09 août 2019

Sur le tournage de Let's Make Love 1

Le Milliardaire
Sur le tournage


Pendant la scène
During the shooting scene


- Body -

lml-sc01-on_set-body-010-1 


photographies de John Bryson

lml-sc01-on_set-body-021-1  lml-sc01-on_set-body-021-2-by_bryson-1a 


photographie de Robert Vose

lml-sc01-on_set-body-by_robert_vose-010-1 


- Sweater -

lml-sc01-on_set-sweater-010-1 lml-sc01-on_set-sweater-011-1 lml-sc01-on_set-sweater-012-1 
lml-sc01-on_set-sweater-013-1 lml-sc01-on_set-sweater-013-2 lml-sc01-on_set-sweater-013-3 
lml-sc01-on_set-sweater-013-4 
 lml-sc01-on_set-sweater-014-1 lml-sc01-on_set-sweater-014-2 lml-sc01-on_set-sweater-014-3 
lml-sc01-on_set-sweater-013-4a  lml-sc01-on_set-sweater-020-1  lml-sc01-on_set-MM-010-1 

- George Cukor, Marilyn Monroe
lml-sc01-on_set-sweater-with_cukor-010-1a 

- Marilyn Monroe, Agnes Flanagan
lml-sc01-on_set-sweater-with_flanagan-010-1 lml-sc01-on_set-sweater-with_flanagan-010-1a lml-sc01-on_set-sweater-with_flanagan-020-1 

- Jack Cole, Marilyn Monroe
lml-sc01-on_set-sweater-with_jack_cole-010-1 lml-sc01-on_set-sweater-with_jack_cole-010-1a lml-sc01-on_set-sweater-with_jack_cole-011-1 
lml-sc01-on_set-sweater-with_jack_cole-020-1  lml-sc01-on_set-sweater-with_jack_cole-030-1 
lml-sc01-on_set-sweater-with_jack_cole-040-1  lml-sc01-on_set-sweater-with_jack_cole-050-1 


photographies de John Bryson

lml-sc01-on_set-sweater-by_John_Bryson-010-1 
lml-sc01-on_set-sweater-by_John_Bryson-011-1  lml-sc01-on_set-sweater-by_John_Bryson-030-1  lml-sc01-on_set-sweater-by_John_Bryson-040-1 
lml-sc01-on_set-sweater-by_John_Bryson-020-1  lml-sc01-on_set-sweater-by_John_Bryson-020-2 lml-sc01-on_set-sweater-by_John_Bryson-020-3a  

- Marilyn Monroe, George Cukor, Jack Cole
lml-sc01-on_set-sweater-by_john_bryson-with_cukor_cole-010-1 

- George Cukor, Marilyn Monroe, Paula Strasberg
lml-sc01-on_set-sweater-by_John_Bryson-with_cukor_strasberg-010-1 

- Withey Snyder, Marilyn Monroe, Agnes Flanagan
lml-sc01-on_set-sweater-by_john_bryson-with_flanagan_snyder-010-1  lml-sc01-on_set-sweater-by_john_bryson-with_flanagan_snyder-011-1 
lml-sc01-on_set-sweater-by_john_bryson-with_flanagan-010-1a 

- Marilyn Monroe, Paula Strasberg, Yves Montand
lml-sc01-on_set-sweater-by_john_bryson-with_strasberg_montand-010-1  lml-sc01-on_set-sweater-by_john_bryson-with_strasberg_montand-010-2 

25/01/1960Agnes Flanagan, Marilyn Monroe
lml-sc01-on_set-sweater-by_John_Bryson-1960-01-25 


photographie de L.J  Willinger

 lml-sc01-on_set-sweater-by_LJ_WIllinger-010-1 


Dans la loge
In her dressing-room


 - photographies: John Bryson -

- Marilyn Monroe, Withey Snyder, Sidney Guilaroff

lml-sc01-set-dressing_room-by_john_bryson-with_snyder_guilaroff-011-1a 
lml-sc01-set-dressing_room-by_john_bryson-with_snyder_guilaroff-010-1-HQ lml-sc01-set-dressing_room-by_john_bryson-with_sydney_guilaroff-010-1 lml-sc01-set-dressing_room-by_john_bryson-with_sydney_guilaroff-020-1 
 lml-sc01-set-dressing_room-by_john_bryson-with_snyder_guilaroff-020-1a  


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

27 janvier 2019

Sur le tournage de Let's Make Love 6

Le Milliardaire
Sur le tournage


Pendant la scène
During the shooting scene

- George Cukor, Marilyn Monroe & Arthur Miller -
lml-sc06-on_set-MM_Cukor_Miller-010-1 lml-sc06-on_set-MM_Cukor_Miller-011-1 lml-sc06-on_set-MM_Cukor_Miller-012-1 
lml-sc06-on_set-MM_Cukor_Miller-011-1a  lml-sc06-on_set-test_hair-1 

- Marilyn Monroe & Yves Montand -
lml-sc06-on_set-MM_Montand-1 


Sur le plateau
On the set

- Marilyn Monroe & boy scout -
(remise d'une médaille ? / awarded with a medal ?)

lml-sc06-set-MM_with_boy-010  lml-sc06-set-MM_with_boy-011 
lml-sc06-set-MM_with_boy-012  lml-sc06-set-MM_with_boy-013  lml-sc06-set-MM_with_boy-014 

- Alan Whitey Snyder, Marilyn Monroe & des personnes de l'équipe du film -
Alan Whitey Snyder, Marilyn & members of the crew of the movie

lml-sc06-set-studio-010-1 
lml-sc06-set-studio-011-1  lml-sc06-set-studio-011-1a 


Dans la loge
In her dressing-room


 - photographies: Lawrence Schiller -

- Marilyn Monroe & Yves Montand -
lml-sc06-set-dressing_room-010-1-by_schiller-1a 

lml-sc06-set-dressing_room-010-1-by_schiller-1 


 - photographies: Robert Vose -

lml-sc06-set-dressing_room-by_robert_vose-010-1  lml-sc06-set-dressing_room-by_robert_vose-010-1a 


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

06 mars 2016

Les révélations morbides du croque-mort de Marilyn Monroe

vanity_fair_logoFaux-semblants
Les révélations morbides du croque-mort de Marilyn Monroe
publié le 10/06/2015
en ligne sur vanityfair.fr

vf_cover_monroe  

Un mythe s'effrondre. Après avoir conduit des stars à la morgue toute sa vie, Allan Abbott, le croque-mort de Hollywood, a publié ses mémoires dans un livre intitulé Pardon My Hearse. Et stupeur entre deux anecdotes à propos de John F. Kennedy ou Nathalie Wood, il dresse un portrait morbide du sex-symbol américain : fausses dents, lèvres gercées, jambes mal épilées, faux seins, peau abîmée, pédicure douteuse...

« Elle ne ressemblait pas à Marilyn Monroe mais à une femme banale, qui prend de l’âge et qui ne prend pas beaucoup soin d’elle », raconte Allan Abbot, qui s'est dit choqué par l’état dans lequel il a retrouvé la jeune femme, décédée à 36 ans d'une overdose de barbituriques.

Le croque-mort explique que, compte tenu de la position de Marilyn Monroe à sa mort, son visage n’était plus reconnaissable : « Marilyn est morte face contre terre. Elle avait des taches violettes sur ses joues et son cou était particulièrement enflé. » Ses cheveux, eux, étaient courts et crépus. « Ses jambes n’étaient pas épilées, ses lèvres en mauvais état. Elle avait besoin d’une manucure et d’une pédicure », continue-t-il.

L’état de sa poitrine a laissé les employés des pompes funèbres perplexes : « Elle ne ressemblait pas à Marilyn Monroe », révèle la femme du thanatopracteur, qui a rembouré le soutien-gorge de coton pour lui donner plus de formes.

