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


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
juliens-mmauction2014-lot942a juliens-mmauction2014-lot942b
juliens-mmauction2014-lot942c 
juliens-mmauction2014-lot942d juliens-mmauction2014-lot942e
juliens-mmauction2014-lot942f juliens-mmauction2014-lot942g juliens-mmauction2014-lot942h
juliens-mmauction2014-lot942i juliens-mmauction2014-lot942j juliens-mmauction2014-lot942k
juliens-mmauction2014-lot942l juliens-mmauction2014-lot942m juliens-mmauction2014-lot942n
juliens-mmauction2014-lot942o juliens-mmauction2014-lot942p juliens-mmauction2014-lot942q
juliens-mmauction2014-lot942r juliens-mmauction2014-lot942s
juliens-mmauction2014-lot942t juliens-mmauction2014-lot942u juliens-mmauction2014-lot942v
juliens-mmauction2014-lot942w juliens-mmauction2014-lot942x juliens-mmauction2014-lot942y
juliens-mmauction2014-lot942z juliens-mmauction2014-lot942z1 juliens-mmauction2014-lot942z2
juliens-mmauction2014-lot942z3 juliens-mmauction2014-lot942z4 juliens-mmauction2014-lot942z5
juliens-mmauction2014-lot942z6 juliens-mmauction2014-lot942z7 juliens-mmauction2014-lot942z8
juliens-mmauction2014-lot942z9 juliens-mmauction2014-lot942z10 juliens-mmauction2014-lot942z11
juliens-mmauction2014-lot942z12 juliens-mmauction2014-lot942z13 juliens-mmauction2014-lot942z14


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
sc04-set-MHG-MMO-PR-2266a sc04-set-MHG-MMO-PR-2128

- 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
sc04-set-MHG-MMO-PR-240 sc04-set-MHG-MMO-PR-2418
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
sc04-set-MHG-MMO-PR-1110 sc04-set-MHG-MMO-PR-1106 sc04-set-MHG-MMO-PR-1116
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.

limited-AWS-009

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.

limited-Greene-0001

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.

limited-TJK-0002

 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. 

limited-AS-0006


> 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

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.

article-mm01
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'.

article-mm02
Horsing around:
The actress cuddles up to a furry friend on set of The River Of No Return

article-mm03
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.

article-mm04
Catching some sun:
The star rests on a rock in between takes for 'Niagara' in this gorgeous image
.

article-mm05
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.

article-mm06
Bundled up:
Marilyn wrapped up warm
in a grey fur coat while filming scenes for 'Bus Stop' in 1956
.

article-mm07
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'.

24 mai 2014

Sur le tournage de "The Prince and the Showgirl" 7

Le prince et la danseuse
Sur le tournage - scène 7 

> Photographies de Milton Greene
Photographs of Milton Greene

sc07-set-MHG-MMO-PR-1177 sc07-set-MHG-MMO-PR-1178 sc07-set-MHG-MMO-PR-1181
sc07-set-MHG-MMO-PR-1183 sc07-set-MHG-MMO-PR-1180 sc07-set-MHG-MMO-PR-1959

- Marilyn Monroe avec son maquilleur Whitey Snyder
sc07-set-MHG-MMO-PR-1505 sc07-set-MHG-MMO-PR-1507 sc07-set-MHG-MMO-PR-1483
sc07-set-MHG-MMO-PR-2325a  sc07-set-MHG-MMO-PR-2326a
sc07-set-mmmg090  sc07-set-MHG-MMO-PR-757  sc07-set-mmmg094 
sc07-set-H3257-L44539965  sc07-set-H3257-L44539963 
sc07-set-MHG-MMO-PR-1965  pr-sc07-set-PR_1965


> En répétition:

- Marilyn Monroe porte un peignoir blanc
sc07-set_reh-MHG-MMO-PR-2226  sc07-set_reh-mmmg105
sc07-set_reh-mmmg101 sc07-set_reh-mmmg106 sc07-set_reh-mmmg107
sc07-set_reh-MHG-MMO-PR-2622 pr-sc07-set-rehearsal-1

- Laurence Olivier porte un peignoir rayé
sc07-set_reh-MHG-MMO-PR-989 sc07-set_reh-MHG-MMO-PR-984
sc07-set_reh-MHG-MMO-PR-985 sc07-set_reh-MHG-MMO-PR-983
<
(avec Jeremy Spencer et Richard Wattis)


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

21 février 2014

5/08/1962 de Brentwood à la Morgue et Autopsie

Journée du dimanche 5 août 1962, au lendemain du décès de Marilyn Monroe.
Day of Sunday, August, 5, 1962, the day after the death of Marilyn Monroe.


