 9/08/2012
Le magazine français Le Nouvel Observateur n°2492, paru le 9 août 2012 consacre un article de 5 pages à Marilyn Monroe (chapitre 5, par François Forestier).
prix: 3,50 €
Chapitre 5 : le dernier film de Marilyn
Par François Forestier
en ligne sur nouvelobs.com
Le tournage des « Misfists » s'achève dans l'amertume. Le 16 novembre, Gable meurt d'une crise cardiaque. Pour tous, c'est Marilyn qui est coupable… © DR
Avec « The Misfits », de John Huston (1961), Marilyn Monroe quitte le cinéma et entre dans la folie.
Marilyn est déchaînée. Une haine noire sourd d'elle. Elle humilie constamment son mari. Elle lui fait porter son café. Elle refuse d'apprendre ses répliques. Elle demande qu'il récrive le scénario. Elle fait savoir publiquement qu'elle vient d'avoir une aventure avec Yves Montand, sur le tournage du « Milliardaire ». Arthur Miller, abattu, reste devant sa machine à écrire, et, par la fenêtre, contemple les montagnes dans le désert du Nevada. Des bouffées de vent apportent des nuages de poussière et les petits buissons d'alfafa roulent sur la terre violette, brûlée par le soleil. L'eau de Pyramid Lake s'évapore en brouillant la lumière. Il fait une chaleur folle : 55 degrés. L'apparence d'innocence, le masque de fragilité de Marilyn sont tombés : il ne reste plus qu'une harpie vulgaire, au vocabulaire de harengère et à l'allure d'une virago. Derrière Marilyn, la Gorgone.
Flash-back. Arthur Miller a eu l'idée des « Misfits » deux ans avant, lors du tournage du « Prince et la Danseuse ». A Londres, il a couché sur le papier l'histoire de deux cow-boys réduits à chasser des mustangs sauvages pour les vendre comme chair à Canigou. Dans les derniers espaces libres, ces survivants d'une autre époque prennent les chevaux au lasso et savent que ces palominos vont devenir de la pâtée pour chiens. Gay et Guido croisent sur leur chemin un autre homme, Perce, et un triangle amoureux s'installe avec la belle Roslyn, qui a toujours été traquée par les hommes comme ces chevaux… Dans l'esprit d'Arthur Miller, ce scénario est un cadeau d'amour pour Marilyn. Du moins, en 1957 : à ses yeux, alors, elle était une victime, une innocente éternellement abusée par les hommes, toujours utilisée comme objet sexuel. Mais, deux ans plus tard, son regard a changé : Marilyn est un monstre, Miller le voit bien. Elle manipule les gens, joue avec les sentiments, couche pour faire mal ; elle détruit, elle cingle. Il n'y a plus aucune douceur en elle. Les gens sont émus par sa vulnérabilité ? En fait, elle est aussi vulnérable qu'une écharde en Téfon. D'ailleurs, quand Miller lui a fait lire le script, elle l'a trouvé bête, sans intérêt et, c'est clair, elle ne tournera pas ce… ce… ce machin, mi-western, mi-drame.
1959. Les mois ont passé. Marilyn s'enfonce dans son paradis artificiel : elle prend une douzaine de pilules le soir. Autant pour se réveiller, avec un bloody mary. Elle dort nue dans un lit bouchonné, et son chien s'oublie sur les disques de Frank Sinatra qui traînent partout. Elle refuse de tourner le remake de « l'Ange bleu » avec Spencer Tracy. Elle se moque d'Arthur Miller, qui n'arrive pas à vendre son scénario aux producteurs. Elle refuse d'intervenir auprès de John Huston que Miller aimerait contacter. Après tout, elle a tourné avec Huston « Quand la ville dort », elle le connaît. Mais le cinéaste la connaît aussi : il sait qu'elle a été call-girl, qu'elle n'est qu'une « pauvre fille » abîmée et abrutie par les drogues, il la tient en médiocre estime. Il est au courant des deux overdoses qu'elle vient de faire, avant d'être sauvée au dernier moment. Finalement, quand Miller remet le scénario à Huston, celui-ci aime. Il ne craint qu'une chose : la folie de Marilyn. Et ses retards chroniques. Pourtant, récemment, elle a fait un effort : pour accueillir Nikita Khrouchtchev, président du Conseil des Ministres de l'URSS, lors de sa visite aux Etats-Unis et à Disneyland, elle a été à l'heure. Billy Wilder, qui vient de souffrir mille morts pendant le tournage de « Certains l'aiment chaud » à cause des absences de sa star, remarque immédiatement : « C'est Khrouchtchev qui doit mettre en scène le prochain film de Marilyn. »