Des révélations surprenantes pour cette incarnation du glamour, qui aurait néanmoins confié plusieurs fois à son psychiatre s'examiner régulièrement devant son miroir pour constater les effets de l'âge sur son corps.

> A lire sur le Daily Mail


logo_molEXCLUSIVE: Marilyn Monroe had purple blotches on her face, falsie breasts and 'didn't take care of herself' reveals mortician who prepared her and other stars for burial
Article published in 9 June 2015
by Caroline Howe - online on dailymail

  • Allan Abbott and Ron Hast first job delivering flowers from the mortuary to the cemetery led to top funeral company - and limo service
  • They picked up Marilyn Monroe's remains and Abbott describes the  shocking state of her body in new book
  • 'She looked like a very average, aging woman who had not been taking very good care of herself,' he writes
  • They drove Natalie Wood's mother and her sister, Lana Wood to Natalie's funeral in 1981
  • Their limos drove John F. Kennedy and his entourage all over Los Angeles during the 1960 Democratic Convention
  • They picked up Elizabeth Taylor and Richard Burton in 1963 at the San Bernardino train station for an incognito arrival into Los Angeles 

From Marilyn Monroe's hairy legs, to Natalie Wood's bruises, two morticians to the stars share their last unique and final glimpse of some of the cream of Hollywood.
Abbott & Hast became the funeral service of choice for Los Angeles' rich and famous during the 1960s.
When celebrities died, the firm would be relied on to pick up the bodies and chauffer them away.

So it was perhaps unsurprising when, on August 5, 1962, the company received a call to pick up the body of Marilyn Monroe after she was found dead in her home from a suspected overdose.
Abott revealed they had been shocked by the state of the starlet who bared almost no resemble so her stunning onscreen persona.

DM-01 
Fallen star: Allan Abbott and Ron Hast were shocked when they saw the condition of Marilyn Monroe's body. Abbott and his brother write about it in gruesome detail in new book Pardon My Hearse

DM-02 
Marilyn's bedroom: The room where film actress Marilyn Monroe's body was found on August 9, 1962

He added that her face had been marred by purple blotches, her roots were showing and she was in need of a manicure and pedicure.

The company also transported screen stars Clark Gable and Ernie Kovacs to their respective funerals, with Frank Sinatra and Jack Lemmon serving as pallbearers at the latter.
But it wasn't just the dead famous they transported.
Their limo service chauffeured married actors Elizabeth Taylor and Richard Burton and even presidential nominee John F. Kennedy.

High school friends Allan Abbott and Ron Hast had bought their first old hearse to use on camping trips while prospecting rocks and fossils in the 1950s.
It also brought their first summer job during college, delivering flowers from the mortuary to the cemetery.
From standard hearses, to flower trucks, to rental limos, to an 'air hearse', a boat for scattering ashes at sea, funeral prop rentals - the company that Abbott and Hast created evolved into the leading hearse, mortuary and funeral service company in Hollywood.
Allan Abbot candidly writes about transporting famous corpses as well as driving celebrities and renting his cars and props to movie studies in Pardon My Hearse, a Craven Street Books publication to be published on June 15.

A 1941 morbid-looking black Packard hearse the pair purchased for a mere $40 started it all. They fitted what they called the 'black elephant' with a mattress and used it for long camping trips.
It felt creepy knowing that it had a history of transporting corpses and 'it took awhile to get used to seeing people make the sign of the cross or remove their hats as we drove by', Abbott writes.
Even Ron's parents made him park it a block away from their house.
When they were offered $400 for it, they sold it, bought two more hearses so that each of them owned their own hearse as their personal vehicle.
Their lucrative move to a venture in undertaking was serendipitous and began when they accepted a summer job to deliver flowers from a mortuary to a cemetery.
That segued into a request to pick up bodies for $95 - a big sum of cash for the two, new to the shroud business. They practiced on Abbott's mother – picking her up off the floor and placing her on an old ambulance cot.

'Now the time had come for us to decide if we were really prepared to be in such a predictably disquieting line of work, and we needed to know if we were mentally resolved to deal with what was sure to come', Abbott writes.
They rented an old building on the west side of Los Angeles in an area dubbed 'Death Row', zoned for mortuary operations and set up shop. In the basement they found old mortuary paraphernalia that included artificial arms, legs, dentures, wicker caskets, early embalming equipment.
And they were in business with calls from San Quentin State Prison to remove bodies after executions. They were called to remove a body at a candy factory after the worker had fallen into a vat of chocolate and drowned.

Movie studios starting calling requesting funeral cars to use in films.
The pair added a large flower truck in their fleet of vehicles using it for funerals of Jack Warner, head of Warner Brothers, actor Jimmy Durante, singer Mario Lanza, to name a few.
They were called on in the early 1960s to pick up Swedish film actress, Inger Stevens who was in a popular television show at the time, The Farmer's daughter, and drive her to Los Angeles International Airport.
When Abbott knocked on the door of her Hollywood apartment, he was informed by a man on the other side of the door that she had left for the airport in her own car.

DM-03 
Rigor: Marilyn Monroe's body was first taken to the Los Angeles County Medical Examiner's office. Early stages of rigor mortis had begun indicating she had been dead longer than the presumed three hours.. Monroe was found dead of a suspected  barbiturate overdose

DM-04 
Shock: The body of actress Marilyn Monroe arrives at the mortuary. 'When we removed the sheet covering her, it was almost impossible to believe this was the body of Marilyn Monroe,' writes Abbott. 'She looked like a very average, aging woman who had not been taking very good care of herself'

DM-05
All-purpose: Allan Abbott and Ron Hast first job delivering flowers from the mortuary to the cemetery led to top funeral company - and limo service

Abbott and his girlfriend took it upon themselves to investigate the unidentified voice. It turned out to be Isaac Jones, President of Nat King Cole's Kell-Cole Productions and the first black person to produce an A-list picture when he was a producer of 'A Man Called Adam', starring Sammy Davis Jr.
Jones and Stevens had secretly married in Mexico in 1961 and kept it a secret believing an interracial relationship would ruin her career. Nine years later, after dating Burt Reynolds for a year in a reportedly volatile relationship, she was discovered unconscious on her kitchen floor and died of acute barbiturate intoxication en route to the hospital.
Friends never believed that she took her own life. She was still married to Jones at the time of her death.
Abbott & Hast were called for cars and drivers for Inger's funeral.

The following year, a call came into the West Los Angeles Police Station in the early hours of August 5, 1962. Dr. Hyman Engelberg identified himself to Sergeant Jack Clemmons on the desk and stated that Marilyn Monroe was dead in her house at 1230 Fifth Helena Drive in Brentwood.
Engelberg said Dr. Ralph Greenson had informed him that her death was from an overdose of Nembutal and stated it was suicide. Clemmons jumped into a squad car and headed out to her house.
The Los Angeles County Coroner's Office called Westwood Village Memorial Cemetery and instructed them to remove her body. Manager Guy Hockett took the assignment and discovered her body was in the early stages of rigor mortis, a condition that typically begins six to eight hours after death but he had been informed that death had occurred three hours prior to his arrival.
Hockett delivered her body to the mortuary.

DM-06 
Ron Hast and Allan Abbott stand next to Monroe's casket prior to the service at the cemetery crypt. Their hearse drove Marilyn Monroe's casket in her funeral procession on August 8, 1962 to Westwood Village Memorial Park Cemetery in Los Angeles

DM-07 
Incognito: Richard Burton and Elizabeth Taylor arrive in San Bernadino in 1963 by train in an effort to avoid large unruly crowds in LA. But Liz was put off that there weren't more fans waiting to see her

DM-08 
The mortuary men picked up bodies for $95 - a big sum of cash for the two new to the shroud business. They practiced on Abbott's mother – picking her up off the floor and placing her on an old ambulance cot

Abbott's company was called and they sent Leonard 'Chris' Kreminski to assist in removing the body. It was later transported downtown for the postmortem.
'Because of the tremendous implications of this case, it took much longer for Coroner Theodore Curphey to finally make some statements. His best and most dedicated pathologist, Thomas Noguchi, known to some as 'The Knife,' spent about three times as much time as it usually took him to do a full postmortem.
'The deputies at the coroner's office informed me that Dr. Noguchi had been extremely thorough with his examination of her body. He spent a great deal of time looking for hypodermic needle marks, which he did discover in her arm pit, but this area is often used by doctors when treating female movie stars.
'He continued to search in unusual places like inside her nose, between her toes and fingers, under her tongue, and in her genitals, but was unable to discover any additional injection points', Abbott writes.

