scenarios : Tous les messages sur scenarios

04 mai 2023

22/04/2023, JULIEN'S "Hollywood: Classic & Contemporary" Lots Partie 2

Enchères "Hollywood: Classic & Contemporary"
22 & 23 avril 2023
- 120 lots avec Marilyn Monroe -
- Partie 2 : Effets Personnels

> 22/04/2023, JULIEN'S "Hollywood: Classic & Contemporary": Vente et Catalogue

Factures, Reçus & Chèques
Invoices, Receipts & Checks

Lot 96: MARILYN MONROE: SIGNED 1952 SCHWAB'S PHARMACY CHECK
A Marilyn Monroe signed counter check, written entirely in her own hand, dated June 3, 1952, made payable to Schwab's Pharmacy in the amount of $25.00.
6.5 x 3 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $1,000 - $2,000 - (25 bids) - Sold Price: $6,500

Lot 103: MARILYN MONROE: HANDWRITTEN AND SIGNED CHECK
A check that was completely handwritten and signed in red ink by Marilyn Monroe. The check is dated May 23, 1953 and the amount of $50.41 is made payable to Hayan's Westside Market. Monroe lists her phone number as CR62211 and her address as 882 Doheny, Los Angeles. 6 x 3 inches.
Estimate: $2,000 - $3,000 - (19 bids) - Sold Price: $6,500

Lot 104: MARILYN MONROE: SIGNED HALLOWEEN 1953 DOHENY PHARMACY CHECK
A counter check written to Doheny Pharmacy for $34.89 signed in blue ink by Marilyn Monroe and dated October 31, 1953 (Halloween).
Accompanied by original Julien's lot tag. 8.5 x 3.75 inches
Estimate: $1,000 - $2,000 - (24 bids) - Sold Price: $7,800

Lot 166: MARILYN MONROE: ARTHUR MILLER DEPARTMENT STORE RECEIPTS
A group of sales receipts that were charged to the account of playwright Arthur Miller during the years (1956-1961) he was married to Marilyn Monroe. The receipts are for department stores Bloomingdale's and Saks Fifth Avenue and list Miller's address as 444 East 57th St., New York, which is the address of the apartment he shared with the late screen icon. 6.25 x 7.5 inches
Estimate: $100 - $200 - (6 bids) - Sold Price: $195

Lot 167: MARILYN MONROE: JANE MILLER "BLACK DRESS" JAX FASHION BOUTIQUE RECEIPT
A sales receipt for Jax fashion boutique made out to Marilyn Monroe Miller. The receipt is dated 12/28 and shows the charge of $3.50 for alterations of a black dress for Jane Miller, Monroe's stepdaughter with husband Arthur Miller. 4 x 6 inches
Estimate: $200 - $300 - (6 bids) - Sold Price: $325

Lot 168: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE GIFT CERTIFICATE RECEIPT
A receipt for a gift certificate for Jax clothing boutique that was purchased by Marilyn Monroe. The name "Marilyn Monroe Miller" is written in blue ink in the receipt's Sold To line and is dated December 24. The purchase was a $75 gift certificate for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. Jax was an American-based fashion boutique popular with stylish celebrities. Monroe is known to have worn several articles of Jax clothing. 4 x 6 inches
Estimate: $200 - $300 - (6 bids) - Sold Price: $260

Lot 169: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE PETTICOAT RECEIPTS
A pair of receipts for Jax clothing boutique for purchases made by Marilyn Monroe. The receipts are dated December 28. The purchase was for a petticoat for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. 4 x 6 inches
Estimate: $100 - $200 - (10 bids) - Sold Price: $520

Lot 170: MARILYN MONROE: JANE MILLER JAX FASHION BOUTIQUE ALTERATION RECEIPT
A receipt for Jax clothing boutique that was purchased by Marilyn Monroe. The name "Marilyn Monroe" is written in blue ink in the receipt's Sold To line and is dated December 28. The purchase was for alterations on a black dress Monroe had purchased for Jane Miller, daughter of playwright Arthur Miller to whom Monroe was married from 1956-1961. 4 x 6 inches
Estimate: $100 - $200 - (8 bids) - Sold Price: $390

Lot 171: MARILYN MONROE: ARTHUR MILLER'S DAUGHTER'S DOCTOR BILLS
A group of typewritten doctor bills, circa December 1959-April 1960, made payable to Arthur Miller, during the time he was married to Marilyn Monroe. The bills were for Jane Miller, the playwright's daughter from a previous marriage, who sought care from Dr. Edith Taglicht Schmidt, a New York City-based psychologist. Each bill features the address of the apartment Miller and Monroe lived in during much of their marriage and each is marked paid in the lower right corner. 7.25 x 8.25 inches
Estimate: $200 - $300 - (8 bids) - Sold Price: $130

Correspondances, Lettres
Correspondences, Letters

Lot 112: MARILYN MONROE: BEN HECHT "MY STORY" CORRESPONDENCE
Six documents referencing an agreement, and the dissolution thereof, between Marilyn Monroe and Ben Hecht regarding his authoring her life story.
Included is a facsimile copy of the originally signed agreement between Monroe and Hecht, dated March 16, 1954, in which the terms of the agreement are exceedingly clear. Three unsigned carbon copies of this same agreement are included. Also included is a facsimile copy of a two-page letter sent to Hecht by Marilyn's attorney Lloyd Wright, Jr., in which he demands that Hecht "surrender to us on behalf of our client, Miss Marilyn Monroe, all, and I repeat all, copies of any material concerning Miss Marilyn Monroe written by Mr. Ben Hecht, pursuant to his contract of March 16, 1954 with Marilyn Monroe, or otherwise."
Hecht partnered with Monroe to write her life story, which was to be published only in the Ladies' Home Journal magazine. Ultimately, for reasons unknown, Hecht sold the text without Marilyn's knowledge or approval, and the story was published in London's Empire News from May through August of 1954.
11 x 8.5 inches - PROVENANCE Lot 685, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (10 bids) - Sold Price: $910

Lot 128: MARILYN MONROE: NOTE FROM BUDDY ADLER
A small notecard to Marilyn Monroe from producer Buddy Adler. The notecard reads, "Darling, It's wonderful having you home again. Best wishes, Buddy Adler." This card is likely in reference to Monroe's return to Hollywood in 1956 after having spent the entirety of 1955 in New York City.
Adler was the producer of Bus Stop (Marilyn Monroe Productions, 1956) the first of two films from Monroe's personal production company, Marilyn Monroe Productions. He won Academy Awards and a Golden Globe award. Other films he produced include From Here to Eternity (Columbia Pictures, 1953) and Love Is a Many-Splendored Thing (20th Century Fox, 1955). 4 x 3 inches
Estimate: $600 - $800 - (8 bids) - Sold Price: $585

Lot 134: MARILYN MONROE: LETTER FROM EMMELINE SNIVELY
A one-page typed letter to Marilyn Monroe from Emmeline Snively, dated July 31, 1958. Snively was the owner and manager of the Bluebook Modeling Agency. Marilyn, still Norma Jean at the time, signed with the agency in 1945, and Snively is believed to have assisted her in transforming into Marilyn Monroe. The letter reads in part, "We have been following your steady progress over the years, and our students at Blue Book Models regard your success and constant development as an inspiration." Included with this letter is a torn portion of the original mailing envelope with Snively's typed mailing address. Pencil scribbles are visible on the envelope fragment, possibly written in Marilyn's own hand. It is interesting to note that Snively attempted to stay in contact with Marilyn throughout the star's career. In fact, she was one of a very few guests from Marilyn's inner circle who was invited to her funeral.
8.25 x 9 inches - PROVENANCE Lot 682, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (12 bids) - Sold Price: $1,143

Lot 141: MARILYN MONROE: NORMAN ROSTEN LETTER
A one-page handwritten letter to Marilyn Monroe from poet and friend Norman Rosten, apparently while he was vacationing in the Arctic Circle. The letter reads in part, "This bar of chocolate and paperclip were both bought in this Eskimo village north of the Arctic Circle! Who says the world isn't round? It's too round!"
The actual chocolate bar wrapper is affixed to the letter using the aforementioned paperclip. Also included is the original envelope, postmarked January 27, 1959, addressed to Mr. and Mrs. Arthur Miller at 444 East 57th Street, New York, NY.
10 x 6.5 inches - PROVENANCE Lot 674, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $600 - $800 - (9 bids) - Sold Price: $780

Lot 145: Marilyn Monroe: Signed “Let’s Make Love” Wilfrid Hyde-White Gifted Original Artwork
An original artwork given to Wilfrid Hyde-White on the set of Let’s Make Love (20th Century Fox, 1960) and signed by the film’s cast, crew, and others including Marilyn Monroe, Yves Montand, Arthur Miller, George Cukor, Tony Randall, Allan “Whitey” Snyder, Marjorie Plecher, Paula Strasberg, David Bretherton, David Burns, Kenneth Kendall, and Ray Foster. The ink on paper artwork was created by the art department for the film and given to Hyde-White as a going-away present. The image shows Hyde-White waiting at a cab stand. A billboard in the background reads “Let’s Make Love/ Cukor Co.” and titled at the top “Happy Show/ From the Kids.” Housed in a frame; not examined outside of frame. Accompanied by the original Julien’s Auctions lot tag from 2016.
PROVENANCE From the Collection of Alex Hyde-White / 15 x 15 x .75 inches.
Estimate: $20,000 - $30,000

Lot 154: MARILYN MONROE: CHRISTMAS CARD FROM HALF-SISTER BERNIECE MIRACLE
An undated Christmas card to Marilyn Monroe from her half-sister Berniece Miracle. The card reads, "Whatever makes Christmas day merry, and the season a happy one, too. Whatever you want in the new year, that's what this wishes for you." The card is signed "Berniece" in her own handwriting.
6 x 4 inches - PROVENANCE Lot 663, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019..
Estimate: $300 - $500 - (12 bids) - Sold Price: $780

Lot 155: MARILYN MONROE: CHRISTMAS CARD FROM MARIE DI MAGGIO
An undated Christmas card to Marilyn Monroe from Marie DiMaggio, the sister of Marilyn's second husband, baseball great Joe DiMaggio. The card reads, "A Merry Christmas and a Happy New Year," with Marie's name printed at the bottom of the card's message. No personal greeting from Marie is included.
7 x 4 inches - PROVENANCE Lot 662, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (5 bids) - Sold Price: $260

Lot 156: MARILYN MONROE: CORRESPONDENCE FROM "SUNDAY EXPRESS"
A typed letter dated June 10, 1960 from the Sunday Express requesting Marilyn Monroe's participation in a series of articles on the theme "Why I Believe in God." The letter reads in part, "We are asking people who have won distinction in many different fields to contribute to the series, and I should like to include you among them" and, "...the core of the article will be the writer's own view of what God is and why one believes in His existence." The letter is signed by Gordon Robinson, Features Editor. Also included is a copy of a letter sent in response to the request dated August 3, 1960 reading in part, "Miss Monroe wishes me to thank you for your interest, but, because of her heavy work schedule, she must regretfully decline."
The response letter was sent by Rupert Allan, who handled Marilyn's publicity and press inquiries for several years.
11 x 8.5 inches - PROVENANCE Lot 655, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (7 bids) - Sold Price: $390

Lot 189: MARILYN MONROE: CORRESPONDENCE FROM JOHN MOOR
A grouping of correspondence to Marilyn Monroe from fashion and interior designer John Moore, including a Western Union telegram dated May 31, 1961, which reads, "Wish you were here to celebrate it. Love you." This message is likely in reference to Marilyn's birthday, which was on June 1, the day after the telegram is dated.
Also included is an undated, hand-signed Christmas card and a note that likely accompanied a bouquet of flowers with a message that reads, "Will you be my Valentine? John Moore." Moore was a close friend of Monroe's. He worked for Talmack, and designed many of Marilyn's clothes, including the gown she wore during the private wedding ceremony in which she married Arthur Miller. He also assisted her in redecorating the apartment she and Miller shared on East 57th Street in New York City. 6.5 x 4.5 (largest)
Estimate: $300 - $500 - (4 bids) - Sold Price: $260

Lot 202: MARILYN MONROE: SECRETARIAL CORRESPONDENCE
Three letters from Hedda Rosten to Cherie Redmond, both women being employed by Marilyn Monroe to provide secretarial and administrative support to the star. Rosten, the wife of famed poet and close personal friend of Marilyn's Norman Rosten, resided on the east coast, while Redmond lived on the west coast.
The February 24 letter references Rosten's W4 form, postage expenses and a salary increase. The second letter, dated "May 22 or 23," references mailing a photo and petty cash. The third and final letter, dated July 10, references two bills that were evidently enclosed, along with a line reading "They say all business comes to a standstill in N.Y. in the summer." As Redmond began working for Marilyn in 1962, these letters reference business conducted during the final year of her life and provide an interesting look into the levels and types of administrative support Monroe needed.
10.5 x 8.25 inches (largest) - PROVENANCE Lot 656, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $200 - $300 - (9 bids) - Sold Price: $455

Scripts, Scénarios
Scripts, Scenarios

Lot 127: MARILYN MONROE: PAULA STRASBERG ANNOTATED "BUS STOP" SCRIPT
A bound final draft of the screenplay for Bus Stop (Twentieth Century Fox, 1956) that personally belonged to Marilyn Monroe's acting coach Paula Strasberg and is annotated by her throughout. The blue cover is printed with the words "Bus Stop / February 27, 1956" in the center, "652" in the upper left, "Final" in the upper right, "147" in the lower right, "Property of Twentieth Century-Fox Film Corporation" at the bottom, and has the initials "PMS" (for Paula Miller Strasberg) written in ink near the top. The script is 123 pages long and features many blue revision pages. Strasberg circled every mention of Monroe's character's name Cherie in red ink and wrote her notes throughout in both red ink and pencil and in some cases crossed out portions of Cherie's dialogue.
The release of Bus Stop in 1956 marked a turning point in Monroe's career. It was the first film she starred in after beginning to study with Lee Strasberg at the Actors Studio in 1955. Strasberg's wife Paula became Monroe's personal acting coach accompanying her to the set during filming, sometimes to the consternation of the film's director. Monroe's performance as the ambitious but somewhat untalented "chanteuse" from the Ozarks was met with much acclaim and helped elevate her reputation as an actress to be taken seriously within the film industry.
9.5 x 11.5 x 1 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (23 bids) - Sold Price: $3,900

Lot 143: MARILYN MONROE: PERSONALLY OWNED EARLY DRAFT OF "LET'S MAKE LOVE" SCREENPLAY
An early draft of the Let's Make Love (Twentieth Century Fox, 1960) screenplay that belonged to Marilyn Monroe. The light blue cover is printed with the film's original title, The Billionaire, is dated November 13, 1959, and is marked with "Property of Twentieth Century-Fox Film Corporation / Return to Stenographic Department." The top left side of the cover is stamped "822" and the right top has the words "Complete A.M." (possibly the initials of Arthur Miller, Monroe's husband at the time) written and underlined in pencil. The script is 158 typewritten yellow pages and there has some light annotations made in pencil, including portions of a scene crossed out. A single loose page of white paper is typewritten with the words "154 (old script)" at the top and features an exchange of dialogue between the characters Jean and Amanda.
Let's Make Love was Monroe's second to last completed film and her final musical movie. She portrayed actress Amanda Dell who is rehearsing an off-Broadway revue that spoofs a headline-making billionaire named Jean-Marc Clement (Yves Montand), who, by accident, becomes cast as himself and falls in love with Monroe's character. The film earned more than $6 million at the box office upon release.
9 x 11.5 x 1 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (22 bids) - Sold Price: $3,900

Fans

Lot 136: MARILYN MONROE: GET WELL CARDS FROM FANS
Two greeting cards sent to Marilyn from fans with get well wishes. One card's handwritten inscription reads, "To a wonderful actress. My best wishes to you. Palma Urso, 1958." The other is simply signed, "Judy Bawber."
8 x 3.5 inches (largest) - PROVENANCE Lot 653, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Beverly Hills CA, 6/13/2019.
Estimate: $300 - $500 - (4 bids) - Sold Price: $260

Lot 142: MARILYN MONROE: FAN LETTER AND TYPED RESPONSE
A two-page handwritten letter from a fan by the name of Pete Monti, dated June 1, 1959, in which Monti expresses his love and admiration for Marilyn Monroe.
Passages from the letter read, "every year I send you a gift with my address on the present for you to answer, and tell me if you liked it, but you never answered it. I think the reason for that was because you never received the gifts," "...I have been a fan of yours since 1950, I even have every book that ever came out with your picture in it," "there is only one thing I would like you to do for me...is to win the Academy Award for best actress of the year, to show them in Hollywood that your (sic) a real good actress. Everybody tries to imitate you, but they can't...there is only one Marilyn Monroe, and that's you." The letter is signed, "Yours Truly, Pete Monti." A photo of Monti in formal attire, together with a female companion, is stapled to the letter.
Included also is a typed response to this letter, dated June 19, 1959, reading, "Miss Monroe has asked me to thank you most kindly for your birthday remembrance and good wishes. She appreciates your thoughtfulness very much." The letter is signed "Yours sincerely, Secretary to Marilyn Monroe." The letter was likely prepared by May Reis, Monroe's secretary for several years.
11 x 8.5 inches.
Estimate: $300 - $500 - (9 bids) - Sold Price: $520

Lot 144: MARILYN MONROE: SIGNED AND INSCRIBED PHOTO
A framed black and white photograph of Marilyn Monroe leaning against a tree. Inscribed "Dear Linda, I wish you luck with your acting. Love and kisses, Marilyn Monroe Miller." This inscription was written for child actor Linda Bennett.
Accompanied by the original Julien's Auctions lot card and tag.
19 x 23 x 2 inches - PROVENANCE Lot 902, Property From the Life and Career of Marilyn Monroe, Julien’s Auctions, Beverly Hills, November 17, 2016
Estimate: $7,000 - $9,000 - (13 bids) - Sold Price: $9,100

Lot 190: MARILYN MONROE: FAN LETTER FROM EMILY HEDDA LISS
An undated handwritten fan letter to Marilyn Monroe from a young child, signed Emily Hedda Liss. The letterhead reads "Mrs. Joseph Liss, 445 East 68th Street, New York, New York," indicating Emily is likely the young daughter of television writer and editor Joseph Liss.
The letter reads: "Dear Marilyn, How are you? Daddy and mommy saw you. I wish I could of. I am writing you to see if you rember (sic) me. First you saw me playing on the grass at Chaire's house and then at Patty's. I went to East Hampton and I got a new bike. It is beautiful." 7 x 6.25 inches
Estimate: $300 - $500 - (4 bids) - Sold Price: $195

Effets personnels qui lui appartenaient
Personnlay owned which belonged to her

Lot 110: MARILYN MONROE: PERSONALLY OWNED CLIPPING ABOUT HER PERFORMANCE IN KOREA
A clipping from the Honolulu Advertiser dated February 19, 1954 reporting on Marilyn Monroe's visit to Korea and her performance for the U.S. troops that was personally owned by the actress. The clipping features a black and white photo of Monroe with a caption that reads "Marilyn Monroe in Korea / Soldiers riot to see her." The headline of the accompanying article reads "GI Trampled In Crush To See Marilyn Monroe."
Monroe visited Korea in February 1954 with husband Joe DiMaggio a few weeks after their marriage. Monroe was invite to perform before the troops and and the trip caused an interruption in the couple's honeymoon.
4 x 12.5 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (8 bids) - Sold Price: $455

Lot 111: MARILYN MONROE: PERSONALLY OWNED "MARILYN MONROE VISITS OSAKA ARMY HOSPITAL" NEWSLETTER
An issue of The Host, an Osaka Army Hospital newsletter, that belonged to Marilyn Monroe. The Volume V, number 2 issue is dated March 6, 1954 and the cover features a photograph of Monroe next to the headline "Marilyn Monroe visits Osaka Army Hospital." Inside is a two-page spread of photos showing Monroe performing and having lunch with military patients at the hospital along with a short article about her visit.
Monroe took time out from her honeymoon with husband Joe DiMaggio in early 1954 to entertain U.S. military troops in Korea and subsequently stopped by the Osaka Army Hospital in Japan.
8.5 x 11 inches. PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (11 bids) - Sold Price: $780

Lot 130: MARILYN MONROE: PERSONALLY OWNED "THE PRINCE AND THE SHOWGIRL" PAPERBACK
A paperback edition of the screenplay for The Prince and the Showgirl (Signet Books, 1957) by Terence Rattigan that was personally owned by Marilyn Monroe. The paperback features eight pages of photographs from the film.
Monroe portrayed Elsie Marina, the showgirl of the title, opposite the prince played by Laurence Olivier, who also directed the film adaptation of Rattigan's 1953 play. The filming was stressful for Monroe and her working relationship with Oliver was incredibly strained and was depicted in the movie My Week With Marilyn (The Weinstein Company, 2011).
4.25 x 7.25 x .25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (12 bids) - Sold Price: $780

Lot 131: MARILYN MONROE: PERSONALLY OWNED RADIO CITY MUSIC HALL PROGRAM
An issue of Showplace, the Radio City Music Hall program, dated June 13, 1957 that personally belonged to Marilyn Monroe. The program features photos of Monroe and Laurence Olivier and shows that the film being shown was The Prince and the Showgirl (Warner Bros., 1957), which costarred the two actors.
Monroe portrayed Elsie Marina, the showgirl of the title, opposite the prince played by Olivier, who also directed the film adaptation of Terrence Rattigan's 1953 play. The filming was stressful for Monroe and her working relationship with Oliver was incredibly strained and was depicted in the movie My Week With Marilyn (The Weinstein Company, 2011).
12 x 9.5 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (11 bids) - Sold Price: $780

Lot 138: MARILYN MONROE: PERSONALLY OWNED "SOME LIKE IT HOT" CALENDAR
A release date calendar for Some Like It Hot (United Artists, 1959) was personally owned by Marilyn Monroe. The cover page, featuring a photo of Marilyn in costume playing a ukulele reads: "The New Marilyn Monroe Calendar, Very Hot For March," an allusion to the famous 1951 nude calendar which helped establish Monroe as the premiere sex symbol of her era. The calendar features four pages, each with a photo of Monroe and announcing March 18 as the comedy's release date. The back page features the film's poster.
Monroe won a Golden Globe as Best Actress in a Motion Picture - Comedy or Musical for her performance as Sugar Kane and the film was named the greatest comedy film of all time in a poll by American Film Institute in 2000.
8.5 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (11 bids) - Sold Price: $910

Lot 153: MARILYN MONROE: PERSONALLY OWNED "SIGHT AND SOUND" MAGAZINE
An Autumn 1960 issue of Sight and Sound magazine with a photo of Marilyn Monroe in a scene from the film Let's Make Love (Twentieth Century Fox, 1960) on the cover that was personally owned by Monroe. Accompanied by a cover of the same magazine but with the price in English currency in the upper left corner. Both feature reviews of Let's Make Love.
9 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (10 bids) - Sold Price: $650

Lot 182: MARILYN MONROE: PERSONALLY OWNED "SPOT NEWS PHOTOGRAPHY" BOOK
A copy of Spot News Photography (Verlan Books, 1960) by Barney Stein that belonged to Marilyn Monroe. Stein was a New York Post staff photographer who mailed the book to Monroe and inscribed the first page with a handwritten note that reads in part: Dear Miss Monroe / On page 95 you'll find something interesting to you / Hope you get well real soon. / All the best to you.
Stein had photographed Monroe as she departed Lennox Hill Hospital in New York following a brief illness. He had notified two men working across the street from the hospital about her departure and they yelled to her as she entered her car and held up a handmade sign that read "Marilyn, We love you! From mike and Nick." Monroe looked up, waved, and blew them a kiss.
5 x 8 x .25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (5 bids) - Sold Price: $325

Lot 187: MARILYN MONROE: PERSONALLY OWNED "THE HOLLYWOOD REPORTER" CLIPPING
A front page from the March 30, 1961 issue of The Hollywood Reporter that belonged to Marilyn Monroe. The top of the page is printed with the name and address of Arthur P. Jacobs, who was Monroe's press agent and had presumably sent the issue to his client. The lower right features an item outlined in red pencil about the reissue of Monroe's film River of No Return (Twentieth Century Fox, 1954) and the possibility of her starring in the comedy Goodbye Charlie, which was eventually made with Debbie Reynolds two years after Monroe's death.
9.25 x 12.25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (4 bids) - Sold Price: $260

Lot 188: MARILYN MONROE: PERSONALLY OWNED "HOW MARILYN SAVED (ROBERT MITCHUM'S) LIFE" CLIPPING
A clipped article from the May 1961 issue of Movie Life magazine titled "Bob Mitchum Tells How Marilyn Saved My Life!" In the article, actor Robert Mitchum recounts a story that took place when he filmed River of No Return (Twentieth Century Fox, 1954) opposite Monroe. Also featured within the clipping is an update on Monroe's health at the time and a story of how Mitchum first met Monroe during the 1940s while she was still married to her first husband Jim Dougherty.
9 x 11 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 - (8 bids) - Sold Price: $455

Lot 197: MARILYN MONROE: MAKEUP PENCIL
A Glorene of Hollywood dark brown make-up pencil that was personally owned by Marilyn Monroe.
6 inches - PROVENANCE Partial lot 832, "Julien's Summer Sale 2009" (previously "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005).
Estimate: $1,000 - $2,000 - (23 bids) - Sold Price: $6,500

Lot 198: Marilyn Monroe: Sparkly Brooch
A silver-tone metal brooch with crystal drops, each terminating in a prong set pear-shaped rhinestone, bar closure featuring rhinestone rondelle. The maker’s mark on verso reads, “Eisenberg/ Original.” 2.5 x 3 inches
PROVENANCE Lot 239, “Property from the Estate of Lee Strasberg, November 18, 2016,” Beverly Hills
Estimate: $5,000 - $7,000

Lot 199: MARILYN MONROE: PERSONALLY OWNED PORCELAIN VASE
A white porcelain vase with gold-tone gilt detail that personally belonged to Marilyn Monroe. The vase features two curved handles with gold-tone paint that's lightly worn and approximately three inches of gold-tone etching around the top neck. There's no maker's mark present.
Please be aware there is a small chip at the top rim.
5 x 10.25 inches - PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $500 - $700 - (23 bids) - Sold Price: $3,900

Lot 200: MARILYN MONROE: PERSONALLY OWNED RED NEEDLEPOINT CUSHION COVER
A needlepoint cushion cover of a red floral pattern on a black background that belonged to Marilyn Monroe. The cover is housed in an unassociated shadowbox frame.
Accompanied by the original Julien's Auctions lot card and tag.
19 x 23 x 2 inches - PROVENANCE Lot 563, “Property From the Life and Career of Marilyn Monroe,” Julien’s Auctions, Beverly Hills, November 17, 2016
Estimate: $700 - $900 - (12 bids) - Sold Price: $1,170

Lot 201: MARILYN MONROE: HELENA DRIVE BATHROOM AND KITCHEN TILE PLAQUE
A wooden plaque that was custom-made with surplus tile Marilyn Monroe personally chose for the kitchen and master bathroom of her final home located at 12305 5th Helena Drive in Los Angeles. The blue, green, yellow, and white patterned tiles were handpicked by Monroe to be installed in her home and are the last of the batch that remained following her death in August 1962. The plaque was custom made in the 1980s by request of the daughter of the late Dr. and Mrs. Gilbert Nunez, who purchased the home in 1963.
Accompanied by Letter of Authenticity. 17 x 10 x 1 inches
Estimate: $800 - $1,200 - (21 bids) - Sold Price: $4,550

Divers Documents Papiers
Various Papers Documents

Lot 137: MARILYN MONROE: ARTHUR MILLER'S SON'S STUDENT EVALUATION
A typewritten student evaluation for Robert "Bobby" Miller, son of Arthur Miller, that is dated May 1, 1958, during Miller's marriage to Marilyn Monroe. Bobby was in the 10-year-old group at Little Red School House in New York City. The document is labeled "Evaluation of Student's Progress" and while most of his teacher's comments are favorable, she also notes "He seems always to be on a high pitch of tension, and is having difficulty in settling, which leads to brief times of just not trying to do anything, and then spurts of trying. With reassurance from the adults in his life he will gain the security he needs to relax."
Also included are mimeographed pages of the April and May 1960 issues of the Oak Hall News-Roundup, the newsletter of the school Bobby later attended.
8.5 x 11 inches
Estimate: $100 - $200 - (4 bids) - Sold Price: $130

Lot 191: MARILYN MONROE: SIGNED JOHN F. KENNEDY BIRTHDAY PROGRAM
A program for the May 19, 1962 event "New York's Birthday Salute to President Kennedy" that has been signed in ink by Marilyn Monroe and other celebrities including Harry Belafonte, Maria Callas, Shirley MacLaine, Henry Fonda, Peggy Lee, Jack Benny, Jimmy Durante, and others, many of whom were performers that night. The program has been matted and framed with the all-star lineup for the event on the far left, the center is the program with a crease down the center from the fold. On the left side are red, white, and blue blocks on which most of the celebrities have signed their names. One the right side is a photograph of President Kennedy with Monroe's signature beneath his face. On the far right is ephemera related to a previous sale of the program. Mounted on the back of the frame is a clipping of Liz Smith's column from 1998 that referenced the event and on the far left is a page with a list of the chairmen, committee members, and patrons, while on the far right is a page with members of the chorus and names of the production crew.
The star-studded birthday celebration for President Kennedy at Madison Square Garden, held 10 days before his actual birthday, remains one of the most discussed events in his and Monroe's career. The event was sponsored by the Democratic Committees and Citizens for Kennedy as a fundraiser to erase debt incurred during the 1960 presidential election. Monroe famously called in sick to filming Something's Got To Give at 20th Century Fox studios in Los Angeles to fly to New York in serenade the president with a sultry rendition of "Happy Birthday, Mister President" while wearing a sheer, skin-tight Jean-Louis gown that she'd been sewn-into just before the event.
26 x 14.25 x 1 inches (frame)
Estimate: $10,000 - $20,000 - (27 bids) - Sold Price: $88,900

Lot 203: MARILYN MONROE: STRASBERG-OWNED MONROE DOCUMENTARY MAGAZINE COVER
A front page of trade publication Variety dated October 4, 1962 that was owned by the Strasberg family. An article in the center of the page discusses the numerous documentary projects that were rushed into development to capitalize on the death of Marilyn Monroe the previous August. This article reads in part: "Documentary producer David J. Wolper is joining the race to market pix about Marilyn Monroe, planning an 80-min. theatrical film documentary, "Marilyn."
9 x 12.25 inches
Estimate: $100 - $200 - (2 bids) - Sold Price: $76,50

Lot 204: MARILYN MONROE: MOTHER-RELATED ATTORNEY CORRESPONDENCE
A two page copy of a typewritten letter dated November 7, 1963 sent to Aaron Frosch, Marilyn Monroe's attorney and executor of her will, from Inez Melson, Monroe's business manager, concerning the care of Gladys Baker Eley, Monroe's mother.
The letter reads in part: "I must confess that I am deeply concerned about the fact that no funds have been available with which to take care of Mrs. Eley's needs. The Sanitarium has been most cooperative and gracious with respect to carrying the account since the last payment made to them was for the month of February."
Eley suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely consumed by taxes and debts. Following Monroe's death, Melson oversaw financial care for Eley who later died in a retirement home in Florida in 1984.
8.5 X 11 inches
Estimate: $200 - $300 - (9 bids) - Sold Price: $455