 > à 4h25: Le Dr Hyman Engelberg (docteur généraliste de Marilyn) téléphone à la police (the West Los Angeles Police Station) pour dire que "Marilyn Monroe est morte. Elle s'est suicidée. Je suis chez elle."
at 4.25 am: Dr. Hyman Engelberg (Marilyn's doctor) calls the police (the West Los Angeles Police Station) to say "Marilyn Monroe died. She committed suicide. I'm at her home."


> à 4h30: les employés de l'agence de publicité d'Arthur Jacobs sont prévenus de la mort de Marilyn et décident de se retrouver à sa maison au Fifth Helena Drive. Michael Selsman se souvient: "C'était la panique, bien sûr. Les événements étaient déjà hors de contrôle, et là, elle était morte, la presse n'était pas contrainte de cacher ce qu'ils savaient, sauf, bien sûr, pour les choses sur Kennedy, qui sont apparues plus tard. Je repoussais les médias en disant que nous ne savions pas quelle était la cause de la mort, parce que nous ne le savions pas."
at 4.30 am: the employees of the advertising agency of Arthur Jacobs are notified of the death of Marilyn and decided to go to her home at Fifith Helena Drive. Michael Selsman remembers: "It was panic of course. Events were already out of control, and now she was dead the press didn't fell constrained to hide what they knew -except, of course, for the Kennedy stuff, which came later. I fended off the media by saying we didn't know what the cause of death was, because we didn't."


> à 4h40: Le sergent Jack Clemmons est le premier policier à arriver au domicile de Marilyn; il découvre Eunice Murray (la gouvernante) en train de faire le ménage, nettoyant la maison et mettant une lessive dans la machine à laver, avec d'autres linges propres pliés à côté, et les Dr Greenson et Engelberg dans la chambre avec le corps de Marilyn gisant dans son lit à plat ventre sous les draps: "Son corps avait été bougé. Marilyn était allongée sur le ventre dans ce que j'appelle la 'position du soldat'. Son visage était appuyé contre un oreiller, ses bras étaient sur les côtés, le bras droit légèrement plié, et ses jambes étaient parfaitement alignées, comme si elle prenait la pose pour des photos. J'avais l'impression d'arriver sur une scène de crime. J'étais déjà intervenu sur des scènes de suicides par barbituriques, et avant de mourir, les victimes font des convulsions, vomissent et leurs corps sont en distorsions. (...) Les boîtes de pillules posés sur la tablette avaient été clairement disposées en bon ordre et le corps délibérément repositionné. Tout semblait trop rangé."
at 4.40 am: Sergeant Jack Clemmons was the first police officer to arrive at the Marilyn' home, he discovers Eunice Murray (the housekeeper) doing housework, cleaning the house and putting a laundry in the washing machine, with other clean cloths folded side, and Dr. Greenson and Engelberg in the bedroom with Marilyn's body lying in bed face down under the sheets, "Her body seemed to have been moved. Marilyn was lying face down in what I call the soldier's position. Her face was in a pillow, her arms were by her side, her right arm was slightly bent, and her legs were stretched out perfectly straight, as if she were posing for pictures. It was the most obviously staged death scene I have ever seen. I had already seen scenes of suicides by barbiturates, and before dying, victims suffer convulsions and vomiting in a somewhat contorted position.. (...) The pill bottles on her bedside table had been arranged in neat order and the body deliberately positioned. It all looked too tidy".