Abbott was present and entered the embalming room with the embalmer, identified only as 'Frenchie'.
'When we removed the sheet covering her, it was almost impossible to believe this was the body of Marilyn Monroe. She looked like a very average, aging woman who had not been taking very good care of herself. Obviously, the circumstances surrounding her death had greatly exacerbated her poor appearance and she was unrecognizable.

DM-09 
Abbott drove the hearse for the 1962 funeral of actor Ernie Kovacs with Frank Sinatra and Jack Lemmon serving as pallbearers. Kovacs had been killed in a Chevrolet Corvair, one of the early rear-engine American cars that were discontinued because the car was known to go out of control after hard braking

DM-10 
Their limos drove John F. Kennedy and his entourage all over Los Angeles during the 1960 Democratic Convention. Abbott says they had a hard time collecting payment from the candidate

'When someone dies, gravity causes the blood to settle to the lowest point of the body. This condition is called lividity, and considering that many people die lying on their backs, the discoloration that occurs is seldom visible.
'In Marilyn's case, she died face down, so there were purple blotches on her face, and her neck was very swollen. They had bathed her at the coroner's office, and her hair was frizzy and fairly short.
'You could tell she had not bleached it for some time, because the roots were darker and had grown out about half an inch.
'Her natural hair color was a light brown, not blonde. Her legs hadn't been shaved for at least a week, and her lips were badly chapped. She was also in need of a manicure and pedicure.'

'We began discussing the terrible swelling in her neck, and Frenchie decided that a surgical procedure was needed. This was out of my area of expertise, so I deferred to his decision. Frenchie knew how to correct the problem, but it wasn't going to be pretty.
'He instructed me to hold her on her side so he could make an incision in the back of her neck in the shape of a marquis diamond and remove about two square inches of skin. He then pulled the sides together and stitched it up. It wasn't pleasant to watch, but it was quite effective in reducing the swelling.
'Marilyn's executrix had just brought in her clothing, so Mrs. Hockett, wife of the cemetery's manager, rang me to come up to the office and pick up the package. She also informed me that the lady said Marilyn didn't wear panties, and she couldn't find any among her clothing.

DM-11 
In 1981, Natalie Wood mysteriously drowned in the waters off of Catalina Island, California where she and her husband Robert Wagner and guest and actor Christopher Walken had been partying . Natalie's body was bruised from hitting the rocks and the coroner's pathologist chose to surgically remove some of that tissue to examine closely. Natalie was dressed in a full-length fur coat so that the bruising was not visible when the casket was open

DM-12 
Robert Wagner comforts his daughter Courtney Brooke Wagner at Natalie's funeral.  The casket was carried from the hearse to the device used to lower it into the grave. Moving over to stand next to Abbot who was at the head of the casket was Christopher Walken – separated from the other attendees

'I also noticed that among the items was a small pair of false breasts. I had seen falsies before, but these were much smaller than any I'd seen'.

'That doesn't look like Marilyn Monroe,' Mrs. Hamrock stated. 'What happened to her boobs ?' In his own defense, Frenchie told her that the cutting of the ribs during the autopsy had caused this condition. He further stated that he had even used the falsies that were brought in with her clothing, but they had been much too small to enhance her physique'.
Mrs. Hamrock reached down and pulled at the neck of the dress, which was a very springy material. She reached in with her other hand to remove the falsies and threw them into the trash can. She then pulled some clumps of cotton off a roll and formed much larger breasts by stuffing her bra. At this point she stepped back and proudly exclaimed, 'Now that looks like Marilyn Monroe !'
Abbott later retrieved the falsies from the trash and took them home.

Sydney Guilaroff, Monroe's makeup man, and Allan 'Whitey' Snyder, arrived at the mortuary. Sydney brought the wig that was made for her for the film, Something's Got to Give, and Whitey applied her makeup.
Whitey told Abbott that Marilyn's breasts at age thirty-six were beginning to sag. She wore a bra but placed the little falsies between her bra and the sweater to make it look like she was unsupported and braless.

Joe DiMaggio kept a vigil at the mortuary. He stood by the casket for a while and then he walked in the cemetery outside and cried. They had married in January 1954 and Marilyn had filed for divorce 274 days later. They remained close and Joe never stopped loving her. Monroe was buried in Westwood Cemetery.

DM-13a  DM-13b  
Eventually the mortuary partners bought a plane and a boat so they could offer burial at sea or to have ashes scattered from the air or over the water

dm-14 

That same year, 1962, Abbott was called to drive the hearse for actor Ernie Kovacs funeral. He directed pallbearers Frank Sinatra, Jack Lemmon and four others during the funeral ceremony with actress Kim Novak in attendance.

Kovacs had been killed in a Chevrolet Corvair, one of the early rear-engine American cars that were discontinued because the car was known to go out of control after hard braking. Ralph Nadar's book Unsafe at Any Speed sped up the demise of the Corvair.

In 1981, Natalie Wood mysteriously drowned in the waters off of Catalina Island, California where she and her husband Robert Wagner and guest and actor Christopher Walken had been partying. The call came in to Abbott to drive the family car and pick up Natalie's mother as well as her sister, Lana Wood.

The casket was carried from the hearse to the device used to lower it into the grave. Moving over to stand next to Abbot who was at the head of the casket was Christopher Walken – separated from the other attendees.

Natalie's body was bruised from hitting the rocks and the coroner's pathologist chose to surgically remove some of that tissue to examine closely. Natalie was dressed in a full-length fur coat so that the bruising was not visible when the casket was open.

'People have often asked me if my line of work was depressing. Sometimes that was the case but all things considered, it was certainly never dull'. Abbott admits to developing a gallows sense of humor. If asked how's business, he answered, 'Dead'. A slogan for the company was 'We'll be the last ones to let you down'.

- - - - -

A MORTICIAN TO THE STARS
- They picked up Marilyn Monroe's remains and helped prepare it for burial, witnessing the shocking state her body was in at the time of death.
- Two years earlier, Abbott drove a family car for screen star Clark Gable's funeral at Forest Lawn in Glendale, California in 1960.
- Abbott drove the hearse for the 1962 funeral of actor Ernie Kovacs with Frank Sinatra and Jack Lemmon serving as pallbearers and attended by Kim Novak.
- They drove Natalie Wood's mother and her sister, Lana Wood to Natalie's funeral in 1981.
- Their limos drove presidential nominee John F. Kennedy and his entourage all over Los Angeles during the 1960 Democratic Convention – and had a hard time collecting from the candidate.
- They picked up Elizabeth Taylor and Richard Burton in 1963 at the San Bernardino train station for an incognito arrival into Los Angeles sixty miles away, to have Elizabeth complain of no stargazers and Richard needing a drink
- They drove Carly Simon and a girlfriend to the Shrine Auditorium in Los Angeles in the Sixties listening to her complain that her new boyfriend resented her latest song. Carly then pulled two joints out of her handbag and the girls lit up. Allan didn't want to be high while driving but neither did he want to close the divider and not hear their gossip.