Lot 205: MARILYN MONROE: HOLLYWOOD REPORTER GLADYS BAKER ELEY CLIPPING
A page from May 25, 1965 issue of The Hollywood Reporter that features a story about Marilyn Monroe's mother. In her "Broadway Ballyhoo" column, Radie Harris writes "When Marilyn Monroe's will, still being probated, is settled, there will be nothing left for the Lee Strasbergs or any of the other beneficiaries. However, Marilyn's lawyer, Aaron Frosch, of the law firm of Weissberger & Frosch, is seeing to it that her institutionalized mother will be taken care of for the rest of her life."
Mrs. Gladys Baker Eley, Marilyn's mother, suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely swallowed up by taxes and debts. Eley died in a retirement home in Florida in 1984.
9.25 x 12.25 inches
Estimate: $100 - $200 - (6 bids) - Sold Price: $195

Lot 206: MARILYN MONROE: LOS ANGELES TIMES GLADYS BAKER ELEY STORY AND LETTER
A group of items related to Mrs. Gladys Baker Eley, Marilyn Monroe's mother, including an article from the June 25, 1965 edition of the Los Angeles Times, a typewritten letter from the author of the story on Los Angeles Times letterhead, and a published letter from a reader in response to the article.
The article was published under the headline "Hard-Hearted Hollywood / Marilyn's Mother Ignored" and features quotes from Mrs. Inez Melson, Monroe's business manager, regarding how none of Monroe's close friends had offered to help pay for Eley's care but several of Monroe's fans had offered to send money for her support. The Times writer sent the clipping and a letter to Melson to confirm she'd seen it.
Eley suffered from schizophrenia and was institutionalized in Rockhaven Sanitarium in Verdugo City, California in 1953. Marilyn paid for her care there until her death in August 1962. Monroe left her mother a $100,000 trust fund, of which she received $5,000 each year. However, the trust fund was almost completely swallowed up by taxes and debts. Eley died in a retirement home in Florida in 1984.
9 x 11.5 inches
Estimate: $200 - $300 - (5 bids) - Sold Price: $260

Autre
Other

Lot 114: Marilyn Monroe: “River Of No Return” “I’M Gonna File My Claim” Record Award
An in-house record award presented to Simon House Music to commemorate the sale of more than 50,000 copies of the RCA Victor record release of “I’m Gonna File My Claim” as performed by Marilyn Monroe. Monroe performed the song in her film River of No return (20th Century Fox, 1954). The award is housed behind glass in a gold-tone frame.
PROVENANCE From the Archives of Marilyn Monroe’s Personal Property / 17.75 x 23.5 x 1.5 inches
Estimate: $7,000 - $9,000

Lot 118: Marilyn Monroe: “There’s No Business Like Show Business” Swimsuit Costume
A four-piece ensemble custom-made for Marilyn Monroe to wear in There’s No Business Like Show Business (Twentieth Century Fox, 1954). The costume, which is not seen in the final cut of the film, consists of a bathing suit made of black silk with ‘applied’ black polka dots, spaghetti straps ending in two large bows, attached front rounded ‘stomach flap,’ back zip-up closure, separate self-belt, lined with support boning and nude-colored netting, in fragile condition now with areas of evident repair work; a coordinating large wrap, white cotton with the same ‘applied’ black polka dots as suit, trimmed in a wide panel of rose-colored cotton on one end and light blue cotton on the other; and a bathing cap with a petal-like hem adorned with white sequins and silver-colored bugle beads, label reads ‘1-25-4-4691/ A729-29/ M. Monroe.’ The costume was custom-made for Monroe to wear in her portrayal of Vicky Parker and designed by Academy Award-winning costumier William Travilla, this outfit is quite similar to others the star wears throughout the film, though it is not seen in the final cut; however, it is evident it was made for the same production due to its style and construction.
Sir Elton John donated this costume to a charity auction in 1990 prior to it being sold by Christie’s the following year.
PROVENANCE Lot 104, Christies (South Kensington), auction titled Pop, Sale 4259, April 25, 1991.
Estimate: $10,000 - $20,000

Lot 550: WILLEM DAFOE: SUPER BOWL COMMERCIAL-WORN "THE SEVEN YEAR ITCH" MARILYN MONROE STYLE DRESS
A Willem Dafoe worn dress styled after Marilyn Monroe's iconic film The Seven Year Itch (20th Century Fox, 1955) dress.
The halter-style dress is composed of a white polyester, with gradient pleats from the bust to the back-of-neck closure. Then from the waist to hips the dress is fitted with box pleats, going into an open fan pleated skirt that goes down to mid-calf. Their is a sash that tie in the back, sewn into the under-bust of the dress to nip it in slightly. This 2016 pattern design does not have the voluptuous curves of Marilyn Monroe's Travilla dress, but a boxier cut. Please note: There is wear to the garment, pleats in the skirt of the dress have lost their shape and definition, and there is underarm discoloration.
Dafoe wore the gown in a 2016 Snickers brand Super Bowl commercial, in which he plays a hungry version of Marilyn Monroe on the set of The Seven Year Itch filming the subway grate scene. William Travilla designed the original white halter dress with sunburst pleated skirt that Monroe wore.
Includes two original lot cards and one lot tag.
Estimate: $1,000 - $2,000 - (11 bids) - Sold Price: $1,300

Posté par ginieland à 18:18 - enchères Lots - Commentaires [0] - Permalien [#]
Tags : 2023, ben hecht, berniece miracle, buddy adler, bus stop, cheques, emmeline snively, factures, gladys monroe, jane miller, john moore, juliens auction, let's make love, lettres, maquillage, MM et les fans, norman rosten, objets personnels, scenarios, tnblsb

23 octobre 2022

Autour du film "Ladies of the Chorus"

Les reines du music-hall

Secrets de tournage ... et anecdotes
01-blog-secretstournage1
The Secrets of filming ... and anecdotes

Genèse
Genesis

Marilyn Monroe signe un contrat avec les studios de la Columbia grâce à Joseph Schenck, ex-président de United Artists, ancien patron de la Twentieth Century, puis de la Fox, et qui exerçait encore une très grande influence sur les grands studios. Marilyn le rencontre au début de l'année 1948 (voir même fin 1947), à une soirée privée de poker que Schenck avait l'habitude d'organiser dans son immense villa de Los Angeles et où Marilyn servait d'escorte (de jeunes starlettes étaient conviées pour agrémenter les soirées). Tel il était coutume dans le milieu hollywoodien, les starlettes couchaient avec les producteurs ou hommes d'influents afin de pouvoir décrocher un contrat en retour. Marilyn fait partie de ces starlettes et fréquente Schenck. Le patron de la Fox Darryl Zanuck, ne voulant plus de Marilyn, Schenck se tourne alors vers Harry Cohn à la tête des studios de la Columbia qui lui fait signer un contrat de six mois, à 125 dollars la semaine. Signé le 9 mars 1948, le contrat semblait être en préparation depuis plusieurs mois puisque Marilyn en parle dans une lettre qu'elle avait envoyée à sa demie-soeur Berniece et datée du 06 février 1948 (- blog: 06/02/1948 - Lettre de Norma Jeane à Berniece -).
Marilyn Monroe signs a contract with the Columbia studios thanks to Joseph Schenck, ex-president of United Artists, former boss of the Twentieth Century, then of Fox, and who still exerted a very great influence on the major studios. Marilyn met him at the beginning of 1948 (maybe even the end of 1947), at a private poker party that Schenck used to organize in his huge villa in Los Angeles and where Marilyn served as an escort (young starlets were invited to liven up the evenings). As was customary in Hollywood, starlets slept with producers or influential men in order to get a contract in return. Marilyn is one of these starlets and frequents Schenck. Fox boss Darryl Zanuck, no longer wanting Marilyn, Schenck then turns to Harry Cohn at the head of the Columbia studios who makes her sign a six-month contract, at 125 dollars a week. Signed on March 9, 1948, the contract seemed to have been in preparation for several months since Marilyn talks about it in a letter she had sent to her half-sister Berniece and dated on February 06, 1948.

Joseph Schenck & Marilyn / Harry Cohn & Rita Hayworth

La Columbia - par l'intermédiaire de Max Arnow qui dirige le département des "jeunes talents" du studio - s'occupe de leur jeune recrue: un relooking à la Rita Hayworth (- blog: Le style de Marilyn dans "Ladies of the Chorus": coiffures et accessoires - ), des cours d'art dramatique avec Natasha Lytess (qui deviendra la coach de Marilyn pendant 6 ans), des cours de chant avec l'arrangeur musical du film Fred Karger (dont Marilyn tombe éperdument amoureuse) et des séances photos publicitaires avec leur photographes (Robert Coburn et Ed Cronenweth).
Columbia - through Max Arnow who heads the studio's "young talent" department - is taking care of their young recruit: a Rita Hayworth makeover, drama lessons with Natasha Lytess (who will become Marilyn's coach for 6 years), singing lessons with the film's musical arranger Fred Karger (with whom Marilyn falls madly in love) and publicity photo shoots with their photographers (Robert Coburn and Ed Cronenweth).

Bien que sous contrat avec la Columbia, aucune proposition de tournage ne se fait dans l'immédiat pour Marilyn. C'est Natasha Lytess qui contacte un jour l'un de ses amis, le producteur Harry Romm, qui lui confirme qu'un film est en préparation et pour lequel l'un des premiers rôles n'a pas encore été distribué: il s'agit du film "Les Reines du Music-Hall".
Quand elle apprend qu'elle est retenue pour le film, Marilyn aurait contacté la chroniqueuse Louella Parsons pour lui annoncer la bonne nouvelle, espérant ainsi que son nom soit cité dans sa chronique.
Ce sera le seul et unique film que Marilyn tourne pour la Columbia car à l'issu des 6 mois d'échéance de son contrat, il n'est pas renouvellé pour la simple raison que Marilyn a refusé les avances d'Harry Cohn, ce qu'elle révélera à demi-mots dans l'interview qu'elle donnera en 1960 à Georges Belmont: "Le vrai motif (de son départ à la Columbia) tient à des circonstances plutôt étranges et, mettons, déplaisantes. Je n'en dirai pas plus, si ce n'est que... la vie est pleine de leçons."
Although under contract with Columbia, no filming proposal is made immediately for Marilyn. It is Natasha Lytess who one day contacts one of her friends, the producer Harry Romm, who confirms to her that a film is in preparation and for which one of the first roles has not yet been distributed: that's the movie "Ladies of the Chorus".
When she learns that she has been selected for the film, Marilyn would have contacted the columnist Louella Parsons to announce the good news, thus hoping that her name would be mentioned in her column.
It will be the one and only film that Marilyn shoots for Columbia because at the end of the 6-month expiry of her contract, it is not renewed for the simple reason that Marilyn refused Harry Cohn's advances, which that she will reveal in half-words in the interview that she will give in 1960 to Georges Belmont: "The real reason (for her departure to Columbia) is due to rather strange and, let's say, unpleasant circumstances. I will say no more, except that... life is full of lessons."
La coach d'art dramatique Natasha Lytess se montre au départ désemparée face au manque de talent de Marilyn, la considérant même comme un cas désépéré; elle lui fait travailler par dessous tout sa voix car son timbre de voix irritait Lytess, tout comme sa diction; Lytess dira que Marilyn avait "la manie de parler sans bouger les lèvres rendant son élocution artificielle". Marilyn suit les cours de Lytess d'une manière très assidue et travaille d'arrache pied en appliquant tout les conseils que la professeure lui prodigue.
Natasha Lytess a par ailleurs aussi vite repéré que les principaux atouts de Marilyn étaient son corps et l'attrait sexuel qu'elle exerçait. C'est en travaillant les scènes de chorégraphies du film et souhaitant améliorer sa gestuelle pour incarner son personnage de chanteuse et danseuse de cabaret, que des amis de Marilyn lui conseillent d'aller voir un spectacle d'effeuillage de la danseuse de strip tease Lili St-Cyr. Elle s'y rend avec le photographe Bruno Bernard, pour qui a posé Marilyn dès 1946, et qui a aussi photographié Lili St-Cyr. Marilyn ressort du spectacle totalement époustouflée par la façon dont Lili pouvait être sexy sans être vulgaire. Elle était capable d'utiliser son corps en suggérant l'acte sexuel, en restant incroyablement sensuelle, sans être licensieuse ni trop charnelle. Elle savait y mêler virginité, pureté, sensualité et romantisme.
The drama coach Natasha Lytess is initially distraught at Marilyn's lack of talent, even considering her a hopeless case; she makes her work above all on her voice because her tone of voice irritated Lytess, just like her diction; Lytess will say that Marilyn had "a mania for speaking without moving her lips, making her speech artificial". Marilyn follows Lytess's classes in a very diligent way and works tirelessly by applying all the advices that the teacher gives her.
Natasha Lytess also quickly spotted that Marilyn's main assets were her body and the sexual attraction she exerted. It was while working on the film's choreography scenes and wishing to improve her gestures to embody her character as a singer and cabaret dancer, that Marilyn's friends advised her to go see a strip show by the stripteaser dancer Lili St-Cyr. She goes there with the photographer Bruno Bernard, for whom Marilyn posed in 1946, and who also photographed Lili St-Cyr. Marilyn comes out of the show totally amazed by how sexy Lili could be sexy without being vulgar. She was able to use her body in suggesting the sexual act, remaining incredibly sensual, without being licentious or overly carnal. She knew how to mix virginity, purity, sensuality and romanticism.

Bruno Bernard alias Bernard of Hollywood / Lili St-Cyr (photos de Bruno Bernard)

- video Lili St-Cyr, "Varietease", 1954 -

Rôle de Marilyn
Role of Marilyn

Marilyn a 22 ans quand elle joue le rôle de Peggy Martin, une chanteuse de cabaret. C'est le premier grand rôle qu'elle tient à l'écran, son nom est placé en 2ème position au générique (après celui d'Adele Jergens) et il s'agit de sa première comédie musicale où elle chante et danse et elle porte 15 tenues différentes dans le film.
Il s'agit aussi de l'un des rares films où elle a une mère, en l'occurrence jouée par Adele Jergens.
Marilyn is 22 when she plays the role of Peggy Martin, a cabaret singer. This is the first big role she has on screen, her name is placed in 2nd position in the credits (after that of Adele Jergens) and it is her first musical where she sings and dances and she wears 15 different outfits in the film.
It is also one of the rare films where she has a mother, in this case played by Adele Jergens.
Dans le film est abordé le thème de la différence de classes sociales entre son personnage Peggy Martin, de condition modeste, qui tombe amoureuse de Randy Carroll (joué par Rand Brooks), un jeune homme riche de la haute société.
Dans la vie et au moment du tournage, Marilyn tombe amoureuse et vit une passion avec Fred Karger, qui lui fait répéter les chansons. Marilyn tombe follement amoureuse de Karger, qui a 10 ans de plus qu'elle, est séparé de sa femme, et vit dans un contexte social aisé avec son fils, sa mère et ses soeurs.
Contrairement au personnage de Peggy Martin qui a fait des études secondaires avant de se lancer dans le métier de chanteuse et danseuse du burlesque en rejoignant la troupe de sa mère, Marilyn a stoppé ses études à 16 ans pour se marier et ressentira un profond sentiment d'infériorité face à Karger qui n'aura de cesse de la rabaisser sur son manque de culture. Comme son personnage, Marilyn est alors confronté à cette différence de classe sociale et culturelle.
The film tackles the theme of the social class difference between its character Peggy Martin, of modest means, who falls in love with Randy Carroll (played by Rand Brooks), a young rich man from high society.
In life and at the time of filming, Marilyn falls in love and lives a passion with Fred Karger, who makes her rehearse the songs. Marilyn falls madly in love with Karger, who is 10 years older than her, is separated from his wife, and lives in an affluent social context with his son, his mother and his sisters.
Contrary to the character of Peggy Martin who went to secondary school before embarking on the profession of singer and burlesque dancer by joining her mother's troupe, Marilyn stopped her studies at 16 to get married and will feel a deep sense of inferiority to Karger who will constantly belittle her for her lack of culture. Like her character, Marilyn is then confronted with this difference of social and cultural class.

Bien qu'elle était pour la première fois l'une des têtes d'affiche et que la préparation du film lui a permi de rencontrer des personnes qui joueront un rôle important dans sa vie (Natasha Lytess et Fred Karger), Marilyn ne gardera pas un très bon souvenir de sa période à la Columbia, ni même du film. Elle racontera dans l'interview qu'elle donnera en 1960 au français Georges Belmont: "La Columbia m'avait du moins donné un rôle dans 'Ladies of the Chorus'. Un film affreux ! Je jouais une danseuse de burlesque dont un type de Boston tombe amoureux. C'était une histoire horrible et horriblement photographiée; tout était horrible !"
Although she was one of the headliners for the first time and the preparation of the film allowed her to meet people who will play an important place in her life (Natasha Lytess and Fred Karger), Marilyn will not keep a very good memories of her time at Columbia, or even of the film. She recounted in the interview she gave to French Georges Belmont in 1960: "Columbia had at least given me a role in 'Ladies of the Chorus'. It was really dreadful ! I played a burlesque dancer on whom some guy from Boston falls in love with. It was a terrible story and terribly, badly photographed; everything was awful about it !"

Ses partenaires à l'écran
Her on-screen partners

Sur le tournage, Marilyn s'entend bien avec les autres acteurs qui l'apprécient. Elle se montre très appliquée: elle arrive toujours à l'heure, connait son texte par coeur et est toujours prête pour les prises de vues. Adele Jergens confiera en 1992 à Donald Spoto (biographe de Marilyn) une anecdote: "Un jour, Marilyn, en larmes, m'a dit qu'elle avait perdu sa mère et que, comme toutes les danseuses du film, elle connaissait l'ostracisme social qui vous frappe quand vous êtes orpheline... C'était une fille qu'on avait envie de prendre sous son aile, bien qu'elle ne fût pas stupide et n'eût probablement pas besoin d'être protégée."
L'actrice Adele Jergens, qui joue le rôle de la mère de Marilyn, est née le 26 novembre 1917 (à Brooklyn, New York) et n'avait donc seulement 9 ans de plus que "sa fille" à l'écran. Elle débute sa carrière comme mannequin puis chanteuse et doublure des scènes new-yorkaises, avant de signer avec les studios de la Columbia en 1944, qui la relooke en blonde platine.
On the set, Marilyn gets along well with the other actors who appreciate her. She shows herself to be very diligent: she is always on time, knows her text by heart and is always ready for the shots. Adele Jergens confided in 1992 to Donald Spoto (biographer of Marilyn) an anecdote: “She told me very tearfully she had lost her mother, and that, just like the chorus girls of the story, she knew what social ostracism was like. Marilyn was the sort of girl you instinctively wanted to protect, even though she obviously had brains and probably didn’t need much protection.”
Actress Adele Jergens, who plays the role of Marilyn's mother, was born on November 26, 1917 (in Brooklyn, New York) and was therefore only 9 years older than "her daughter" on screen. She began her career as a model, then a singer and understudy on New York stages, before signing with Columbia studios in 1944, which redesigned her as a platinum blonde.

Adele Jergens, portraits publicitaires pour "Ladies of the Chorus"

Rand Brooks, qui joue Randy Carroll, le prétendant de Marilyn dans le film, est né le 21 septembre 1918. Il signe avec les studios de la MGM en 1938 et il est prêté aux productions de Selznik en 1939 pour tenir le rôle du premier mari de Scarlett O'Hara (interprétée par Vivien Leigh) dans "Autant en emporte le vent". Marilyn avait 13 ans quand elle a vu le film au cinéma, avec son idole Clark Gable. On ne peut qu'imaginer son excitation de donner la réplique à Rand Brooks, qui reste aussi son premier partenaire à qui elle offre son premier baiser à l'écran.
Rand Brooks racontera plus tard ses souvenirs de Marilyn: "Marilyn était terriblement gentille et je pense qu'elle a fait du bon travail. Elle arrivait toujours à l'heure, elle travaillait dur, elle connaissait ses répliques et son chant était plus que suffisant. Cependant, elle n'avait pas beaucoup de formation cinématographique, je me suis reculé et je lui ai dit où étaient les lumières, car des choses comme frapper ses marques peuvent déranger les jeunes acteurs et actrices. À l'époque, j'avais eu pas mal d'expérience dans la réalisation de films, mais je n'étais pas sur le point d'éclipser Marilyn. Mon agent m'a dit: "J'espère que vous ne faites rien de stupide."
Brooks travaillera pour pratiquement tous les studios: la Fox, la Paramount, United Artists, Universal, la RKO et pour ce film, la Columbia.
Rand Brooks, who plays Randy Carroll, Marilyn's suitor in the film, was born on September 21, 1918. He signed with MGM studios in 1938 and was loaned to Selznik productions in 1939 to play the role of the first husband by Scarlett O'Hara (played by Vivien Leigh) in "Gone with the Wind". Marilyn was 13 when she saw the movie at the theatre, with her idol Clark Gable. We can imagine her excitement to give the reply to Rand Brooks, who also remains her first partner to whom she offers her first kiss on the screen.
Rand Brooks will later recount his memories of Marilyn: “Marilyn was awfully sweet and I think she did a good job. She always turned up on time, she worked hard, she knew her lines, and her singing was more than adequate. However, she hadn’t much film training, I moved back and tell her where the lights were, because things like hitting your marks can be disturbing to young actors and actresses. By the time had had quite a lot of experience making movies, but I wasn’t about to upstage Marilyn. My agent told me, ‘I hope you’re not doing anything foolish.”
Brooks will work for practically all the studios: Fox, Paramount, United Artists, Universal, RKO and for this film, Columbia.

Rand Brooks: avec Vivien Leigh dans "Autant en emporte le vent" / le baiser avec Marilyn
Rand Brooks: with Vivien Leigh in "Gone with the Wind" / The Kiss with Marilyn

Les chansons du film
The songs of the movie

Le film contient six chansons, toutes des créations originales écrites et composées par Allan Roberts et Lester Lee.
Pour les danses, le chorégraphe est Jack Boyle.
Marilyn Monroe interprète deux chansons en solo. Adele Jergens est, pour ses interventions chantées, doublée par Virginia Rees. Le trio de musiciens qui participe à l'animation de la fête de fiançailles est le Bobby True Trio, un vrai trio de musiciens à tendance d'un jazz et blues énergique, qui a enregistré quelques albums.
The film contains six songs, all of which are original works written and composed by Allan Roberts and Lester Lee.
For the dances, the choreographer is Jack Boyle.
Marilyn Monroe performs two solo songs. Adele Jergens is, for her singing interventions, doubled by Virginia Rees. The trio of musicians who take part in the entertainment of the engagement party is the Bobby True Trio, a real trio of musicians with a tendency towards energetic jazz and blues, who have recorded a few albums.

The Bobby True Trio

Les chansons par ordre chronologique dans le film:
The songs in chronological order in the film:

- "Ladies of the Chorus" interprétée par Marilyn Monroe, Adele Jergens (doublée by Virginia Rees), et les autres chanteuses;
- sur le blog: 1948 - Marilyn Monroe et les actrices chantent "Ladies of the Chorus"

- "Anyone Can See I Love You" interprétée par Marilyn Monroe;
- sur le blog: 1948 - Marilyn Monroe chante 'Anyone Can See I Love You'

- "Every Baby Needs a Da Da Daddy" interprétée par Marilyn Monroe;
- sur le blog: 1948 - Marilyn Monroe chante 'Every Baby Needs a Da-da-daddy'

- "I'm So Crazy for You" interprétée par Adele Jergens (doublée par Virginia Rees);

- "Ubangi Love Song" interprétée par The Bobby True Trio - le seul titre qui n'est pas une composition de Roberts et Lee, mais écrit par Buck Ram;

- "You're Never Too Old" interprétée par Nana Bryant, avec Eddie Garr au piano et The Bobby True Trio en accompagnement musical.

Itinéraire d'un film
Film itinerary

Mars 1948 - Marilyn passe l'audition pour le film (non pas début juin tel qu'il est mentionné dans les biographies car un chroniqueur publie quelques lignes dans la presse le 12 mars 1948 confirmant que Marilyn tournera dans le film, ainsi que Louella Parsons le 14 mars 1948 qui déclare que Marilyn en personne l'a appelé pour lui annoncer; le scénario est daté du 07 avril 1948 et Marilyn a multiplié les séances photos publicitaires pour la Columbia en avril). Pour son audition, elle chante l'une des chansons du film.
March 1948 - Marilyn passes the audition for the film (not at the beginning of June as it is mentioned in the biographies because a columnist publishes a few lines in the press on March 12, 1948 confirming that Marilyn will shoot in the film,as well as Louella Parsons on March 14, 1948 who declares that Marilyn herself called her to announce; the script is dated April 07, 1948 and Marilyn multiplied the publicity photo shoots for Columbia in April). For her audition, she sings one of the songs from the film.

Le script du film d'Adele Jergens de 92 pages daté du 07 avril 1948
The Adele Jergens Screenplay of 92 pages dated from 1948, April, 07
vendu sur ebay en 2019 - archive sur worthpoint

Mi-mai à mi-juin 1948 - Tournage du film à petit budget dans les studios de la Columbia. Bien que dans la plupart des biographies il est indiqué que le tournage a lieu en une dizaine de jours, il semble néanmoins qu'il ait duré un peu plus longtemps (peut être deux à trois semaines).
Le 17 mai 1948 , Marilyn tourne la scène de la chanson 'Every Baby Needs a Da-Da-Daddy' ;
Le 14 juin 1948 , Marilyn pose avec Rand Brooks pour des portraits publicitaires du film.
Mid-May to mid-June 1948 - Filming of the low-budget film at Columbia studios. Although in most biographies it is stated that the filming takes place in about ten days, it nevertheless seems that it lasted a little longer (maybe two to three weeks).
On May 17, 1948, Marilyn shoots the scene of the song 'Every Baby Needs a Da-Da-Daddy';
On June 14, 1948, Marilyn poses with Rand Brooks for publicity portraits for the film.

22 Octobre 1948 - Sortie du film aux Etats-Unis.
Marilyn se rend incognito à une projection du film au Carmel Theatre, un cinéma sur Santa Monica Boulevard, avec Fred Karger et la famille de celui-ci. Anne Karger, la nièce de Fred Karger, racontera: "Elle avait l'air d'une petite fille. Elle s'était enfoncée si profondément dans son siège qu'elle pouvait à peine voir l'écran. Elle était enveloppée dans un grand manteau et portait des lunettes noires."
Marilyn est très impressionnée par la façade à néon qui contient son nom qui clignote en grand, et tient sa revanche face à la petite Norma Jeane qu'elle était, ayant enfin le sentiment de se sentir une star de cinéma, elle dira "Je passais devant le cinéma avec mon nom inscrit sur le fronton. Comme j'étais excitée ! J'aurai aimé qu'ils mettent Norma Jean pour que tous les gosses du quartier et des écoles qui ne m'avaient jamais remarqué et s'étaient moqués de moi puissent me reconnaître".
October 22, 1948 - Release of the film in the United States.
Marilyn goes incognito to a screening of the film at the Carmel Theater, a cinema on Santa Monica Boulevard, with Fred Karger and his family. Anne Karger, Fred Karger's niece, will say: "She looked like a little girl. She had sunk herself so deep into her seat that she could barely see the screen. She was wrapped in a big coat and wore dark glasses."
Marilyn is very impressed by the neon facade which contains her name flashing in big letters, and takes her revenge against the little Norma Jeane that she was, finally having the feeling to be movie star, she will say "I spent in front of the cinema with my name written on the front. How excited I was! I wish they would put Norma Jean on so that all the kids in the neighborhood and in the schools who had never noticed me and made fun of me me can recognize me".

Le film ne reste pas longtemps à l'affiche et les critiques sont plutôt mitigées. Marilyn se fait tout de même remarquer par les critiques, le Motion Picture Herald dit que "L'un des moments le plus brillant est celui où Miss Monroe chante. Elle est jolie, et sa voix et son style agréables constituent pour elle de belles promesses d'avenir"; le Variety écrit que "le film est plein de pièces musicales avec les formidables vocalises de Marilyn Monroe (...) Miss Monroe nous donne une belle interprétation de reine du music-hall"; le Recorder remarque "une nouvelle venue, la talentueuse blonde Marilyn Monroe", le Nepean Times la qualifie de "talentueuse, blonde et belle Marilyn Monroe".
The film did not stay in theaters for long and reviews were rather mixed. Marilyn is nevertheless noticed by the critics, the Motion Picture Herald says that "One of the bright spots is Miss Monroe's singing. She is pretty, and with her pleasing voice and style, she shows promise"; the Variety writes that "the movie is full of musical pieces with the formidable vocalizations of Marilyn Monroe (...) Miss Monroe gives us a beautiful interpretation of queen of the music hall"; The Recorder notes "a talented blonde new comer, Marilyn Monroe, is introduced"; the Nepean Times qualifies her of "talented, blonde and beautiful Marilyn Monroe".
- sur le blog: Les critiques sur "Ladies of the Chorus"

1er novembre 1952 - Re-sortie en salle du film aux Etats-Unis. Face au succès phénoménal de Marilyn en cette année 1952 (elle accède à une célébrité absolue avec le film de la Fox "Niagara"), la Columbia décide de resortir au cinéma le seul film qu'il lui ont fait tourner et ils apportent quelques modifications dans les apports publicitaires: le nom de Marilyn est ainsi placé en première position dans le générique du film mais aussi sur les affiches du film où son image est aussi mise en avant.
La Columbia se sert de Marilyn pour le film de guerre "Okinawa" sorti en 1952 en utilisant un extrait de "Les Reines du Music-Hall", celui où Marilyn chante "Every Baby Needs a Da-da-daddy". [- sur le blog: 1948 - Marilyn Monroe chante 'Every Baby Needs a Da-da-daddy' ]
En 1952, les slogans publicitaires du film sont: "La sensation de grésillement de l'année, Marilyn Monroe, en tant que reine du burlesque" ; "Cette sensation hollywoodienne chaude dans une comédie musicale avec un fond burlesque"; "Marilyn Monroe dévoile les secrets d'amour des 'Reines du Music-Hall' du Burlesque".
November 1, 1952 - Re-release of the film in the United States. Faced with the phenomenal success of Marilyn in this year 1952 (she reached absolute fame with the Fox film "Niagara"), Columbia decided to re-release the only film they had made with her and they made some changes in publicity: Marilyn's name is thus placed in first position in the credits of the film but also on the posters of the film where her image is also highlighted.
Columbia uses Marilyn for the war movie "Okinawa" released in 1952 using an extract from "Ladies of the Chorus", the one where Marilyn sings "Every Baby Needs a Da-da-daddy".
In 1952, the film's publicity slogans were: "The Year's Sizzling Sensation, Marilyn Monroe, As A Burlesque Queen"; "That Hot Hollywood Sensation In A Musical With A Burlesque Background;" "Marilyn Monroe Bares Love Secrets Of Burlesque's 'Ladies Of The Chorus'".

Retrouvailles
Reunion

L'actrice Nana Bryant , qui joue le rôle de Mme Adele Carroll, tenait un rôle dans "Dangerous Years" (1947), celui de Miss Templeton, la directrice de l'orphelinat. Elle n'y partageait cependant aucune scène en commun avec Marilyn.
Actress Nana Bryant, who plays Mrs. Adele Carroll, had a part in Dangerous Years (1947), that of Miss Templeton, the headmistress of the orphanage. However, she didn't share any scene there with Marilyn.