> Chambre de Marilyn
1962-08-05-brentwood-bedroom-dead-1  1962-08-05-brentwood-bedroom-death_mm  1962-08-05-brentwood-bedroom-dead-2 
photographies de Dan Tompkins >>
1962-08-05-brentwood-bedroom-1-1  1962-08-05-brentwood-bedroom-1-2  1962-08-05-brentwood-bedroom-1-4 
1962-08-05-brentwood-bedroom-1-1a  1962-08-05-brentwood-bedroom-1-4a 
1962-08-05-brentwood-bedroom-1-5 
1962-08-05-brentwood-bedroom-2  1962-08-05-brentwood-bedroom-2a 

> Les boîtes de pillules sur la table de nuit
1962-08-05-brentwood-bedroom-bottles-1a  1962-08-05-brentwood-bedroom-bottles-1b 
1962-08-05-brentwood-bedroom-bottles-2a  1962-08-05-brentwood-bedroom-bottles-2c 
- photographies de Barry Feinstein >>
1962-08-05-brentwood-bedroom-bottles-3  1962-08-05-brentwood-bedroom-bottles-by_barry_feinstein-1 
1962-08-05-brentwood-bedroom-bottles-by_barry_feinstein-1a 
1962-08-05-brentwood-bedroom-bottles-by_barry_feinstein-2  1962-08-05-brentwood-bedroom-bottles-by_barry_feinstein-3 

> Le fil du téléphone passant sour la porte de la chambre
1962-08-05-brentwood-phone 


Arrivée de l'inspecteur Robert E. Byron, qui recueille les déclarations du Dr Greenson, du Dr Engelberg et de Eunice Murray. Il consigne dans son rapport officiel: "L'opinion de l'officier de police est que Mrs Murray était aussi vague et évasive que possible dans ses réponses aux questions concernant les activités de Miss Monroe avant sa mort."
Arrival of Inspector Robert E. Byron, whoh collects reports of Dr. Greenson, Dr. Engelberg and Eunice Murray. He writes in his official report: "The opinion of the police officer is that Mrs. Murray was vague and evasive as possible in her answers to questions about the activities of Miss Monroe before her death."


> Vers 5 h, le journaliste Joe Ramirez (qui travaillait pour la petite agence "City News") reçoit un appel lui annoncant le décès de Marilyn; mais l'information arrive trop tard pour paraître dans les journaux du jour.
> William "Bill" Woodfield (photographe) et Joe Hyams (correspondant au "New York Herald Tribune") se rendent ensemble chez Marilyn sitôt qu'ils apprennent la nouvelle.
Tout comme James Bacon (chroniqueur d'"Associated Press") qui racontera: "Je recourus à une vieille ruse; je me suis présenté devant un flic en prétendant que le bureau du coroner m'avait dépêché sur place. Je suis entré dans la maison mais ne suis pas resté longtemps, juste le temps pour la voir gisant sur son lit. Je remarquai que ses ongles étaient négligés."
Around 5 am, the journalist Joe Ramirez (who worked for the small agency "City News") receives a call announcing the death of Marilyn, but the information comes too late to appear in daily newspapers.
> William "Bill" Woodfield (photographer) and Joe Hyams (corresponding to the "New York Herald Tribune") go together at Marilyns soon as they hear the news.
Just as James Bacon (columnist of "Associated Press") that will tells: "I resorted to an old trick, I introduced myself to a cop claiming that the coroner's office had sent me there. I went into the home but did not stay long, just long enough to see lying her on bed. I noticed that his nails were overlooked."

Au Fifth Helena Drive, chez Marilyn, une foule de personnes se constitue peu à peu, s'agglutinant aux abords de la maison: des journalistes reporters de la télévision, de la radio, de la presse, des paparazzis, des camions et voitures obstruent la rue.
De nombreuses photographies sont prises autour de la maison: devant le patio, la chambre à travers la fenêtre, mais aussi le jardin, où l'on y voit deux animaux en peluche dans l'herbe devant la piscine; Marilyn avait reçu la veille (le 4 août), par colis, un tigre en peluche, dont on ne connait pas le destinataire.
At Fifth Helena Drive, at Marilyn's home, a crowd of people is gradually agglutinating near the house: journalists, reporters from television, radio, press, paparazzi, trucks and cars clog the street.
Many photographs are taken around the house: front patio, the bedroom through the window, but also the garden, where we see two stuffed animals in the grass in front of the pool; Marilyn had received the day before (August 4) per package, a stuffed tiger, which we don't know the recipient.