- - - - -

Pardon My Hearse by Allan Abbott and Gregory Abbott published by Craven Street Books is available on Amazon June 15, 2015

Posté par ginieland à 19:30 - - Commentaires [12] - Permalien [#]
Tags : , , , , ,

22 juillet 2015

30/06/1962 'Tim Leimert House' par Barris

Le 30 juin 1962, Marilyn Monroe est photographiée par George Barris pour le magazine Cosmopolitan, chez Walter 'Tim' Leimert, un magnat de l'immobilier, ami du photographe, dont la villa se trouve au 1506 Blue Jay Way située dans les collines au Nord d'Hollywood. Série "Blouse Pucci".
On June, 30, 1962, Marilyn Monroe is photographed by George Barris for the Cosmopolitan magazine, at Walter 'Tim' Leimert's house, a real estate tycoon, friend of the photographer, whose villa is at 1506 Blue Jay Way in the Nord Hollywood hills. "Pucci Jacket" sitting.


****  Pucci Jacket Sitting ****
Série Blouse Pucci


-- Parking voitures
Car's Parking  --
-- Avec Patricia Newcomb (attaché de presse) et Whitey Snyder (maquilleur)
With Patricia Newcomb (press attache) and Whitey Snyder (for make-up man)  -- 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-1a 1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-1 1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-2 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-3 1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-4  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-040-4a  
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-041-1-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-041-1-1a 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-041-2  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-041-2b  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-041-2a 

1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-042-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-042-2  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-042-2a 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-043-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-043-2  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-043-2a 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-043-1b   1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-010-1 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-050-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-050-2  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-050-3 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-060-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-060-1a 
1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-070-1  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-070-2  1962-06-30-tim_leimert_house-pucci_jacket-car_park-by_barris-070-1a 


-- En voiture
By car  --

1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-010-1 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-010-1a 
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-020-1 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-020-1a 
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-021-1 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-021-1a
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-021-2 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-021-3 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-021-3a 
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-023-1 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-023-2 1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-023-2a 
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-024-1  1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-024-2 
1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-030-1  1962-06-30-tim_leimert_house-pucci_jacket-car-by_barris-030-1b 


-- Dans le patio
In the patio  --

1962-06-tim_leimert_house-pucci_jacket-entrance-1  1962-06-tim_leimert_house-pucci_jacket-entrance-1a 
lot1204-H3257-L78860091 1962-06-tim_leimert_house-pucci_jacket-entrance-2a 1962-06-tim_leimert_house-pucci_jacket-entrance-2c 
1962-06-tim_leimert_house-pucci_jacket-entrance-3  1962-06-tim_leimert_house-pucci_jacket-entrance-3a 
1962-06-tim_leimert_house-pucci_jacket-pool-010-1  1962-06-tim_leimert_house-pucci_jacket-pool-011-1  1962-06-tim_leimert_house-pucci_jacket-pool-012-1 
1962-06-tim_leimert_house-pucci_jacket-pool-020-1  1962-06-tim_leimert_house-pucci_jacket-pool-021-1  1962-06-tim_leimert_house-pucci_jacket-pool-030-1


 -- Au salon bar
At the lounge bar  --

1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-012-1 1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-012-2 1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-013-1 
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-1 1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-2 1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-1a 
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-3 1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-3a 
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-014-4  1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-011-1  
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-015-1  1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-015-1c  1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-015-2 
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-020-2  lot1204-H3257-L78860094  1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-020-3 

-- Avec Agnes Flanagan (coiffure) et Whitey Snyder (au maquillage)
With Agnes Flanagan (hairdresser) and Whitey Snyder (for make-up)  -- 
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-010-1  1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-with_flanagan_snyder-2  
1962-06-30-tim_leimert_house-pucci_jacket-bar-by_barris-with_flanagan_snyder-1 


 -- Dans le salon
In the living room  --

1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-010-1 1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-010-1a 1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-010-2 
1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-011-1 1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-011-1a 1962-06-30-tim_leimert_house-pucci_jacket-livingroom-by_barris-011-2  
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-010-1  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-010-2 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-011-1 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-011-3 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-011-2 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-2-1 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-2-2 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-2-2a 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-1 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-3 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-4 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-5 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-5a 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-012-6 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-013-1  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-014-1 
1962-by_barris-13551851  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-014-3 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-015-2  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-015-3  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-015-4 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-016-1 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-017-1a 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-017-1 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-021-1  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-022-1  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-022-2 
 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-020-1a 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-020-1 1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-020-2 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-020-2a  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-023-1  
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-1  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-1a  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-2 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-023-2  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-4a 
1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-3  1962-06-tim_leimert_house-pucci_jacket-sofa-by_barris-024-3a 


-- Dans la chambre
In the Bedroom  --

1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-010-1 
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-020-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-021-1 
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-021-2  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-021-3 
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-031-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-031-1a 
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-032-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-033-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-033-1a 
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-040-1a  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-050-1
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-052-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-052-2  
1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-051-1  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-052-3  1962-06-tim_leimert_house-pucci_jacket-bedroom-by_barris-052-3c  


-- Dans la salle de bain
In the Bathroom  --

1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-010-1  1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-010-1a  1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-010-2 
1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-010-3a  1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-021-1  1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-030-1
1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-020-1   1962-06-30-tim_leimert_house-pucci_jacket-bathroom-by_barris-040-1  


Marilyn confie à Barris: "La période la plus heureuse de ma vie, c'est en ce moment... L'avenir est devant moi, et j'ai hâte d'y être, ça va être passionnant ! J'ai l'impression que je commence à peine: je veux jouer dans des comédies, des tragédies, un mélange des deux... Je n'ai aucun regret car, si j'ai commis des erreurs, je suis seule responsable... J'aime beaucoup rester ici (en Californie) mais, de temps en temps, j'ai des envies de New York. Alors, tout ce que j'ai à faire c'est fermer les portes [de devant et de derrière] et partir. J'aime bien avoir un ancrage solide."
 
Marilyn tells to to GB: "The happiest time of my life is now... There's a future and I can't wait to get to it -it should be intereting ! I feel I'm just getting started; I want to do comedy, tragedy, interspersed... I have no regrets, because if I made any mistakes, I was responsible... I like to stay here (in California) but every once in awhile I get that feeling for New York. Here all I have to do is lock the [front and back] doors and go. I like ground to stand on."

Source:
L'assassinat de Marilyn Monroe, par Jay Margolis, Richard Buskin
The Murder of Marilyn Monroe: Case Closed, by Jay Margolis, Richard Buskin


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

19 juillet 2015

Juin/Juillet 1962 'Tim Leimert House' par Barris 1

A la fin du mois de juin 1962 - début juillet 1962, Marilyn Monroe est photographiée par George Barris pour le magazine Cosmopolitan, chez Walter 'Tim' Leimert, un magnat de l'immobilier, ami du photographe, dont la villa se trouve au 1506 Blue Jay Way située dans les collines au Nord d'Hollywood. Série "Pucci Rose".
At the end of June 1962 - beginning of July 1962, Marilyn Monroe is photographed by George Barris for the Cosmopolitan magazine, at Walter 'Tim' Leimert's house, a real estate tycoon, friend of the photographer, whose villa is at 1506 Blue Jay Way in the Nord Hollywood hills. "Pink Pucci" sitting.