Nana Bryant dans "Dangerous Years"

L'acteur Dave Barry joue M. Ripple (le décorateur) avec son vrai fils Alan Barry dans le rôle de Trickle. Ils parlent avec leur "voix de gargouillement", un gimmic qu'il utilisait à l'époque dans de nombreux épisodes de l'émission de radio "The Jimmy Durante" en 1947 et 1948 où il jouait aussi un M. Ripple - le commissaire américain aux voies navigables. Dave Barry racontera plus tard que son fils de 5 ans, Alan Barry, était si nerveux qu'il n'arrêtait pas de s'agiter en mettant sa main dans sa poche - ruinant de nombreuses prises. Le réalisateur a donc du demander au responsable des costumes de coudre la main de son fils Alan dans la poche de son pantalon afin qu'elle ne sorte pas, pour réduire son agitation.
Dave Barry n'a pas de scènes en commun avec Marilyn dans "Les Reines du Music-Hall". Par contre, il la retrouvera en 1959 pour "Certains l'aiment chaud", où il joue le rôle de Bienstock, le patron de la troupe de chanteuses de jazz.
Actor Dave Barry plays Mr. Ripple (the decorator) with real life son Alan Barry as Trickle. They speak with their "gurgle voice", a gimmick he used at that time in many episodes of "The Jimmy Durante" radio show during 1947 and 1948 where he also played a Mr. Ripple - the United States Commissioner Of Waterways. Dave Barry would later recount that his 5 year old son Alan Barry was so nervous he kept fidgeting by putting his hand in his pocket - ruining many takes. The director therefore had to ask the wardrobe manager to sew his son Alan's hand into his pant pocket so that it would not come out - to reduce his fidgeting.
Dave Barry has no scenes in common with Marilyn in "Ladies of the Chorus". However, he will play with her in 1959 in "Some like it hot", where he plays the role of Bienstock, the boss of the troupe of jazz singers.

Dave Barry et son fils Alan dans "Ladies of the Chorus" / avec Marilyn dans "Some like it Hot"

Sources:
Marilyn Monroe, La Biographie, Donald Spoto
Les vies decrètes de Marilyn Monroe, Anthony Summers
Marilyn Monroe, la femme derrière l'icône, de Ian Ayres
Marilyn Monroe, l'encyclopédie, d'Adam Victor
article de Classic Movie Hub Marilyn: Behind the Icon – Ladies of the Chorus
quelques anecdotes du film sur imdb et sur le blog perfectlymarilynmonroe

Posté par ginieland à 19:35 - film 1948 - Ladies of the Chorus - Commentaires [0] - Permalien [#]
Tags : 1948, adele jergens, bruno bernard, columbia, dave barry, fred karger, harry cohn, joseph schenck, ladies of the chorus, lili st-cyr, louella parsons, MM chante, nana bryant, natasha lytess, rand brooks, scenarios, sur le tournage

21 juillet 2022

22/07/2022, HERITAGE, "Hollywood & Entertainment Signature": Lots

Enchères "Hollywood & Entertainment Signature"
22 & 23 juillet 2022
- 45 lots avec Marilyn Monroe -

> 22/07/2022, Heritage, "Hollywood & Entertainment Signature": Catalogue

Photos Andre De Dienes x 35

Lot 89013: Marilyn Monroe Photograph Enjoying the Sun by Andre de Dienes (1946).
Vintage original silver gelatin, borderless semi-gloss, double weight 10.5" x 12" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955.(...)
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Lot 89014: Marilyn Monroe Fun in Malibu Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 16" x 17.25" photo of Marilyn Monroe at Tobey Beach Long Island by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1949, printed later. (...)
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Lot 89015: Marilyn Monroe Photograph on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.25" x 10" composite photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES with 2/2 and 0153-B and 10/10 IN PENCIL on verso, 1946, printed no later than 1955. (...)
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Lot 89016: Marilyn Monroe Photograph "Irradiance of Life" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 8" x 10" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, signed "A. Dienes" in black felt on recto lower right, with red and black rubber stamps PHOTO ANDRE DIENES and cropping notation in pencil on verso, 1946, printed no later than 1955. Notations by Dienes "(she has no make up on! Only cream on her face)" and "JOY" "IRRADIANCE OF LIFE" AND "BLISS" in black ink on verso.
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Lot 89017: Marilyn Monroe Photograph on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 8" x 9.5" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955.
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Lot 89018: Marilyn Monroe Photograph "Premonition" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless semi-gloss, double weight 8.75" x 9.5" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "PREMONITION" and "A never before published photo of Marilyn Monroe" and "Death" and "The end of everything" In blue felt on verso.
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Lot 89019: Marilyn Monroe Photograph "Peace of Mind" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "MARILYN MONROE CAPTION FOR PHOTO:" "TRYING TO BE OUTSIDE OF ALL MATERIAL SELFHOOD" and "PEACE OF MIND" and "SOMETIMES LIFE IS BEST SUMMERISED DURING ITS GREAT QUIESCENCIES" in blue ink and ½ and 0732-A 9/11 in pencil on verso.
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Lot 89020: Marilyn Monroe Photograph "Sorrow" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "MARILYN MONROE" "SORROW" and "AS FOR MAN, HIS DAYS ARE AS CRASS AS A FLOWER OF THE FIELD, SO HE FLORISHETH. FOR THE WIND PASSETH OVER IT, AND IT IS GONE; AND THE PLACE THEREOF SHALL KNOW IT NO MORE" and "from the Scripture" In blue ink on verso.
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Lot 89021: Marilyn Monroe Photograph "Meditation" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9.5" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Marilyn Monroe interprets:" and "MEDITATION" and "LET NEITHER FEAR NOR DOUBT OVERSHADOW YOUR CLEAR SENSE AND CALM TRUST" in blue ink on verso.
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Lot 89022: Marilyn Monroe Photograph Profile on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 10" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES and 2/2 and 734-B 9/10 in pencil on verso, 1946, printed no later than 1955.
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Lot 89023: Marilyn Monroe Photograph "Wisdom and Serenity" by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9.5" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Wisdom" and "Serenity" and "Absorption into Nature" and "Truth and Love rejoice in the real man" and "... to all mankind, and in every hour, divine Love supplies all good..." in blue felt on verso.
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Lot 89024: Marilyn Monroe Photograph "Death" by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 12" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Death" and "Marilyn shows what death looks like to her" in blue felt and 1/6 and PET5 034 in pencil on verso.
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Lot 89025: Marilyn Monroe Lamb Photograph by Andre de Dienes.
vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn Monroe with lamb by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89026: Marilyn Monroe in North Hollywood Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn Monroe on Highway 101 in North Hollywood by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89027:Marilyn Monroe Malibu Composite Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn in Malibu Beach by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89028: Marilyn Monroe Photograph at Residence by Andre de Dienes. (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 10.5" photos (3) of Marilyn Monroe residence at 12305 5th Helena Drive by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1962, printed later. Notation by Dienes "The entrance door to Marilyn Monroe's house" in black felt on verso of one.
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Lot 89029: Marilyn Monroe Photograph in Polka Dot Dress by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 13.5" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965. Paper caption Marilyn Monroe from the exhibit, The Legend and the Truth © 1973, Alskog, Inc. on verso.
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Lot 89030: Marilyn Monroe Early Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later. Notation DD 082 in pencil on verso.
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Lot 89031: Marilyn Monroe Early Western Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation AD138 in pencil on verso.
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Lot 89032: Marilyn Monroe Western Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.75" x 13.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation DD113 in pencil on verso.
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Lot 89033: Marilyn Monroe at the Bel Air Hotel Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 10.5" photo of Marilyn Monroe on the patio of her bungalow at the Bel Air Hotel, Los Angeles, 1953, by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1953, printed later.
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Lot 89034: Marilyn Monroe Barn Door Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 10.75" x 14" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89035: Marilyn Monroe "Norma Jeane" Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.75" x 13.75" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965. Notation by Dienes "Norma Jeane" and "1945 19 years old, she just started modeling" in black felt on verso.
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Lot 89036: Marilyn Monroe Photograph Barefoot in Polka Dot Dress by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965.
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Lot 89037: Marilyn Monroe Photograph at the Bel Air Hotel by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double-weight 8.5" x 13.5" photo of Marilyn Monroe on the patio of her bungalow at the Bel Air Hotel, Los Angeles, 1953 by Andre de Dienes, with red ink stamp PHOTO ANDRE DIENES on verso, 1953, no later than 1965. Notation 0464-A 8 1/2/13 1/2 in pencil on verso.
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Lot 89038: Marilyn Monroe Early Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.25" x 10" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89039: Marilyn Monroe Playing in the Snow Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation 0250 and 1/1 in pencil and 1945 Oregon on verso.
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Lot 89040: Marilyn Monroe Malibu Beach Photograph by Andre de Diene.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89041: Marilyn Monroe Water Fountain Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 14" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notations 2/2 and 0339-B in pencil on verso.
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Lot 89042: Marilyn Monroe Highway 101 Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 10.5" x 13.5" photo of Marilyn Monroe on Highway 101 in North Hollywood by Andre de Dienes, with blue rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89043: Marilyn Monroe in Doll Dress Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 11" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89044: Marilyn Monroe on Rock Edge Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 11" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89045: Marilyn Monroe Fence Post Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 11" x 13" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89046: Marilyn Monroe Calm at Malibu Beach Photograph by Andre de Dienes.
Silver gelatin, borderless semi-gloss, double weight 9.5" x 10.75" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed later.
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Lot 89047: Marilyn Monroe Soda Fountain Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 11" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1953, printed later.
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Photos Films x 2

Lot 89048: Photograph of Marilyn Monroe in Somethings Got to Give by William Read Woodfield (20th Century-Fox, 1962).
Vintage original silver gelatin matte, borderless double weight photograph (11" X 9.5") of Marilyn Monroe from Nude scene in Somethings Got to Give (unfinished) by William Read Woodfield, 1962; with Photograph by WILLIAM READ WOODFIELD black rubber stamp on verso. Printed 1962. In 1962 Woodfield - along with Lawrence Schiller and Jimmy Mitchell - gained fame when Marilyn Monroe extended an invitation to photograph her on a protected set at the Twentieth Century Fox studio lot for publicity. In one shot, Woodfield managed to capture Monroe as she shed her bathing suit by the swimming pool. The photos created headlines around the country and appeared worldwide on the covers of leading magazines.
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Lot 89050: Collection of (800+) Classic Movie Photos.
A monumental collection of vintage original 8" x 10" photographs, ranging from behind the scenes, studio portraits, contact sheets, production photographs and promotional materials. This lot ranges from early serials, action adventure, war, comedy, swashbucklers, film noir and westerns. Includes a film negative of Rita Hayworth from Salome. Notable stars include Gene Kelly, Janet Leigh, Spencer Tracy, Sidney Poitier, Judy Garland, and Charlton Heston. Exhibiting age, handling, corner bumps and edgewear.
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Croquis Costumes Jenssen x 3

Lot 89218: Marilyn Monroe "Annabel Jones Norris" Wedding Dress Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink and gouache on 12.5" x 15.75" artists vellum visible through 28" x 20.25" mat. With pencil annotation in the lower corners including, "Marilyn Monroe" and other production information. Signed to the lower right of art, "Elois Jenssen." Exhibiting age, wear, chipping, spot paper loss, tearing and wrinkling with one tear traveling through left lower of artwork.
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Lot 89219: Marilyn Monroe "Annabel Jones Norris" Bikini Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink, and gouache on 11" x 15.5" artists vellum visible through 28" x 20.25" mat.
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Lot 89220:Marilyn Monroe "Annabel Jones Norris" Pageant Costume Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink and gouache on 11" x 15.5" artists vellum visible through 28" x 20.25" mat.
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Autres x 5

Lot 89087: All About Eve Revised Final Draft Shooting Script by Joseph L. Mankiewicz (TCF, 1950).
Vintage original studio bound and bradded 180-page Revised Final Shooting Script from the Twentieth Century-Fox Studio stenographic department. Retaining original red covers printed with studio logo, movie title, and dated "April 5, 1950." Ink stamped "309" on the upper left front cover and upper right corner above "Revised Final," number "2422." The department loan coupon page is intact and stamped "218." The interior title page bears the Joseph L. Mankiewicz writing credit. Praised by critics at its release, All About Eve earned a record fourteen Academy Award nominations and took home six trophies, including Best Picture. It is the only film in Oscar history to receive four female acting nominations, including Bette Davis as "Margo" and Anne Baxter as "Eve" for Best Actress and Celeste Holm as "Karen" and Thelma Ritter as "Birdie" for Supporting Actress. The script covers exhibit age, handling, edge wear, chipping, and creasing. Contents remain in vintage Very Good to Fine condition. Presented in a 12" x 10.25" x 1.75" red board and cloth custom clamshell case, with gold gilt embossed text on the cover and spine, including script title, author, and other info.
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Lot 89217:Extremely Rare "The Models Blue Book" Featuring Marilyn Monroe's Early Appearance (1945).
Vintage original printed 90-page casting book of models, dated 1945-1946. Published by Emmeline Snively of the Bluebook Modeling Agency who is acknowledged to have discovered a very young Marilyn Monroe (then "Norma Jean Dougherty") working on an assembly line at a Radioplane factory. Snively was one of Monroe's earliest professional mentors with a great belief in the young model, and one who guided Monroe toward a career that would ultimately make her a legendary superstar. Marilyn appears on page-25 of the 8.5" x 5.5" book with her stats and a portrait photo by David B. Conover, who met Marilyn when she was working on the Radioplane assembly line in Van Nuys, California. Conover had been sent by the U.S. Army Air Force''s First Motion Picture Unit to shoot morale-boosting pictures of female workers and Marilyn immediately impressed him. She quit working at the factory in January 1945 and began modeling for Conover. Defying her deployed husband, she signed a contract with the Blue Book Model Agency in August 1945. The book exhibits age, handling with chipping and peeling to cover, spine, some cracking and spidering to the cover surfaces.
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Lot 89221: Marilyn Monroe Nude "Golden Dreams" Pin-Up Calendar (1954).
Vintage original printed color 34" x 16" pin-up wall calendar. Featuring Marilyn Monroe in her legendary nude pose as photographed early in her career by Tom Kelly in 1949. This 1954 printing of the calendar includes a 6.5" x 10.5" paper flyer with biographical information as well as many quotes from Marilyn regarding the Tom Kelly session. The tear-off calendar pad is detached but present, unused, and in vintage Fine condition. The rolled poster of the calendar retains the metal tinning at the top and the bottom and heavy paper hanging hoop at the top.
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Lot 89222: Marilyn Monroe "Cherie" Black Fishnet Tights from Bus Stop (TCF, 1956).
Vintage original black fishnet tights with elastic waistband, retaining internal 20th Century-Fox bias label handwritten in black ink, "M. Monroe" and other production info. Two of the signature looks Monroe wore as the ambitious, small-town singer featured this iconic costume element, which showcased her legendarily shapely legs to best advantage, and resulted in some of her most indelible Hollywood glamour portraits. Exhibiting some loss of elasticity from age and production wear. Otherwise, in Very Good condition. Provenance: Profiles in History Auction 6, June 26, 1999, Lot 121.
Sold: -

Lot 89439: An Original Run of (100+) Playboy Magazines 1953-1990 Including the Iconic Issue #1 Graded 7.5.
Vintage original run of (100+) Playboy magazines with 1953 to 1980 issues housed in binders, approx. 6-magazines per. With additional 30+ duplicates. This collection includes some of the most iconic issues of the magazine including Jan. 1959's Ron Vogel photos of Virginia Gordon, Oct. 1971 with Darine Stern becoming the first African-American cover girl, Jan. 1972, which marked Playboy's first foray into full-frontal nudity, Nov. 1972's 7.16 million copy seller featuring Lenna Sjööblom's cover photo with a gumball machine, Nov. 1980's controversial "Women of the U.S. Government" cover, and more! The crown jewel of the collection is a slabbed volume 1, issue 1 of Playboy magazine published on December 15, 1953, CGC Graded 7.5. The first-ever, 42-page issue features Marilyn Monroe on the cover as well as a spread with a full-page color nude photo (taken by Tom Kelley in 1949) titled the "Sweetheart of the Month", which would ultimately evolve to become "Playmate of the Month". Only 54,000 copies of this landmark magazine were printed, as legendary publisher Hugh Hefner was unsure of the market's reception.
Sold: -

Posté par ginieland à 17:18 - enchères Lots - Commentaires [0] - Permalien [#]
Tags : 2022, all about eve, andre de dienes, blue book, brentwood, bus stop, collants, elois jenssen, heritage auctions, playboy, scenarios, sgtg, some like it hot, we're not married, william woodfield

06 mai 2018

Icons and Idols: Hollywood - 11/2017 - Julien's Auction

Photographies diverses

Lot 129: VINTAGE PUBLICITY IMAGES
A group of 15 vintage publicity images of Hollywood celebrities including Marilyn Monroe, Elizabeth Taylor, Elvis Presley, Betty Grable, Rita Hayworth (whose name has been written on the photograph), and Shirley Temple. Accompanied by an envelope of news clippings and other ephemera primarily related to Monroe.
Estimate: $200 - $400 | Winning Bid: $256

Lot 130: MARILYN MONROE NEGATIVE, CIRCA 1947
A black and white negative of Marilyn Monroe, believed to have been taken on the Fox Studios back lot set by Joseph Jasgur, circa 1947. Accompanied by a black and white photograph recently printed from this negative.
Estimate: $500 - $1,000 | Winning Bid: $640

Lot 141: MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
A limited edition silkscreen print of a Milton Greene photograph of Marilyn Monroe, taken during the famed "Black Sitting" photo session in New York in 1956. Printed later. Signed by the artist in pencil lower right, “AP” lower left.
Estimate: $1,000 - $2,000 | Winning Bid: $1,280

Lot 142: MARILYN MONROE BERT STERN PHOTOGRAPH
A photograph of Marilyn Monroe taken in 1962 by Bert Stern during “The Last Sitting.” The black and white image was printed and signed by the artist in 1994; it is numbered on the photographer's stamp 91/5000. Stern wrote in the lower margin “Marilyn 1962 Bert Stern.”
Estimate: $1,000 - $2,000 | Winning Bid: $1,600

Lot 145: MARILYN MONROE PHOTOGRAPH BY MANFRED KREINER
A black and white photograph of Marilyn Monroe taken by Manfred Kreiner. The image shows Monroe walking onto a photo set and is marked with red pencil. Photographer’s stamp on verso (multiple times) with handwritten notation in red pencil. Accompanied by a small typed message written in German regarding Monroe and this photograph.
Estimate: $600 - $800 | Winning Bid: $448

Lot 146: MARILYN MONROE PHOTOGRAPH BY MANFRED KREINER
A black and white photograph of Marilyn Monroe taken by Manfred Kreiner. The image shows Monroe descending an airplane staircase and has been scribbled on in red ink. Photographer’s stamp on verso with handwritten notation in pencil and the words “Kill Kill” in red ink. “Kill” here refers to the fact that Monroe did not want this image published. Accompanied by a small typed message written in German by Kreiner regarding Monroe and this photograph.
Estimate: $600 - $800 | Winning Bid: $640

Lot 147: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A group of three original never before seen original color photographs of Marilyn Monroe taken on May 30, 1958, as she exited her apartment at 444 East 57th Street in New York City. Just three days prior, Monroe was photographed by Richard Avedon for Life magazine.
PROVENANCE Lot 755, "Marilyn Monroe Auction," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $800 - $1,200 | Winning Bid: $1,024

Lot 156: SOME LIKE IT HOT BEHIND-THE-SCENES SLIDES WITH COPYRIGHT
A group of 23 original color slides taken on the set of Some Like It Hot (United Artists, 1959) sold with copyright to the images. The slides include approximately eight images of Marilyn Monroe and five of Tony Curtis, among others on and around the set of the film, including Coronado Beach.
While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection of copyright given.
Estimate: $1,000 - $2,000 | Winning Bid: $1280

Lot 159: MARILYN MONROE PRINT BY RUSSELL YOUNG (BRITISH, 1959)
A screenprint on paper titled “Marilyn in Korea (Pink + Midori Blue)” by Russell Young, signed by the artist at lower right and numbered 10/50. Additionally marked in pencil on verso in an unknown hand “56105/ 12.”
Estimate: $2,000 - $4,000 | unsold

Photographies Bruno Bernard

Lot 134: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A black and white pin-up photograph of Marilyn Monroe taken by Bruno Bernard, circa 1946. According to the book Marilyn: Intimate Exposures by Susan Bernard “Marilyn said to Mr. Bernard ‘Can you take some sexy pictures of me?’ and he replied ‘But Norma, you are the girl next door.” Estate signed at lower right and numbered 1/90.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $2,500 - $3,000 | unsold

Lot 135: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A black and white photograph of Marilyn Monroe taken by Bruno Bernard, circa 1946, titled “Norma Jean Sailor Girl.” This is a seldom seen outtake photograph from a shoot intended for magazine cover images. Estate signed at lower right and numbered 5/50.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $2,500 - $3,200 | unsold

Lot 136: MARIYLN MONROE PHOTOGRAPH BY BRUNO BERNARD
A black and white photograph of Marilyn Monroe taken by Bruno Bernard in 1953. This photograph was taken of Monroe backstage at the Hollywood Bowl for an appearance benefiting St. Jude’s. Monroe wore a costume from the film Gentlemen Prefer Blondes (20th Century, 1953). Estate signed at lower right and numbered 6/90.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $2,000 - $3,000 | unsold

Lot 137: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A black and white photograph of Marilyn Monroe taken by Bruno Bernard in 1953. This photograph was taken of Monroe backstage at the Hollywood Bowl deciding what message to describe on a guest wall at a charity event benefiting St. Jude’s. This image was never published and comes from a contact sheet of artist’s proofs. Estate signed at lower right and numbered 6/90.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $2,000 - $3,000 | Winning Bid: $2,560

Lot 138: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A color photograph of Marilyn Monroe taken by Bruno Bernard in 1954. The photograph shows Monroe on the set of The Seven Year Itch (20th Century, 1955) having her makeup applied by Whitey Snyder. According to the book Marilyn: Intimate Exposures by Susan Bernard, Snyder stated that this is the only color photograph of himself and Monroe that he had ever seen. Estate signed at lower right and numbered 5/50.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $1,500 - $2,500 | Winning Bid: $1,920

Lot 139: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
A color photograph of Marilyn Monroe taken by Bruno Bernard in 1954. The photograph shows Monroe in a screening room at the 20th Century Fox studios wearing her iconic white dress from the film The Seven Year Itch (20th Century, 1955). Estate signed at lower right and numbered 14/50.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $2,500 - $3,000 | Winning Bid: $3,437.50

Lot 140: MARILYN MONROE ORIGINAL PHOTOGRAPH BY BRUNO BERNARD
An original vintage black and white photograph of Marilyn Monroe taken by Bruno Bernard on the set of The Seven Year Itch (20th Century, 1955) and signed by Bernard on verso “Bernard of Hollywood.” Housed in a Bernard of Hollywood vintage photograph folder.
PROVENANCE From the Estate of Bruno Bernard
Estimate: $10,000 - $20,000 | unsold

Vêtements & Accessoires

Lot 143: MARILYN MONROE WORN BLACK COLOBUS COAT
A mid-1940s black colobus coat worn by Marilyn Monroe to the 1948 film premiere of The Emperor Waltz (Paramount, 1948). The coat has broad shoulders, a cordé collar, a satin lining, and a Jerrold's Van Nuys, Calif. label. Although the black colobus is currently on the endangered species list, it was quite fashionable in the 1940s. Monroe wrote in a letter to Grace Goddard dated December 3, 1944, "I found out that its [sic] possible to buy a Gold Coast Monkey Coat. I shall write to you about it later." The coat was gifted from Monroe to Jacquita M. Rigoni (Warren), who was the great-niece to Anne Karger, mother of Monroe's voice coach, Freddie Karger. Monroe had a close relationship with the family, and the coat has remained in their possession. Accompanied by a letter of authenticity from Jacqui Rigoni detailing the family's relationship to Monroe and the history of the coat.
The monkey species used to make this Marilyn Monroe monkey fur coat is on the Endangered Species list. U.S. Endangered Species Act regulations required by the U.S. Fish and Wildlife Service impose certain regulations on the sale of this coat. Please read the following carefully:
Please read the following carefully: The Marilyn Monroe monkey fur coat may be sold to a resident of California without requiring a Federal permit. A non-California resident may bid on this coat and if he or she were the winning bidder could apply for a Federal permit to remove the coat from the state of California. Julien’s has been advised that a Federal permit would likely be REFUSED by the governing offices. It is vehemently advised that non-residents of California DO NOT bid on this Marilyn Monroe owned monkey fur coat. If you bid on this lot and are unable to obtain a permit Julien’s has no liability and will be unable to refund you for your purchase.
A California resident who purchases this coat and later moves from California to another state would not be required to obtain a permit if he or she maintained ownership of the coat when changing state of residence. However, the owner would need to make sure there are no state regulations prohibiting the transfer of the coat from one state to another.
Estimate: $20,000 - $30,000 | Winning Bid: $32,000

Lot 144: MARILYN MONROE FAN FROM THE PRINCE AND THE SHOWGIRL
A vintage lace fan used by Marilyn Monroe in the film The Prince and the Showgirl (Warner Bros., 1957). The folding hand fan is used by Monroe in the ballroom scene in the film. The frame and guard are embellished with floral motif carvings embellished with pink, blue, and gold-metallic paint. The accompanying letter from the consignor explains that the fan was gifted by Monroe to William Louis George Le Brun, known as Louis Le Brun in the film industry, who was the Chief Production Accountant for Warner Bros. in the United Kingdom. When Monroe was taken ill while filming, Le Brun, who was responsible for overseeing the distribution of all finances, which involved the insurance and wellbeing of the cast and production team, stayed by her side. As a thank-you, Monroe gave him this fan, or more specifically gave the fan to his wife as an apology for keeping Le Brun from his family. At the time the fan was received several of the fan blades were broken, presumed to be from use during filming. The fan has remained in the possession of the Le Brun family since the gift was made by Monroe.
Estimate: $2,000 - $4,000 | Winning Bid: $10,000

Lot 149: MARILYN MONROE VINTAGE MINI PINECONE TREE GIFTED FROM JOE DIMAGGIO TO MARILYN MONROE
A mini brown wire form holiday tree made of pinecones and other tree items, dusted with glitter. Wrapped in a black tulle base. The tree was purportedly a gift from Joe DiMaggio to Marilyn Monroe one Christmas when he discovered that she did not have a tree to celebrate the holidays.
Height, 23 inches
PROVENANCE Lot 246, "Marilyn Monroe: Property from The Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17-19, 2016
Estimate: $2,000 - $3,000 | Winning Bid: $7,500

Lot 150: MARILYN MONROE ROCOCO STYLE COFFEE TABLE
A carved wood coffee table with canted edges and inset parchment top.
PROVENANCE Lot 558, "Marilyn Monroe: Property from The Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17-19, 2016
Estimate: $1,000 - $2,000 | Winning Bid: $2,880

Lot 151: MARILYN MONROE FLOWER SWAG
Gold tone wirework floral wall ornament, with enameled blue and purple flowers formed from Australian pennies dated 1942. Two leaves and one flower detached.
PROVENANCE Partial Lot 456, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27-28, 1999
Estimate: $1,000 - $2,000 | unsold

Lot 153: MARILYN MONROE MIRROR
A small handheld sterling silver mirror accompanied by a handwritten note reading in full on the recto: “11/1/00/ This make-up mirror was owned/ by Marilyn Monroe. It was left in/ her 57 St Apart-/ ment when she/ moved to California./ The super of/ the building/ ”liberated” it.’ Hopefully, you/ will find a good/ home for it!/ Thanks./ Terry Seymour (212) 777-0157” as well as “Mrs. S:/ will write thank you/ letter when donate it”; on the verso is “Super’s daughter used it/ a few years. T. Seymour/ in real estate, were (sic)/ selling MM apartment a few/ years ago./ Super gave it to her./ Super said/ MM bought it in/ London, used it/ a lot at home./ I thanked her and said/ you would like to/ donate it to Hollygrove.”
Approximate diameter, 7 inches
PROVENANCE Lot 224, “Property from the Estate of Marilyn Monroe,” Julien’s Auctions, Los Angeles, June 4, 2005
Estimate: $2,000 - $4,000 | Winning Bid: $1,920

Lot 154: MARILYN MONROE VINTAGE ABSTRACT PARCEL GILT FAN
A folding paper Japanese hand fan with abstract parcel gilt decoration.
15 1/2 by 24 1/2 by 2 inches
PROVENANCE Lot 244, "Marilyn Monroe: Property from The Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17-19, 2016
Estimate: $1,000 - $2,000 | Winning Bid: $1,024

Documents papiers

Lot 131: MARILYN MONROE RECEIVED LETTER FROM UNCLE ART
A double-sided two-page letter written to Marilyn Monroe from "Uncle Art," who was a relative of Monroe's foster mother, Grace Goddard. The letter reads in part "So glad you are making satisfactory progress in school. I advise that you be particularly diligent in the cultural subjects...sad is the fate of the young woman who has not the ambition to so model and mold her language and conduct as to have [illegible] herself to the point where she can mingle with cultured people inconspicuously." The letter is written on International Correspondence Schools of Scranton, Pennsylvania, stationery, undated and signed "Devotedly Yours, Uncle Art."
PROVENANCE Sotheby’s Parke-Bernet, Sale number 94, October 21, 1973
Estimate: $500 - $1,000 | Winning Bid: $640

Lot 133: MARILYN MONROE SIGNED CHECK TO JAX
A Marilyn Monroe completed and signed Jax counter check in the amount of $63.83; address is listed as the Beverly Carlton Hotel. Monroe did not fill in the date; the check is stamped on verso May 12, 1952.
Estimate: $500 - $1,000 | Winning Bid: $640

Lot 148: MARILYN MONROE 1954 SIGNED CHECK
A counter check fully completed and signed by Marilyn Monroe. The check is dated October 11, 1954, to The Christian Community in the amount of $50.00. On October 6, 1954, Monroe announced her separation from then-husband Joe DiMaggio.
Estimate: $2,000 - $3,000 | Winning Bid: $4,480

Lot 152: MARILYN MONROE SKIN CARE REGIME INSTRUCTIONS
A typed instruction sheet dated June 11, 1958, for Marilyn Monroe’s skin care regime from the Erno Laszlo Institute. The instructions are for morning care of skin, evening “ ’if’ dressing” for formal occasions, and in the evening before retiring. The sheet also includes a list of foods not to eat.
PROVENANCE Partial Lot 334, "Marilyn Monroe: Property from The Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17-19, 2016
Estimate: $400 - $600 | Winning Bid: $3,840

Lot 155: MARILYN MONROE BREAKFAST AT TIFFANY'S SCRIPT AND REPORT
A clean copy of the screenplay for Breakfast at Tiffany's written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed "report" dated September 23, 1959, which also has the name "Parone" typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe's production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, "I think not." It goes on to criticize the screenplay, determining, "I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don't feel she should play it: it lacks insight and warmth and reality and importance." It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.
PROVENANCE Lot 441, "Marilyn Monroe: Property from The Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17-19, 2016
Estimate: $6,000 - $9,000 | Winning Bid: $12,500