> Devant le portail de la maison de Marilyn
1962-08-05-brentwood-out-police-1  1962-08-05-brentwood-out-police_officers_newsmen-1  1962-08-05-brentwood-out-over_gate-1 

> Devant la maison
 1962-08-05-brentwood-out-newsmen-1 
- photographies de Lawrence Schiller >>
1962-08-05-brentwood-out-newsmen-2

> Dans le jardin, la piscine
1962-08-05-brentwood-outside-garden-1  1962-08-05-brentwood-outside-garden-2 
1962-08-05-brentwood-outside-garden-5  1962-08-05-brentwood-outside-garden-4  1962-08-05-brentwood-outside-garden-7 
- photographie de Dan Tompkins >>
1962-08-05-brentwood-outside-garden-6 1962-08-05-brentwood-outside-garden-3 1962-by_dan_tompkins-7baacecefce7fd6  
- photographie de Barry Feinstein >>
1962-08-05-brentwood-outside-garden-by_barry_feinstein 

 > La fenêtre de la chambre de Marilyn
dont le carreau a été cassé par le Dr. Engelberg
1962-08-05-brentwood-bedroom_window-1-1  1962-08-05-brentwood-bedroom_window-2-1  1962-08-05-brentwood-bedroom_window-2-1a 
1962-08-05-brentwood-bedroom_window-2-2  1962-08-05-brentwood-bedroom_window-3 
- photographies de Gene Anthony >>
1962-08-05-brentwood-bedroom_window-by_gene_anthony-1 
1962-08-05-brentwood-bedroom_window-by_gene_anthony-2  1962-08-05-brentwood-bedroom_window-by_gene_anthony-3 

> captures 
1962-08-05_cap-14  1962-08-05_cap-15  1962-08-05_cap-01 
1962-08-05_cap-02  1962-08-05_cap-03  1962-08-05_cap-17 


> Vers 5h10: Jack Clemmons est remplacé par un officier de police d'un grade supérieur (le chef de la police William Parker) pour mener l'enquête et ainsi, soumettre au silence Clemmons qui avait relevé plusieurs faits incohérents (Murray lui avait informé qu'elle avait découvert le corps à minuit, alors qu'elle affirmera par la suite avoir découvert le corps à 3h; d'après Clemmons, le décès devait remontait à environ 8 heures). Clemmons va ensuite appeler son collègue Jim Dougherty, le premier mari de Marilyn, pour l'informer du décès de celle-ci. 
Around 5.10 am: Jack Clemmons is replaced by a police officer of higher rank (the Chief policer William Parker) to investigate and thus submit to silence Clemmons who had identified several inconsistent facts (Murray had informed him she had discovered the body at midnight, while she will affirm after to have discovered the body at 3 am; for Clemmons, the death had occurred some 8 hours before). Clemmons will then call his colleague Jim Dougherty, the first husband of Marilyn, informing him of the Marilyn's death.

Arrivée de l'officier Don Marshall qui fouille la maison à la recherche d'un message attestant le suicide. Il interroge les plus proches voisins de Marilyn, Mr et Mrs Abe Landeau, qui déclarèrent n'avoir rien entendu de suspect pendant la nuit.
Arrival of the officer Don Marshall who search in the house a message stating suicide. He asks the nearest neighbors of Marilyn, Mr. and Mrs. Abe Landeau, who declared to have heard nothing suspicious during the night.