****  Pink Pucci Sitting ****
Série Pucci Rose


-- Vue sur les hauteurs d'Hollywood
View on Hollywood Hills  --

1962-06-tim_leimert_house-pucci_pink-by_barris-010-2 1962-06-tim_leimert_house-pucci_pink-by_barris-010-1 1962-06-tim_leimert_house-pucci_pink-by_barris-010-3 
1962-06-tim_leimert_house-pucci_pink-by_barris-010-2a  1962-06-tim_leimert_house-pucci_pink-by_barris-010-3a  1962-06-tim_leimert_house-pucci_pink-by_barris-011-1 
1962-06-tim_leimert_house-pucci_pink-by_barris-010-1a  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-010-1 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-020-1  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-020-2 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-021-1  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-021-2  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-022-1 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-030-1  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-030-2 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-030-1a  1962-06-tim_leimert_house-pucci_wb2-view-by_barris-030-2a 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-032-1 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-032-2 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-031-1a 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-031-1   1962-06-tim_leimert_house-pucci_wb2-view-by_barris-041-2 
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-033-1 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-033-1b 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-040-1
1962-06-tim_leimert_house-pucci_wb2-view-by_barris-041-1 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-043-1 1962-06-tim_leimert_house-pucci_wb2-view-by_barris-042-1 


-- Dans le patio
In the patio  --

1962-06-tim_leimert_house-pucci_pink-by_barris-050-1  1962-06-tim_leimert_house-pucci_pink-by_barris-050-2a  1962-06-tim_leimert_house-pucci_pink-by_barris-050-2 
1962-06-tim_leimert_house-pucci_pink-by_barris-020-1-1  1962-06-tim_leimert_house-pucci_pink-by_barris-020-1-2  1962-06-tim_leimert_house-pucci_pink-by_barris-020-2 
1962-06-tim_leimert_house-pucci_pink-by_barris-020-3a  1962-06-tim_leimert_house-pucci_pink-by_barris-020-3  1962-06-tim_leimert_house-pucci_pink-by_barris-020-4 
1962-06-tim_leimert_house-pucci_wb2-by_barris-010-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-010-2 1962-06-tim_leimert_house-pucci_wb2-by_barris-010-2a
1962-06-tim_leimert_house-pucci_wb2-by_barris-011-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-011-1b 1962-06-tim_leimert_house-pucci_wb2-by_barris-011-2
1962-06-tim_leimert_house-pucci_pink-by_barris-030-1  1962-06-tim_leimert_house-pucci_pink-by_barris-030-1a  
1962-06-tim_leimert_house-pucci_wb2-by_barris-020-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-020-2 1962-06-tim_leimert_house-pucci_wb2-by_barris-020-3 
1962-06-tim_leimert_house-pucci_wb2-by_barris-021-1  1962-06-tim_leimert_house-pucci_wb2-by_barris-021-2  1962-06-tim_leimert_house-pucci_wb2-by_barris-021-3 
1962-06-tim_leimert_house-pucci_wb2-by_barris-022-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-022-2a 1962-06-tim_leimert_house-pucci_wb2-by_barris-022-2 
1962-06-tim_leimert_house-pucci_wb2-by_barris-023-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-024-1a 1962-06-tim_leimert_house-pucci_wb2-by_barris-024-1 
1962-06-tim_leimert_house-pucci_pink-by_barris-040-1 1962-06-tim_leimert_house-pucci_pink-by_barris-040-2a 1962-06-tim_leimert_house-pucci_pink-by_barris-040-2
1962-06-tim_leimert_house-pucci_wb2-by_barris-025-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-025-1b 1962-06-tim_leimert_house-pucci_wb2-by_barris-025-2 
1962-06-tim_leimert_house-pucci_wb2-by_barris-026-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-026-1a 1962-06-tim_leimert_house-pucci_wb2-by_barris-026-2 
 1962-06-tim_leimert_house-pucci_wb2-by_barris-028-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-027-1 1962-06-tim_leimert_house-pucci_wb2-by_barris-028-2 

 


-- Sur un banc
On a Bench --
1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-010-1a 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-010-1b 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-010-2
1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-010-3  1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-010-3a 
1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-020-1 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-021-1 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-021-2 
1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-030-1 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-021-1a 1962-06-tim_leimert_house-pucci_wb2-bench-by_barris-030-1a 

 


-- Dans la maison
In the house  --

 -- Avec Agnes Flanagan (coiffure) et Whitey Snyder (au maquillage)
With Agnes Flanagan (hairdresser) and Whitey Snyder (for make-up)  --
1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-011-1 1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-011-2  1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-011-2a
1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-010-1  1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-020-1  1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-021-1 
1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-022-1 1962-06-tim_leimert_house-pucci_wb2-make_up-by_barris-022-1a  1962-06-tim_leimert_house-pucci_pink-by_barris-060-2
1962-06-tim_leimert_house-pucci_pink-by_barris-060-1  1962-06-tim_leimert_house-pucci_pink-by_barris-060-1b


Marilyn s'était achetée une maison à Brentwood, mais sans aucun meuble. Elle était partie à Mexico pour en acheter, dans le style local, et elle attendait leur livraison.
Marilyn à Barris: "On ne peut pas prendre de photos ici alors que ça n'a pas l'air fini ? Comment faire ?
-Si tu préfères, on retourne dans la maison de Catalina, celle de ton premier mari, je peux m'arranger.
-Non, je ne veux pas y retourner.
-J'ai un ami [Tim Leimert] qui vit du côté de Hollywood Hills. Sa maison serait parfaite. Je lui en ai parlé et il m'a dit qu'il voulait juste une photo de toi avec lui, en souvenir. Tu n'es pas obligée si tu n'as pas envie.
-Non, c'est très bien."

Marilyn bought a new house in Brentwood but it wasn't furnished. She had gone to Mexico to furnish it Mexican style. She was waiting for the furniture to arrive.
Marilyn to Barris: "How can we photograph there if it doesn't look right ? What can we do ?
-If you want to go back where you lived with your first husband in Catalina, I'll try.
-No, I don't want to go back.
-My friend's home in the Hollywood Hills would be perfect. When I brought it up, he said all he wants is a picture of you and him as a souvenir. You don't have to do it if you don't want to.
-No, it's okay."

 -- Marilyn avec Tim Leimert
Marilyn with Tim Leimert  --
1962-06-tim_leimert_house-pucci_wb2-by_barris-012-with_tim-2 
1962-06-tim_leimert_house-pucci_wb2-by_barris-012-with_tim-1 

Source:
L'assassinat de Marilyn Monroe, par Jay Margolis, Richard Buskin
The Murder of Marilyn Monroe: Case Closed, by Jay Margolis, Richard Buskin


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

 

18 juillet 2015

Juin/Juillet 1962 'Tim Leimert House' par Barris 2

A la fin du mois de juin 1962 - début juillet 1962, Marilyn Monroe est photographiée par George Barris pour le magazine Cosmopolitan, chez Walter 'Tim' Leimert, un magnat de l'immobilier, ami du photographe, dont la villa se trouve au 1506 Blue Jay Way située dans les collines au Nord d'Hollywood. Série "Pucci Orange".
At the end of June 1962 - beginning of July 1962, Marilyn Monroe is photographed by George Barris for the Cosmopolitan magazine, at Walter 'Tim' Leimert's house, a real estate tycoon, friend of the photographer, whose villa is at 1506 Blue Jay Way in the Nord Hollywood hills. "Orange Pucci" sitting.


****  Orange Pucci Sitting ****
Série Pucci Orange

1962-06-tim_leimert_house-pucci_orange-by_barris-010-1  1962-06-tim_leimert_house-pucci_orange-by_barris-020-1  1962-06-tim_leimert_house-pucci_orange-by_barris-021-1 
1962-06-tim_leimert_house-pucci_orange-by_barris-020-1a  1962-06-tim_leimert_house-pucci_orange-by_barris-021-1a 
1962-06-tim_leimert_house-pucci_orange-by_barris-030-1  1962-06-tim_leimert_house-pucci_orange-by_barris-030-2  1962-06-tim_leimert_house-pucci_orange-by_barris-031-1 
1962-06-tim_leimert_house-pucci_orange-by_barris-032-1  1962-06-tim_leimert_house-pucci_orange-by_barris-033-1 
1962-06-tim_leimert_house-pucci_orange-by_barris-034-1 1962-06-tim_leimert_house-pucci_orange-by_barris-035-1 1962-06-tim_leimert_house-pucci_orange-by_barris-034-2 
1962-06-tim_leimert_house-pucci_orange-by_barris-036-1  1962-06-tim_leimert_house-pucci_orange-by_barris-036-1a  1962-06-tim_leimert_house-pucci_orange-by_barris-036-2 
1962-06-tim_leimert_house-pucci_orange-by_barris-040-1  1962-06-tim_leimert_house-pucci_orange-by_barris-042-1  1962-06-tim_leimert_house-pucci_orange-by_barris-042-1a 
1962-06-tim_leimert_house-pucci_orange-by_barris-041-1  1962-06-tim_leimert_house-pucci_orange-by_barris-043-1  1962-06-tim_leimert_house-pucci_orange-by_barris-050-1  
1962-06-tim_leimert_house-pucci_orange-by_barris-041-1a  1962-06-tim_leimert_house-pucci_orange-by_barris-043-1a  1962-06-tim_leimert_house-pucci_orange-by_barris-050-1a 

