06 juin 2017

Doc - Le Cinéma dans l'oeil de Magnum

Le cinéma dans l'oeil de Magnum

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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.

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(... 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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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23 octobre 2016

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
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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
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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
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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
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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
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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
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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
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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
245449_0   


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
245452_0   


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
245453_0   


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
245454_0  245455_0  


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
245456_0  


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
245604_0 245605_0 
245606_0  245607_0 


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
245608_0 245609_0


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
245610_0 245611_0  


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
245719_0 245720_0  


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
245721_0 


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
245729_0 
245730_0 


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
245736_0 


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
245791_0 245792_0 245793_0 


Lot 480: MARILYN MONROE SILK WRAPPER
An ivory silk wrapper with ruffle trim.
 Estimate: $5,000 - $7,000
245888_0  245889_0 


Lot 889MARILYN 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
246505_0  246506_0 
246507_0 


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

245144_0 245145_0 245146_0 


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

245157_0 245158_0 245159_0   


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

245068_0 245072_0 245071_0 
245069_0 245070_0  


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

245081_0  245082_0 


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

245083_0 245085_0 
245084_0  


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

245086_0 245087_0 245089_0 
245088_0 


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

245090_0 245092_0 245093_0 
245091_0 


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

245099_0 245101_0 245102_0  
245100_0  


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

245103_0245106_0 245107_0   
245104_0 245105_0  


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

245108_0 245111_0 245112_0 
245109_0  245110_0 


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

245113_0  245120_0 245121_0 
245114_0 245115_0 245116_0 
245117_0  245118_0 245119_0  


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

245122_0 245123_0 
245124_0 245125_0 


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
245129_0  245132_0 245133_0  
245130_0 245131_0  


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

245134_0 245135_0 
245136_0 245137_0 


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

245138_0  245140_0 245141_0  
245139_0 


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

245142_0 245143_0   


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

245147_0  245152_0


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

245153_0 245154_0 245155_0 
245156_0


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

245163_0 245164_0 245168_0 
245165_0 245166_0 245167_0 


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

245169_0  245170_0 
245171_0 245172_0 
245173_0 245174_0 


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

246309_0  246310_0 
246311_0 246312_0 246313_0 
246314_0 246315_0 246316_0  


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

245042_0 245043_0  


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

245271_0 245272_0   


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

245563_0  245564_0 


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

245738_0  


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

245739_0  


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

245741_0 


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

245744_0  245745_0  245746_0 


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

245747_0   


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

245748_0


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

245749_0  


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

245750_0 


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

245755_0  


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

245756_0   


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

245757_0  


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

245758_0


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

245759_0  


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

245761_0  


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

245794_0 


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

245904_0 


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

245905_0  


Lot 395: MARILYN MONROE SHOE FORMS
 A pair of quilted champagne silk satin shoe forms.
4 inches
 Estimate: $300 - $500

245743_0 


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
245618_0 


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
245619_0 


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
245621_0  


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
245622_0 


Lot 145: MARILYN MONROE FUR HEADBAND
A mink fur headband.
 Estimate: $500 - $700

245334_0  


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

245335_0 245336_0   


Lot 147: MARILYN MONROE FUR TOQUE
A mink toque, no label present.
 Estimate: $4,000 - $6,000

245337_0  


Lot 148: MARILYN MONROE FEATHER HAT
A lace-lined, white feather covered hat. Label inside reads "Emme Boutique."
 Estimate: $1,800 - $2,000

245338_0 245339_0   


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

245341_0 245342_0  


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

245343_0   


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

245344_0 245345_0 


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

245346_0 245347_0 


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

246409_0  


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
246612_0  


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
245028_0 245029_0 245030_0 
245031_0 245032_0 245033_0 
245034_0 245035_0 245036_0


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
245077_0  


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
246538_0 


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
246601_0  246602_0   


Lot 568: MARILYN MONROE PURPLE MARABOU FEATHER FAN
 With a faux tortoiseshell handle.
Length, 26 inches
 Estimate: $600 - $800

246006_0  


Lot 569: MARILYN MONROE GROUP OF FIVE LOOSE BROWN FEATHERS
 Vintage marabou.
Length, 16 inches
 Estimate: $400 - $600

246007_0 


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

246008_0 


Lot 571: MARILYN MONROE WHITE MARABOU FEATHER FAN
 Four feathers bound by a gold fabric fastener.
Length, 20 inches
 Estimate: $400 - $600

246009_0 


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

245897_0    


Lot 486: MARILYN MONROE GARMENT HANGERS
A pair of gold velvet covered padded hangers with matching ribbon bows.
 Estimate: $800 - $1,200

245895_0  


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

245896_0 


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

245324_0   


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

245446_0   


Lot 237: MARILYN MONROE COIN POUCH
 A red satin and gold thread hinged coin pouch.
2 3/4 inches square
 Estimate: $100 - $150