> L'envoyé du coroner, Guy Hockett constate que le décès "remonte à plusieurs heures. Elle était raide et il fallut près de 5 minutes pour la redresser. (...) Elle gisait, assez droite, dans une position semi-foetale. Ses cheveux, desséchés, étaient en très mauvais état à cause de tous ces traitements. Elle n'était pas très belle à voir, au point qu'on avait du mal à croire que c'était bien elle. On aurait dit une pauvre femme ordinaire qui venait de mourir. Pas de maquillage, les cheveux négligés sans mise en plis, un corps fatigué. Nous eûmes tous la même impression, à des degrés divers."
The representative of the coroner Guy Hocknett notes that the death "goes back several hours. She was stiff and it tooks about 5 minutes to recover her. (...) She lays quite right in a semi-fetal position. Her hair, dried, were in very poor condition because of all these treatments. She was not very nice to see, to the point that it was hard to believe it was really her. She seemed as a poor ordinary woman who had just died. No makeup, hair styling neglected, a tired body. We had all the same impression, to varying degrees."


> Vers 5h30: Patricia Newcomb arrive à la maison de Marilyn (elle racontera avoir été prévenue par téléphone à 4 h par Milton Rudin, l'avocat de Marilyn), provoquant une scène, en hurlant aux photographes: "Allez-y, mitraillez, vautours ! ... Espèces de buveurs de sang ! Vampires ! Ne pouvez-vous même pas la laisser mourir en paix ?"; Eunice Murray raconte que lorsque Pat Newcomb est arrivée, "il y avait tant de gens que personne ne l'a remarquée." Pat Newcomb se souvient que "il y avait plus de cinq personnes dans la maison" quand elle y est entrée; elle dit aussi ne pas avoir vu le corps de Marilyn. Elle restera quasiment tout le temps au téléphone, traitant des appels téléphoniques des médias du monde entier; elle racontera: "J'ai parlé à plus de 600 journalistes ce dimanche là. C'était mon travail de faire ce que je pouvais pour Marilyn."
Pat Newcomb était "hystérique" comme le dira Eunice Murray: "Même après que la police décida de fermer la maison, elle refusait toujours de partir. Il a fallu qu'on la fasse sortir."
Around 5.30 am: Patricia Newcomb arrives at Marilyn's home (she will tell to have been prevented by phone at 4 am by Milton Rudin, the Marilyn's lawyer), screaming to photographers: "Go ahead, shoot pictures, vultures ! ... Bloodthirsty Vampires ! Can't you even let her die in peace ?" Eunice Murray says that when Pat Newcomb arrived, "there were so many people that nobody noticed her." Pat Newcomb remembers that "there was more than five people in the house" when she comes in, she also says to don't have seen the Marilyn's body. She will stays almost the time on the phone, dealing with telephone calls from media around the world; she will tell later: "I spoke to over 600 journalists that Sunday. It was my job to do what I could for Marilyn."
Pat Newcomb was "hysterical" as Eunice Murray will tell: "Even after the police decided to close the house, she still refused to go. We had to make exit her. "


> Quand Allan Whitey Snyder, le maquilleur de Marilyn qui, dès qu'il apprend la triste nouvelle, se précipite chez Marilyn, il se fait renvoyer par un policier qui lui refuse l'accès à la maison. Il racontera "qu'il fallait que je voie de mes yeux ce qui était vraiment arrivé." Quand il remonte dans sa voiture et entend à la radio que "Marilyn est morte d'une overdose de barbituriques qu'elle s'est administrée", Snyder ne parvient pas à croire au suicide.
When Allan Whitey Snyder, Marilyn's makeup artist, who, when he learns the sad news, rushed to Marilyn's home, he gets fired by a policeman who refuses him the access to the house. He will tell "that I had set my eyes what really happened." When he goes back to his car and heard on the radio that "Marilyn died of an overdose of barbiturates that she administered herself" Snyder can not believe in suicide.