-- Séance coiffure avec Agnes Flanagan (et Whitey Snyder)
Hairdressing Sitting with Agnes Flanagan (and Whitey Snyder)  --
1962-06-tim_leimert_house-pucci_wb1-by_barris-010-1 1962-06-tim_leimert_house-pucci_wb1-by_barris-011-1a 1962-06-tim_leimert_house-pucci_wb1-by_barris-011-1 
1962-06-tim_leimert_house-pucci_wb1-by_barris-012-1  1962-06-tim_leimert_house-pucci_wb1-by_barris-013-1 
1962-06-tim_leimert_house-pucci_wb1-by_barris-013-1a 1962-06-tim_leimert_house-pucci_wb1-by_barris-022-2a 1962-06-tim_leimert_house-pucci_wb1-by_barris-021-1
1962-06-tim_leimert_house-pucci_wb1-by_barris-020-1 1962-06-tim_leimert_house-pucci_wb1-by_barris-022-2 1962-06-tim_leimert_house-pucci_wb1-by_barris-022-1
1962-06-tim_leimert_house-pucci_wb1-by_barris-022-3 1962-06-tim_leimert_house-pucci_wb1-by_barris-022-4 1962-06-tim_leimert_house-pucci_wb1-by_barris-023-2a
1962-06-tim_leimert_house-pucci_wb1-by_barris-023-1   1962-06-tim_leimert_house-pucci_wb1-by_barris-023-2 


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

14 novembre 2014

Property from the life and career of MM - 12/2014 - The Misfits


The Misfits


Lot 891: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe co-stars Clark Gable and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot891  


Lot 892: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The images show Marilyn Monroe and co-star Clark Gable working a scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot892  


Lot 893: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains various images of the principal cast of the film including Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot893 


Lot 894: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe, Clark Gable and Montgomery Clift, including images of Monroe seated between takes talking to a child. One image is marked with an "X" and marked "6" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot894  


Lot 895: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot895  


Lot 896: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of seven images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and co-star Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$256 - Estimate: $400 - $600  
juliens-mmauction2014-lot896  


Lot 897: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains two images of Marilyn Monroe and Montgomery Clift. Clark Gable appears in all of the photographs. Eli Wallach is in six of the 10 images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot897  


Lot 898: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images that include Marilyn Monroe. The remaining images show the principal male stars of the film, Clark Gable, Montgomery Clift and Eli Wallach, working with horses and lassos.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot898  


Lot 899: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains three images that include Marilyn Monroe. The remaining images show the principal male stars of the film: Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot899 


Lot 900: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe. Some images include co-star Clark Gable, and two images show director John Huston speaking to both Gable and Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot900


Lot 901: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot901  


Lot 902: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car. Clark Gable is the driver in eight of the images. Monroe appears to be asleep in three of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot902 


Lot 903: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 18 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach and a dog. Marked "222" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$320 - Estimate: $400 - $600
juliens-mmauction2014-lot903 


Lot 904: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach, two desert views, and four images of Monroe speaking with a man whose back is to the camera. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot904


Lot 905: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver with Montgomery Clift in the car as well. Two of these latter images have a black X over Gable's face.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot905


Lot 906: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car with Clark Gable and Montgomery Clift. Other images are portrait shots of Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot906


Lot 907: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$75 - Estimate: $400 - $600
juliens-mmauction2014-lot907


Lot 908: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet from the set of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable during the film's swim scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$512 - Estimate: $400 - $600
juliens-mmauction2014-lot908 


Lot 909: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Clark Gable and two candid images of Monroe by herself. Marked "170" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$320 - Estimate: $400 - $600
juliens-mmauction2014-lot909


Lot 910: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of an intimate scene between Marilyn Monroe and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$1,920 - Estimate: $400 - $600
juliens-mmauction2014-lot910


Lot 911: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are from a desert scene with horses. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot911


Lot 912: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Eli Wallach in a car together, images of Montgomery Clift lying on the ground, and two images of three unknown persons on the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot912 


Lot 913: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift. Director John Huston can be seen talking to the actors in some of the images. Marked "174" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot913


Lot 914: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 13 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot914 


Lot 915: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift and horse wrangling scenes shot in the desert. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot915 


Lot 916: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains behind-the-scenes images of Marilyn Monroe, Clark Gable, Eli Wallach, and Montgomery Clift with other members of the cast and crew. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot916


Lot 917: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe resting between takes, Arthur Miller reclining on set, five images of Clark Gable with a dog on set, and a candid portrait of Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot917


Lot 918: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, her longtime makeup artist Whitey Snyder with what appears to be a birthday cake, Arthur Miller, Eli Wallach and Clark Gable. One image of Gable seated with two other men has a red X drawn through it.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot918


Lot 919: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of nine behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains one image of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $200 - $400
juliens-mmauction2014-lot919


Lot 920: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with makeup man and friend Whitey Snyder. Other images are of the cast and crew on location. Marked "203" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot920


Lot 921: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are of Clark Gable pulling a rope. John Huston appears in one image with Gable. Marked "204" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot921


Lot 922: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with Montgomery Clift. Other images show Clark Gable with director John Huston and Eli Wallach in a plane, among other set shots. Marked "194" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot922


Lot 923: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 17 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe in a truck, and images of Clark Gable, Eli Wallach, and Montgomery Clift in the desert. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot923


Lot 924: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable as well as three group shots of the cast and crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$250 - Estimate: $400 - $600
juliens-mmauction2014-lot924


Lot 925: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of the principal characters, Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach, and six images of Monroe's and Paula Strasberg's personalized chairs from the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot925


Lot 926: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Paula Strasberg, Eli Wallach and one image of Monroe and Wallach with Montgomery Clift and Clark Gable, with other general set images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot926


Lot 927: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11inches
Winning bid:$768 - Estimate: $400 - $600
juliens-mmauction2014-lot927


Lot 928: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). Marilyn Monroe appears in six of the images. Co-stars Clark Gable, Eli Wallach and Montgomery Clift can be seen in some of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot928


Lot 929: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot929


Lot 930: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable and a behind-the-scenes image.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$576 - Estimate: $400 - $600
juliens-mmauction2014-lot930


Lot 931: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe, Eli Wallach, Montgomery Clift and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot931


Lot 932: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of the film's principal actors: Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift. Marked "193" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot932


Lot 933: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet from the filming of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable on the set in candid moments.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,000 - Estimate: $400 - $600
juliens-mmauction2014-lot933


Lot 934: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach and images of Monroe on horseback.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot934


Lot 935: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe on the set with crew members preparing for her swim scene in the film.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,562.50 - Estimate: $400 - $600
juliens-mmauction2014-lot935


Lot 936: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe alone and with Montgomery Clift, director John Huston, and an image of the crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot936


Lot 937: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe and Clark Gable, an image of Monroe with Arthur Miller, two images of Monroe alone, and other images taken on set of Monroe on horseback and in the water. Marked "176" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$512 - Estimate: $400 - $600
juliens-mmauction2014-lot937 