Lot 160: JOHN F. KENNEDY 1962 BIRTHDAY CELEBRATION PROGRAM
A program from President John F. Kennedy's birthday celebration at Madison Square Garden, New York, in 1962. The program, with "Happy Birthday Mr. President" and an image of Kennedy on the cover, lists the entertainers of the evening: Marilyn Monroe - who sang her now-famous rendition of "Happy Birthday" to Kennedy, Ella Fitzgerald, Maria Callas, Henry Fonda, Peggy Lee, and Danny Kaye, among others.
Estimate: $600 - $800 | Winning Bid: $1,600

Medical

Lot 157: MARILYN MONROE PELVIC X-RAY
A Marilyn Monroe pelvic X-ray dated November 9, 1954. Information ghost printed in the upper right of the X-ray reads "Cedars of Lebanon Hospital/ Drs. E. Freedman and S. Finck/ Name Di Maggio, Mrs. Marilyn/ No. 50612 Date 11-9-54/ Ref. By Dr. L. Krohn." Dr. Leon Krohn was Monroe’s gynecologist.
Estimate: $3,000 - $5,000 | Winning Bid: $3,840

Lot 158: MARILYN MONROE MEDICAL FILE
A medical file pertaining to cosmetic surgery performed on Marilyn Monroe. The file includes facial X-rays and doctors' notes from the office of Dr. Michael Gurdin, M.D., and the X-ray office of Drs. Conti and Steinberg. Dr. Gurdin's chart on Monroe begins on July 14, 1958, and lists the patient as Marilyn Miller with addresses in New York and Los Angeles. The chief complaint listed is "chin deformity" and goes on to give a medical history that begins in 1950 and ends in 1962. Listed are a 1956 bout of neutropenia in England; 1957 ectopic pregnancy in New York; and 1950 cartilage implant in chin that the doctor observed had slowly begun to dissolve. Those with knowledge of the implant procedure have explained that this was done in association with a tip rhinoplasty, a procedure involving the tip of Monroe's nose only, not the bones. The last entry is dated June 7, 1962, and reports a fall at between 2 and 3 a.m. resulting in swelling and tenderness of the nose. Monroe was brought to Dr. Gurdin by her psychoanalyst, Dr. Ralph Greenson. Monroe was referred to Drs. Conti and Steinberg for X-rays. For her visit to the radiologists she was given the alias "Miss Joan Newman," and that name appears on the paperwork with Monroe's Brentwood home address. Six X-rays are in the folder: a frontal facial bones X-ray; a smaller X-ray that is a composite of the right and left sides of her nasal bones; and four small dental X-rays into the roof of Monroe's mouth, looking upward toward the nasal bones. The conclusion, written by Dr. Conti and dated June 7, 1962, is that there was no damage to Monroe's nose due to her fall. A more recent evaluation of the X-rays indicates a very minute hairline fracture of this bone. Monroe had turned 36 less than a week earlier. On June 8, the following day, Monroe was fired from the film Something's Got to Give (20th Century Fox, 1962).
Estimate: $20,000 - $30,000 | unsold

Presse

Lot 132: PLAYBOY MAGAZINE FIRST ISSUE SIGNED BY HUGH HEFNER
An original first issue of Playboy magazine (HMH Publishing, 1953) featuring Marilyn Monroe on the cover and signed by Hugh Hefner. The magazine, which launched in December 1953, sold for 50 cents a copy. Housed in a protective plastic case.
Estimate: $6,000 - $8,000 | Winning Bid: $12,800

Art

Lot 198: AL HIRSCHFELD ABE HIRSCHFELD PRINT
A print of Al Hirschfeld’s "Abe Hirschfeld and Friends" caricature commissioned by Abe Hirschfeld in 1988. The image shows Abe surrounded by Shirley MacLaine, Luciano Pavarotti, Michael Jackson, Jackie Mason, Anthony Quinn, Donald Trump, Barbra Streisand, Carol Channing, Jackie Onassis, Jackie Gleason, Elvis Presley, and Marilyn Monroe. With a faded inscription that reads "To Mary [illegible] With appreciation from all of us Abe Hirschfeld."
Estimate: $100 - $300 | Winning Bid: $1,600

Posté par ginieland à 18:52 - enchères Personal MM - Commentaires [0] - Permalien [#]
Tags : 2017, bert stern, bruno bernard, cheques, creation art, hugh hefner, joe dimaggio, joe jasgur, juliens auction, lettres, manfred kreiner, manteaux, meubles, milton h greene, MM en fourrure, playboy, scenarios, some like it hot, tpatsg

09 février 2018

Hollywood Auction 89 - 06/2017 - Profiles In History

Photographies
(diverses)

Lot 151: Marilyn Monroe (3) photographs
with secretarial autographs
and (1) unsigned vintage swimsuit still. (ca. 1950s)
Collection of (3) vintage original gelatin silver double-weight matte 8 x 10 in. photographs all secretarially inscribed and signed in red ink on the image and in the borders, “Marilyn Monroe”. Also includes (1) vintage gelatin silver single-weight 8 x 10 in. cheesecake photograph of Monroe in a black lace swimsuit. 3-exhibiting even toning, minor edge wear and remain in very good to fine condition. 1-exhibits a repaired 1 in. tear to lower central border as well as edge creasing. In good condition.
Estimate: $300 - $500 / Winning bid: $1,400

Lot 152: Marilyn Monroe rare signed photograph. (TCF, 1952)
Vintage original gelatin silver 8 x 10 in. double-weight matte photograph by Frank Powolny depicting Marilyn in repose. From the publicity campaign for Monkey Business. Inscribed and signed in blue ink in lower left of image to a crewmember, “To Jack, It’s a pleasure to know you, Marilyn Monroe”. Exhibiting light even toning, and minor handling. In fine condition.
Estimate: $4,000 - $6,000 / Winning bid: $12,500

Lot 415: Marilyn Monroe (45+) photographs by Avedon, Greene, Florea, Willoughby, and others. (1940s-1960s/printed later)
Collection of (45+) gelatin silver and RC color double-weight and single weight glossy and matte production photographs and portraits ranging in size from 8 x 8 in. to 16 x 20 in. Including images with Cary Grant, William Holden, Montgomery Clift and others,glamour portraits, candid shots of cast and crew, scene stills and character portraits. Some retaining photographer inkstamps and notation on the verso. Exhibiting age, minor wear, some toning, minor soiling and handling. In overall vintage very good to fine condition.
Estimate: $400 - $600 / Winning bid: $4,250

Lot 444: Movie Star News archive (1 million++) Hollywood and entertainment photographs.
Massive archive of (1 million++) primarily gelatin silver 8 x 10 in. single- and double-weight glossy and matte photographs, as well as RC prints, color photos, color glos stills, and color mini lobby cards. A New York City institution for over 70 years, Movie Star News began life in 1938 as a used bookstore owned by siblings Irving and Paula Klaw. The business struggled until one day Irving noticed customers surreptitiously tearing pictures out of movie magazines. Sensing an opportunity, the Klaws began selling used film publicity photos. Demand was so high that Irving reached out to studio publicity departments directly for additional stock, and discovered that promotional materials were routinely discarded after the run of a film. He was able to acquire as many original photos as he wanted for next to nothing, and often, studio negatives, from which he started producing his own prints. The Klaws stopped selling books and started a mail order photo business in addition to the storefront operation, effectively establishing Hollywood and entertainment photography as a field of collecting. Comprising Movie Star News store stock as well as vintage source material, the breadth and scope of this resulting archive is likely unparalleled anywhere, featuring material on nearly every important star and movie in the history of American film production, from pre-Hollywood silent film period through the Golden Age, New Hollywood, the blockbuster era, and beyond. Every category, genre, and subgenre is represented, including drama, comedy, action, adventure, romance, pre-code, crime, film noir, sci-fi, horror (Universal, Hammer, and more), war, western, pin-up, cheesecake, beefcake, exploitation, sexploitation, Blaxploitation, etc. Additionally featuring television, music, stage, and adult subjects, the archive contains a near-complete narrative of American pop culture throughout the 20th century. Today, it would be virtually impossible to build a collection of entertainment material this comprehensive from scratch and prohibitively expensive to create at this level of quality—the cost of photo paper alone would run well over $1,000,000. The archive consists of roughly 40% vintage original material, the remainder primarily composed of high quality Movie Star News gelatin silver dark room prints, many made from the original negatives that Klaw acquired directly from the studios. Including actresses and female entertainers: Paula Abdul, Julie Adams, Rene Adoree, Gracie Allen, June Allyson, Judith Anderson, Mary Andrewson, The Andrews Sisters, Ursula Andress, Julie Andrews, Even Arden, Jean Arthur, Mary Astor, Lauren Bacall, Carrol Baker, Josephine Baker, Lucille Ball, Anne Bancroft, Talullah Bankhead, Vilma Banky, Brigette Bardot, Theda Bara, Lynne Bari, Ethel Barrymore, Anne Baxter, Constance Bennett, Joan Bennett, Ingrid Bergman, Linda Blair, Joan Blondell, Ann Blythe, Jacqueline Bisset, Clara Bow, Alice Brady, Mary Brian, Fannie Brice, Louise Brooks, Virginia Bruce, Carol Burnett, Mary Carlisle, Madeleine Carroll, Irene Castle, Joan Caulfield, Helen Chandler, Carol Channing, Marguerite Chapman, Cyd Cherise, Claudette Colbert, Jeanne Crane, Joan Crawford, Fifi D’Orsay, Arlene Dahl, Lili Damita, Dorothy Dandridge, Bebe Daniels, Linda Darnell, Marion Davies, Bette Davis, Doris Day, Yvonne DeCarlo, Francis Dee, Sandra Dee, Gloria DeHaven, Olivia DeHavilland, Dolores Del Rio, Myrna Dell, Catherine Deneuve, Sandy Dennis, Bo Derek, Marlene Dietrch, Faith Domergue, Carol Donell, Billie Dove, Betsy Drake, Faye Dunaway, Irene Dunne, Deanna Durbin, Ann Dvorak, Jeanne Eagles, Barbara Eden, Anita Ekberg, Dale Evans, Francis Farmer, Alice Faye, Rhonda Fleming, Bridget Fonda, Jane Fonda, Joan Fontaine, Anne Francis, Kay Francis, Mona Freeman, Anette Funicello, Eva Gabor, Zsa Zsa Gabor, Greta Garbo, Ava Gardner, Judy Garland, Terri Garr, Greer Garson, Janet Gaynor, Lillian Gish, Paulette Goddard, Betty Grable, Gloria Grahame, Katharyn Grayson, Jane Greer, Virginia Grey Corinne Griffith, Melanie Griffith, Daryl Hannah, Ann Harding, Jean Harlow, June Havoc, Goldie Hawn, Helen Hayes, Susan Hayward, Rita Hayworth, Audrey Hepburn, Katharine Hepburn, Billie Holliday, Miriam Hopkins, Lena Horne, Ruth Hussey, Angelica Huston, Betty Hutton, Janet Jackson, Gloria Jean, Zita Johann, Olivia Newton John, Grace Jones, Jennifer Jones, Shirley Jones, Janis Joplin, Ruby Keeler, Grace Kelly, Deborah Kerr, Phyllis Kirk, Eartha Kitt, Laura La Plante, Veronica Lake, Hedy Lamarr, Dorothy Lamour, Elsa Lancaster, Carol Landis, Priscilla Lane, Francis Langford, Angela Lansbury, Piper Laurie, Lila Lee, Peggy Lee, Janet Leigh, Vivien Leigh, Joan Leslie, Gina Lollabrigida, Carole Lombard, Bessie Love, Myrna Loy, Ida Lupino, Jeanette MacDonald, Ali MacGraw, Shirley MacLane, Anna Magnani, Jayne Mansfield, Ann Margret, Marilyn Maxwell, Virginia Mayo, Dorothy McGuire, Fay McKenzie, Una Merkel, Ethel Merman, Vera Miles, Ann Miller, Liza Minnelli, Mary Miles Minter, Carmen Miranda, Marilyn Monroe, Maria Montez, Coleen Moore, Mae Murray, Pola Negri, Kim Novak, Maureen O’Hara, Maureen O’Sullivan, Merle Oberon, Anita Page, Gail Patrick, Mary Pickford, Eleanor Powell, Luise Rainer, Sally Rand, Vanessa Redgrave, Donna Reed, Lee Remick, Debbie Reynolds, Ann Richards, Ginger Rogers, Diana Ross, Lillian Roth, Gail Russell, Jane Russell, Rosalind Russell, Ann Rutherford, Winona Ryder, Lizabeth Scott, Norma Shearer, Ann Sheridan, Dinah Shore, Sylvia Sidney, Jean Simmons, Alexis Smith, Barbara Stanwyck, Meryl Streep, Barbra Streisand, Gloria Swanson, Elizabeth Taylor, Shirley Temple, Emma Thompson, Gene Tierney, Thelma Todd, Claire Trevor, Kathleen Turner, Lana Turner, Twiggy, Mamie Van Doren, Lupe Velez, Martha Vickers, Rachel Ward, Tuesday Weld, Mae West, Marie Windsor, Debra Winger, Shelley Winters, Jane Withers, Anna May Wong, Natalie Wood, Fay Wray, Teresa Wright, Jane Wyman, Loretta Young, and many, many more. Actors and male entertainers: Amos & Andy, Dana Andrews, Roscoe “Fatty” Arbuckle, Louis Armstrong, Desi Arnaz, Fred Astaire, Lex Barker, John Barrymore, Lionel Barrymore, The Beatles, Warren Beatty, Wallace Beery, Harry Belafonte, John Belushi, Jack Benny, Edgar Bergen, Charles Bickford, Humphrey Bogart, David Bowie, Charles Boyer, Marlon Brando, Charles Bronson, Mel Brooks, Yul Brynner, James Cagney, Eddie Cantor, Johnny Cash, John Cassavettes, Lon Chaney, Sr., Charlie Chaplin, Montgomery Clift, Nat King Cole, Ronald Colman, Sean Connery, Gary Cooper, Jackie Cooper, Ricardo Cortez, Joseph Cotten, Bing Crosby, Tony Curtis, Sammy Davis, Jr., The Dead End Kids, James Dean, Robert DeNiro, Walt Disney, Kirk Douglas, Clint Eastwood, Duke Ellington, Douglas Fairbanks, Sr. & Jr., Jose Ferrer, W.C. Fields, Errol Flynn, Henry Fonda, Glenn Ford, Harrison Ford, Clark Gable, John Garfield, James Garner, Richard Gere, Mel Gibson, Benny Goodman, Cary Grant, Alec Guinness, Gene Hackman, Tom Hanks, Rondo Hatton, Sterling Hayden, Charlton Heston, Alfred Hitchcock, Dustin Hoffman, William Holden, Bob Hope, Rock Hudson, Tab Hunter, William Hurt, The “James Bond” franchise, Van Johnson, Al Jolson, Boris Karloff, Buster Keaton, Gene Kelly, Alan Ladd, Burt Lancaster, Harry Langdon, Charles Laughton, Laurel & Hardy, Bruce Lee, Christopher Lee, Jack Lemon, Jerry Lewis, Harold Lloyd, Peter Lorre, Dean Martin, Lee Marvin, the Marx Brothers, James Mason, Victor Mature, Joel McCrea, Roddy McDowell, Steve McQueen, Ray Milland, Sal Mineo, Robert Mitchum, Robert Montgomery, Eddie Murphy, Bill Murray, Ricky Nelson, Paul Newman, Jack Nicholson, David Niven, Chuck Norris, Peter O’Toole, Warner Oland, Laurence Olivier, Al Pacino, Jack Palance, Gregory Peck, Tyrone Power, Elvis Presely, Vincent Price, John Wayne, Johnny Weissmuller, Orson Welles, Bruce Willis, and many, many more. Movies: The African Queen, All Quiet on the Western Front, American Graffiti, Anatomy of a Murder, Animal House, the Back to the Future franchise, Beau Geste, Bell, Book and Candle, The Big Heat, The Birds, The Blue Dahlia, Blue Velvet, Bonnie and Clyde, Born Yesterday, Brigadoon, Cabin in the Sky, Captain’s Courageous, Casablanca, the “James Bond” franchise, Cat People, the “Charlie Chan” franchise, Citizen Kane, Cover Girl, Dance, Fools, Dance, Dark Victory, Dead End, Dial M for Murder, Doctor Strangelove, Dracula, Duel in the Sun, Easy Rider, El Dorado, For Whom the Bell Tolls, Foreign Correspondent, Forsaking All Others, Frankenstein, From Here to Eternity, Full Metal Jacket, Funny Girl, Ghostbusters, Gigi, Gone With the Wind, Grand Illusion, The Grapes of Wrath, The Great Escape, Halloween, High Society, His Girl Friday, Holiday, The Horror of Dracula, Human Desire, Humoresque, I Wanted Wings, Imitation of Life, Inside Daisy Clover, Invasion of the Body Snatchers, Jaws, Jezebel, The Killers, The King and I, The Lady Eve, The Lady Vanishes, Lifeboat, Macao, Marked Woman, The Most Dangerous Game, Mr. Smith Goes to Washington, Mrs. Miniver, Murder, My Sweet, My Darling Clementine, My Man Godfrey, Night of the Hunter, North by Northwest, Notorious, Passage to Marseilles, Paths of Glory, Persona, Picnic, Planet of the Apes, Porgy and Bess, The Postman Always Rings Twice, Prisoner of Zenda, Psycho, Quo Vadis, Random Harvest, Rear Window, Rebecca, Rio Bravo, Robocop, Rope, Sabotage, The Set-Up, Seven Samurai, She!, Showboat, Spellbound, Stagecoach, The Stranger, Sullivan’s Travels, Suspicion, the “Tarzan” franchise, Test Pilot, That Certain Woman, The Three Musketeers, To Catch a Thief, To Have and Have Not, Today We Live, Too Hot to Handle, The Untouchables, Valley of the Dolls, Vertigo, Vivacious Lady, Westside Story, White Christmas, Woman of the Year, The Women, Wuthering Heights, Young Mr. Lincoln, Zoo in Budapest, and many, many more. Includes duplicate images.Condition ranges widely, with the majority ranging from very good to very fine. The archive is housed in approx. (140) 4- and 5-drawer metal filing cabinets, measuring on average 22 x 28 x 53 in. This is a historic opportunity to own one of the most legendary and consequential collections of Hollywood and entertainment photographic material ever assembled. Interested bidders are strongly encouraged to preview the lot in person by appointment.
Estimate: $220,000 - $350,000 / Winning bid: ?

Lot 868: Marilyn Monroe (3) nude calendar first-release variation collection. (ca. 1940s)
Vintage original (3) iconic Tom Kelly’s legendary Golden Dreams nude calendar print, shot in 1949 when Marilyn was between studio contracts, and not published until at least 1952 for the following year. Including (1) 9 x 13 in. stapled print with advertising headboard present and 4-other prints of various models beneath Marilyn’s, (1) 8 x 9.5 in. print (presumed removed from a complete calendar) and (1) 12 x 16.5 in. print with creased headboard section. All in vintage very good to fine condition.
Estimate: $300 - $500 / Winning bid: $850

Lot 872: Marilyn Monroe door panel poster. (ca. 1950s)
Vintage original rolled 62 x 21.5 in. panel door poster of Marilyn Monroe in a candy-striped bathing suit. Linen backed. Exhibiting light even fading and a slice to the upper 2 in. of the blank border, not affecting image. In vintage very good to fine condition.
Estimate: $600 - $800 / Winning bid: $3,250

Lot 878: Marilyn Monroe unpublished behind the scenes color camera transparency from Niagara by Frank Worth.
(TCF, 1953) Vintage original 2.5 x 2.5 in. camera color transparency of Marilyn Monroe in costume as “Rose Loomis” in an unpublished image of the Hollywood icon posing in front of a helicopter behind the scenes of Niagara. Photographed by Frank Worth. In vintage fine condition.
Estimate: $200 - $300 / Winning bid: $350

Lot 879: Marilyn Monroe (3) contact sheet strips with 9-portraits by Milton Greene from his personal collection.
(ca. 1950s) Vintage original (9) gelatin silver single-weight glossy 2.5 x 2.25 in. photographs on 3-contact sheet prints measuring approx. 2.25 x 8 in. and with 3-frames per strip. Featuring outdoor portraits of Marilyn Monroe taken by her close friend and legendary photographer Milton Greene. Unevenly trimmed at top and bottom of strips. Exhibiting age, minor wear and some handling. From the personal collection of Milton Greene. In overall very good to fine condition.
Estimate: $300 - $500 / Winning bid: $600

Lot 885: Marilyn Monroe (3) candid photographs with Tony Curtis, Milton Greene and others.
(ca. 1960s) Vintage original (3) gelatin silver single-weight photos including (1) 8 x 10 in. Marilyn with DJ Fred Robbins and Joe Bynes, (1) 8 x 10 in. Marilyn with Milton Greene and others at Jess Rand's 1954 birthday party and (1) 4.5 x 6.5 in. Marilyn with Tony Curtis and others. Exhibiting some edge chipping, age, handling. With some mounting residue, inkstamps and writing to verso. In vintage very good to fine condition.
Estimate: $300 - $500 / Winning bid: $300

Lot 886: Marilyn Monroe (3) candid photographs with Sammy Davis Jr., Tony Curtis, Milton Greene and more.
(ca. 1960s) Vintage original (3) gelatin silver single-weight photos including (1) 4.5 x 6.5 in. Marilyn with Tony Curtis and Milton Greene wearing eye patches in solidarity with Sammy Davis Jr. who’d lost his eye in a car accident, (1) 8 x 10 in. Marilyn with Milton Greene and Sammy Davis Jr. at Jess Rand's 1954 birthday party and (1) 8 x 10 in. photo card of Marilyn with Sammy Davis Jr. and Eddie Fisher. Exhibiting some edge chipping, age, handling. With some mounting residue, inkstamps and writing to verso. In vintage good to fine condition.
Estimate: $300 - $500 / Winning bid: $300

Lot 888: Marilyn Monroe (10) mammoth prints signed by George Barris.
(ca. 1950s-1960s) Collection of (10) contemporary oversize posed and candid photographs of Monroe ranging in size from 17 x 22.25 in. to 21 x 28 in. Including (2) color images 1-of Monroe wearing a robe at the beach and 1-head shot and (8) black and white prints including 7-in and around a home and 1-at the beach. All signed in lower right of images, “George Barris” (Barris first signed in ballpoint over which he later signed in marking pen). Exhibiting minor wrinkling from handling. In generally fine condition.
Estimate: $1,000 - $1,500 / Winning bid: $1,900

Lot 889: Bert Stern signed Marilyn Monroe limited edition foil print.
(1962) Vintage original blue ink silkscreen on 40 x 40 in. silver foil limited edition print. The image is from Marilyn Monroe’s last photographic sitting in 1962. Signed by the photographer, “Bert Stern” in the lower right border and numbered, “99/100” in the lower left. Presented in the original fame. In vintage fine condition.
Estimate: $2,000 - $3,000 / Winning bid: $2,000

Films

Lot 876: Marilyn Monroe (2) window cards from How to Marry a Millionaire and Niagara. (TCF, 1953)
Vintage original (2) window cards for the Marilyn Monroe titles including (1) 14 x 22 in. card for How to Marry a Millionaire featuring Marilyn in swimsuit with Betty Hutton and Lauren Bacall. With playdate field filled in and some toning to edges and including (1) 14 x 22 in. card for Niagara featuring a sultry Monroe reclining and a photo image of she and Joseph Cotten. With blank playdate field, some clean pinholes to corners, and even toning. In generally very good to fine condition.
Estimate: $400 - $600 / Winning bid: $500

Lot 877: Marilyn Monroe (41) negatives from Bus Stop. (TCF, 1956)
Vintage original (41) 5 x 4 in. black and white negatives with matching contact prints, including images from production with Monroe, Don Murray, Arthur O’Connell, Eileen Heckart and cast, behind the scenes shots, crowd scenes, and images of Monroe in her iconic green costume performing. Contained in original sleeves. Some contact prints with editorial grease pencil cropping for publication. In generally fine vintage condition.
Estimate: $600 - $800 / Winning bid: $7,000

Lot 880: Marilyn Monroe rolled German A0 large size format poster for The Seven-Year Itch.
Marilyn Monroe rolled German A0 large size format poster for The Seven-Year Itch. (TCF, 1955/R-1960) Vintage original German A0 46 x 33 in. large size format poster by graphic artist, stamp illustrator and art educator Dorothea Fischer-Nosbisch for the re-release of the Billy Wilder, Marilyn Monroe comedy. Rolled. With vibrant color. In vintage fine condition.
Estimate: $300 - $500 / Winning bid: $750

Lot 881: Marilyn Monroe (11) production photographs from The Seven Year Itch and How to Marry a Millionaire.
(MGM, 1953/1955) Vintage original (11) gelatin silver single-weight glossy 8 x 10 in. production photographs featuring Marilyn Monroe and cast including (5) How to Marry a Millionaire and (6) The Seven Year Itch. All with studio slugs in lower borders. Exhibiting age, minor wear, some toning, creasing and handling. In overall vintage good to very good condition.
Estimate: $300 - $500 / Winning bid: $600

Lot 882: Marilyn Monroe (5) photographs from The Seven-Year Itch and others.
(TCF, 1955) Vintage original gelatin silver single-weight production photographs ranging in size from 7.25 x 8 in. to 8 x 10 in. including (3) Seven-Year Itch with Marilyn and Tom Ewell mugging on a couch (1-with two-hole punches at the top border), (1) full-body swimsuit pose and (1) portrait in a jeweled satin gown near a car. All exhibit minor age and handling. In vintage fine condition.
Estimate: $200 - $300 / Winning bid: $650

Lot 883: Marilyn Monroe lobby card for Dangerous Years, her first appearance in film publicity material.
(TCF, 1948) Vintage original color 11 x 14 in. lobby card for the first film in which Marilyn appeared in publicity material. Exhibiting pinholes, border restoration, and retouching to a vertical crease through the center of the card and a crease in the lower right image. Presents in vintage good to very good condition.
Estimate: $300 - $500 / Winning bid: $300

Lot 884. Marilyn Monroe and Anne Baxter photograph behind the scenes on All About Eve by Frank Powolny.
(TCF, 1950) Vintage original gelatin silver 8 x 10 in. double-weight matte photograph. Retaining photographer’s inkstamp on the verso. Exceedingly rare early candid moment for Marilyn. In vintage very fine condition.
Estimate: $400 - $600 / Winning bid: $650

Lot 890: Warner Bros. commemorative brass key to the studio. (ca. 1960s)
Consisting of a cast brass 11 x 4 in. presentation key to Warner Bros. Studios. The shield-shaped bow of the key features raised iconic “WB” letters synonymous with the studio. The key blade reads, in raised letters, “The Largest in the World” on one side and “Welcome to the Warner Bros Studio”, on the other. Keys like this one were presented to special guests, celebrities, and dignitaries visiting the studio. Exhibiting expected age, wear and patina. In vintage fine condition.
Estimate: $600 - $800 / Winning bid: $1,900

Documents papiers

lot 869: Marilyn Monroe’s (Norma Jeane Dougherty) first signed studio contract with Twentieth Century-Fox with original screen test request signed by Ben Lyon.
The contract is 17 pages (8.5 x 11 in.), entitled “Agreement Between Twentieth Century-Fox Film Corporation And Norma Jeane Dougherty – Artist August 24, 1946” typed on the heavy stock contract folder bound with two brass brads. The document is an agreement, “That the producer employs the artist, and the artist enters the employ of the producer, to render his services exclusively to the producer, in the capacities and for the purposes herein described, for a term of Six (6) Months, commencing on the 26th day of August, 1946… the producer shall pay to the artist, as his entire compensation hereunder, the sum of One Hundred and Twenty-Five Dollars ($125.00) per week during the term of said employment…” On page 16, the future Marilyn Monroe signed in black ink, “Norma Jeane Dougherty” and was co-signed by a studio executive an a notary public. The final page was signed by Norma Jeane’s foster mother, Grace McKee, granting approval of the agreement for the 20-year-old minor. Accompanying the contract is the 1-page inter-office document, dated July 25, 1946, signed by Twentieth Century Fox executive (and former actor) Ben Lyon, written to Mr. George Wasson, stating in part: “Will you please draw up an optional contract on Norma Jeane Dougherty. We agree to make a test of her and then within ten (10) days after she completes the test, we agree to advise her whether or not we intend to exercise the option: 6 months – 20 out of 26 weeks -- $150.00.” Ben Lyon was a successful actor starring in the 1930 film Hell’s Angels, the film that brought Jean Harlow to prominence. After having met the young Norma Jeane on July 17, 1946, Lyon stated that she was “Jean Harlow all over again!” With this document, he arranged for Norma Jeane’s screen test and her subsequent contract with the studio. Lyon later advised the starlet to change her screen name to “Marilyn Monroe”. Also included is a carbon copy studio memo to Ben Lyon from George Wasson, dated October 25, 1946, stating that “Today is the last day for us to notify Norma Jeane Dougherty in the event we desire her to have any dental work done.” Contract is in fine condition; both the Lyon and dental memos have paper loss from the two-hole binder. An historic assemblage marking the genesis of the silver screen’s greatest star.
Estimate: $8,000 - $12,000 / Winning bid: $35,500

lot 870: Marilyn Monroe personally hand annotated script from Gentlemen Prefer Blondes. (TCF, 1953)
Marilyn Monroe’s personally-used and annotated script from Gentlemen Prefer Blondes. An incomplete script, being a block of revisions delivered by the production to Marilyn Monroe comprising 69 pages total (numbered 48 through 117, missing page 93) plus a pink title cover-sheet printed “26 November 1952, ‘Gentlemen Prefer Blondes’ (Revised Final Script…13 Nov. 1952),” plus “TO ALL SECRETARIES: Please place these ADDITIONAL PAGES at the back of your script of the above date. THIS IS IMPORTANT! Majority of the prompts for Marilyn’s character “Lorelei Lee” are circled variously in graphite and non-repro blue pencil, with approximately 22-pages annotated in various inks and pencil in Monroe’s hand with amendments and additions to the script and notes on how she proposes to deliver lines and portray Lorelei’s character, with several other pages showing line deletions and other demarcations. Highlights of notes include: pg. 56, when Lord Beekman finds Lorelei stuck in Malone’s porthole, next to Lorelei’s line “Oh yes--Tea with Lady Beekman. Why, she must of forgot. She didn’t show up,” with Monroe adding an alternative line, “Well, I just wanted to see the view. It’s better from here”; pg. 58, Monroe changes the line “Piggie, will you run down to my cabin and get my purse?” to “Maybe I should have that Sherry - will you get me some”; pg. 79, Monroe has written a note to herself in the margin “Feeling that feeds the words, know the lines, go over it inteligently [sic]”; pg. 92, also to herself, “sense the feeling with the body” plus several dialogue changes; pg. 94, again to herself, “grit my teeth and forget it must have my,” “all of feeling in my words,” and “build pull back, don’t stop mutual conflict between partners.” Also, the following page (95) although bearing no notations, features the scene for Monroe’s classic musical number “Diamonds Are a Girl’s Best Friend.” In generally very good condition, with expected handling wear, soiling, and creasing, and some small edge tears and damp-staining to cover page and a few internal margins throughout. Marilyn’s unique, revealing personal notations in this script reveal her private thought processes and fleeting self confidence. On set, she was haunted by her controlling acting coach Natasha Lytess, constantly striving for her approval and insisting on retakes even when director Howard Hawks had already approved. Co-star Jane Russell looked after Marilyn on set and was often one of the only people able to coax her out of her trailer during her bouts of self doubt. Despite her anxieties, it was the role of Lorelei Lee that first fabricated her ‘dumb blonde’ persona—a genius mixture of comedy and sexiness which Marilyn personified on screen, all the while taking her acting very seriously, as evidenced by her occasional heartfelt self-motivational notes in the margins. Monroe biographer Donald Spoto once said: “She put a twist on sexiness. It was not something wicked and shameful...it was something which was terribly funny. And Marilyn enjoyed it.” A remarkable and deeply personal artifact both from Marilyn’s aura imbued within it, and of Hollywood history in general.
Provenance: Christies, New York, June 22, 2006, Lot 160.
Estimate: $20,000 - $30,000 / Winning bid: $20,000