> Joe DiMaggio, qui est à San Francisco, apprend la nouvelle très tôt le matin. Il se rend immédiatement à Los Angeles, contacte son fils Joe Jr. qui se trouve au camp Pendleton, et se réfugie avec deux de ses amis dans la suite 1035 du Miramar Hotel. Il refuse de faire la moindre déclaration à la presse et reste enfermé dans sa chambre d'hôtel. Son ami Harry Hall racontera que Joe pleurait sans consulter les nombreux télégrammes reçus: "Il considérait Bobby Kennedy comme responsable de sa mort."
Personne ne réclame le corps de Marilyn et le coroner ne peut délivrer le corps qu'avec l'autorisation d'un membre de la famille: sa mère en est incapable, et sa demie-soeur Berniece, contactée par télégramme, donne sa permission à Joe DiMaggio de s'occuper des funérailles.
Joe DiMaggio, who is in San Francisco, heards the news early in the morning. He immediately goes to Los Angeles, contacts his son Joe Jr. who is at Camp Pendleton, and stays with two of his friends in the suite 1035 of the Miramar Hotel. He refuses to make any statement to the press and remains locked in his hotel room. His friend Harry Hall tells that Joe was crying without consulting the many telegrams he received: "He considered Bobby Kennedy as responsible for her death."
Nobody claims the body of Marilyn and the coroner may not issue a body with the authority of a member of the family: her mother is unable to act, and her half-sister Berniece, contacted by telegram, gives permission to Joe DiMaggio to arrange the funeral.

> Peter Lawford est chez lui à L.A. Il est en état de choc, hagard, en larmes, terrassé, répétant sans cesse qu'il était la dernière personne à avoir parlé à Marilyn (au téléphone). Sa mère, Lady May, surnommée "Lady L." le contacte par téléphone quand elle apprend la nouvelle, et elle reproche à son fils de ne pas être allé chez Marilyn, quand cette dernière appela Peter. Puis quand Rupert Allan téléphone à Lawford, il a au bout du fil un homme hors de lui, furieux, aux propos incompréhensibles, entrecoupés de sanglots.
Peter Lawford is at his home L.A. He is in shock, distraught, in tears, overwhelmed, constantly repeating that he was the last person to have spoken to Marilyn (on the phone). His mother, Lady May, named "Lady L." calls him when she heards the news, and she blames her son to don't have gone to Marilyn's home, when she called Peter. Then, when Rupert Allan phone Lawford, he has on the phone a man out of him, furious, with incomprehensible words, interspersed with sobs.

> Dans la propriété des Kennedy sur la côte Est où la famille est réunie autour de la piscine, la nouvelle de la mort de Marilyn passe à la radio: ce fut le silence total. Pat Kennedy Lawford s'effondre en larmes.
In the property of the Kennedys on the East Coast where the family gathered around the pool, the news of the death of Marilyn is broadcoast on the radio: it was a full silence. Pat Kennedy Lawford collapses in tears.

> A peine à 6 km de chez Marilyn, Jayne Mansfield apprend la nouvelle chez elle dans sa maison du Pink Palace; elle devient hystérique et pleure beaucoup, serrant son assistant Ray Strait: "Je suis peut être la prochaine sur la liste." (Jayne était aussi la maîtresse des frères Kennedy).
At Just 6 km from Marilyn's home, Jayne Mansfield heards the news at her Pink Palace home; she becomes hysterical and crying a lot, shaking his assistant Ray Strait: "I may be next on the list." (Jayne was also the mistress of the Kennedy brothers).


> à 7h30: Les hommes du coroner, accompagnés de Guy Hockett (propriétaire du Westwood Memorial Park Cemetery), emportent le corps de Marilyn, dissimulé sous une couverture bleue ordinaire, sur un chariot, et le chargent à bord d'un vieux break, qu'ils conduisent au dépôt mortuaire de Westwood Village, où sa dépouille reste quelques heures dans un réduit encombré de brosses et de bocaux où le photographe Bud Gray du "Herald Examiner" fait un cliché de sa dépouille enveloppée. 
At 7.30 am: Coroner's men, accompanied by Guy Hockett (owner of Westwood Memorial Park Cemetery) outweigh Marilyn's body, hidden under an ordinary blue blanket on a cart, and charge her on an old break that they drive to the mortuary Westwood Village, where she remains few hours in a small room crowded by brushes and jars.