Lot 938: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
 A vintage black and white image of Marilyn Monroe with Eli Wallach on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$128 - Estimate: $300 - $500
juliens-mmauction2014-lot938  


Lot 939: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
 A vintage black and white image of Marilyn Monroe on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$384 - Estimate: $300 - $500
juliens-mmauction2014-lot939  


Lot 940: MARILYN MONROE RELATED NOTE ON MISFITS LETTERHEAD
 A letter written to Marilyn Monroe Productions on The Misfits (Seven Arts, 1961) letterhead, dated March 13, 1961. Written to May Reis, Monroe's private secretary from the comptroller of the film. The letter is dated one month following the release of the film in regard to Arthur Miller.
8 1/2 by 11 inches
 Winning bid:$375 - Estimate: $300 - $500
juliens-mmauction2014-lot940 


Lot 942: MARILYN MONROE'S PERSONAL COPY OF A MISFITS BEHIND-THE-SCENES FILM
 A 16mm reel of behind-the-scenes footage shot on the set of The Misfits (Seven Arts, 1961). The reel comes with the original envelope that is addressed to Marilyn Monroe from United Artists. Notes on the envelope read "16mm publicity" and "The Misfits/ film for Foreign Screening." Accompanied by a document from UA titled “The Making of ‘The Misfits’/ (Narration for a 20-minute featurette)” with a personal note to Monroe affixed to the cover page.
The film begins with Marilyn Monroe arriving in Reno, Nevada, with Arthur Miller and being received at the airport, then then driving through Reno. The next scene appears to be a press conference with Monroe and co-stars Clark Gable, Montgomery Clift, Eli Wallach, Kevin McCarthy, Thelma Ritter, director John Huston and Monroe's husband, Arthur Miller.
The approximately 19-minute film goes on to show a variety of behind-the-scenes activities of the cast and crew beginning with the filming of Monroe and Ritter in a street scene that was cut from the final version of the film.
Other segments of the include Monroe at Harrahs Casino taking refreshment with Ritter, Houston and a dog Monroe attempts to feed; the cast on location; street filming in Reno with the cast in a vehicle followed by a parade of observers; Monroe signing autographs; Monroe greeting and get on a horse; shots of the cast being filmed riding together; aerial images of the set; a baseball game being played on set; a football being tossed on set with Miller and Houston joining in the game; and Monroe lounging with two other women on the hood of a car. The last part of the film shows the filming of a “Misfits” scene where Monroe is swimming and playing with a dog in the water. The very last image is of Monroe running from the water to embrace Gable. No audio. Accompanied by a DVD copy of the film.
PROVENANCE From the lost archive of Marilyn Monroe
8 1/4 inches
Winning bid:$4,800 - Estimate: $10,000 - $20,000
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06 juillet 2014

Sur le tournage de "The Prince and the Showgirl" 4

Le prince et la danseuse
Sur le tournage - scène 4

 > Photographies de Milton Greene
Photographs of Milton Greene

- Laurence Olivier et Marilyn Monroe
sc04-set-MHG-MMO-PR-541 sc04-set-MHG-MMO-PR-542 sc04-set-MHG-MMO-PR-543
sc04-set-MHG-MMO-PR-544 sc04-set-MHG-MMO-PR-563 sc04-set-MHG-MMO-PR-557
sc04-set-MHG-MMO-PR-561 sc04-set-MHG-MMO-PR-554 sc04-set-MHG-MMO-PR-555
sc04-set-MHG-MMO-PR-562 sc04-set-MHG-MMO-PR-556 sc04-set-mmmg243 
sc04-MHG-MMO-PR-2621  img-Marilyn   

- L'acteur jouant le majordome
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- Laurence Olivier
sc04-set-MHG-MMO-PR-2276 sc04-set-MHG-MMO-PR-1592

- Olivier réalisateur
sc04-set-MHG-MMO-PR-636 sc04-set-MHG-MMO-PR-1484


> Scène du repas dans le sofa

- retouche maquillage et coiffure pour Marilyn
sc04-set-MHG-MMO-PR-250 sc04-set-MHG-MMO-PR-2583 
sc04-set-MHG-MMO-PR-569  sc04-set-MHG-MMO-PR-235
sc04-set-MHG-MMO-PR-536 sc04-set-MHG-MMO-PR-1843

- le buffet
sc04-set-MHG-MMO-PR-1993 sc04-set-MHG-MMO-PR-1992 sc04-set-MHG-MMO-PR-1987
sc04-set-MHG-MMO-PR-1791  sc04-set-MHG-MMO-PR-2299a
sc04-set-MHG-MMO-PR-2279 sc04-set-MHG-MMO-PR-2283 sc04-set-MHG-MMO-PR-693
sc04-set-MHG-MMO-PR-570 sc04-set-MHG-MMO-PR-2277 sc04-set-MHG-MMO-PR-2315a
sc04-set-MHG-MMO-PR-236  sc04-set-MHG-MMO-PR-2534 
sc04-set-MHG-MMO-PR-1852 sc04-set-MHG-MMO-PR-567 
sc04-set-MHG-MMO-PR-200 sc04-set-MHG-MMO-PR-321 
 sc04-set-MHG-MMO-PR-1828 pr-sc04-set-113 sc04-set-MHG-MMO-PR-1830
sc04-set-MHG-MMO-PR-188 sc04-set-MHG-MMO-PR-189 sc04-set-MHG-MMO-PR-212
sc04-set-MHG-MMO-PR-1829 sc04-set-MHG-MMO-PR-1832 sc04-set-MHG-MMO-PR-1831
 sc04-set-MHG-MMO-PR-1857 sc04-set-MHG-MMO-PR-1855
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sc04-set-MHG-MMO-PR-1854 sc04-set-MHG-MMO-PR-1853
sc04-set-MHG-MMO-PR-1840 sc04-set-MHG-MMO-PR-1837 sc04-set-MHG-MMO-PR-1827
sc04-set-MHG-MMO-PR-2419 sc04-set-MHG-MMO-PR-277
sc04-set-MHG-MMO-PR-1839 sc04-set-MHG-MMO-PR-1838
sc04-set-MHG-MMO-PR-1826  sc04-set-MHG-MMO-PR-243  sc04-MHG-MMO-PR-2528 
sc04-MHG-MMO-PR-2529 sc04-MHG-MMO-PR-840 sc04-set-MHG-MMO-PR-1842
 sc04-set-MHG-MMO-PR-1841 sc04-MHG-MMO-PR-283 pr-sc04-set-112
sc04-set-MHG-MMO-PR-1858 sc04-set-MHG-MMO-PR-1859 sc04-set-MHG-MMO-PR-1860
sc04-set-MHG-MMO-PR-1833 sc04-set-MHG-MMO-PR-163 sc04-set-MHG-MMO-PR-246
sc04-set-MHG-MMO-PR-791a sc04-set-MHG-MMO-PR-795a sc04-set-MHG-MMO-PR-799
sc04-set-MHG-MMO-PR-1835  sc04-set-MHG-MMO-PR-208
sc04-set-MHG-MMO-PR-1834  sc04-set-MHG-MMO-PR-214
sc04-set-MHG-MMO-PR-2193 sc04-set-MHG-MMO-PR-292

- Olivier réalisateur
sc04-set-MHG-MMO-PR-1114  sc04-set-MHG-MMO-PR-1115
sc04-set-MHG-MMO-PR-1112 sc04-set-MHG-MMO-PR-1113 sc04-set-MHG-MMO-PR-1111
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sc04-set-MHG-MMO-PR-1803  
sc04-set-MHG-MMO-PR-1783 sc04-set-MHG-MMO-PR-571
sc04-set-MHG-MMO-PR-263 sc04-set-MHG-MMO-PR-2536 pr-sc04-set-img2324
sc04-set-MHG-MMO-PR-159 pr-sc04-set-Princ241
sc04-set-MHG-MMO-PR-314 sc04-set-MHG-MMO-PR-909 sc04-set-MHG-MMO-PR-2535
sc04-set-MHG-MMO-PR-2212 sc04-set-MHG-MMO-PR-1800 sc04-set-MHG-MMO-PR-574