Lot 871: Marilyn Monroe signed document relating to The Seven Year Itch. (TCF, 1955)
The 1-page document (8.5 x 11 in.), dated and notarized from the State of New York on December 31, 1955, states in part: “I, Marilyn Monroe of New York, New York… for valuable consideration to me in hand paid and the receipt whereof I hereby acknowledge, have and do hereby and herewith release and forever discharge Twentieth Century-Fox Film Corporation… of and from all manner of action and actions, cause and causes of action, claims, demands… that I have ever had… pertaining to the production, distribution, exploitation or other matters or things relating to a certain motion picture photoplay entitled THE SEVEN YEAR ITCH.” Signed “Marilyn Monroe” in black ink. Minor staple holes on left margin. Overall, in fine condition.
Estimate: $3,000 - $5,000 / Winning bid: $3,750

Lot 873: (2) Marilyn Monroe signed documents and a block of (3) blank Marilyn Monroe checks.
A 1-page document (8.5 x 11 in.), undated, but retains “Received” stamp dated February 6, 1947. Sent by Marilyn to 20th Century-Fox Film Corporation to the attention of the legal department. In part: “This is to notify you that I am no longer being represented by the National Concert & Artists Corporation… I am now being represented by the Elsie Cukor Lipton Agency…[signed] Marilyn Monroe”. Contains clerical notes in both pencil and ink. Toning at lower half with tearing by two binder holes.
The second document is the second page of a two-page document (page one is missing), dated January 16, 1952 involving Twentieth Century-Fox Film Corporation and RKO Radio Pictures, Inc., pertaining to advertisement release for Marilyn Monroe in promoting “Jantzen Play Suites, Play Clothes and Swim Suits”. Signed “Marilyn Monroe” in blue ink, and co-signed by a Twentieth Century-Fox representative. Staple holes at top, pronounced wrinkling and a 3.75 x 1.25 in. portion clipped from the document.
Included with the documents is a block of (3) unused “Marilyn Monroe” printed checks from her City National Bank, Beverly Hills branch (checks numbered 1950 – 1952). Checks and attached stubs are in fine condition.
Estimate: $1,500 - $2,500 / Winning bid: $3,750

Lot 874: Marilyn Monroe signed advertising release for House of Westmore Cosmetics.
The 1-page document (8.5 x 13.5 in.), dated July 3, 1952 from Los Angeles, California, states in part: “The undersigned, Twentieth Century-Fox Film Corporation, a New York corporation, hereby gives and grants to House of Westmore, the non-exclusive right to utilize the name and likeness of Marilyn Monroe… Said name and/or likeness shall be used only by House of Westmore in connection with its product Cosmetics in the following manner: Newspapers, magazines, window and counter displays, point of sale material.” Signed “Marilyn Monroe” in black ink, and co-signed by representatives of Twentieth Century-Fox and House of Westmore. Minor paper loss from the binder at upper edge; minor chip at bottom edge not affecting signature.
Estimate: $2,000 - $3,000 / Winning bid: $4,250

Lot 875: Studio letter warning Marilyn Monroe of her breach of contract for taking off shooting days to participate in President Kennedy’s Birthday Celebration. (1962)
Vintage original 2-page letter on Twentieth Century-Fox Film Corporation letterhead, dated May 16, 1962, addressed to Marilyn Monroe Productions, Inc. In part: “…the services of Miss Marilyn Monroe in the now current employment period commenced on March 6, 1962 in the motion picture tentatively entitled ‘Something’s Gotta Give’… Whereas said motion picture is now in the process of principal photography and is uncompleted… Miss Monroe has advised the executives of the undersigned corporation… that she intends to absent herself from Producer’s studio and from Los Angeles, California, at twelve noon, May 17, 1962, for the purpose of attending a social function being held outside of the State of California, and to continue said absence for the reminder of the said calendar week… Now, therefore, please be advised that said announced action on the part of Miss Monroe constitutes a refusal by her to render services… said action of Miss Monroe will result in serious loss and material damage to the undersigned corporation… [the studio may] be relieved of any of its obligations in respect to the photoplay in which Miss Monroe is now rendering…” Signed “Twentieth Century-Fox Film Corporation” by Frank H. Ferguson, its Assistant Secretary. Included with original registered mail transmittal envelope, postmarked May 16, 1962, with attached studio slip with stamp indicating return date of May 17, 1962 with notation that the letter was refused and returned. Before shooting had begun, Monroe received approval from producer Henry Weinstein for her to perform on May 19th for President Kennedy’s birthday celebration at Madison Square Garden. Despite the agreement, Marilyn’s protracted health issues had delayed production and studio brass ultimately decided to release her from the picture on June 8th.
Estimate: $400 - $600 / Winning bid: $3,750

Lot 887: Let's Make Love 22-pages of original sheet music for the LP record release.
(TCF, 1960) Vintage original (22) pages of musical charts including (1) 5-page printed 9.5 x 13 in. Conductor score for, “Let’s Make Love” designated for “Marilyn Monroe and Frankie Vaughan”, (1) 4-page handwritten 10.75 x 13.25 in. score for, “Let’s Make Love”, (1) 6-page printed 9.5 x 13 in. Conductor score for, “You With the Crazy Eyes” designated for “Frankie Vaughan (Vocal)” and (1) 7-page handwritten 10.75 x 13.25 in. score for “You With the Crazy Eyes” score. All exhibit edge toning, handling, minor soiling and staining. In vintage very good condition.
Estimate: $300 - $500 / Winning bid: $325

Accessoires

Lot 1942: Loni Anderson vintage “MM” evening gloves gifted to her by Burt Reynolds as the personal property of Marilyn Monroe.
(ca. 1950s) Vintage original pair of elegant midnight blue synthetic silk evening gloves with stitched braid detail at back and stitched monogram, “MM” on underside of flared, slit cuffs. Retaining internal Hansen maker’s label, printed size 6. Gifted to Loni Anderson by Burt Reynolds who attributed them to Marilyn Monroe, an idol of Anderson’s. In vintage fine condition.
Estimate: $1,000 - $1,500 / Winning bid: $9,500

Posté par ginieland à 14:36 - enchères Personal MM - Commentaires [3] - Permalien [#]
Tags : 2017, autographes, ben lyon, bus stop, cheques, documents papiers, frank powolny, frank worth, gentlemen prefer blondes, george barris, milton h greene, profiles in history, scenarios, the seven year itch, tom kelley

30 décembre 2016

Enchères Nate D Sanders 12/2016

Vente aux enchères 'December 2016 Auction' par Nate D. Sanders Auctions du 15 décembre 2016 aux Etats-Unis
La vente aux enchères contient 3 lots consacrés à Marilyn Monroe:

Lot #12: Marilyn Monroe's Grave Marker
Marker for the grave of Marilyn Monroe, from the Westwood Village Memorial Park Cemetery in Los Angeles, California. Marilyn Monroe's grave is visited by thousands of fans each year who often touch the marker, causing oxidation of the bronze. As a result, the marker is changed periodically, with this marker dating to the early 1990s. All of the markers originate from the Gasser-Olds Company, a bronze foundry, as this one does. Upon the marker's back reads, ''Make Two Patterns for Marge''; Marge is the supervisor who set the lettering on the marker. Bronze marker reads ''Marilyn Monroe / 1926 - 1962'', bordered by the original scroll design. Measures 15.25'' x 4.75''. Some rubbing and oxidation to bronze, overall in very good condition. In 2015, another marker from Marilyn Monroe's site sold for over $200,000 at Julien's Auctions.
Estimation: $35,000 - No Sold

Lot #13: Marilyn Monroe Heavily Hand-Annotated Script for Her Last Role, ''Something's Got to Give'' -- Marilyn Makes Copious Notes to Herself About Her Character, ''easy/very intimate/very real''
A fascinating peek inside Hollywood legend Marilyn Monroe's creative process. Heavily annotated in her own hand, this 149-page screenplay from Monroe's last and unfinished film, 1962's ''Something's Got To Give'', reveals Monroe as an actor who took deep care in finding the meaning behind each line of dialogue and her character's motivations throughout the script. Monroe's handwritten pencil notes begin with her character's (Ellen Wagstaff Arden) introduction in the script on page 12 and carry through to the end on page 149, even including notes on the verso of the last page and back cover, such as a note reading, ''Joke writers Mel Brooks / Herb Gardner / Need spice / raisins / Need some funny lines''. There are notes in Monroe's hand on approximately 42 pages in the script, ranging from simple dialogue corrections and changes to in-depth sense memory notes when doing a scene that required a deeper emotional connection and understanding. Regarding her character's introduction, as she interacts with naval personnel who saved her after being marooned on an island for five years, Monroe writes, ''1 - Gayity [sic] 2 - Excitement 3 - Then Dazed''. In one scene, Monroe references Arthur Miller's children to better help her relate to her character's children, ''Bobby M. / and early Janie / except their [sic] mine.'' Throughout the script, Monroe writes succinct dialogue and character notes: ''Stunned / Dazed - sky high with adventure'', ''dead pan/I really don't know'', ''anticipating the joys'', ''Trying to think or remember'', ''start to wonder what's from now on'', ''I don't know he knows'', ''easy/very intimate/very real'', ''[L]et me get into something more comfortable / leading him on -''. Included is a small card with call times and scenes to be shot, and a small scrap of paper with a note in Monroe's hand wondering why they are shooting out of sequence, as well as notes about using Miss vs. Mrs. Script measures 9.5'' x 11.5''. Worn from use by Monroe, but with pages present and intact. Overall very good condition.
Estimation: $20,000 - Sold: $25,000

Lot #14: Marilyn Monroe's Very Own Hand-Annotated Script From Her Last Movie, ''Something's Got to Give'' -- Marilyn Writes Notes to Herself, ''...almost a whisper / I just want to tell you...''
An enthralling glimpse into screen legend Marilyn Monroe's creative process from her personal 149-page screenplay for her last and unfinished film, 1962's ''Something's Got To Give''. The script contains notes in Monroe's own hand in pencil and green ink on approximately 18 pages, serving as intimate snapshots about how she viewed the film and her character. Some of the highlights include notes Monroe made for Scene 168, in which she interacts with her children in the movie, who don't recognize her as they were too young when she became stranded on an island for five years and presumed dead. These hand-annotated typewritten pages were inserted into the script for this particular scene - one of the few that Monroe completed before her untimely death. Within these pages, Monroe writes a series of notes regarding her preparation: ''Real thought'', ''Mental Relaxation'', ''Look for the light'', ''Place the pain/feeling where it is not in the brow'', as well as specific sense memories to help find the emotional truth with her character's feelings toward her on-screen children, ''Substitute children - B & J if necessary'', perhaps referring to Arthur Miller's children Bobby and Jane. There are also some notes from Monroe regarding her work with a Swedish dialect coach. Peppered throughout the script are further dialogue notes, changes and line strikes. Interestingly, the script also includes notes in an unknown hand giving blunt, critical assessments and insights of the script's scene descriptions, direction and dialogue. These notes start on the script's first page, ''Note for Marilyn/He has to woo her not the way it is / new blue pages'' and continue in blue pen, ''Dull'', ''Naggy'', ''Make it funny!'' and ''Smugly''. Interestingly, Monroe reacts to some of these notes, either changing dialogue and scene direction or, in some cases, striking the note itself if she doesn't agree with it. The script also contains two paper-clipped inserts, memos from the production addressed ''To All Secretaries'', the first dated 23 April 1962 and the second 27 April 1962, each accompanying blue revised pages 91 and 92 for the script. Script measures 9.5'' x 11.5''. In worn condition by Monroe, but with pages present and intact. Script cover, marked ''FINAL / CONFIDENTIAL'', is torn slightly on spine. Overall in very good condition, a rare keepsake from Hollywood's most beloved movie star.
Estimation: $20,000 - No Sold

Posté par ginieland à 19:41 - Commentaires [0] - Permalien [#]
Tags : 2016, scenarios, sgtg

01 novembre 2016

Marilyn Monroe Auction - 11/2016 - docs papiers 2

Documents papiers - MM Prod.
Papers documents - MM Prod.

Lot 312: MARILYN MONROE SIGNED CHECK TO THE IRS
A check signed by Monroe in blue ink, with bank stamp dated November 16, 1959, paid to the "District Director of Internal Revenue" in the amount of $10,947.60. The check is drawn on her Marilyn Monroe Productions, Inc. account with Colonial Trust Company. Calculating for inflation, this amount would be in excess of $90,000 in 2016.
3 by 8 1/2 inches
Estimate: $3,000 - $5,000

Lot 416: MARILYN MONROE 1958 SIGNED CHECK WITH CORRESPONDING INVOICES
A Marilyn Monroe Productions canceled bank check dated August 22, 1958, in the amount of $42.88, written to Dave Bernstein, signed by Monroe, together with a statement from Dave Bernstein Catering and 10 receipts for food Monroe ordered ranging in date from August 19 through September 4, 1958. Monroe started filming Some Like It Hot on August 4, 1958. This lot is significant in that Monroe and then husband Arthur Miller discovered she was pregnant in October. These receipts possibly detail Monroe’s diet at the onset of what would be her final pregnancy. Sadly, she miscarried on December 16.
Estimate: $2,000 - $3,000

Lot 474: MARILYN MONROE 1960 SIGNED CHECK WITH CORRESPONDING INVOICES
A Marilyn Monroe Productions canceled bank check dated May 14, 1960, in the amount of $6.20, written to Century Messenger Service, signed by Monroe, together with two carbon copy invoices and an original month-end statement from Century Messenger Service. Both invoices are addressed to Marilyn Monroe Productions, 444 E. 57th Street, #13E, one of which is signed by May Reis, Monroe’s secretary.
Estimate: $1,500 - $2,500

Lot 537: MARILYN MONROE FAN MAIL EXPENSES
An expense report for Marilyn Monroe Productions prepared by Hedda Rosten, with itemized listing of fan mail expenses for June 1962 totaling $66.46. The expenses show that they were reimbursed July 26, 1962.
9 by 6 inches
Estimate: $200 - $300

Lot 897: MARILYN MONROE PRODUCTIONS CHECKS AND RECEIPTS
Two checks from Marilyn Monroe Productions Inc. to A.J. Bauer & Co Apothecaries for $8.15 and $17.25, both signed by Milton Greene and dated June 22, 1955, and June 20, 1955; and two related receipts from A.J. Bauer & Co Apothecaries showing the breakdown and balance due.
Checks, 3 by 8 1/2 inches
Estimate: $800 - $1,200

Lot 898: MARILYN MONROE PRODUCTIONS BANK STATEMENT
A Colonial Trust Company bank statement for Marilyn Monroe Productions Inc. for January 1957, showing a series of withdrawals throughout the month with a balance of $47,768.62 on January 1 and $27,671.40 on January 31. There are handwritten calculations are in pencil on verso in an unknown hand. Together with a credit receipt from the same bank dated February 1, 1957, that states that $54.64 was credited back to the account.
10 by 7 inches
Estimate: $600 - $800

Lot 899: MARILYN MONROE PRODUCTIONS INVOICE
An invoice from Luria's Wine & Spirits in New York City billed to Marilyn Monroe Productions and sent to "Mr and Mrs Paula Lee Strasberg [sic]." The invoice is for 12 bottles of Piper-Heidsieck champagnes totaling $73.08. Together with a statement from Luria's showing $3.55 credit for Marilyn Monroe Productions. Dates unknown.
Larger, 9 by 5 3/4 inches
Estimate: $400 - $600

Lot 974: MARILYN MONROE BANK STATEMENT, MARCH 1961
A Marilyn Monroe Productions Inc. bank statement from Bankers Trust Company of New York showing credits and debits for the month of March 1961.
11 by 9 inches
Estimate: $400 - $600

Lot 975: ENVELOPE ADDRESSED TO MARILYN MONROE
An envelope addressed to Marilyn Monroe Productions Inc. The envelope is postmarked January 5, 1961, and is from Magnum Photos Inc. Two “Fragile Handle with Care” stickers are affixed to the envelope. Many of Monroe’s most famous photographs were taken by Magnum photographers, including Eve Arnold, Philippe Halsman, and Inge Morath. This item came from the estate of May Reis, Monroe’s assistant and private secretary from 1958 to 1961.
12 by 15 1/2 inches
PROVENANCE Partial Lot 120, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Estimate: $50 - $100

Documents papiers - Carrière
Papers documents - Career

Lot 70: MARILYN MONROE PROGRAM FROM PRESIDENT KENNEDY'S 1962 BIRTHDAY CELEBRATION
A program from the fundraising gala titled "Happy Birthday Mr. President" that took place at Madison Square Garden in New York City on May 19, 1962. The event featured Marilyn Monroe's now legendary performance of the song "Happy Birthday" to the president in her form-fitting Jean Louis gown. The program lists the other performers that night and is being sold together with Frieda Hull's ticket from the performance. The ticket cost $10, is numbered 827, and is listed as General Admission and additionally stamped "Standing Room" with right side of ticket torn off.
Program, 10 1/2 by 8 1/4 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $1,000 - $2,000

Lot 74: MARILYN MONROE CORRESPONDENCE WITH LESTER MARKEL
A series of letters including five unsigned file copies of Marilyn Monroe's letters to Pulitzer Prize-winning journalist Lester Markel of the New York Times together with five typed, signed letters from Markel on New York Times letterhead. The two had a friendship and an interesting series of communications dated between August 6, 1959, and June 30, 1960, including the now famous letter in which Monroe demonstrates her humor and comprehensive understanding of the politics of their time. On the subject of Fidel Castro, Monroe writes, "Now, Lester, on Castro. You see, Lester, I was brought up to believe in democracy, and when the Cubans finally threw out Battista [sic] with so much bloodshed, the United States doesn't stand behind them and give them help or support even to develop democracy." She also discusses possible presidential candidates and offers slogans for their campaigns in the post script: "Nix on Nixon" and "Back to Boston by Xmas - Kennedy." Two of the five pages of Monroe's file copies contain three drafts of the same letter that is left unfinished.
8 1/2 by 11 inches
PROVENANCE From the Estate of Lee Strasberg
Estimate: $600 - $800

Lot 75: MARILYN MONROE SIGNED TILE FROM PRESIDENT KENNEDY'S 1962 BIRTHDAY CELEBRATION
A pair of celebrity signed ceramic tile displays with inscriptions to event producer Clive David. Each framed display consists of 16 tiles. The top six decorative tiles of each frame combine to read “1962.” The remaining 10 tiles of each display are covered with signatures and inscriptions to David, including an inscription from Marilyn Monroe. Monroe’s inscription reads “To Clive Love & Kisses Marilyn Monroe” and was obtained by David at the Madison Square Garden birthday celebration of John F. Kennedy held on May 19, 1962. Other performers who signed the tiles at this event include Maria Callas, Jack Benny, Jimmy Durante, Henry Fonda, Bobby Darin, Ella Fitzgerald, Shirley MacLaine, Sally Ann Howes and Dick Adler. Other celebrity signatures include Gloria Swanson; Paulette Goddard; Ray Bolger; Tab Hunter; Hedda Hopper; Una Merkel; Audrey Meadows; Earl Wilson; Ginger Rogers; Olivia de Havilland; Anita Loos; Lucille Ball; Carol Bruce; and Tallulah Bankhead; among others.
Each, 39 by 14 1/2 inches, framed
Estimate: $8,000 - $10,000

Lot 83: MARILYN MONROE JOHN F. KENNEDY 1962 BIRTHDAY GALA TICKET
A ticket to the May 19, 1962 Birthday Party Gala held for President John F. Kennedy at Madison Square Garden. The ticket is marked for section 112, with a suggested contribution of $25.
3 3/4 by 8 inches
Estimate: $3,000 - $5,000

Lot 96: MARILYN MONROE DOUBLE SIGNED 1947 DOCUMENT
A single-page mimeographed letter dated June 11, 1947. The letter was drafted by Twentieth Century Fox Film Corporation for Monroe to sign and reads in part, "Whereas, I did heretofore enter into a personal services contract with you, dated August 24, 1946, and, whereas at that time I was a minor, and whereas I did, on June 1, 1947, become twenty-one (21) years of age, please be advised that I do hereby ratify and confirm all of the terms." The letter is then signed by Monroe in blue ink, both "Marilyn Monroe" and "Norma Jeane Dougherty." Together with a plain associated envelope.
8 1/2 by 11 inches
Estimate: $5,000 - $7,000

Lot 132: MARILYN MONROE SIGNED 1949 CONTRACT
A standard contract dated March 2, 1949, with the William Morris Agency Inc. for a period of six years with 10% terms. The contract is signed on verso in green ink "Marilyn Monroe." Accompanied by original letter from the agency that accompanied the contract dated March 10, 1949, addressed to Monroe at 1215 Lodi Place in Hollywood, California, reading "Dear Marilyn:/ Enclosed please find executed copies of your authorization with our office. Best regards" and signed Norman Brokaw.
8 1/2 by 11 inches
Estimate: $3,000 - $5,000

Lot 156: MARILYN MONROE NOTES WRITTEN ON BACK OF 1952 MENUS
Two menus dated March 26, 1952, featuring notes on verso in blue ink in Monroe's hand that appear to have been taken during a meeting with someone advising her about her career. The menus are dated just 10 days after Monroe's nude modeling shots were made public by the media. Monroe had recently appeared in a number of films in small parts and had received positive mentions from critics. Monroe had just started dating Joe DiMaggio, and she was to appear on the cover of LIFE magazine the following month. This was clearly an important and pivotal period in her career, and it appears as though she was meeting with someone in the industry who gave her counsel. One of the warnings appears to come from Johnny Arnez; Monroe put's his warning in quotations: "you'll have to protect yourself or your throat will be cut/ watch out for Jerry Webb." It continues, "you'll prepare the test & Webb shoots it and if something is wrong it will [be] your fault." A great deal of the notes reference Webb and things he has said behind her back. Berniece Miracle mentions seeing Webb, the test director, in the Fox commissary in the late 1940s when she snuck onto the lot with Monroe to spend the day with her half-sister. The notes also contain thoughts from Monroe reading in part, "I need a great deal of work - and will always/ its the right kind of work/ -the more I will be able to stand on my feet." and "think with your body/ let go physically to ick up emotionally" and "you want me to be a star/ and I can be one of your greatest stars/ when I'm doing the right/ work and know I'm doing." Just over two months after these notes were written, Monroe learned that she had gotten the part of Lorelei Lee in Gentlemen Prefer Blondes.
10 1/2 by 5 inches
Estimate: $4,000 - $6,000

Lot 173: MARILYN MONROE HANDWRITTEN ACTORS STUDIO CLASS NOTES
A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955, with the opening salutation and start of a letter "Dear Art" that has been scratched out. The page is covered on recto and verso with notes, recounting the goings-on in one of Monroe's acting classes with Lee Strasberg. The notes begin with Monroe quoting something said by Strasberg: "I want you all to know that this exercise went on for/ 1/2 hour and her concentration did not/ give way or slip once-and Marilyn there/ will be very few times ever on the/ stage where it will be/ necessary to keep/ such a concentration/ for one half hour/ straight." Monroe then asks herself, "Why did it/ mean so much to me." On the back she continues to ruminate about class, writing, "Strasberg/ it makes me (him he said) feel badly (and sadly) for you that you do/ things out of fear/ You must start to do things out of strength-/ (my question: where do I get the strength)-he said-by not looking for strength/ but only looking & seeking tecnical [sic] ways and means." This presents a fascinating demonstration of how seriously Monroe took her formal acting training in New York.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 78-81. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
Estimate: $10,000 - $15,000

Lot 174: MARILYN MONROE HANDWRITTEN SONG LIST
A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955. The verso of page contains a long list of song titles in pencil with some numeric references to a song standard book. It is presumed these were possibly songs that Monroe wanted to perform.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 82-83. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
Estimate: $3,000 - $5,000

Lot 192: MARILYN MONROE HANDWRITTEN NOTE
A single sheet of unlined paper with serrated left edge and faint coffee mug stain. The page contains pencil notations, including the numbers "262" and "263," which are believed to be references to a collection of song standards, [see Lot 256] and would correspond to "While We're Young" and "Wonderful Guy." The body of the text reads "Dec 11/ See in older journal-/ always admired men who had many women./ It must be that to a child of a dissatisfied woman/ the idea of monogamy is hollow."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 164-165. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 4 7/8 inches
Estimate: $4,000 - $6,000

Lot 193: MARILYN MONROE HANDWRITTEN NOTE
A single page torn from a lined spiral-bound notebook, stained in red ink. Presumably torn from the same notebook as the similarly stained pages also included in this sale that also date to 1956. The page contains dialogue from Monroe's film, Bus Stop as she portrays Cherie, who asks Elma for help: "Pardon me I'm sorry to wake you/ But I wonder if you could help/ me/ I'm being abducted/ you know-kidnapped-by-him/ I thought maybe as soon as/ we got some place I'd ask the/ driver to stop and let me off/ But we been driving for hours/ and we still don't seem to be/ nowhere at all-not only that/ but I'm freezing to death-I/ ain't got much on under/ my coat."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 166-167. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 1/2 by 11 inches
Estimate: $6,000 - $8,000

Lot 194: MARILYN MONROE NOTEBOOK PAGES
Two pages torn from a lined spiral-bound notebook, both stained in red ink. The first page was published in the book Fragments and contains references to "The Sleeping Prince," an early production title for Monroe's film The Prince and the Showgirl, dating these writings to 1956. The notes show Monroe becoming her own task master, reminding herself "don’t stop myself," "learn - lines logically," "I can't do more than/ one thing at a time/ make map tonight," and "take my time to think." She instructs herself to make a list of tasks and work on exercises, which perhaps explains the cryptic writings on the second page that did not appear in Fragments, reading in full, "From Ridding partly/ T Nautiousness [sic]/ Place/ personalization (A)/ weariness/ (J)/ (Ar).""
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 168-169. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 1/2 by 11 inches
Estimate: $3,000 - $5,000

Lot 195: MARILYN MONROE HANDWRITTEN NOTE
A single lined page torn from a Steno notebook with ragged spiral tab top edge. The note in pencil appears to be Monroe jotting down notes regarding the reasons Elia Kazan did not want to cast her In the title role of his 1956 film Baby Doll, written by Tennessee Williams. One of the notes reads "He said that I've become so deified as a sex symbol that public never except [sic] me as a virgin and as a nineteen/twenty year old."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 170-171. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
Estimate: $3,000 - $5,000

Lot 196: MARILYN MONROE 1960 NOTE FROM THE SET OF THE MISFITS
A single-page letter written in pencil outlining Monroe's thoughts regarding how the film should be shot to convey the presence of Clark Gable's character in the film The Misfits Gay Langland. The note reads in part, "I feel the camera has got/ to look through Gay's/ eyes whenever he is in a/ scene and even when he is/ not there still has to be a sense of/ him/ He is the center and the/ rest move around him."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 172-173. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 5 inches
Estimate: $4,000 - $6,000

Lot 200: MARILYN MONROE HANDWRITTEN NOTE TO LEE STRASBERG
A single page of lined paper from a Steno notebook with doodles of faces in pencil below a quick note about punctuality references Monroe's role as the routinely tardy Miss Lois Laurel in her 1952 film Monkey Business. Below this note is a note in Lee Strasberg's hand reading "Don't be nervous Marilyn/ you are doing swell &/ you look wonderful."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 186-187. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
Estimate: $4,000 - $6,000

Lot 201: MARILYN MONROE HANDWRITTEN NOTE TO LEE STRASBERG
An undated handwritten note by Monroe to mentor Lee Strasberg, on a single sheet of lined notebook paper torn from a spiral-bound Steno book, reading “Dear Lee/ One of the most personally helpful things I’ve heard so far in my life was what you said in class Friday afternoon – it was helpful in that I feel as though I’m a little bit freer – also more – I can’t think of any I mean by that more relaxed 2 and 2 don’t necessarily make 4.”
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 188-189. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
9 by 6 inches
Estimate: $10,000 - $20,000

Lot 203: MARILYN MONROE LETTER TO LEE STRASBERG
A two-page typed letter, signed, to mentor Lee Strasberg, dated December 19, 1961, with original transmittal envelope addressed to Strasberg's Central Park West address, postmarked Beverly Hills Calif. December 21, 1961. The letter, addressed "Dear Lee," asks Strasberg’s wife Paula and children Susan and Johnny to consider relocating to California to be part of a new production company Monroe was developing in partnership with fellow Actors Studio alumnus Marlon Brando. The letter is signed in blue ink in Monroe's hand simply "Marilyn."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 196-197. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
Estimate: $7,000 - $9,000

Lot 211: MARILYN MONROE NOTE FROM ROBERT MITCHUM
A typed, signed letter from Darryl F. Zanuck dated December 10, 1953, addressed "Dear Bob:" for Robert Mitchum. The letter thanks Mitchum for his cooperation in connection with shooting retakes for the film River of No Return and in turn apologizes: "I am also very sorry about the delay with Marilyn. We could not possibly anticipate such action." Mitchum has written in quite large letters in blue ink "Dig!!!" above the note, and on verso he has written "Marilyn/ Your girl is my/ girl and my girl is/ you - Ever Bob." The note documents Mitchum's loyalty to Monroe, having first met her when she was married to Jim Dougherty, revealing Zanuck's speaking ill of her.
10 1/2 by 7 1/4 inches
Estimate: $500 - $700

Lot 249: MARILYN MONROE PHOTOGRAPHS AND LETTER FROM REPORTER
A typed letter signed by St . Petersburg Times photographer George Sweers dated March 23, 1961. The letter thanks Monroe for allowing him to ask a few questions and take a few pictures the previous day and goes on to reminisce about spending time with her when she entertained the troops in Korea. He writes, "This, as you probably remember, was the shot we had made on the Eastern Front after the last show." He included two copies of the photograph, requesting that Monroe sign one and send it back to him. Together with both copies of the photos that accompanied the letter.
8 1/2 by 11 inches
Estimate: $400 - $600

Lot 250: MARILYN MONROE CARD FROM ELLA FITZGERALD
A vintage Hallmark Christmas card, undated, wishing a "Merry Christmas To Someone Nice," signed in blue ink "Ella Fitzgerald." While it is often reported that Monroe helped to get Fitzgerald a booking at the Mocambo club in Hollywood, due in large part to Fitzgerald's own recollections, documentary evidence supports the fact that Monroe actually attended Fitzgerald's performances at The Tiffany Club in 1954.
7 by 6 inches
Estimate: $500 - $700