> Départ du corps de Marilyn de sa maison 
1962-08-05-brentwood-out-mm_body-1

> Arrivée du corps de Marilyn à Westwood Village 
1962-08-05-westwood-body_arrival-1  1962-08-05-westwood-body_arrival-2  1962-08-05-westwood-body_arrival-3 

- photographies de Lawrence Schiller >>
1962-08-05-westwood-body_arrival-4 
1962-08-05-westwood-body_arrival-by_schiller-1 

 - photographie de Bud Gray >>
1962-08-05-mortuary-by_bud_gray 

> Au cimetière de Westwood, tombe de Grace Goddard
1962-08-05-westwood-journalists-2  1962-08-05-westwood-journalists-1  1962-08-05-westwood-journalists-3 

> captures
1962-08-05_cap-09  1962-08-05_cap-10  1962-08-05_cap-13 


 > Marilyn est ensuite transportée dans la case 33 de la County Morgue, au palais de justice de Los Angeles. Son numéro de dossier du coroner est le 81128.
Un photographe parvient à s'introduire dans la morgue: Leigh Wiener, qui enverra ses photographies au magazine Life, parvient à prendre de nombreux clichés en échange de bouteilles de whisky offertes aux employés: un employé ouvre la porte en acier inoxydable et tire l'étagère coulissante où repose la dépouille de Marilyn. Wiener la mitraille, couverte et découverte (il aurait pris 6 clichés de Marilyn morte).
Marilyn is then transported in box 33 of the County Morgue of Los Angeles. Her coroner file number is 81128.
Two photographers manage to get into the mortuary: Bud Gray of "Herald Examiner" takes a snapshot of his body wrapped; and Leigh Wiener, who will send his photographs to "Life" magazine, manages to take many pictures in exchange for whiskey bottles offered to employees: an employee opens the stainless steel door and pulls the sliding shelf where the body of Marilyn remains. Wiener shoots pictures of Marilyn with covered and uncovered (he would take 6 shots of Marilyn dead).

> Départ du corps de Marilyn de Westwood Village
1962-08-05-westwood-body_removed_to_mortuary-1-1  1962-08-05-westwood-body_removed_to_mortuary-4 
1962-08-05-westwood-body_removed_to_mortuary-1-2  1962-08-05-westwood-body_removed_to_mortuary-3  1962-08-05-westwood-body_removed_to_mortuary-2 
1962-08-05-westwood-body_removed_to_mortuary-2a  1962-08-05-westwood-body_removed_to_mortuary-2-press1  1962-08-05-westwood-body_removed_to_mortuary-2-press2 
1962-08-05-westwood-body_removed_to_mortuary-4-2  1962-08-05-westwood-body_removed_to_mortuary-5a  1962-08-05-westwood-body_removed_to_mortuary-5
1962-08-05-westwood-body_removed_to_mortuary-6-1  1962-08-05-westwood-body_removed_to_mortuary-6-2  1962-08-05-westwood-body_removed_to_mortuary-7 
1962-08-05-westwood-body_removed_to_mortuary-8

> County Morgue de L.A., le casier 33
1962-08-05-mortuary-01-1 
1962-08-05-mortuary-01-2 
1962-08-05-mortuary-01-3  1962-08-05-mortuary-01-4 
1962-08-05-mortuary-01-5   1962-08-05-mortuary-02-2   1962-08-05-mortuary-02-1  
1962-08-05-mortuary-LA_county_morgue-1 

- photographies de Leigh Wiener >>
1962-08-05-mortuary-by_leigh_weiner-2-1  1962-08-05-mortuary-by_leigh_weiner-2-2  1962-08-05-mortuary-by_leigh_weiner-2-3 
1962-08-05-mortuary-by_leigh_weiner-1   

> captures
1962-08-05_cap-11  1962-08-05_cap-12


> à 10h30: Début de l'autopsie, dans une salle sans fenêtres des sous-sols du palais de justice de L.A., sur la table 1, équipée d'un système d'arrivée d'eau et d'évacuation, et d'une balance. Le médecin légiste est Thomas Noguchi, assisté de Eddy Day, en présence de John Miner, observateur du District Attorney.
At 10.30 am: Beginning of the autopsy, in a windowless room of the County Morgue of L.A., on the table 1, equipped with a water inlet and exhausted system, and a balance. The medical examiner is Thomas Noguchi, assisted by Eddy Day, in the presence of John Miner, observer of District Attorney.
(> Lire le rapport d'autopsie < read the autopsy report)