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

02 juin 2014

Expo: MARILYN The Lost Photographs of a Hollywood Star

limited_runs_banner 

MARILYN: The Lost Photographs of a Hollywood Star
Article published on 26 May 2014
by Todd Klick
online on limitedruns

Limited Runs is pleased to announce the exclusive release MARILYN: The Lost Photographs of a Hollywood Star. The collection of fine art prints feature previously unavailable or unseen photographs of the Hollywood legend, taken by five fascinating lensmen who stepped into the icon’s life at the right place, and the right time. These uncovered images are offered for the first time as fine art prints. - See more at: http://www.limitedruns.com/blog/movie/marilyn-the-lost-photographs-of-a-hollywood-star/#sthash.q6HIf8pa.dpuf

Limited Runs is pleased to announce the exclusive release MARILYN: The Lost Photographs of a Hollywood Star. The collection of fine art prints feature previously unavailable or unseen photographs of the Hollywood legend, taken by five fascinating lensmen who stepped into the icon’s life at the right place, and the right time. These uncovered images are offered for the first time as fine art prints. 

The photographers featured:

limited-Whitey-Marilyn2Allan “Whitey” Snyder, born in California, started his career as an assistant make-up artist on the 1948 film, The Walls of Jericho. Later, he worked as head make-up artist on Rosemary’s Baby (1968), Little House on the Prairie (1981) and Highway to Heaven (1984). He was nominated twice for Primetime Emmy Awards for Outstanding Achievement in Make-Up, including one for Marilyn: The Untold Story. Assigned to do Miss Monroe’s make-up for her first Twentieth Century Fox screen test in 1946, Snyder went on to develop a close working relationship with Monroe, and became best known as her personal make-up artist. Towards the end of Monroe’s life, she asked Snyder to prepare her face if she were to die before him. He fulfilled that promise in 1962, and was a pallbearer at her funeral.

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Taken by Snyder in August 1953 while on location filming River of No Return with Robert Mitchum. Look Magazine sent a photographer to this photo shoot. Milton H. Greene was assigned to shoot the cover image when he met Marilyn for the first time. Milton sent Marilyn proofs from this first sitting and Marilyn responded by sending him two dozen roses and called to say “they were the most beautiful pictures she had ever seen” and asked Milton to be her official photographer. 

limited-Milton-GreeneMilton H. Greene was awarded a scholarship to Pratt Institute, but decided to pursue a photography career instead. In his early twenties, he became known as the “Color Photographer’s Wonder Boy.” His fashion shots appeared in Harper’s Bazaar and Vogue. He also photographed many high profile personalities in the ’50s and ’60s, including Frank Sinatra, Audrey Hepburn, Grace Kelly, Elizabeth Taylor, Judy Garland and numerous others. But it was Greene’s iconic images of Marilyn Monroe, as her official photographer, that changed the course of his career.

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On Sunday, April 15, 1956, with a day off during filming of Bus Stop, Marilyn and Milton held a photo shoot on the 20th Century-Fox backlot, officially known as the “Grey Fur” and “Gypsy” sittings.

limited-rayEmployed as a sound engineer for ABC television, Caesars Casino in Las Vegas, and Capitol Records, Lani Carlson worked with Frank Sinatra, Elvis Presley, Ann Margaret, and The Beatles.
Posing as a photographer for the Chicago Tribune, Lani talked his way into press parties and Academy Award celebrations where he photographed celebrities like Cary Grant, Elizabeth Taylor, Clark Cable, Fred Astaire, and Marilyn Monroe.

In 1960, United Artists hired the Reno, Nevada-based cinematographer, Thomas “Doc” Kaminski, to document the filming of The Misfits, starring Clark Gable, Montgomery Clift and Marilyn Monroe. While Kaminski filmed the making of the movie, he also shot stills of the actors on set, which he mailed to his family. Those private, unpublished photos, which gathered dust for over 40 years, captured a natural and relaxed Monroe, as well as her serious acting side.

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 Little is known about Los Angeles photographer, Mischa Pelz. However, after a Southern California earthquake revealed one of Pelz’s print boxes in the late photographer’s storage room, Pelz’s former assistant discovered lost photos of Marilyn Monroe that Pelz had shot one sunny afternoon in 1953—images of a burgeoning superstar the public has never seen. 

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> View the entire collection MARILYN: The Lost Photographs of a Hollywood Star

The collection will be available for public viewing starting in June with dates in Hollywood and San Francisco, and New York City in July with additional dates to follow in the fall.

The current dates of the exhibit are:

  • June 6, 2014 – Boulevard3, 6523 W. Sunset Blvd., Hollywood, CA 90028 (formerly the historic Hollywood Athletic Club)
  • June 19th through June 21st 2014 – Sarah Stocking Gallery, 368 Jackson Street, San Francisco, California 94111 (located in the heart of downtown San Francisco in historic Jackson Square)
  • July 22nd through July 26th 2014 – RASA TriBeCa Gallery, 37 Walker Street, New York, NY 10013

Posté par ginieland à 00:26 - - Commentaires [0] - Permalien [#]
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27 mai 2014

Stunning rare photos of Marilyn Monroe relaxing on movie sets

Some Like It Hot! Stunning rare photos of Marilyn Monroe relaxing on movie sets can be seen in new travelling exhibition
Article published on 26 May 2014
by Iona Kirby
online on dailymail.co.uk

More than 50 years after her death, fans of Marilyn Monroe can see rare and some never-before-seen photos of the actress in a new exhibition.
Taken between 1952 and 1956, the images give an intimate look at the star, capturing her vivacious nature and beautiful smile.
The photos can be viewed as part Limited Runs' collection and travelling exhibition, which launches in Los Angeles in June and will then go on to San Francisco and New York City.

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True beauty:
Marilyn Monroe is seen just before Gentlemen Prefer Blondes

in a rare photo from Limited Runs' Travelling Exhinition

One of the more recognisable images shows Marilyn just before 'Gentlemen Prefer Blondes', lounging around in a cream bikini and displaying her famously voluptuous and gorgeous figure.
A photo from the following year, 1953, has not been seen before and shows the iconic actress cuddling up to a horse.
In the snapshot Marilyn is wearing a low-cut frilly top and jeans, while on the set of 'The River of No Return'.

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Horsing around:
The actress cuddles up to a furry friend on set of The River Of No Return

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In her natural state:
One photo from the same movie set shows Marilyn

make-up free and dressed casually, which was rarely seen.

Another photo from the same film set shows the star in a very rare casual state with no make-up and her platinum locks unstyled, although she wears sunglasses over her bare face.
Marilyn is pictured alongside two black bears while dressed down in a grey jumper and baggy black trousers, but of course still looks stunning.
The 'Some Like It Hot' star relaxes against some rocks in front of a lake while wearing a grey pencil skirt, red top and matching lipstick in one of the shots, taken on set of 'Niagara' in upstate New York.

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Catching some sun:
The star rests on a rock in between takes for 'Niagara' in this gorgeous image
.

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Vivacious:
Marilyn's famous smile and gorgeous figure
can be seen in the pictures, such as this one from 1952

The more recent of the collection of images were taken on the snowy set of Bus Stop.
Marilyn is wrapped up warm in a grey fur coat and boater hat in one photo and a black coat and green scarf in another.
The star, whose real name was Norma Jeane Mortenson, was 36 when she died of a barbiturate overdose in 1962.

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Bundled up:
Marilyn wrapped up warm
in a grey fur coat while filming scenes for 'Bus Stop' in 1956
.

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Lights, camera, action:
The exhibition, which will travel from Los Angeles to San Francisco and New York,
contains another photo from the set of 'Bus Stop'.