Lot 251: MARILYN MONROE SECRETARIAL MEMO REGARDING ELLA FITZGERALD
A typed memo dated February 15, 1955, on the letterhead of business manager Inez Melson, titled "Memo of conversation with Jo Brooks." Brooks was the husband of Julies Fox, who handled publicity for Ella Fitzgerald, and the memo says that, "A few months back, Miss Monroe visited the Tiffany Club on West 8th Street where Ella Fitzgerald was playing. Miss Fitzgerald talked of a possible future date at the Mocambo and Miss Monroe said when this happened, she would like to give a party for Miss Fitzgerald./ Miss Fitzgerald will open at the Mocambo on March 15 and Miss Brooks wanted to know if Miss Monroe was serious about giving a party." This memo further explains the sequence of events and the fact that Monroe did not in fact play a part in getting Fitzgerald booked at the Mocambo as she stated to the press at one time.
6 1/4 by 7 1/4 inches
Estimate: $100 - $150

Lot 252: MARILYN MONROE NOTE TO LEE STRASBERG
A small note in pencil in Monroe's hand on the back of a piece of paper taken from a visitor's log. The note appears to be a draft written to accompany a book Monroe was giving to Lee Strasberg as a gift, reading in part, "For Lee/ I wanted to give you something for your library - you are giving me a way in which to work and the hope to be human -/ Love Marilyn." Multiple additions and strikethroughs with changing of wording.
6 by 3 1/4 inches
Estimate: $1,500 - $2,000

Lot 253: MARILYN MONROE GIFT NOTE TO PAULA STRASBERG
A small piece of plain white paper folded into a card reading "Dear Paula,/ I'm glad you were born because you are needed./ Your warmth is both astonishing and welcomed./ Love & Happy Birthday/ Marilyn."
6 by 4 inches
Estimate: $3,000 - $4,000

Lot 254: MARILYN MONROE ACTORS STUDIO NOTES
Two sheets of paper from a small spiral-bound planner dated April 3 and 4 as well as a sheet dated April 7 and 8. The pages contain notes in pencil in Monroe's hand reading, for April 3, "Remember - the actors concentration is the only thing between him and suiside [sic]/ try not to come to the scene too late - (exploration - sensory process Home work - after on stage - carry it on (on stage)"; April 4, "Everybody want to be happy (to be good actors) to make money (in my case) and look how miserable we make one another"; April 7, "Nothing can get through tension - what ever you might want to do/ the effort is the only thing the human being (the actor) has between himself and God knows what!"; and April 8, "Just do tecnical [sic] exercises as fully as I can."
3 1/2 by 2 1/2 inches
Estimate: $4,000 - $6,000

Lot 255: MARILYN MONROE NOTEBOOK WITH NOTES FROM ACTING CLASS
A black board notebook with red spine containing lined notebook paper with notes in Monroe's hand. A very large letter "M" is drawn inside the front and back covers. There are multiple notes written in another hand on the first page of the book, but the next page contains notes in Monroe's hand in pencil with ideas for a "Street Car Scene" reading in part, "begin with ? (1st grade happening Mexican boy accuses me of hurting him - having to stay after school it was nite [sic] outside - have place - concern because of Stan K. accusations plus - getting dress for Mitch trying to look nice especially since what Stan K. has said." The note also suggests she hum "Whispering while you hover near me," which is a song standard found in her notebook of standards in the following lot, only the lyric is "Whispering while you cuddle near me." The front and back of the last page of the book contain notes from acting class, including "during exercise - lee said let the body hang"; "2 exercises at one time/ cold & Touch/ one might not be enough for what's needed"; and "sense of oneself/ first thing a child (human being) is aware of (making a circle) touching ones foot knowing himself is separate from the rest of the world," among others.
8 by 6 1/4 inches
Estimate: $4,000 - $6,000

Lot 256: MARILYN MONROE SONGBOOK
A three-ring binder, in black laminated board, both front and back covers detached but present. The binder contains more than 369 indexed pages of song standards with front table of contents page dividing them into broad categories: "Standard Foxtrots and Show Tunes," "Latin American Tunes" and "Foreign Songs." One page has a pencil notation beneath the song "You Do Something To Me" by Cole Porter; the writing is quite small and difficult to identify the hand. It is from this book that certain three-digit numbers mentioned in some of Monroe's notebooks were thought to have originated, like the numbers 262 and 263 in Lot 192.
11 1/4 by 10 inches
Estimate: $400 - $600

Lot 258: MARILYN MONROE LETTER FROM EDWARD R. MURROW
A single-page typed, signed letter dated November 7, 1955, on Edward R. Murrow's personal stationery addressed to Marilyn Monroe in care of Mr. Green in Weston, Connecticut. The letter was sent in advance of Monroe receiving a complimentary copy of Columbia Records album compilation excerpts from some of Sir Winston Churchill's speeches. The letter is signed "As ever yours, Ed/ Hope you like it!" Together with original transmittal envelope with CBS Radio stamp, postmarked November 7, 1955.
10 1/2 by 7 1/4 inches
Estimate: $300 - $500

Lot 260: MARILYN MONROE HANDWRITTEN LINES FROM A SCENE
Two lined notebook pages with block letter “MMM” printed to left margin. The pages contain most of the dialogue from Act I, Scene 4, delivered by the character Lorna in Clifford Odets’ 1937 play Golden Boy. The second page contains the same lines written out twice and traced over multiple times, likely part of Monroe’s process of trying to memorize the lines for a scene performed in one of her Actors Studio classes.
12 3/8 by 8 inches
Estimate: $2,000 - $3,000

Lot 263: MARILYN MONROE BUS STOP SIDES AND NOTES
A group of 16 pages containing some of Monroe's lines from the film Bus Stop. Five of these pages have the lead in to Monroe's lines added in red ink in another hand, likely Paula Strasberg. Together with a single half page entirely filled with notes in Monroe's hand in pencil and red ink. The notes read in part, "Waking up - scene/ Headache/ tiredness - headache / go to sleep/ I don't want to be here" and "first scene with Vera/ I tell it as a/ told as a fairy tale/ Once upon a time."
5 1/2 by 8 1/2 inches
Estimate: $10,000 - $20,000

Lot 264: MARILYN MONROE ANNOTATED BUS STOP SCRIPT SIDES
A small bound group of 31 mimeographed half pages containing Monroe's dialogue for the film Bus Stop. Ten of the pages contain notes in Monroe's hand in pencil. Additional notes in the hand of Paula Strasberg and an administrative hand. A note in Monroe's hand on the first page next to lines about her character Cherie wanting to be respected and tired of being "pawed at and pinched at" reads "Fight with manager/ A.M. H. Cohn middle of dinner party" clearly references incidents Monroe wished to draw upon from her life in the scene. Another note in Monroe's hand written beneath the line "Oh - it's you!" reads "(Good God it's you)."
5 1/2 by 9 1/2 inches
Estimate: $10,000 - $20,000

Lot 265: MARILYN MONROE ANNOTATED BUS STOP SCRIPT SIDES
A group of seven half sheets of paper, held together with a straight pin, containing some of Monroe's lines from the film Bus Stop. Six of the seven pages contain notes in Monroe's hand. This is the first film Monroe made after beginning to study at the Actors Studio in New York City with Lee Strasberg, and the notations in these script sides demonstrate her method. Some of the notes are sense memories, like the following notation written after the line "I can't look": "Effective memory (use Lester - hurt on lawn)," most likely referencing Monroe's childhood playmate Lester Bolender, who was in the same foster home with Monroe. Another note adds "(almost to myself)" before a line to inform her delivery or "Scarfe [sic] around my arms) Embarrassed."
5 1/2 by 8 1/2 inches
Estimate: $10,000 - $20,000

Lot 300: MARILYN MONROE LIST OF APPROVED DIRECTORS
A single piece of hotel stationery paper from The Towers of the Waldorf Astoria in New York City containing a list of directors' names titled "OK List" in another hand with pencil notations in Monroe's hand throughout. Monroe's comments are simple, in some cases listing other works by the director, like "(Bus Stop)" next to Josh Logan's name and "(Musical)" next to "Vincent Minnelli." Jean Renoir is crossed out with a bubble reading "subject to material." A note at the bottom of the page reads "submit other names/ open for suggestions other than these."
10 1/2 by 7 1/4 inches
Estimate: $3,000 - $5,000

Lot 301: MARILYN MONROE SAG CARD AND RECEIPT
A Screen Actors Guild membership card for the period beginning May 1, 1959, and ending November 1, 1959. "Marilyn Monroe" is typed onto front of card as well as her membership number. Together with Monroe's carbon copy receipt for payment of $80 on May 11, 1959, listing her home address as 444 East 57th Street, New York City.
Card, 2 1/2 by 3 1/2 inches
Estimate: $3,000 - $5,000

Lot 302: MARILYN MONROE AFTRA CARD AND RECEIPT
An American Federation of Television and Radio Artists membership card for the period ending November 1, 1958, with typed "Marilyn Monroe" on front, unsigned on back. Together with the receipt dated May 23, 1958, for payment of the dues for period ending November 1, 1958, in the amount of $38, which included overdue payment and penalty. Monroe's address is listed as 444 East 57th St. New York on the receipt for payment.
Card, 2 1/2 by 3 1/2 inches
Estimate: $2,500 - $3,500

Lot 308: MARILYN MONROE NOTES ON ACTING
A single sheet of lined yellow paper with notes in blue ink, in Monroe's hand, reading in part, "keeping all of the changes of pantomime & grimaces etc inside, then it forces the eyes - it all comes through the eyes" and "Constantly practicing that letting go/ in which you don't do in life which isn't necessary or something/ feeling how it feels and practicing that/ your spirit speaks."
12 1/2 by 8 inches
Estimate: $3,000 - $5,000

Lot 313: MARILYN MONROE MOTION PICTURE ACADEMY CARD AND CORRESPONDENCE
A series of letters, the first on Academy of Motion Picture Arts and Sciences (AMPAS) letterhead signed by then president George Stevens, dated October 28, 1958, inviting Monroe to become a member of the Academy. The second letter is an unsigned file copy of Monroe's response dated January 12, 1959, reading in part, "I have been indisposed and away and did not see your letter until now." She asks for further details regarding the by-laws. The next letter on AMPAS letterhead is signed by then executive director Margaret Herrick, dated January 19, 1959, accompanied a copy of the Academy by-laws. The last letter, on AMPAS letterhead, signed by Stevens, dated March 5, 1959, welcomes Monroe to the Academy and is accompanied by Monroe's Academy membership card for the year 1959 on the original card, still in the holder in which it was sent.
Largest, 8 1/2 by 11 inches
Estimate: $8,000 - $12,000

Lot 368: LAURENCE OLIVIER LETTER TO MARILYN MONROE
A seven-page autograph letter on four leaves of paper in the hand of Sir Laurence Olivier on blue stationery with Olivier's Lowndes Cottage address and original envelope addressed "For Miss Marilyn Monroe from L.O." in Olivier's hand. There are numbered notations throughout the letter in red wax pencil, underlining words that were difficult to make out. The letter is together with a three-page typed transcription of the letter with corresponding numbered blanks for each of the difficult words, which have been filled in by hand. The letter is dated simply June 9, and it accompanied the latest version of the script for The Prince and the Showgirl. Olivier discusses Monroe's dialogue and that he has "written some extra dialogue and a direction or two." He reports on where they are in the script writing process and that they have cut the script down from "well over 3 hours" to 2 1/2, to 2 hours 10 minutes. He continues about the scenes that were and were not cut, including "The Duke of Strelitz is, I think essential, as otherwise they will be saying 'what's the matter with them - why the heck can't they get married' particularly in view of Grace Kelly and all that, and our only answer to that question must be 'Yes but Look at the poor Windsors' do you see?"
On an amusing note, Olivier mentions, "By the way Lady Maidenhead has degenerated to Lady Swingdale because I am assured the Hayes Office will not believe there is also a place in England of that name." He closes "I just called up Vivien at the theatre ... and she said to be sure to give you her love. So here it is and mine too. Longing to welcome you here. Ever, Larry."
Largest, 8 1/2 by 11 inches
Estimate: $1,800 - $2,200

Lot 369: ARTHUR MILLER LETTER TO MARILYN MONROE
A single piece of lined yellow paper, torn in half, with an autograph letter in Miller's hand addressed "Dear Poke." The letter outlines Miller's thoughts about the script for The Prince and the Showgirl as well as his feelings about Monroe taking on the project, reading in part, "Some of your dialogue is stiff. Also some expressions are too British. If you want me to, I can go through the script and make the changes - - in New York./ I think the part - on one reading, is really the Best one ... especially with you playing it. You are the one who makes everything change, you are the driving force ... The basic problem is to define for yourself the degree of the girl's naivete. (It could become too cute, or simply too designing.) It seems to me, at least, that they have not balanced things in Olivier's favor. ... It ought to be fun to do after Bus Stop. From your - (and my) - viewpoint, it will help in a small but important way to establish your ability to play characters of intelligence and cultivation. ... Your loving Papa - (who has to rush now to make the plane - see you soon! - free!) - Art." The back of the page has the name Sydney Guilaroff, famed MGM hairdresser, and his phone number written large in red wax pencil.
8 1/2 by 11 inches
Estimate: $2,000 - $3,000

Lot 370: LAURENCE OLIVIER LETTER TO MARILYN MONROE
A single-page autograph letter on personal stationery, undated, from Laurence Olivier to Monroe reading in part, "Dear Marilyn/ It was so sweet of you to send the enchanting wires. … I am extremely excited at our prospects - You were so angelic in New York. Thank you for all your sweetness/ I think with great joy of our future meeting./ Ever, Larry."
6 7/8 by 5 1/8 inches
Estimate: $800 - $1,200

Lot 371: LAURENCE OLIVIER FLORAL ARRANGEMENT CARD TO MARILYN MONROE
A simple plain white card with autograph message to Monroe in the hand of Sir Laurence Olivier reading "Marilyn, It has been so lovely meeting you, knowing you and now knowing that such exciting things and such fun are ahead. Love and Thank You, Larry."
2 1/4 by 3 1/4 inches
Estimate: $300 - $500

Lot 378: MARILYN MONROE ROYAL FILM PERFORMANCE LETTERS
A group of documents regarding Monroe's attendance to the Royal Film Performance at the Empire Theatre held October 29, 1956. This is where Monroe was formally presented to Her Majesty, Queen Elizabeth II. The first document, two pages, is dated October 2, 1956, and contains general information about the proceedings and rehearsals for the evening with time schedules. The second document is addressed to Monroe at Parkside House in Surrey, England, and advises Monroe that she is to be included in the presentation to Her Majesty, The Queen. This single-page letter has a small slip of paper stapled to the upper left reading "Dress/ Full Evening Dress/ No decorations/ No gloves for Gentlemen/ White gloves for Ladies." Together with Monroe's presentation card.
Largest, 8 1/2 by 11 inches
Estimate: $400 - $600

Lot 381: MINUTES FROM A MEETING WITH MARILYN MONROE
Two small unlined pages from a six-ring binder, with typed notes from a meeting held April 3, 1958, at 2:30 pm at Monroe's 444 East 57th Street apartment. The notes list attendees as Lew Wasserman, Mort Viner, Marilyn Monroe and Arthur Miller. Among the topics discussed were how to handle Monroe's stalling of Billy Wilder regarding accepting the assignment for Some Like It Hot, one note reading "MCA on the Coast has told Wilder that there are 'legal technicalities holding up her decision' so as not to offend Wilder. Actually, she is waiting for Sinatra to enter the picture. She still doesn't like Curtis but Wasserman doesn't know anybody else."
6 by 3 1/2 inches
Estimate: $300 - $500

Lot 412: MARILYN MONROE ANNOTATED SOME LIKE IT HOT SCRIPT SIDES
Two half sheets of paper with green and black typed text containing some of Monroe's lines from the film with notations in Monroe's hand. One notation above the line mentioning the most wonderful dream reads "100 Cary Grants." Above the line of dialogue reading "He was the first nice guy I ever met in my life and the only one who ever gave me anything," Monroe has written simply "Jake."
5 1/2 by 8 1/2 inches
Estimate: $3,500 - $4,500

Lot 413: MARILYN MONROE SOME LIKE IT HOT SCRIPT PAGES
A red paperbound folio containing seven typed pages for Monroe's scene with Tony Curtis in Some Like It Hot on the yacht. The pages are clean with the exception of two pencil lines drawn next to two of Monroe's lines.
9 by 11 1/2 inches
Estimate: $2,000 - $3,000

Lot 414: MARILYN MONROE SOME LIKE IT HOT PRODUCTION PAPERS
A group of production documents including a call sheet for the film Some like It Hot dated November 7, 1958, with additional "Last Day" written in red pencil indicating that it was the last day of shooting. Together with a two-page yellow staff sheet for the film and a three-page cast sheet listing contact information for the entire cast, including Marilyn Monroe's secretary May Reis.
8 1/2 by 11 inches
Estimate: $400 - $600

Lot 415: MARILYN MONROE SOME LIKE IT HOT MEAL RECEIPTS
A large group of 32 meal receipts from the MGM Studios cafe dated between September 5 November 10, 1958, with itemized listings of the food and beverages Monroe ordered while filming Some Like It Hot at the studio. Some receipts have delivery notations "to Stage 3" and "to dressing room." On one receipt dated September 25, 1958, the order includes two hamburger steaks, "1 well done/ 1 rare/ 2 cottage and fruit salads/ 1 ice coffee/ 1 milk/ well done lunch send on stage 3/ rare lunch send to dressing room." Some of the receipts indicate that meals were for others, including "Lunch for Miss Reis - Lunch for Maid." All but one receipt is dated, and frequently ordered items include ice cream, double sirloin, ham and cheese, pot of coffee, lox and cream cheese, donuts, pie a la mode, meatloaf, pastrami, Danish, and many other items.
Largest, 7 3/4 by 4 1/4 inches
Estimate: $500 - $700

Lot 417: MARILYN MONROE SOME LIKE IT HOT PRESS RELEASES
A group of three press releases, five pages total, from United Artists Corp. dated March 24, April 6, and June 16, 1959, announcing record box office numbers as well as an extended run in theaters. Together with a five-page cast list and synopsis with cover page sent out for press purposes.
8 1/2 by 11 inches
Estimate: $200 - $300

Lot 418: MARILYN MONROE RESPONSE TO TONY CURTIS QUOTATION
A small piece of paper with note in pencil in Monroe's hand reading "There is only one way he could comment on my sexuality, and I'm afraid he has never had the opportunity!" This comment has been reported to be in response to the now famous glib remark made by Tony Curtis in a screening room during production of Some Like It Hot , where he famously said that kissing Monroe was "like kissing Hitler." Curtis said this in a private setting to crew and other people present during production, including Paula Strasberg. Despite the fact that he denied the comment when it got back to Monroe, later in his life he did reportedly admit to saying it.
5 by 8 inches
Estimate: $2,000 - $3,000

Lot 426: MARILYN MONROE TRADE ADS
Two pages torn from the March 9, 1960, issues of The Hollywood Reporter and Variety featuring an appreciative "Love and Kisses/ Marilyn Monroe" message from Monroe in appreciation of winning the Best Actress in a Comedy or Musical Golden Globe award.
12 1/4 by 9 1/4 inches
Estimate: $200 - $300

Lot 432: MARILYN MONROE AFTRA CARD AND RECEIPTS
An American Federation of Television and Radio Artists membership card for the period ending November 1, 1959, still attached to the larger receipt for payment card. The card is unsigned, and Monroe's address is listed as 444 East 57th St. New York. The receipt portion of the card is for a payment in the amount of $23 dated June 15, 1959. Together with a receipt dated December 1, 1958, for payment of dues in the amount of $16.
Largest, 4 by 9 inches
Estimate: $3,000 - $5,000

Lot 435: MARILYN MONROE RECEIPT FOR CECIL BEATON PHOTOGRAPH
A shop receipt from Peter A. July & Son photographers of fine arts in New York City in the amount of $165.44. The receipt is dated January 19, 1960, and is written in the name of Mrs. Marilyn Monroe of The Beverly Hills Hotel for 24 matte copies of "Beaton Photos" plus United Parcel Air Service delivery. It has been widely reported that Cecil Beaton's portrait of Monroe was her favorite portrait of herself and that she kept copies on hand to sign for people.
8 1/2 by 5 3/4 inches
Estimate: $200 - $300

Lot 436: MARILYN MONROE INVOICE FROM CECIL BEATON
A "Copy Invoice" in the amount of 37.16 British pounds dated August 2, 1957, on a single sheet of Cecil Beaton's stationery. The receipt is written in the name of Marilyn Monroe Productions Inc. and is billing work that occurred in November 1956 listed as, "Photographs supplied for Miss Marilyn Monroe:- 12 prints No. 109 8" X 10" mounted." It has been widely reported that Beaton's portrait of Monroe was her favorite portrait of herself and that she kept copies on hand to give to people.
8 by 6 inches
Estimate: $300 - $500

Lot 437: MARILYN MONROE LETTERS FROM FAMOUS PHOTOGRAPHERS
Two letters and two telegrams from photographers with whom Monroe had famous collaborations: a single-page autograph letter on personalized stationery dated October 28, 1959, from Philippe Halsman commenting on the famous LIFE magazine cover, saying "It could have been printed better, you could have been better centered - but nevertheless it is the most charming and unusual cover LIFE has had in years. Everybody loves it."; a two-page typed, signed letter from Cecil Beaton dated May 9, 1956 regarding a shoot and other catching up; a telegram from Richard Avedon dated July 9, 1958, regarding the photos from one of their recent shoots needing to be re-shot; and a telegram from Avedon dated simply July 10 regarding working on a television show.
Largest, 10 by 8 inches
Estimate: $400 - $600

Lot 439: MARILYN MONROE CORRESPONDENCE WITH PORTRAIT ARTIST
Two typed and signed letters from artist Jon Whitcomb to Monroe regarding his original painting of Monroe used for the March of 1959, cover of Cosmopolitan magazine, the first dated June 22, 1959, reading in part, " Cosmopolitan has returned the painting of your cover which was on the March issue. I haven't forgotten that I promised it to you; so if you still want it, how do I make delivery?" The second dated October 6, 1959, proposes a plan to drop off the painting at Monroe's building. Together with a typed, unsigned file copy of a response from Monroe dated September 24, 1959, reading in part, "Please forgive the long delay in answering, but I have been up to my derriere in preparations for two movies for the near future; public-relations, home-relations -- please understand./ I would love to have the picture from you and I repeat 'at last to be a Whitcomb girl!"
8 1/2 by 11 inches
Estimate: $300 - $500

Lot 440: MARILYN MONROE ACTING EXERCISE AND NOTES
A single sheet of lined yellow paper with dialogue written out in pencil in Monroe's hand: "Where did he go? He told you I know he did/ If you'd only have given me a little longer - He was in love with me - we'd have been married you didn't want me to have him from the beginning/ you wouldn't let me wear those pretty things/ Even when I told you about the doll - you/ sent those people around/ He died! But he said/ he came back - Tell/ Me - tell me -." The front and back of the page is then covered with small performance notes, including "The thought focus on partner not on word then let go of word"; "don't do with words & voice"; "Let go everything elastic keep the pick up lay on the horse"; and "to be as relaxed let go of mouth speech thought," among many others.
12 1/2 by 8 inches
Estimate: $6,000 - $8,000

Lot 441: MARILYN MONROE BREAKFAST AT TIFFANY'S SCRIPT AND REPORT
A clean copy of the screenplay for Breakfast at Tiffany's written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed "report" dated September 23, 1959, which also has the name "Parone" typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe's production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, "I think not." It goes on to criticize the screenplay, determining, "I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don't feel she should play it: it lacks insight and warmth and reality and importance." It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.
Largest, 14 by 8 1/2 inches
Estimate: $1,500 - $2,500

Lot 442: MARILYN MONROE ACTORS STUDIO NOTEBOOK
A small six-ring binder containing lined notebook pages in a black and red vinyl case by National. The small notebook contains 10 pages of notes in Monroe's hand, in pencil, on eight leaves of paper. The notes were taken during a class with Lee Strasberg and record bits and pieces of things that "Lee said," as is repeated on many pages, which include "For yourself not for us - or one doesn't use own sensitivity/ girl crying continuously Lee said - There should be a certain pleasure in This, in acting - we don't stop these things - she stoped [sic] crying only at those times"; "problems-all the more to be solved got to keep swimming/ criticism can be taken - to incite the will not self criticism"; "the actor has to do what the character has to do - let the author worry about his words"; "Life of - reality of champagne (you don't open every bottle the same) actor in scene took for granted (girl is going to be good (New). Boy - said lines no effort - like crossing street - Lee said he wants - Behavior - When someone is trying to make someone (love etc.) how does one go about it/ Lee said - girl simplicity good honesty, to begin (New) with - but..." The last notes are taken on two sides of one leaf of paper and read "My heart Belongs To Daddy Number/ Remember always left -" and "While tearing off/ caddy-move head a little/ Daddy R. shoulder up/ call dog in closer"; clearly, these notes are for Monroe's musical number in Let's Make Love (20th Century Fox, 1960). The notes correlate with the lyrics of the song, and indeed Monroe does move her head a little during the first verse that mentions the caddy, and she does raise her right shoulder up the first time she says "Daddy" in the chorus.
5 1/4 by 4 inches
Estimate: $20,000 - $30,000

Lot 445: MARILYN MONROE RECEIPTS FOR 34TH BIRTHDAY CELEBRATION
A receipt from Gill’s Old Fashioned Ice Cream, dated June 1, 1960, for 100 ice cream treats, together with a receipt from Paper Unlimited, Inc. for forks, spoons, napkins, plates and a tablecloth, dated May 24, 1960. Both receipts are addressed to Hazel Washington, Monroe’s studio maid at Twentieth Century Fox. Monroe celebrated her 34th birthday on the set during filming of Let’s Make Love .
Estimate: $400 - $600

Lot 446: MARILYN MONROE TAXI RECEIPT
A receipt from the Yellow Cab Company dated February 4, 1960, in the amount of $1.50. The cab lists a trip from simply “904” to “20th Century,” presumably 20th Century Fox, where Monroe had already begun filming the 1960 release Let’s Make Love .
Estimate: $150 - $250

Lot 447: MARILYN MONROE PAYMENT MEMOS
A group of five pages of documents concerning the deduction of money from one of Monroe's payments from Fox Studios for her work on Let's Make Love . The first letter, dated February 16, 1960, from Mort Viner at MCA is addressed to Monroe's secretary, May Reis, explaining that Sydney Guilaroff wanted more money than Fox was willing to pay him for his services in styling Monroe's hair in Let's Make Love and that "Marilyn had asked me to have Fox pay it by deducting it from her checks as she didn't want Sidney [sic] to know. " Accompanied by a two-page letter from Monroe's law firm concerning the deduction, a check stub, and an invoice explaining the payment and deductions.
Largest, 8 1/2 by 11 inches
Estimate: $200 - $300

Lot 451: MARILYN MONROE ACTING NOTES ON ENVELOPE
An unpostmarked envelope addressed to Monroe at 2 Sutton Place South in New York City from the Radio and Television Executives Society Inc. The back of the envelope has a linear thought written in Monroe's hand in pencil reading "I somehow am seeing with my body also and when I am truly listening/ What is the matter with my voice - Maybe just let the voice come out of my body however it does under certain circumstances." The thought continues on the front of the envelope "… and in - what ever the given situation." The remainder of the notes are more frenetic, reading in part, "Strassberg [sic] says we remember with our senses - Not brain or mind (remember with Body" and "Tell Hohenberg about the period during when I stopped secreatly [sic] play acting so fully/ it was the time I got my first job acting at 20." The notes covering the envelope, overlapping and intertwining, were likely taken during an acting class and demonstrate the unbridled energy Monroe felt toward her study of acting.
4 by 9 1/2 inches
Estimate: $4,000 - $6,000

Lot 483: MARILYN MONROE RECEIVED LETTERS FROM DESIGNERS
Two unsolicited letters from designers who wished to work with Monroe. The first, dated February 26, 1958, from Tony Savini, gives his background and qualifications and explains that he has completed a number of original gowns and dresses expressly for Monroe and would like to offer them to her free of charge. The letter is accompanied by an original watercolor and ink on paper design sketch. Together with a letter dated February 4, 1962, from Paul Zastupnevich, a designer who had credits to his name with Fox Studios. He expresses his interest in designing for Monroe and includes a clipping of Rhonda Fleming wearing one of his gowns.
Largest, 8 1/2 by 11 inches
Estimate: $100 - $150

Lot 508: MARILYN MONROE ANNOTATED THE MISFITS SCRIPT SIDES
Two half sheets of paper containing some of Monroe's lines from the film The Misfits with notations in pencil, in Monroe's hand. One of the half pages is dated October 6, 1960, and it has lines from the climax of the film when Rosalyn, played by Monroe, pleads with Gay, played by Clark Gable, not to kill the horses. The notes include "almost in wonder to myself/ you liar all of you liars/ to perce/ Christ/ whisper" in reference to parts of her line reading "You're only living when you can watch something die Kill everything that's all you want why don't you just kill yourselves and be happy (to Gay) you with your God's country freedom." Another notation has the word "shiver" inserted before the line "I pity you all." Another emotional line written in the script as "How much do you want for them I'll pay you I'll give you two hundred dollars Is that enough" has a number of alternatives written in Monroe's hand, including "I'll give you money" or I'll give "you anything anything" or "you want my blood I don't need it anymore take my blood." The pages are accompanied by eight additional full script pages featuring the dialogue that leads up to Rosalyn's pleading with Gay not to kill the horses, beginning with the close shot of the mare stepping into the noose with her forefeet. These notes are a window into Monroe's process in creating one of the most emotionally painful and poignant scenes of her career.
Half sheets, 5 1/2 by 8 1/2 inches
Estimate: $6,000 - $8,000

Lot 511: MARILYN MONROE NOTES ON HER MISFITS CHARACTER
A piece of plain paper with holes punched along left edge with notes in red ink in Paula Strasberg's hand reading "searching and yearning/ standing alone/ mood - I'm free - but freedom leaves emptiness./ Rosylin [sic] - flower opens bees buzz around/ R is quiet - the others buzz around." This provides an insightful look at how Strasberg helped Monroe to build her character in The Misfits.
9 1/2 by 6 inches
Estimate: $200 - $300

Lot 512: MARILYN MONROE RECEIVED LETTER FROM DOROTHY JEAKINS
A typed letter signed by costume designer Dorothy Jeakins dated May 3, 1960, and addressed, "Dear Marilyn," and reading in part, "Although I really feel I should be replaced--I will continue with your clothes for "The Misfits" because they are under way and nearly ready to fit./ If you like them, I will see them through to completion. If you are disappointed, someone else can then take over./ I am sorry I have displeased you. I feel quite defeated--like a misfit, in fact. But I must, above everything, continue to work (and live) in terms of my own honesty, pride and good taste." The letter is accompanied by an unsigned file copy of a letter from Jeakins to Mr. C.O. Erickson stating, " ... [C]ircumstances make it clear to me that I am unsuitable for this assignment and perhaps should be replaced. ... [U]nder these circumstances, I intend to accept no remuneration for my work and prefer to be omitted from the credits also. ... "
8 1/2 by 11 inches
Estimate: $500 - $700