John Huston contacte d'abord Robert Mitchum. Celui-ci lit « The Misfits », n'y comprend rien et donne comme consigne : « Dites à Huston que je suis mort. » Clark Gable, pressenti, est plus malléable. Il accepte. Marilyn est ravie, elle a toujours pensé qu'il aurait pu être son père de rêve. Si beau, si viril, le king Gable… Montgomery Clift, à peine remis d'un accident terrible qui l'a défiguré, bourré d'alcool et d'analgésiques, obtient le rôle de Perce, le cow-boy solitaire. Le tournage est fixé au 18 juillet 1960, non loin de Reno, Nevada. Trois jours plus tôt, la Convention du Parti démocrate a désigné JFK comme candidat officiel, au grand plaisir de Marilyn. Dans le désert, la production s'installe, avec parasols, réserves d'eau, génératrices. La star, dans sa caravane, répète avec Paula Strasberg, l'âme damnée de Marilyn, qui exaspère tout le monde en traînant derrière l'actrice comme une tique grasse. Lee Strasberg, le prophète de l'Actors Studio, arrive et s'habille immédiatement en cow-boy d'opérette. Son Stetson est plus grand que lui. Il refuse d'intervenir pour calmer Marilyn. Il n'est là que pour la persuader de jouer dans un film dont il a le projet, « Rain », d'après Somerset Maugham. Huston, découragé, va jouer son cachet au casino et, au petit matin, tombe dans le lit de sa maîtresse, Marietta Tree, une militante de gauche. Marilyn jette les vêtements d'Arthur Miller dans la poussière, le vire de sa caravane, le plante là, au vu et au su de tous. Et elle rejoint secrètement JFK au Cal Neva, un hôtel de la mafia dans lequel Joe Kennedy, le père du futur président, possède des actions, conjointement avec Sam Giancana, le parrain de Chicago. Peut-être Marilyn est-elle heureuse, pour quelques heures, sur la terrasse de l'un des bungalows du Cal Neva, au bord du lac Tahoe…
Jour après jour, Marilyn est en retard. Sous un soleil de plomb, l'équipe attend. Clark Gable, qui se sent mal, tempête. Il s'en prend à « Monty » Clift, qui est venu avec son amant. Quand il le traite de tapette, l'autre lui répond : « C'est celui qui dit qui en est. » Il ravive ainsi un passé ignoré : Clark Gable, l'idole des femmes, a débuté à Hollywood en accordant ses faveurs à des homosexuels réputés. Du coup, Gable se tait. L'ambiance est terrible. Une photographe autrichienne au visage de garçon traîne : rien n'échappe à Inge Morath, qui a traversé la fin de la guerre dans un camp de prisonniers ukrainiens. Elle voit, comme tous, que Marilyn n'a plus de regard. Ses yeux sont vitreux : elle prend au moins vingt pilules de Nembutal et des injections d'Amytal, deux barbituriques très dangereux, prescrits par le psy de Marilyn, Ralph Greenson, qui a jeté depuis longtemps aux orties son éthique professionnelle. Sa cliente rate ses scènes, puis s'enferme dans sa caravane et braille contre Mller. Paula Strasberg, pour 3 000 dollars par semaine, se contente de lire « Comment gagner au Craps » dans ces moments-là, et se bourre aussi d'analgésiques. Elle a un cancer des os. Lee, son mari, s'en va.
Au beau milieu du tournage, les montagnes, au loin, s'enflamment. Un incendie ravage la Sierra Nevada, les lignes téléphoniques et électriques sont coupées, la climatisation est en panne, la ville entière est plongée dans le noir. Marilyn s'assied et boit du champagne en contemplant le rougeoiement de l'horizon. Au dernier étage du Mapes Hotel, une fenêtre reste allumée : Arthur Miller a pris soin de faire brancher sa chambre sur un générateur de la production. Il récrit son scénario, jugé trop long, trop lent. Il n'arrive pas à trouver le point nodal de son « western moderne ». Il ne le trouvera jamais. Le feu éteint, Marilyn essaie de reprendre. Elle titube. Huston décide de l'envoyer subir une cure de désintoxication. Le tournage est interrompu.