245472_0 


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

245898_0 


 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

245899_0  245900_0  


 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

245857_0  


 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

245850_0 245851_0 
245852_0 245853_0   


 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

245854_0 245855_0 


 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

245858_0  245859_0  


 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

245901_0  245902_0 


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

245903_0 


 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

246058_0  246059_0 


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

245065_0 245067_0 
245066_0 


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

245073_0 245074_0  


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

246704_0 


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

245459_0  


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

245460_0   


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

245461_0  245462_0 


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

245463_0  245464_0 


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

245465_0  245466_0   


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

245467_0  


Lot 233: MARILYN MONROE NECKLACE
 A strand of faux pearls with fishhook clasp.
16 inches
 Estimate: $4,000 - $6,000

245468_0  


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

245469_0  


Lot 235: MARILYN MONROE NECKLACE
A strand of faux 10mm pearls with fishhook clasp.
29 inches
Estimate: $5,000 - $7,000

245470_0  


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

245471_0 


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

245473_0  


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

245474_0  245475_0 


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

245860_0 


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

246698_0 


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

245861_0 


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

245862_0 


Lot 461: MARILYN MONROE NECKLACE
 A strand of faux 6mm pearls with fishhook clasp.
17 3/8 inches
 Estimate: $2,000 - $3,000

245863_0 


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

245864_0 


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

245865_0 


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

245867_0 


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

246706_0  


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

245868_0 


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

245869_0 


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
245870_0   


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

245871_0 245872_0 245873_0 


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

245874_0 


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
245480_0  


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
245044_0 245045_0  


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

245041_0  


Lot 140: MARILYN MONROE VINTAGE BAKELITE COMB
 With a decorative metal handle.
Length, 7 1/2 inches
 Estimate: $600 - $800

245328_0   


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

246403_0   


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

246610_0 


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

246611_0  


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
245323_0  


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
245326_0 245327_0 


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
245329_0   


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
245332_0 245333_0   


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
245655_0   


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
245665_0 


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
245666_0 


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
245671_0 


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
245322_0 


Lot 142: MARILYN MONROE MICHEL LIPSTICK
 In a goldtone case marked "Michel Coral Pink."
Length, 2 1/8 inches
 Estimate: $1,000 - $2,000
245330_0  


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
245672_0   


Lot 343: MARILYN MONROE ELIZABETH ARDEN LIPSTICK
 In a goldtone case. Color label marked "Subtle."
Length, 2 inches
 Estimate: $1,000 - $2,000
245673_0  


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 
246705_0    


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
245674_0 


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

245652_0  


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
246607_0 


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 
246608_0    


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
246614_0  


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
246615_0  


 Lot 967MARILYN 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
246616_0 


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
246617_0  


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
246618_0 


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

245325_0   


Lot 330: MARILYN MONROE BEVELED GLASS PURSE VANITY MIRROR
 With shagreen back.
2 1/4 by 2 inches
 Estimate: $400 - $600

245650_0 245651_0  


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
245649_0 

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14 novembre 2014

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
juliens-mmauction2014-lot891  


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
juliens-mmauction2014-lot892  


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
juliens-mmauction2014-lot893 


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
juliens-mmauction2014-lot894  


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
juliens-mmauction2014-lot895  


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  
juliens-mmauction2014-lot896  


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
juliens-mmauction2014-lot897  


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
juliens-mmauction2014-lot898  


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
juliens-mmauction2014-lot899 


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
juliens-mmauction2014-lot900


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
juliens-mmauction2014-lot901  


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
juliens-mmauction2014-lot902 


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
juliens-mmauction2014-lot903 


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
juliens-mmauction2014-lot904


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
juliens-mmauction2014-lot905


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
juliens-mmauction2014-lot906


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
juliens-mmauction2014-lot907


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
juliens-mmauction2014-lot908 


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
juliens-mmauction2014-lot909


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
juliens-mmauction2014-lot910


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
juliens-mmauction2014-lot911


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
juliens-mmauction2014-lot912 


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
juliens-mmauction2014-lot913


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
juliens-mmauction2014-lot914 


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
juliens-mmauction2014-lot915 


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
juliens-mmauction2014-lot916


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
juliens-mmauction2014-lot917


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
juliens-mmauction2014-lot918


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
juliens-mmauction2014-lot919


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
juliens-mmauction2014-lot920


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
juliens-mmauction2014-lot921


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
juliens-mmauction2014-lot922


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
juliens-mmauction2014-lot923


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
juliens-mmauction2014-lot924


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
juliens-mmauction2014-lot925


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
juliens-mmauction2014-lot926


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
juliens-mmauction2014-lot927


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
juliens-mmauction2014-lot928