Lot 517: MARILYN MONROE FAMOUS ARTISTS SCHOOL CORRESPONDENCE
A group of documents regarding Monroe's enrollment in the Famous Artists School of Westport, Connecticut, a distance learning program designed to further students’ fine art skills. The first letter, dated October 24, 1958, from the school's director, acknowledges Monroe's communication with "Jon Whitcomb who tells me you are quite interested in painting. He also tells me that you would like too [sic] take the Famous Artists Painting Course. At Jon's request we are making you a scholarship student but I am at a loss as to where to forward the textbooks since, as I understand it, you will be in Hollywood for sometime before returning to New York City." The next letter is an unsigned file copy of Monroe's response requesting the books be sent to 444 East 57th Street. Also included are a series of follow-up letters, six pages total, welcoming Monroe to the program, explaining the logistics of how the program works with critiques conducted via mail, and a full list of instructors. Also included are a blank Student Information Record and "Rate Yourself Progress Chart" forms with accompanying letters and a postage-paid envelope. The documents clearly demonstrate Monroe's interest in painting and the fact that she sought formal instruction.
Largest, 8 1/2 by 11 inches
Estimate: $600 - $800

Lot 575: MARILYN MONROE AFTRA CARD
An American Federation of Television and Radio Artists membership card for the period ending November 1, 1962, with handwritten "Marilyn Monroe" on front, unsigned on back. Because the membership to AFTRA was renewed bi-annually this is Monroe's last membership card for the organization.
2 1/2 by 3 1/2 inches
Estimate: $4,000 - $6,000

Lot 576: MARILYN MONROE'S LAST SAG CARD AND RECEIPT
A Screen Actors Guild membership card for the period beginning May 1, 1962, and ending November 1, 1962. “Marilyn Monroe” is typed onto front of card as well as her membership number. Together with Monroe’s carbon copy receipt for payment of $125 on May 22, 1962, listing her address as "P.O. Box 64721, Los Angeles 64, Calif."
Card, 2 1/2 by 3 1/2 inches
Estimate: $4,000 - $6,000

Lot 577: MARILYN MONROE NOTATIONS ON TELEGRAM
A Western Union telegram from Nunnally Johnson dated April 16, 1962, a week before production was to begin on Something’s Got To Give. Johnson was one of the screenwriters on that film and sent the telegram care of producer Henry Weinstein, misspelled "Wernstein." The telegram from Johnson reads "In Revised script you are child of nature so you can misbehave as much as you please love - Nunnally." Monroe has quickly written a note in pencil for reply reading "Where is that script - is the child of nature due on the set - Hurry Love & Kisses M.M." "Love and Kisses" is repeated, and additional illegible notations have been crossed out. The lighthearted response foreshadowed what was to come with Monroe frequently not reporting to the set as she was scheduled to appear, leading Fox Studios to fire her from the production.
5 1/2 by 8 inches
Estimate: $1,500 - $2,500

Lot 578: MARILYN MONROE SOMETHING'S GOT TO GIVE SCRIPT AND PAGES USED ON SET
20th Century Fox, 1962, mimeographed screenplay by Nunnally Johnson, 149 pages, blue cover dated March 29, 1962 reading "Final Confidential For Planning Purposes Only." The script contains two paper-clipped inserts, memos from the production addressed "To All Secretaries," the first dated April 23 and the second dated April 27, 1962, each accompanying blue revised pages 91 and 92 for the script. The script, marked final, also dated March 29, 1962, contains notations in Monroe's hand throughout in pencil and green ink on 18 pages. Some of the notations are from Monroe's work with a Swedish dialect coach.
In addition to these notations, two typed pages of Monroe's dialogue are bound between pages 107 and 108 of the mimeographed script. These two pages contain Monroe's dialogue from one of the few scenes captured on film, with her extensive pencil notations. Raw footage of Monroe performing with Tippy the cocker spaniel and the children in this scene exists, and Monroe's notations are evident in the footage. The top of the page reads "Real Thought/ Mental Relaxation/ substitute children - B & J if necessary/ feeling - place the pain where it is not in the brow." B & J likely refers to Arthur Miller's children Bobby and Jane. Another notation next to one of Monroe's lines of dialogue reads simply "Mona Lisa," which does in fact mirror the expression she uses when delivering this line. Even the exaggerated "Ahhhhh---" that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, "Ahhh--Look for the light.”
The notations throughout the script also include notes in an unidentified hand criticizing certain points of the story, including "Too Harsh," "Naggy," "Dull" and many other comments. Overall, the notations in both the script and on the dialogue pages used by Monroe to film the scene with the children and Tippy the dog tell the story of a tedious script writing and editing process. Her dialogue notations are a revealing window into her process in performing some of the last scenes she ever recorded on film.
Estimate: $15,000 - $20,000

Lot 580: MARILYN MONROE NOTES ON SOMETHING'S GOT TO GIVE SCRIPT
A Millers Falls EZERASE pad of typewriter paper with prepunched three-ring binder holes. The cover is detached but present, and the pad contains four pages of notes, two now detached, in Monroe's hand in pencil outlining her issues with the script for the film. The notes and criticisms include "logical drama but doesn't move on the screen/ leads him on than [sic] said not until"; "instead using the talents/ he's stuck/ imagine being married to MM and she comes back and he is stuck/ he'd dying to go Bed with her but can't because"; "more entertaining/ keep it on an edge/ if it isn't that kind of picture it won't go -/ only if script is acceptable." Then come Monroe's suggestions for a scene with check marks next to the ideas: "When Dean first see's Ellen -me- in nurses uniform - (as nurse) he could say - upon arrival - slouching ‘I don't feel so good nurse (weakening in the knees how could she do this to me/ I am telling her/ Beanka kind of stiffening up to hold him & the situation (the nite [sic] before) together he then pulls up but Dean will do this superbly/ He sings little song when drunk & frustrated." She also lists specific passages: "Page 73 (yes? - No? you understand Dean!)/ Page 76 children scene (in comparison to rewrite)." A small note on the last page of notes reads "Funny line writers Herb Gardner / Mel Brook [sic]."
These notes present a very astute Monroe who clearly had serious concerns with the quality of the script, demonstrating that her refusal to appear on set was grounded in these concerns and not simply the actions of a petulant star.
8 1/2 by 11 inches
Estimate: $5,000 - $7,000

Lot 581: MARILYN MONROE WORKING SCRIPT FOR SOMETHING'S GOT TO GIVE
A 149-page screenplay for Something's Got To Give by Nunnally Johnson dated March 29, 1962, in blue paper wrappers, marked final. There are notations in Monroe's hand in pencil on approximately 42 pages in the script, some simple dialogue corrections and other more in-depth sense memory notes for her to remember when doing the scene to evoke the right emotional frame of mind. A simple note on the back of the last page of the script reads "Joke writers/ Mel Brooks/ Herb Gardner/ Need spice/ raisins/ Need some funny lines." In a notation next to the stage direction for her character's anticipation and excitement about calling home after she has been rescued, she writes of Arthur Miller's children, "Bobby M./ and early Janie/ except their [sic] mine." In the scene where she is kissing her husband again and excuses herself to "get fixed up a little," she writes, "[L]et me get into something more comfortable/ leading him on -" and "[I]n other room throwing out piece of clothing" and below she writes "[L]ike F.S. when ingaged [sic]." Over an entire passage of dialogue she makes a stage direction note to herself that reads "Ellen looking speculative champain [sic] glass/ finger going around rim." In another scene she writes, "Have the Mask - face relaxed" and "shaking head when he leaves room sly smile/ fat on the fire/ he's on the grittle [sic]." She continues with the fat sizzling on the griddle metaphor, later writing next to a line that jabs at Nick, "Nicely/ He frys on grittle [sic]/ butter melting/ then it sputter/ him."
Notes on the last page of the screenplay read "Act only in beginning/ Then tempting him/ then act when nurse/ on balcony at hotel/ speculative looks/ always tempting him/ always saying yes/ but N/ I've only been away 5 min./ her point of view." Together with a small card with call times and scenes to be shot and a small scrap of paper with quickly written note in Monroe's hand wondering why they are jumping to shoot indoors when they could shoot in sequence as well as notes about using Miss vs. Mrs.
11 1/2 by 9 1/2 inches
Estimate: $15,000 - $20,000

Lot 820: MARILYN MONROE TWENTIETH CENTURY EMPLOYEE STARTING CARD
A Marilyn Monroe Twentieth Century Fox Employee starting card dated May 11, 1950. The card rate line lists Monroe's weekly salary as $500 a week but notes that she was laid off after working 40 out of 52 weeks. This marked the end of Monroe's work on the film All About Eve (20th Century, 1950) and her return to stock pool for the studio.
4 by 6 inches
Estimate: $600 - $800

Lot 823: MARILYN MONROE SIGNED ADVERTISING RELEASE
A Marilyn Monroe signed advertising release with Twentieth Century Fox and The House of Westmore for cosmetic advertising. The contract is dated July 3, 1952. Monroe was featured in a number of Westmore ads in the mid-1950s that also advertised her Twentieth Century Fox films.
13 1/2 by 8 1/2 inches
Estimate: $4,000 - $6,000

Lot 875: MARILYN MONROE MISCELLANEOUS PAPER ARCHIVE ITEMS
A collection of Marilyn Monroe envelopes, messages and notes, including a florist's enclosure card with envelope addressed to Monroe and a message that reads "To make up for the ones you didn't recall receiving at the hospital. Please stay well so we won't go through this again" and signed by Arthur O'Connell - Virgil Blessing." Virgil Blessing is the name of O'Connell's character in the film Bus Stop (20th Century, 1956). Also included are five handwritten notes in an unknown hand that reference Clifton Webb, Lew Wasserman and "Paula"; two hotel phone messages for "Monroe"; four envelopes, two addressed to Monroe; and one blank Colonial Trust Company check.
Sizes vary
PROVENANCE Partial Lots 748, 794 and 968, "Icons & Idols: Hollywood," Julien's, Beverly Hills, December 6, 2014
From the lost archive of Marilyn Monroe
Estimate: $400 - $600

Lot 836: MARILYN MONROE ANNOTATED GENTLEMEN PREFER BLONDES SCRIPT
A script for Gentlemen Prefer Blondes (20th Century, 1953) used and annotated by Marilyn Monroe. The incomplete script totals 68 pages and has notations from Monroe on approximately 22 pages. The first page, dated November 26, 1952, reads “Gentlemen Prefer Blondes”/ (Revised Final Script……13 Nov. 1952)/ To all Secretaries:/ Please place these/ Additional Pages at the back of your script of the above date./ This Is Important!” Film production began on November 17, 1952. Monroe’s notations include revisions to the text, in pencil, "Oh he wasn't barking that was Swahili," and direction, in blue ink, "sense the feeling with the body." The name of Monroe's character, Lorelei, has been circled in pencil on a number of the pages. The script is contained in a black plastic folder.
9 1/2 by 11 1/2 inches
PROVENANCE Lot 160, "Film and Entertainment," Christie's New York, Sale number 1681, June 22, 2006
Estimate: $50,000 - $60,000

Lot 915: MARILYN MONROE LETTER FROM PERSON TO PERSON
A typed, signed letter written to Marilyn Monroe by Jesse Zousmer of the television program Person to Person (CBS, 1953-1961). The letter, dated June 25, 1959, is written on Person to Person stationery. In the letter, Zousmer thanks Monroe for her appearance on the television program and announces his departure from the show. A check mark has been written across the letter in an unknown hand. The letter is accompanied by a page from Variety. The headline of the page reads “Thank You from ‘Person to Person’ ” with a list of the program’s guests from 1953 to 1959.
10 1/2 by 7 1/2 inches
Estimate: $300 - $500

Lot 918: MARILYN MONROE INTERVIEW TRANSCRIPT
A 32-page transcript of an interview with Marilyn Monroe by Georges Belmont. Accompanied by nine pages of thoughts about Marilyn Monroe written by Arthur Miller. The information was sent to Jack Hamilton at LOOK magazine by Lois Weber, with cover letter from Weber and an undated memo response from Hamilton returning the information to Weber. Accompanied by two newspaper clippings, one from 1956 and one from after Monroe's death in 1962.
11 by 8 1/2 inches
PROVENANCE From the Estate of Lois Weber
Estimate: $800 - $1,200

Lot 858: MARILYN MONROE THERE'S NO BUSINESS LIKE SHOW BUSINESS PROP PROGRAM
A prop program from There’s No Business Like Show Business (20th Century, 1954). The front of the blue, white and red program reads “Actors Benefit Fund/ Greatest Stars of Stage & Screen/ Hippodrome/ Sixth Avenue 43rd – 44th” in gold metallic ink. An extra holds the program in a scene backstage just before Ethel Merman and Marilyn Monroe have a heart to heart in their dressing room. The program contains repeating nonsense ads in black and white.
11 by 8 1/2 inches
Estimate: $2,000 - $3,000

Lot 970: MARILYN MONROE SIGNED GIFT TO WILFRID HYDE-WHITE
An original artwork given to Wilfrid Hyde-White on the set of Let's Make Love (20th Century, 1960) and signed by the film’s cast and crew including Marilyn Monroe, Yves Montand, Arthur Miller, George Cukor, Tony Randall, Allan “Whitey” Snyder, Marjorie Plecher, Paula Strasberg, David Bretherton, David Burns, and Ray Foster, among many others. The ink on paper artwork was created by the art department for the film and given to Hyde-White as a going-away present. The image shows Hyde-White waiting at a cab stand. A billboard in the background reads “Let’s Make Love/ Cukor Co.” and titled at the top “Happy Show/ From the Kids.” Housed in a frame; not examined outside of frame.
15 by 15 inches, framed
PROVENANCE From the Collection of Alex Hyde-White
Estimate: $20,000 - $30,000

Lot 979: MARILYN MONROE LETTER FROM HENRY WEINSTEIN
A typed, signed letter from producer Henry Weinstein on Twentieth Century Fox Film Corporation letterhead, addressed to Marilyn Monroe and dated February 5, 1962. The letter discusses preparations before the shooting of Something's Gotta Give, a film that was never finished due to Monroe's illnesses and untimely death.
10 1/2 by 7 1/4 inches
Estimate: $600 - $800

Documents papiers - Autographes / Fans
Papers documents - Autographs / Fans

Lot 212: MARILYN MONROE JACK DEMPSEY LETTER REQUESTING MARILYN MONROE'S AUTOGRAPH
A single-page autograph letter on recto and verso dated October 14, 1954, addressed "Dear Jerry," possibly Joe DiMaggio's Yankee teammate Jerry Coleman. The letter reads in part, "Have been reading a lot about Marilyn, Joe and yourself, here in the east. Best of luck to you and your family, and send Marilyn's autograph along." Signed "Sincerely Jack Dempsey."
8 by 6 inches
Estimate: $150 - $200

Lot 259: MARILYN MONROE LETTER FROM JOHN STEINBECK
A secretarial typed and signed letter dated April 28, 1955, addressed to Monroe at the Waldorf Towers in New York. The letter is a charming and bashful request for an autograph, reading in part, "In my whole experience I have never known anyone to ask for an autograph for himself. It is always for a child or an ancient aunt, which gets very tiresome as you know better than I. It is therefore, with a certain nausea that I tell you that I have a nephew-in-law ... he has a foot in the door of puberty, but that is only one of his problems. You are the other. ... I know that you are not made of ether, but he doesn't. ... Would you send him, in my care, a picture of yourself, perhaps in pensive, girlish mood, inscribed to him by name and indicating that you are aware of his existence. He is already your slave. This would make him mine. If you will do this, I will send you a guest key to the ladies' entrance of Fort Knox."
8 1/2 by 11 inches
Estimate: $300 - $500

Lot 708: MARILYN MONROE AND ARTHUR MILLER SIGNED MENU
A menu from the Gladstone Hotel where Marilyn Monroe lived briefly during the 1950s. The menu is signed on the cover in pencil "Marilyn Monroe" and "Arthur Miller." The inside back cover of the menu also contains a fashion design sketch of a woman in a form-fitting gown with vermicelli beading, in pencil in an unknown hand.
13 by 10 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $2,000 - $3,000

Lot 775: SECRETARIAL LETTER ON MARILYN MONROE STATIONERY
A typed letter signed by one of Marilyn Monroe's secretaries dated July 1, 1959, with original transmittal envelope. Both letter and envelope are Monroe's custom stationery. Transmittal envelope is addressed to Miss Edith Pitts of Richmond Hill, New York, and is postmarked July 2, 1959. The letter thanks Pitts and Frieda Hull for their card and good wishes during Monroe's illness.
Letter, 9 by 6 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $300

Lot 816: MARILYN MONROE SIGNED INDEX CARD
A Marilyn Monroe signed and inscribed index card that reads “To Emily/ Best Wishes/ Marilyn Monroe.” The message was written in green ballpoint ink, and a small magazine image of Monroe has been affixed to the index card. Housed in a frame with a black and white image of Monroe.
19 1/2 by 13 inches, framed
Estimate: $2,000 - $3,000

Lot 829: MARILYN MONROE AND OTHERS FAN MAIL ENVELOPES
A group of five envelopes, addressed to Marilyn Monroe, Jane Simmons, Cornel Wilde, Edmond O’Brien, and Jeffrey Hunter. Mailed to each actor, at their respective studio by fans in Africa, Argentina and the Philippines. The legible postmarks date from 1954.
Largest, 5 by 6 inches
Estimate: $200 - $400

Lot 830: MARILYN MONROE AND OTHERS FAN MAIL ENVELOPES
A group of four envelopes, addressed to Marilyn Monroe, Audrey Hepburn, Donna Reed, and Pat Crowley. Mailed to each actress at her respective studio by fans in Argentina and the Philippines. The legible postmarks date from 1954.
Largest, 3 1/2 by 6 1/2 inches
Estimate: $200 - $400

Lot 854: MARILYN MONROE, FRANK SINATRA AND OTHERS SIGNED ALBUM
An autograph album signed by Marilyn Monroe; Frank Sinatra; Bing Crosby; Ray Bolger; Maurice Chevalier; Hedda Hopper; Louella Parsons Herbert Hoover; Harry Truman; and Edward, Duke of Windsor, among others. The bound brown leather album belonged to Henry Tekkel, a maître d’ at the Waldorf Astoria New York. Monroe, who lived at the hotel in the mid-1950s, has inscribed the book “Warmest Regards, Marilyn Monroe.”
5 by 6 1/2 inches
Estimate: $1,000 - $2,000

Lot 864: MARILYN MONROE SIGNED BOOK
A copy of the Bement Centennial souvenir book titled "The Bement Story" and signed on the cover by Marilyn Monroe. Monroe visited Bement, Illinois, in August 1955 to celebrate the city's centennial.
11 by 8 1/2 inches
Estimate: $2,000 - $3,000

Lot 906: MARILYN MONROE SIGNED METROPOLITAN OPERA PLAYBILL
A Marilyn Monroe signed Metropolitan Opera playbill from the 1958-1959 season. The 44-page playbill is signed on the cover in blue ink and is accompanied by a black and white image of Monroe signing a playbill. This is believed to have been signed on February 10, 1959, when Monroe and her husband Arthur Miller attended a performance of Macbeth.
6 1/2 by 9 inches
Estimate: $4,000 - $6,000

Enregistrer

Posté par ginieland à 23:14 - enchères Personal MM - Commentaires [1] - Permalien [#]
Tags : 1950, 1952, 1954, 1955, 1957, 1958, 1959, 1960, 1962, 2016, actors studio, arthur miller, autographes, frieda hull, georges belmont, henry weinstein, juliens auction, scenarios, sgtg, some like it hot

29 décembre 2015

Icons & Idols Feat Joan Collins 12/2015 - Docs

Documents papiers

Lot 515 MARILYN MONROE NAME CHANGE MEMO
A Twentieth Century-Fox inter-office memo regarding Marilyn Monroe's name change from Norma Jeane Dougherty to her now famous professional name. The typed memo is dated December 9, 1946, and refers to the December 3, 1946, letter that first confirmed the change. This particular memo was intended for Mr. A. De Weese and is signed by George Wasson.
Winning bid:$8,960 - Estimate: $1,000 - $2,000

Lot 518 MARILYN MONROE HANDWRITTEN SIGNED CHECK
A Marilyn Monroe signed check dated October 2, 1951, in the amount of $3.00, paid to Hollywood Mineral Baths. The information is handwritten aside from the establishment's name, which is stamped.
3 1/2 by 8 1/2 inches
PROVENANCE Lot 74, “Pop Culture,” Christie’s, New York, Sale Number 2012, June 25, 2008
Winning bid:$3,200 - Estimate: $2,000 - $4,000

Lot 522 MARILYN MONROE SIGNED CHECK, 1953
A Marilyn Monroe handwritten and signed check from a Bank of America Los Angeles account, dated March 21, 1953, in the amount of $50.00 paid to Mr. John R. Tilley. The check is housed in a frame with an image of Monroe taken by Cecil Beaton, said to be her favorite photograph of herself.
unsold - Estimate: $4,000 - $6,000

Lot 525 MARILYN MONROE TWICE-SIGNED PAPER
A Marilyn Monroe twice-signed cut sheet. Each side is signed “Marilyn Monroe” in blue ink.
Winning bid:$3,840 - Estimate: $3,000 - $5,000

Lot 529 MARILYN MONROE SIGNED CONVERSION TO JUDAISM CERTIFICATE
Marilyn Monroe's certificate of conversion to Judaism. Signed by Monroe and dated July 1, 1956. Monroe converted to Judaism to marry playwright Arthur Miller. The couple had a traditional Jewish wedding on July 1, 1956. The certificate, signed by Miller and other witnesses, reads in part "Hear O Israel The Lord Our God/ The Lord is One/ Certificate of Conversion/ This is to record that Marilyn Monroe [signed]/ having sought to join the house of Israel by accepting/ the religion of Israel and promising to live by its principles/ and practices was received in the Jewish Faith/ on July 1, 1956/ corresponding to the Hebrew date 22nd Tammuz, 5716/ at Lewisboro, New York." Housed in a framed display with three black and white images of Monroe and Miller at their wedding and an informational plaque.
26 by 39 1/4 inches, framed
Winning bid:$70,400 - Estimate: $50,000 - $70,000

Lot 531 MARILYN MONROE INSCRIBED NAPKIN
A Marilyn Monroe inscribed American Airlines napkin that reads "To Alex, Love and Kisses Marilyn Monroe." Accompanied by a business card from the American Airlines employee who obtained the napkin.
Winning bid:$2,240 - Estimate: $2,000 - $4,000

Lot 533 GARY COOPER LETTER TO MARILYN MONROE
A Gary Cooper typed, signed letter to Marilyn Monroe. The letter is written on Cooper’s personal stationery and dated June 22, 1960. The letter is addressed to “Miss Monroe” and reads in part, “The roses were beautiful and I can’t tell you how much I appreciate the trouble you went to. I just want to thank you with all my heart,” signed “Gary.”
Winning bid:$1,280 - Estimate: $800 - $1,200

Lot 535 MARILYN MARILYN MONROE SIGNED CHECK
A Marilyn Monroe typed, signed check dated May 26, 1961, in the amount of $65.85 paid to Hedda Rosten, drawn from an account at Bankers Trust Company New York and signed in blue ink.
Winning bid:$3,200 - Estimate: $5,000 - $7,000

Lot 536 MARILYN MONROE SIGNED SETTLEMENT
A Marilyn Monroe signed settlement contract between Monroe and Irving Stein following the departure of Stein from Marilyn Monroe Productions, Inc. The contract is dated February 19, 1959, and signed on the fourth page by Monroe, Stein, and their respective attorneys. The final page is cut down from its original size and now measures 7 1/2 by 8 inches. According to the settlement, Monroe agreed to pay Stein $33,000 to end their relationship and any ownership interests Stein once held in Marilyn Monroe Productions, Inc. Additional notes and initials within the document not believed to be in Monroe's hand.
unsold - Estimate: $6,000 - $8,000

Lot 543 SOMETHING'S GOT TO GIVE SCRIPT AND SHOOT INDEX
A script titled Something's Got To Give dated March 14, 1963, with a shoot index dated March 25, 1963. The 1962 production of this film ended abruptly and was recast and retitled as Move Over, Darling (20th Century, 1963). This script belonged to Ad Schaumer, assistant director of Move Over, Darling.
Larger, 11 1/2 by 9 1/4 inches
PROVENANCE From the Estate of Ad Schaumer
Winning bid:$1,280 - Estimate: $200 - $400

Posté par ginieland à 16:07 - enchères Personal MM - Commentaires [0] - Permalien [#]
Tags : autographes, cheques, documents papiers, gary cooper, hedda rosten, irving stein, lettres, religion, scenarios, sgtg

05 septembre 2015

Hollywood Auction 74 - 09-10/2015 - Various

Documents papiers

(Day 2) Lot 1147. Marilyn signs an early contract for the Charlie McCarthy show with a morality clause after nude photo debacle threatened to derail her fledgling career.
Document Signed, “Marilyn Monroe” and additionally, “MM” (ten times), four pages, 8.5 x 11 in. (with two 8.5 x 2 in. slips attached to pages three and four), Los Angeles, October 7, 1952, countersigned “Edgar Bergen,” who also adds his initials, “EB” ten times (each below Monroe’s). The contract concerns Monroe’s radio appearance on The Charlie McCarthy Show, recorded on October 18, 1952. A morality rider, attached to page four, addresses Monroe’s legendary sex appeal, in which she agreed Bergen could cancel the appearance, “… if I conducted or do conduct myself without due regard to public conventions and morals or have done or do anything which will tend to disgrace me in society or bring me into pubic disrepute, contempt, scorn or ridicule, or that will tend to schock [sic], insult or offend the community or public morals or decency or prejudice agency or sponsor or the entertainment industry in general …” This rider was especially important in light of the recent controversy over her nude photographs that had surfaced earlier in the year and threatened to derail her fledgling career. The same rider also evokes the “red scare” sentiment of the time. Not only did Monroe agree not to offend any moral sensibility during the program, she also agreed that her appearance could be terminated in the event she was “… held in contempt by any Congressional committee or other governmental body and any refusal to testify before any such committee or governmental body, whether for legally justifiable reasons or otherwise.” The language refers to the House Un-American Activities Committee (HUAC), which had become infamous after it began investigating Hollywood in 1947. Monroe’s appearance with Charlie McCarthy was an enormous hit. During the program, the pair announced their engagement, much to the consternation of Edgar Bergen who “admitted that losing Charlie would be like having his pocket picked.” McCarthy, for his part, assured listeners that he would allow Ms. Monroe to continue her screen career. “Certainly I’m gonna let her work. I love the girl. I don’t want to interfere with her career—or her income.” Exhibiting file holes at top, stapled at left, very light soiling. In vintage fine condition.
Estimate: $12,000 - $15,000

(Day 2) Lot 1148. Marilyn Monroe’s personally hand-annotated original shooting script from Gentlemen Prefer Blondes. (TCF, 1953)
Marilyn Monroe’s personally-used and annotated script from Gentlemen Prefer Blondes. An incomplete script, being a block of revisions delivered by the production to Marilyn Monroe comprising 69 pages total (numbered 48 through 117, missing page 93) plus a pink title cover-sheet printed “26 November 1952, ‘Gentlemen Prefer Blondes’ (Revised Final Script…13 Nov. 1952),” plus “TO ALL SECRETARIES: Please place these ADDITIONAL PAGES at the back of your script of the above date. THIS IS IMPORTANT! Majority of the prompts for Marilyn’s character “Lorelei Lee” are circled variously in graphite and non-repro blue pencil, with approximately 22 pages annotated in various inks and pencil in Monroe’s hand with amendments and additions to the script and notes on how she proposes to deliver lines and portray Lorelei’s character, with several other pages showing line deletions and other demarcations. Highlights of notes include: pg. 56, when Lord Beekman finds Lorelei stuck in Malone’s porthole, next to Lorelei’s line “Oh yes--Tea with Lady Beekman. Why, she must of forgot. She didn’t show up,” with Monroe adding an alternative line, “Well, I just wanted to see the view. It’s better from here”; pg. 58, Monroe changes the line “Piggie, will you run down to my cabin and get my purse?” to “Maybe I should have that Sherry - will you get me some”; pg. 79, Monroe has written a note to herself in the margin “Feeling that feeds the words, know the lines, go over it inteligently [sic]”; pg. 92, also to herself, “sense the feeling with the body” plus several dialogue changes; pg. 94, again to herself, “grit my teeth and forget it must have my,” “all of feeling in my words,” and “build pull back, don’t stop mutual conflict between partners.” Also, the following page (95) although bearing no notations, features the scene for Monroe’s classic musical number “Diamonds Are a Girl’s Best Friend.” In generally very good condition, with expected handling wear, soiling, and creasing, and some small edge tears and damp-staining to cover page and a few internal margins throughout. Marilyn’s unique, revealing personal notations in this script reveal her private thought processes and fleeting self confidence. On set, she was haunted by her controlling acting coach Natasha Lytess, constantly striving for her approval and insisting on retakes even when director Howard Hawks had already approved. Co-star Jane Russell looked after Marilyn on set and was often one of the only people able to coax her out of her trailer during her bouts of self doubt. Despite her anxieties, it was the role of Lorelei Lee that first fabricated her ‘dumb blonde’ persona—a genius mixture of comedy and sexiness which Marilyn personified on screen, all the while taking her acting very seriously, as evidenced by her occasional heartfelt self-motivational notes in the margins. Monroe biographer Donald Spoto once said: “She put a twist on sexiness. It was not something wicked and shameful...it was something which was terribly funny. And Marilyn enjoyed it.” A remarkable and deeply personal artifact both from Marilyn’s aura imbued within it, and of Hollywood history in general. Provenance: Christies, New York, June 22, 2006, Lot 160.
Estimate: $30,000 - $50,000

(Day 2) Lot 1150. Marilyn Monroe historic signed RCA recording contract from the year of the release of Gentlemen Prefer Blondes. (1953)
Vintage 4-page 8.25 x 11 in. contract signed in blue ink, “Marilyn Monroe on onion skin paper leaf, between Monroe and RCA with mention of Twentieth Century-Fox Film Corporation, dated October 8, 1953. Among Hollywood historians, it’s generally agreed that 1953 marked Marilyn Monroe’s ascent to legend. Though she’d inked a seven-year deal with Twentieth Century-Fox previously, she didn’t achieve super stardom until the 1953 release of Gentlemen Prefer Blondes. That mid-summer release, with its box office acclaim, served as the momentum for her signing this singing recording contract with RCA. There’s no mention in the agreement about Monroe’s compensation except her cut of resultant royalties. Monroe was obliged to record not fewer that “16 sides,” or single tunes on two sides of a record album. Text of the contract makes frequent reference to Twentieth Century-Fox. At the conclusion on page 4, the signatures of the principals appear, “Emanuel Sacks” for RCA, “Joseph Schenck”, Executive Director of Twentieth Century-Fox, and of course, “Marilyn Monroe”. Monroe is assumed to have faithfully fulfilled this contract – to include tunes from her two ensuing films, River of No Return and There’s No Business Like Show Business. Retaining 2-hole punch at upper boarder, white tape at the upper margins, and staple holes in the lower left and in the upper left corners. In vintage fine condition.
Estimate: $8,000 - $10,000