Dix jours plus tard, Marilyn, bourrée de vitamines, revient, apparemment en forme. Huston commence par une scène difficile, où Roslyn est couchée dans un lit, et Gay (Clark Gable, en l'occurrence bien nommé), assis, dialogue avec elle. Une prise : ratée. Une autre prise : ratée. Sept prises sont jetées à la poubelle, car Marilyn savonne son texte. En désespoir de cause, elle a recours au plus vieux truc du monde : au beau milieu de la scène, elle fait glisser le drap et révèle un sein nu. Huston, dédaigneux : « Remballe ça, Marilyn. On connaît. » Elle se retire dans sa chambre, vexée. Elle reprend des pilules. Elle ne se lave plus. Arthur Miller change d'hôtel. John Huston règle ses dettes de jeu, se soûle copieusement, participe à une course de chameaux, lit le scénario de 800 pages de son prochain film, « Freud, passions secrètes », et le jette. Décidément, Jean-Paul Sartre, l'auteur de ce pensum, qui fonctionne aux « uppers » (amphétamines), ne sait pas écrire pour le cinéma, se dit Huston. Le tournage des « Misfits » s'achève dans l'amertume. Gable repart au plus vite retrouver sa femme enceinte. Il ne verra pas son enfant naître : le 16 novembre, il meurt d'une crise cardiaque foudroyante. Pour tous, c'est Marilyn qui est coupable. Elle s'enfuit au Mexique, pour divorcer loin des gazettes indiscrètes. Elle en profite pour rendre visite à Frederick Vanderbilt Field, un héritier fauché, membre du Parti communiste. Le FBI se met en alerte rouge. Elle est espionnée constamment. D'autant plus qu'elle fréquente JFK, l'ennemi juré de John Edgar Hoover, qui constitue un solide dossier pour faire chanter le futur président des Etats-Unis. Marilyn regrette le chien d'Arthur Miller, Hugo, un vieux basset lent. Elle partageait avec lui ses coupes de champagne, et le chien s'endormait en pétant.
Noël arrive. Marilyn passe la soirée avec les Strasberg, puis, seule, s'abandonne au désespoir : « Je suis Marilyn, Marilyn, Marilyn », répète-t-elle. Elle veut être une autre. Elle appelle son ancien mari, Joe DiMaggio. Il lui a envoyé des fleurs. Ils passent le 25 décembre ensemble, la main dans la main. Le 31 janvier 1961, la première de « The Misfits » a lieu à New York. Marilyn apparaît. Elle est l'ombre d'elle-même. Arthur Miller est là, avec celle qui deviendra sa femme, la photographe autrichienne. Inge Morath et Arthur Miller vont rester unis pendant quarante ans, jusqu'à la fin. Il écrira un livre triste, sur ce tournage, intitulé : « la Fin du film ». On peut y lire : « La vie, la joie de vivre n'est plus qu'une poussière pétrie par la haine la plus ordinaire. » Le public et la critique sont très tièdes, devant « The Misfits », oeuvre entre deux genres, insaisissable, longue et… en noir et blanc.
C'est le dernier film de Marilyn Monroe. Un mois plus tard, elle est internée.■
« Dear Mister Montand… »
le 12/08/2012
Par Bernard Comment
en ligne sur cinema.nouvelobs.com
© DR / © Bruce Davidson-Magnum
Chaque semaine, l'éditeur des écrits et dessins de la star nous offre un document rare. Aujourd'hui, une lettre adressée à Yves Montand, avec qui elle eut une brève et puissante histoire d'amour.
Le 21 septembre 1959, Marilyn Monroe se rend au Henry Miller's Theater, à Broadway, pour la première du one-manshow d'Yves Montand, un spectacle qui va connaître un énorme succès auprès du public new-yorkais. Arthur Miller étant retenu par l'écriture d'une nouvelle version des « Misfits » à rendre d'urgence, elle est accompagnée par Montgomery Clift, un de ses futurs partenaires dans le film à venir de John Huston.
Le ton de la lettre qu'elle dicte trois jours plus tard à sa secrétaire est à la fois prudent et chaleureux. Elle est adressée à l'Algonquin Hotel, où réside Montand. On ne sait si le mot « escort » se réfère à Montgomery Clift ou s'il désigne des gardes du corps. Cela ressemble en tout cas à une formalité, les excuses obligées pour un rendez-vous manqué, mais tout autant à une façon de prendre date. La séduction a-t-elle déjà opéré ? Quelques mois plus tard, Marilyn devait déclarer à la presse : « Avec Marlon Brando, et juste après mon mari, Yves Montand est l'homme le plus séduisant que j'aie rencontré. » La loyauté conjugale portée à son terme.
Le couple Miller-Monroe retournera ensemble voir Montand sur les planches quelques jours plus tard, et c'est Arthur (lié à Montand et Simone Signoret depuis que le couple avait interprété une mise en scène des « Sorcières de Salem », en 1956) qui insistera pour que le rôle de Jean-Marc Clément dans « Le Milliardaire » soit confié au chansonnier et acteur français, malgré ses piètres capacités dans la langue anglaise qui lui inspirèrent, à ses propres dires, une terreur au moins équivalente à celle qui s'emparait de Marilyn au moment d'apparaître devant les caméras. Gregory Peck, initialement pressenti, ayant fait défaut, la Fox accepte sans gaieté de coeur cette substitution, pour un film dont le scénario est de toute façon peu prometteur (Arthur Miller a dû y mettre la main, pour améliorer ce qui pouvait l'être).