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
juliens-mmauction2014-lot929


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
juliens-mmauction2014-lot930


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
juliens-mmauction2014-lot931


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
juliens-mmauction2014-lot932


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
juliens-mmauction2014-lot933


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
juliens-mmauction2014-lot934


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
juliens-mmauction2014-lot935


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
juliens-mmauction2014-lot936


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
juliens-mmauction2014-lot937 


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
juliens-mmauction2014-lot938  


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
juliens-mmauction2014-lot939  


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
juliens-mmauction2014-lot940 


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
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20 octobre 2013

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. 

mm_et_monty_2 
mm_et_monty_1 1960s-mm_monty  

> photo de presse
1960_10_16_clift161060 


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
ph_arnold_1960_11_reno_casino_01_1 ph_arnold_1960_11_reno_casino_03_1 ph_arnold_1960_11_reno_casino_02_1 
ph_arnold_1960_11_reno_casino_04_1 ph_arnold_1960_11_reno_casino_05_1 ph_arnold_1960_11_reno_casino_06_1
ph_arnold_1960_11_reno_casino_07_1 ph_arnold_1960_11_reno_casino_08_1 ph_arnold_1960_11_reno_casino_09_1

> Planches contact / Contact Sheet
1960_reno_evearnold11
  1960_reno_evearnold5  1960_reno_evearnold
 1960_reno_evearnold2  1960_reno_evearnold4  1960_reno_evearnold6
1960_reno_evearnold7a  1960_reno_evearnold9  1960_reno_evearnold33 


> 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.

17 octobre 2012

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
lot587 lot587a lot587b
lot587d lot587e lot587f
lot587c lot587g lot587h


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
lot588


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
lot589 lot589a lot589b
lot589c lot589d
lot589e lot589f


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
lot590 lot590a


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
lot591 lot591a lot591b
lot591c lot591d lot591e


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
lot592 lot592a lot592b


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
lot593 lot593a


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
lot594 lot594a lot594b


 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
lot595 lot595a lot595b lot595c
lot595d lot595e lot595f lot595g
lot595h lot595i lot595j lot595k
lot595l lot595m lot595n lot595o
lot595p lot595q lot595r
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lot595u lot595v lot595w


10 août 2012

Le Nouvel Observateur 9/08/2012

lenouvelobs_coverLe 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 

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lenouvelobs_p5 


Chapitre 5 : le dernier film de Marilyn
Par François Forestier
en ligne
sur nouvelobs.com  

lenouvelobs_chap5
 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

dearmrmontand 
 © 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…

17 avril 2011

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.
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.

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1959_09_21_salle_2 1959_09_21_by_haspiel_1


> dans la presse
1959_montandshow_2

Posté par ginieland à 19:15 - - Commentaires [2] - Permalien [#]
Tags : , , ,

28 mars 2011

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.

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1960_misfits_149 1960_misfits_150 1960_misfits_151
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1960_07_24_party_04_3 44_Desaxes4_01  

> Avec la journaliste Dorothy Kilgallen
1960_07_24_party_05_1  1961-misfits-party 1961-misfits-party2 

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1960_07_24_party_06_2 1960_07_24_party_07_1 1960_Marilyn_and_Arthur_Misfits_1_ 
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1960_07_24_reno_mapes_hotel_10 1960_07_24_reno_mapes_hotel_11 1960_07_24_reno_mapes_hotel_12

>> Video

 >> Marilyn et Paula Strasberg
- Photo de Inge Morath -
1960_07_24_party_by_inge_morath_1

 >> Photo de Henri Cartier-Bresson
1960_07_24_conf_by_cartier_bresson_1

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
1960_07_Marilyn_Monroe__BHMagazino__1_

27 mars 2011

31/01/1961 Première The Misfits

Le 31 janvier 1961, a lieu la première du film The Misfits (Les Désaxés) au Capitol Theater de Broadway. Marilyn Monroe s'y est rendue accompagnée de Montgomery Clift. Quand à Arthur Miller, dont Marilyn vient de divorcer, il est accompagné de ses enfants Jane et Robert; Le producteur du film Frank E. Taylor était avec sa femme et leurs deux enfants. Ce fut une soirée un peu pénible pour Marilyn qui évita de croiser Arthur. Une fois la projection terminée, elle quitta le théâtre.

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 1961-mm 
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1961-63 The Men In MM's Life a 1961_01_31_broadway_capitol_theater_prem_misf_07 
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> photographie de Paul Schumach 
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> photographie de Phil Burchman 
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25 décembre 2007

1960 sur le plateau des Misfits par Frank Worth

Sur le tournage du film The Misfits dans le Nevada, en 1960. Marilyn Monroe avec Montgomery Clift; puis avec John Huston et Arthur Miller. Photographies de Frank Worth

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