(Day 2) Lot 1192. Pat Newcomb handwritten letter giving support to Marilyn Monroe during her pending divorce from Arthur Miller. 1-page, Quarto, on “In Flight – American Airlines” letterhead stationery, dated December 31, 1960, written “Personal” at the lower left corner. As Marilyn’s personal friend and publicist, she writes to support Marilyn as her marriage to playwright Arthur Miller was coming to an end. Newcomb pens, in part: “Dear Marilyn,…I hope you will take good care of yourself. I know and understand what you are going through – but you will make it! Just take it ‘nice ‘n easy’. It will all work out – because you want it to and you have the capacity to make it work! Start with the nurse this week and please call me anytime during the night or day that you feel like talking…This week will be a rough one – but it’s worth it and very important for you. Thank you so very very much again for the wonderful ‘lifetime gift.’ I adore it!!! I can only give you one ‘lifetime gift’ – and that’s my friendship – which you know you already have! Love, Pat. See you on the 19th.” At the time this letter was written, Marilyn was on the verge of a nervous breakdown. She had separated from Arthur Miller in October, and their divorce was announced to the press on November 11th. Newcomb’s closing phrase in this letter, “See you on the 19th”, is a direct reference to the divorce proceedings that had already been scheduled. The divorce was finalized on January 24, 1961. Accompanied with original transmittal envelope. In fine condition. Estimate: $800 - $1,200

(Day 2) Lot 1193. Arthur Miller passionate love letter in which he bears his soul to his new love and future wife, Marilyn Monroe. Miller, Arthur [to Marilyn Monroe]. Incredible Five Page Typed Letter Signed, “Art”, Quarto, five pages, dated May 17, 1956, and written to “Dear Heart; My Own Wife; My Very Own Gramercy 5; Sweetheart:” Miller writes (in part):
“I am enclosing a letter I got today from the first woman I ever knew in my life. My mother. Now maybe you will understand where I learned to write and to feel.
I know I am liable to get very sentimental and maudlin about this, but today is one of the most revelatory days of my life. I could write many pages even a volume, about what this letter brings to my mind. I think that had I died without ever receiving it, I should never have known some unbelievably simple but important things.
You see, Poo, I often try to tell you that you mean things to me beyond your body, beyond your spirit, beyond anything you can know about yourself, and it is hard for another person to understand what she –or he—really signifies to one who lovers her. I will try to tell you a few of the things you mean to me, and which became absolutely clear to me when I got this letter today. (I got it today, Thursday, by the way, because I was in Reno for my passport business, and picked up my mail at the post office.)
First let me say what I feared. They are very conventional people. That doesn’t mean they’re stiff—far from it. But they believe in family virtues, in wives being wives and husbands being husbands. They are not especially scandalized by infidelity, but neither do they forget that the big happiness is family happiness. Above all, they know how to love their children, and truly, if I ever needed anything they would die to get it for me. At the same time, my father could take advantage of me and my brother, if we let him, but he would do that as a father’s privilege; which sounds strange, but when he was a young man it wasn’t until he was twenty five or so that his father let him keep his own paycheck. Everything went into the family pot. It was the European way. So I rebelled in many ways against both of them and for many of the usual reasons, but the time came when I began to write successfully, when once again we were friends. I had established my independence from them; they understood it, and we created the necessary adult distance between ourselves, my parents and I, and yet a friendship of grown people, more or less…
Now I receive this letter. (All the above thoughts came as a result of receiving it.) I sat in the public square outside the post office in Reno reading it and my whole life suddenly seemed so marvelously magical. I had saved it! Darling, I had done the right, the necessary, the gloriously living thing at last! For suddenly I saw many questions answered, and many weights lifting off my heart.
It is not that I would hesitate to marry you if they disapproved. Truly, sweetheart, that was not it. It was that somewhere inside me I wanted their love to flow toward both of us because it would give me strength, and you too. It is not that they are my judges, but the first sources of my identity and my love. I know now that I could enjoy seeing my mother. She becomes a pest after too long with her, but that’s another thing. And it is not her, so much—not her corporeal, real being, but what she represents that I can now hold up instead of trampling on it. It is my own sexuality, do you see? I come to her with you, and to my father, and in effect I say—I am a lover. Look, I say, look at my sweet, beautiful, sexy wife. I can see my father’s pleasure at the sight of you—if only because he loves clothes, having been in that business all his life, and he will go mad seeing how you wear them! And if it will only be possible—I can see us with Bob and Jane and all of us joined with one another in joy. I see blue, clear air for the first time in my life when I think of myself and my wife and my children in the house of my parents…
Every time I had trouble with Mary, the worst threat she thought she could make was to go to my parents and tell them I had been unfaithful…She simply cannot conceive that my mother will accept you and my marriage, with you because you are a sexual being, and therefore I am, and parents are by their nature, in her mind, the punishers of sexuality not its helpers and allies…
Wife, Dear, Dear Woman—I have been thinking crazy thoughts. For instance, a wedding with maybe fifty people. Maybe in Roxbury, maybe somewhere else in a big house. And Bob and Jane there. And just a little bit of ceremony. Not fancy, but maybe my old friend Reverend Melish, a courageous and wonderful fighter for fine causes; or a Rabbi of similar background—I know one. Or maybe just somebody who can marry people. I want to dress up, and I want you dressed up; I want all my past looking on, even back to Moses. I want the kids to see us married, and to feel the seriousness and honorableness of our marriage, so that nothing Mary can say to them will ever make them believe we have sneaked away to do this, or that I have hidden myself and what I wanted to do. And I want this for their sakes as much as for my own pride and my joy; so that they will see their Grandma and Grandpa full of happiness—and crying too, of course. (Isn’t it strange?—I didn’t have my parents to my first marriage, which was in Cleveland. It could have been arranged, but I felt better not to have them there. That time I felt untrue, you see? This time I feel true, and if the world wanted to come I would embrace them all.)
Do you see why I say I am proud of you? You have given me back my soul, Darling. And thank god I knew it always; always and always since the hour we met, I knew there was something in you that I must have or die. And the revolution it implied for me was so much more than uprooting my household, my life; facing my own damning curse for depriving the children of my—as I thought of it then, and so on. The revolution was of another sort. It meant that I must face myself and who and what I am. It meant that I must put down those fearfully protective arms of reticence and blushing and all that stupidity, and put my arms around the one I loved and face the startling, incredible, simply glorious fact, that I am a tender man and not the fierce idiot I have tried—and failed—to become. How could you have known that, Darling? How I bless you that you knew it! I am near tears this minute at the miracle you are to me. How happy I will make you! What beautiful children I will give you! Oh, I will watch over you, and pest you, and worry about you.
I feel something today that marks it, like an anniversary, or more truly, my real day of birth. I have reached a kind of manhood I never really knew before. I tell you dear, I am afraid of nothing in this world. The soul of my talent is coming up in me as it has been these past six months, but now I feel it like bread in my hands, like a taste in my mouth. Because I am touching its source and not turning away from it anymore. Believe in me, Darling—I am certain enough of myself to tell you that. And worry nothing about yourself. You are beyond all danger with me because I love you like life itself. Truly, you are my life now.
Your husband, Art
[in Miller’s hand]
“Some more ----------------
PS…If we got married before you had to leave, I could then come and live openly with you and we could maybe tour around on your free time and have some fun. The problem is the lack of time before you have to leave. I’ll be back from Michigan on the 17th. The kids, by our agreement, have to be back with Mary by the 22nd, in order to have a week’s time—(a little less)—to prepare for camp, shopping, etc. Assuming I have a divorce by June 1 or a few days after—as in now planned—we would either have to do it between June 1 and June 15th; or between June 17th and July 7th…The whole problem is to juggle the time I have with them, and the time you’ll be around to attend the ceremony. Don’t worry about it, though. I’m just warning you, however,--you’ll be the most kissed bride in history when my family is there. I’ll have to fight the bastards off. I’m going to put up a sign, “ONE KISS TO A RELATIVE!” (Don’t worry, there won’t be that many.)
How I love you. My heart aches when I think of you being so tired. But you’ll perk up here right off, dear wife. OH, AM I GOING TO MAKE LOVE TO YOU, BEGINNING WITH THE SOLES OF THE FEET AND GOING DUE NORTH, UNTIL SLU-U-U-SH!—RIGHT INTO GRAMERCY PARK!
The World’s Luckiest Man Since Adam Art”
Arthur Miller was introduced to Marilyn Monroe by Elia Kazan in 1951. After the introduction, they had a brief affair to which Miller admitted to his wife, college sweetheart, Mary Slattery. Miller and Monroe were married on June 29, 1956, only days after he divorced Slattery. In this fascinating and revealing letter, Miller chronicles his deteriorating marriage and divulges deeply personal family issues. In this incredible letter, Miller lays bear issues which mirror some of the central themes his characters wrestled with in his dramas: personal and social responsibility, moral conviction, betrayal and the issues of guilt and hope.
Moderate toning, otherwise vintage very good to fine condition. Provenance: From the estate of Marilyn Monroe’s NYC attendant Mrs. Fanny Harris. With original transmittal envelope of this letter addressed to Mrs. Harris with TLS on Marilyn Monroe Productions letterhead signed by Mrs. Fanny Harris releasing Monroe of any salary claims or demands.
Estimate: $25,000 - $35,000

(Day 2) Lot 1194: The Misfits autograph book with cast signatures including Marilyn Monroe and others. (United Artists, 1961)
Vintage board and paper bound 40+ page 5.5 x 4 in. young girl’s autograph book. The commercially made book contains the clipped and affixed autographs of cast members of The Misfits. Including Marilyn Monroe, (2) Montgomery Clift, Arthur Miller, Eli Wallach, stuntman Chuck Roberson, (2) John Huston, and 1-unidentified. Interspersed throughout the book are charming youthful entries from schoolmates and teachers. The irregularly clipped signatures by celebrities are in pen, with one of the 2 Montgomery Clift signatures on a page torn from another autograph book and folded in quarters. Exhibiting signs of age and handling. Overall in vintage very good condition.
Estimate: $1,000 - $1,500

(Day 2) Lot 1202: Marilyn Monroe Something’s Got To Give final-draft script for her uncompleted last film. (TCF, 1962)
Vintage 143-page March 29, 1962 final-draft incomplete (as issued) “planning” script for the uncompleted project from which Marilyn was fired, partly owing to her “dereliction of duty” by leaving production to fly to New York for JFK’s birthday celebration. Bound in studio labeled cover and period brads, printed entirely on green revision paper, and marked with [illegible] cast or crew member’s name. Preface page boldly states “THIS SCRIPT SHOULD BE TREATED AS CONFIDENTIAL AND REMAIN IN THE POSSESSION OF THE PERSON TO WHOM IT HAS BEEN ISSUED.” Minor handling to cover extremities; interior remains in vintage very fine condition.
Estimate: $600 - $800

Objets Divers

(Day 2) Lot 990. Lucille Ball as “Marilyn Monroe” mink cuffs from I Love Lucy. (DesiLu Prod., 1951-1957)
Vintage original pink mink fur sleeve cuffs worn by Lucille Ball when she dresses up as “Marilyn Monroe” in Season 4: Episode 5, “Ricky’s Movie Offer” of I Love Lucy. The slip-on cuffs are lined with cotton mesh netting and crème-colored cloth. The fur remains full and supple. Highly visible in the glamorous ensemble seen in the episode. In vintage very good to fine condition.
Estimate: $3,000 - $5,000

(Day 2) Lot 1112. Marilyn Monroe lobby card for her first film appearance Dangerous Years. (TCF, 1948)
Vintage 11 x 14 in. portrait lobby card with the earliest appearance of Marilyn Monroe on any known movie paper. Glowing image of a fresh-faced young Marilyn as a diner waitress. Tiny trace of handling, in vintage fine to very fine condition.
Estimate: $400 - $600

(Day 2) Lot 1122. Marilyn Monroe vintage original “Golden Dreams” nude calendar earliest sample variant. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample “Golden Dreams” of Marilyn Monroe, being the earliest known variation of the infamous Tom Kelly nude photo sessions. All known subsequent variations of the Tom Kelly/Marilyn nudes list her name with the alternating titles (“Golden Dreams” or “A New Wrinkle”), and only a handful of examples prior to her name addition are known to survive. Virtually unhandled, in vintage very fine condition.
Estimate: $300 - $500

(Day 2) Lot 1123. Marilyn Monroe vintage original censored calendar artwork variant. (circa 1952)
Vintage 9.75 x 16.5 in. calendar-salesman’s sample artwork interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Artwork is in the style of Earl Moran or Zoe Mozert, but is uncredited here. Just a trace of handling and corner creasing, in vintage very good to fine condition.
Estimate: $200 - $300

(Day 2) Lot 1124. Marilyn Monroe in revealing halter-top oversize vintage original salesman’s sample pin-up calendar. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample of Marilyn Monroe, being an exceptionally rare variation in revealing halter-bra and open-sided skirt, with printing that illuminates Marilyn’s blonde hair, blue eyes, and crimson lips. Virtually unhandled, in vintage fine condition.
Estimate: $200 - $300

(Day 2) Lot 1127. Marilyn Monroe lobby card #5 for The Fireball with exceptional early image in revealing sweater. (TCF, 1950)
Vintage 11 x 14 in. lobby card of Marilyn Monroe with Mickey Rooney in their Roller Derby epic. Young fresh Marilyn was asked to provide her own personal wardrobe on some of her earliest films, and this lovely form-fitting sweater makes a few appearances on her exceptional frame at this point in history. Tiny marginal tear, otherwise in vintage fine condition.
Estimate: $200 - $300

(Day 2) Lot 1130. Marilyn Monroe calendar. (1952)
Vintage original 16 x 34 in. color chromo-litho calendar with complete date-pad depicting an interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Entitled here “The Lure of Lace, Posed by Marilyn Monroe In The Nude, With Lace Overprint”. Just a trace of marginal wear and slight internal creasing, in vintage very good to fine condition.
Estimate: $400 - $600

(Day 2) Lot 1137. Some Like It Hot Italian one-panel poster. (United Artists, 1959/ ca. 1970)
Italian 39 x 55 in. one-panel poster for the Billy Wilder and Marilyn Monroe comedy. Featuring Monroe and co-stars Jack Lemmon and Tony Curtis. Folded as issued. Overall vivid color in vintage, very good to fine condition.
Estimate: $200 - $300

(Day 2) Lot 1149. Travilla historic vintage original costume sketch of Marilyn Monroe’s iconic pink satin dress for the “Diamonds are a Girls Best Friend” number in Gentlemen Prefer Blondes. (TCF, 1953)
Vintage 15 x 20 in. pencil, gouache and India ink sketch on double artist’s board of one of the most memorable and timeless gowns in film history, the pink satin strapless evening gown with matching opera gloves and poof derriere bow worn by Marilyn Monroe as “Lorelei” for the “Diamonds are a Girl’s Best Friend” number in Gentlemen Prefer Blondes. William Travilla’s sketch also includes copious jewelry to highlight the “Diamonds” element of the title. Signed by Travilla just below the figure, with his notation at upper right “Marilyn Monroe ‘Gentlemen Prefer Blondes’ ‘Diamonds are a girl’s best friend’ #17”. A long clean diagonal surface-slice which bisected horizontally just below her knees has been archivally filled and retouched making it virtually undetectable, and the restorer also cleaned and enhanced the notations including light airbrushing to blank background, while leaving the sketch itself virtually untouched. One of the most spectacular original artifacts not only from the legacy of Marilyn Monroe, but from the entire artistic span of the silver screen. In vintage very good to fine condition.
Estimate: $20,000 - $30,000

(Day 2) Lot 1153. Marilyn Monroe screen-used water pitcher from Gentlemen Prefer Blondes. (TCF, 1953)
Vintage “R.Wallace” silver-plate 3-pint water pitcher 8 x 8.5 x 4.5 in., screen-used by Marilyn Monroe and Jane Russell. Prominently handled by the lovely ladies when they entrap Elliott Reid in their cabin and pour water from this pitcher all over his pants in order to get them off him expeditiously. Engraved on side as an original artifact “U.S.N.” with Navy anchor and rope symbol, plus engraved on bottom by Fox properties dept. “32-2-21422 20th-C-Fox”. In vintage screen-used fine condition.
Estimate: $200 - $300

(Day 2) Lot 1154. Marilyn Monroe 1-sheet poster for How To Marry a Millionaire. (TCF, 1953)
Vintage U.S. 27 x 41 in. poster for one of the very first wide-format Cinemascope films. An overt attempt to liven up the film-going experience against the onslaught of TV. Pleasing artwork of the three “golddiggers” Marilyn Monroe, Lauren Bacall, and Betty Grable. A curious footnote here is that TCF had been grooming Marilyn specifically to replace Grable, who had been their #1 stable star over the prior decade. Japan-paper backed without retouching to folds, consequently in vintage very good condition.
Estimate: $1,500 - $2,000

(Day 2) Lot 1156. Marilyn Monroe screen-used table from How to Marry a Millionaire. (TCF, 1953)
Vintage metal and acrylic table 29 x 18 in. screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed (with its matching twin, not offered here) as all three girls meet to compare “millionaire date” notes in the powder room of the swanky restaurant where they have their first official dates. A period copy/translation of famous designer Andre Arbus’s late art-deco tables “Paire de Gueridons”. Painted silver over its original gold/bronze color for re-purposing in Young Frankenstein (TCF, 1974) in which it is quite prominently viewed (once again with its now-absent twin) at end of film in Madeline Kahn’s bedroom. Beneath the silver paint is barely visible the property dept.’s “20th-C-Fox-32-1-22278”. In vintage screen-used very good condition.
Estimate: $800 - $1,200

(Day 2) Lot 1157. Marilyn Monroe screen-used (3) table lamp bases from How to Marry a Millionaire. (TCF, 1953)
Vintage (3) glass with metal fixture 10 x 4.25 in. table-lamp bases, screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed at each table of the swanky restaurant as all three girls have their first official dates, Marilyn with Alex D’Arcy, Betty with Fred Clark, and Lauren with William Powell. Etched in base by the Fox property dept. “20th-C-Fox-32-1-25416” followed variously by “V”, “F,” and “N”. Each retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $400 - $600

(Day 2) Lot 1170. The Seven Year Itch 3-sheet poster. (TCF, 1955)
Vintage 41 x 78.5 in. U.S. 3-sheet poster. Arguably the best poster for Marilyn Monroe’s most popular film, as it comes closest to a life-size depiction of the iconic subway skirt-blowing scene, one of the most famous in all Hollywood history. Linen-backed with older simple retouching to folds and creases; would benefit greatly from a fresh restoration, though is certainly presentable as is. In vintage good to very good condition.
Estimate: $4,000 - $6,000

(Day 2) Lot 1175. Marilyn Monroe screen-used Lamp from Richard Sherman’s apartment in The Seven Year Itch. (TCF, 1955)
Vintage carved wood with metal fixture 31 x 7.25 in. table-lamp base, screen-used by Marilyn Monroe and Tom Ewell. Carved as a classical Roman male bust, it is most prominently viewed (with its female counterpart, not offered here) in Tom Ewell “Richard Sherman’s” apartment, which is where nearly the entire course of action between Marilyn and Ewell takes place. Etched in rear of base by the Fox property dept. “20th-C-Fox-8-36588” then later on bottom of base for the 1971 Sotheby’s sale, “TCF 1200”. Retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $200 - $300

(Day 2) Lot 1176. The Seven Year Itch German A1 poster. (TCF, 1955/ R-1966)
Vintage original 23 x 32 in. German A-1 one-sheet poster for the Marilyn Monroe comedy. Featuring the central image of Monroe done in colorful pop-art style after Andy Warhol. Folded as issued. Exhibiting minor corner bumping and wrinkling from storage. In overall, very good condition.
Estimate: $300 - $500

(Day 2) Lot 1177. Marilyn Monroe uncommonly scarce vintage original “Topless Cowgirl” pin-up calendar. (1948/1955)
Vintage 8.25 x 12.25 in. 4-page chromo-litho spiral-bound cheesecake pinup calendar of Marilyn Monroe in (3) highly suggestive topless cowgirl poses, plus the familiar Tom Kelly “Golden Dreams” nude pose with lace overlay. The cowgirl poses are variously titled “Southern Exposure” (a rear-view), “Caught Short” (arms wrapped round her chest) and “Coming Out On Top”. An extraordinarily scarce artifact from Marilyn’s naughty history, especially being intact with all four pages (each of which displays three months of 1955). Two spiral loops broken with a trace of wear at perforations, otherwise in vintage fine to very fine condition.
Estimate: $600 - $800

(Day 2) Lot 1181. Marilyn Monroe Bus Stop 1-sheet poster. (TCF, 1956)
Vintage original U.S. 27 x 41 in. 1-sheet poster. Linen-backed, in vintage very fine condition.
Estimate: $400 - $600

(Day 2) Lot 1184. Bus Stop French grande 1-sheet poster. (TCF, 1956/R-1980s)
French 47 x 63 in. grande-format poster for the circa 1980s reissue poster for the Marilyn Monroe classic drama. Folded as issued. Minor, nearly undetectable age. Vivid colors. In overall very fine condition.
Estimate: $200 - $300

(Day 2) Lot 1186. The Prince and the Showgirl vintage original painting of Marilyn Monroe and Laurence Olivier by Francis R. Flint. (Warner Bros., 1957)
Vintage 20 x 30 in. oil or acrylic on canvas painting of Marilyn Monroe joining Laurence Olivier. Executed at the time of the film’s production by Francis Russell Flint, the son of famed illustrator Russell Flint, who is a respected and collected artist in his own right. Acquired from the artist’s estate, and retains his pencil-inscribed title on stretcher-bar verso “Marilyn Monroe and Laurence Olivier in ‘The Sleeping Prince’” (the film’s early working title, hence evidence documenting this painting’s early status). Also shows artist’s London address notations on stretcher bar verso, with framing notes. In vintage very fine condition.
Estimate: $600 - $800

(Day 2) Lot 1199: Marilyn Monroe in The Misfits approx. 48 minutes of unseen 8mm footage sold with copyright. (UA, 1961)
Original unpublished approx. 48 minutes of color 8mm documentary film footage captured throughout the entire location shoot for Marilyn Monroe’s final [completed] film, The Misfits. Shot by uncredited extra Stanley Killar (with help from an assistant, as Killar appears occasionally on camera interacting with the cast and crew). Killar and his camera were clearly accepted with full access, judging from the intimacy of the hand-held camera with Marilyn, Clark Gable, Montgomery Clift, John Huston, and others. Filming begins in Reno on the casino strip filled with flashing neon signs, and around the “Mapes Hotel and Casino” which was official headquarters for the production while on location. Includes Marilyn first in the legendary cherry dress, truly radiant, then throughout the footage in a few different outfits preparing for and rehearsing scenes like the courthouse (consulting with her coach Paula Strasberg), the rodeo and the tavern; Gable riding horses, practicing roping with a lasso, getting in and out of his beautiful personal Mercedes 300SL Gullwing, rehearsing the drunken tavern scene with Marilyn, and much more, and nearly always with cigarette in holder; real stunt cowboys rehearsing the bull-riding and bulldogging scenes (at obvious great peril) as doubles for Montgomery Clift, who we then see practicing falls as inserts into the filmed stunt action (his nose injury seen in the film was genuine from earlier rodeo rehearsing); and numerous shots of director John Huston and his camera crew at work, and near the end, at play in the Virginia City, Nevada camel races. Also includes occasional shots of Eli Wallach, Thelma Ritter, producer Frank Taylor, Arthur Miller, and other cast and crew. The Misfits is widely considered Marilyn’s finest dramatic acting role, as well as being one of the best for both Clark Gable and Montgomery Clift. Reasonably professional (at least to a certain degree) in nature and shot from start to finish as a sequential “film in production” documentation, with apparent working title On Sets: The Misfits. To the best of our knowledge, this footage has not been previously published or broadcast (apart from its acquisition at auction from Killar’s heirs in 2008), and is offered here with full rights and assignment of copyright to its entire content. The original 8mm film stock has been properly transferred to (2) 7 in. reels in the process of recording its entire contents onto (2) different types of DVDs, while the original metal reels and cardboard Bell & Howell boxes are retained for posterity. Film stock itself is not inspected off the reels for condition, but no problems are apparent from viewing the DVD transfer. An extraordinary and absolutely unique previously missing puzzle piece in the brief, convoluted history of Marilyn Monroe on and off screen. In vintage fine condition.
Estimate: $20,000 - $30,000

(Day 2) Lot 1206: (2) books from the personal property of Marilyn Monroe. (1947, 1957)
Vintage (2) 8vo cloth-bound self-help/ psychology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled Hypnotism Today by L. M. Le Cron and J. Bordeaux, and The Tower and the Abyss by Erich Kahler, both retain original dust-wrappers, and one of which exhibits a pencil notation presumed in Marilyn’s hand, “The conditioning has in some cases created a new, independent quantity—The person, who proceeds to condition himself.” Dust-wrappers chipped and stained, otherwise books themselves are in vintage fine condition.
Estimate: $800 - $1,200

(Day 2) Lot 1207: (2) books from the personal property of Marilyn Monroe including Joseph Campbell’s The Masks of God: Primitive Mythology. (1948, 1959)
Vintage (2) 8vo cloth-bound self-help/ mythology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled The Open Self by Charles Morris and The Masks of God: Primitive Mythology by Joseph Campbell, the latter retaining original dust-wrapper and exhibiting a pencil notation presumed in Marilyn’s hand, “x: After all, what are you [I] here for but pleasure. But is it pleasure. When the actress is kissed and feels the warm breath of her lover on her neck—can you feel it? No. It is not pleasure you’ll find here but it’s as if it were. We are [pretending?] it is our pleasure. The real pleasure you can only take at home, when tonight [illegible] in your bed.” Dust-wrapper shows only a trace of marginal handling, otherwise books themselves are in vintage very good to fine condition.
Estimate: $800 - $1,200

(Day 2): Lot 1208: Marilyn Monroe extensive vintage original (40+) press file including obituaries. (1961-1965)
Vintage (40+) news clippings and full sections encompassing the last year of Marilyn Monroe’s troubled life, her obituaries, plus revelations and theories to follow. A treasure trove of information contemporaneous to the time of her questionable death, including a magazine article blaming (without naming) JFK. In vintage aged, archived condition.
Estimate: $200 - $300

(Day 2) Lot 1209: Marilyn Monroe (8) half-sheet posters including Dangerous Years, Bus Stop, River of No Return and others. (Various, 1948-1960)
Vintage (8) U.S. 22 x 28 in. half-sheet posters for films featuring Marilyn Monroe throughout the entire span of her career, including Dangerous Years, Home Town Story, Let’s Make it Legal, Monkey Business, Clash by Night, River of No Return, Bus Stop, and Let’s Make Love. Each is card-stock paper-backed to correct folds, marginal losses, or other wear, though none shows extensive repair much beyond marginal and fold retouching. Overall in vintage very good condition.
Estimate: $800 - $1,200

(Day 2) Lot 1210: Marilyn Japanese “B2” poster. (TCF, 1963)
Japanese 20 x 28 in. “B2” poster for the post-mortem documentary by Fox to capitalize on the Marilyn cult sweeping the world after her untimely death. Highlighted by the climactic moment in the “Diamonds are a Girl’s Best Friend” number. Unfolded, in vintage very fine condition.
Estimate: $200 - $300

(Day 2) Lot 1211: Andy Warhol signed “Marilyn” Castelli Gallery invitation. (1981)
Vintage original invitation to the Castelli Gallery’s Andy Warhol print retrospective (1963-1981). The 12 x 12 in. colorful invitation with Warhol’s iconic original “Marilyn” silkscreen print (1967). On the occasion of her death in 1962, Warhol chose the Gene Korman publicity photo of Monroe as “Rose Loomis” from the film Niagara as the basis for his instantly recognizable Pop Art treatment of the Hollywood sex symbol. Featuring printed red text on hot pink background in the lower left and right corner reading, “Andy Warhol” and “Castelli Graphics”. The legendary artist has signed boldly, in black pen, “Andy Warhol” vertically, to the left of the image. Show information, gallery address, November 21 through December 22, 1981 date and original print info: “Illustrated: Marilyn, 1967, silkscreen, 36 x 36 inches, edition of 250, published by Factory Additions” on the verso. With very minor signs of age. In vintage, very fine condition.
Estimate: $10,000 - $12,000

(Day 2) Lot 1212: 20th Century Fox “Marilyn Monroe” CineSimplex Model D Camera #6.
The CineSimplex Model D was truly built as a better choice than the heavily-blimped Mitchell cameras at other studios. It was extremely light. Indeed, the camera was so revolutionary that the Academy of Motion Picture Arts and Sciences awarded it a Class One Technical Academy Award. The camera cost $140,000 to build in 1940, a time when a Mitchell could be purchased for $15,000! Of the 17 CineSimplex Model D cameras designed and built for 20th Century Fox, only six still exist today. This #6 camera is the only example with its complete set of Bausch & Lomb Baltar lenses (25, 30, 35, 40, 50, 75 and 100mm) built specifically for this camera, matched to be optically perfect. Of particular importance, this #6 camera photographed more Marilyn Monroe films than any other, including, How To Marry A Millionaire, Let’s Make Love, Bus Stop, River of No Return, Monkey Business, and her last film Something’s Got To Give. 20th Century Fox assigned cameras to specific Directors of Photography. This #6 camera was assigned to Charles G. Clarke, ASC by the studio. Mr. Clarke’s camera was the very first used to photograph in CinemaScope. All tests for the new process were done with #6 and it worked with Leon Shamroy’s camera on The Robe. Comes with Mitchell head and wooden tripod with spreader, 20th Century Fox wooden lens box, (1) Bausch & Lomb CinemaScope lens and wooden case full of camera accessories with “Hugh Crawford Camera” (Clarke’s assistant’s) name painted on the lid. Comes with a letter of provenance from Roy H. Wagner, ASC. From the collection of Debbie Reynolds.
Estimate: $30,000 - $50,000

(Day 2) Lot 1220: All About Eve screen-used prop “Sarah Siddons” award.
(TCF, 1950) Vintage original gold-lacquered cast acrylic 5.5 x 5.5 in. sculpture of 18th Century actress Sarah Siddons (based upon Sir Joshua Reynolds 1784 portrait of her as “The Tragic Muse”) which is a key integral plot element in the Bette Davis, Anne Baxter and Marilyn Monroe classic film of backstage imbroglios. On 3.5 x 5.75 in. black-painted wooden base. Bette Davis as “Margo Channing” portrays the consummate stage actress and object of idolatry and envy in newcomer Anne Baxter as “Eve Harrington”, who manipulates Channing in order to usurp her crown as queen of the theatre, with the “Sarah Siddons” award being the badge of that distinction. This is one of the most recognized and revered “award” props ever featured in any film, not only from its importance in the story, but even more so from the continually growing fame and respect this extraordinary film garners. One of only three Sarah Siddons Award props visible during the ceremony, the statues are not only the object of specific attention through the opening sequence but one is then visible prominently throughout the film displayed on Margo Channing’s mantle. Years of storage have left the figure bereft only of its hands, with just a few tiny paint chips and bumps to figure and base, which is also missing the name placard. A truly fantastic, indelible icon from the golden-age of Hollywood. In vintage very good condition.
Estimate price: $4,000 - $6,000