Le tournage de « Let's Make Love » (titre autrement évocateur que « le Milliardaire »…) démarre le 9 novembre 1959, mais connaît de nombreuses interruptions, et prendra son véritable envol au printemps 1960. Marilyn et Montand se retrouvent bientôt seuls dans leurs bungalows du très chic Beverly Hills Hotel, et une puissante histoire d'amour se noue entre eux, qui confère peut-être ses rares moments de magie au film. Cette relation clandestine est vite connue des échotiers, dont des espions sont traditionnellement planqués dans les jardins de l'hôtel. Les époux trompés réagiront avec calme et dignité, et l'affaire cessera avec le départ d'Yves Montand vers l'Europe et le Japon.
En été 1960, peu après la fin de l'idylle, et au sortir d'une courte hospitalisation intervenue durant le tournage très tourmenté des « Misfits », Marilyn écrit une lettre à Lester Markel, responsable de l'édition dominicale du « New York Times », pour lui suggérer de consacrer un long article à Yves Montand, « non seulement un bon acteur, un merveilleux chanteur et danseur plein de charme, mais aussi un des hommes les plus attrayants qui soient » (brouillon de lettre à paraître dans le volume issu de l'intégralité des archives que les Editions du Seuil publieront en automne 2013).
Yves Montand, lui, fut parfois condescendant (et non dépourvu d'un certain machisme) dans sa description de l'idylle qui le lia à Marilyn.
On ne sait pas très bien ce que Marilyn ressentit quand l'oscar de la meilleure actrice fut attribué à Simone Signoret pour son rôle dans « Room at the Top » de Jack Clayton. En tous les cas, et pour s'en tenir à une preuve tangible, elle garde une beau souvenir de son aventure, puisqu'elle écrit, dans le post-scriptum d'une longue lettre adressée le 1er mars 1961 à son psychanalyste de Hollywood, le Dr Ralph Greenson : « From Yves I have heard nothing - but I don't mind since I have such a strong, tender, wonderful Memory » (« D'Yves je n'ai aucune nouvelle, mais cela m'est égal. J'en ai un souvenir fort, tendre, merveilleux »). Les femmes ont parfois plus d'élégance dans leurs souvenirs que les hommes…■
21/09/1959 Show d'Yves Montand
C'est accompagnée de Montgomery Clift que Marilyn Monroe assiste au spectacle d'Yves Montand "An Evening with Yves Montand", le 21 septembre 1959 au Henry Miller Theater sur Broadway. C'est la grande première du spectacle de Montand à Broadway auquel assiste plusieurs personnalités: Lauren Bacall, Ingrid Bergman et Marlene Dietrich.
Il semble que Marilyn est vêtue de la robe à paillettes qu'elle porta pour la première de "Some Like ot Hot" en mars de la même année.
Certains clichés auraient été pris par James Haspiel.
> dans la presse
24/07/1960 Conférence de presse The Misfits
Les Désaxés
Sur le tournage
Le 24 juillet 1960, une conférence de presse est organisée dans un salon du Mapes Hotel, à Reno dans le Nevada, lieu de tournage du film The Misfits. Un cocktail et des séances de poses devant les photographes ont lieu, avec l'équipe du film: Marilyn Monroe, Clark Gable, Montgomery Clift, Thelma Ritter, Arthur Miller, John Huston, Frank Taylor (le producteur du film). Des photographes de l'agence Magnum sont présents, tels que Inge Morath, Bruce Davidson et Henri Cartier-Bresson.
> Avec la journaliste Dorothy Kilgallen 
>> Video
>> Marilyn et Paula Strasberg
- Photo de Inge Morath -
>> Photo de Henri Cartier-Bresson 
Souvenir du photographe Henri Cartier-Bresson qui est convié à un grand dîner organisé par la production et se trouve placé à côté de Marilyn: l'actrice est en retard. Henri pose son Leica sur sa chaise. Trois quarts d'heure plus tard, Marilyn arrive, salue tout le monde et regarde, déconcertée, sa chaise encombrée. Henri ne bouge pas. Elle reste quelques minutes debout, ne sachant que faire, puis lui demande d'enlever son boîtier : " Non, répond Cartier-Bresson, donnez-lui votre bénédiction d'abord ". Comprenant aussitôt, Marilyn posa un quart de seconde... Ses fesses sur le Leica de Henri.
> couverture de magazine