> Avant l'autopsie: Photo post-mortem 1 
(Avertissement: image choquante de Marilyn morte)

La photographie post-mortem du dossier de police montre Marilyn avec un visage flasque, enflé, les cheveux plats et raides mais précisons que les muscles de son visage ont été sectionnés pendant l'ablation du cerveau et qu'après l'autopsie, sa dépouille a été lavée à grandes eaux. 
The post-mortem photograph of the police report shows Marilyn with a flange face, swollen, flat and straight hair but let's specify that the muscles of her face were severed during removal of the brain and after the autopsy, her body was washed with plenty of water.

> Après l'autopsie: Photo post-mortem 2
(Avertissement: image choquante de Marilyn morte)

> Retour du corps à Westwood Village après l'autopsie
1962-08-05-westwood-body_back_after_autopsy-7-1

- photographies de Bud Gray >>
1962-08-05-westwood-body_back_after_autopsy-1-1  1962-08-05-westwood-body_back_after_autopsy-2-1  1962-08-05-westwood-body_back_after_autopsy-3-1 
1962-08-05-westwood-body_back_after_autopsy-4-1  1962-08-05-westwood-body_back_after_autopsy-4-2  1962-08-05-westwood-body_back_after_autopsy-5-1 

- Guy Hockett conduit la voiture >>
1962-08-05-westwood-body_back_after_autopsy-guy_hockett 

> captures
1962-08-05_cap-04  1962-08-05_cap-05 


> Vers 11h: premier rapport de police établi (complété ensuite le lendemain).
Around 11 am: the first police report is established (then completed the next day).
(> Lire le rapport de police < read the police report)


> à 11h, Ralph Greenson et Milton Rudin font monter Pat Newcomb dans la voiture d'Eunice Murray; les reporters se précipitent devant la voiture dans la petite impasse et un journaliste de NBC News demande à Pat comment elle se sent, ce à quoi, elle lui répond, en larmes: "Si votre meilleur ami venait de se tuer, qu'éprouveriez-vous ? que feriez-vous ?".
A ce moment là, la maison était remplie de monde: les policiers, Arthur Jacobs, trois gardes du service de sécurité de la Fox envoyés par Peter Levathes, le technicien du General Telephone (qui coupera les lignes le jour même), les journalistes James Bacon et James A. Hudson de United Press International, mais aussi quatre hommes en noir (dont certains pensent qu'il pourrait s'agir d'agents du FBI ou de la CIA). 
At 11 am, Ralph Greenson and Milton Rudin drive up Pat Newcomb in Eunice Murray's car; reporters rushed to the car and an NBC News reporter asks to Pat how she feels, and she replied in tears: "If your best friend just came to kill, how would you feel ? What would you do ?".
At that time, the house was full of people: policemen, Arthur Jacobs, three guards of the security service of the Fox sent by Peter Levathes, the General Telephone technician (who cut the lines the same day), journalists as James Bacon and James A. Hudson of United Press International, but also four men in black (some people think it might be men from FBI or CIA).

> On emmène Maf, le chien de Marilyn
1962-08-05-brentwood-maf-1-2  1962-08-05-brentwood-maf-1-1 
1962-08-05-brentwood-maf-2  1962-08-05-brentwood-maf-3  
- photographie de Dan Tompkins >>
1962-by_dan_tompkins-bcb3a205997e61d 

- Milton Rudin (à gauche) >>
1962-08-05-brentwood-maf_milton_rudin 

> Eunice Murray et son gendre Norman Jefferies
- photographies de Dan Tompkins
1962-08-05-brentwood-eunice_murray-1  1962-08-05-brentwood-eunice_murray_norma_jeffries-3-2  1962-08-05-brentwood-eunice_murray_norma_jeffries-2 
1962-08-05-brentwood-eunice_murray_norma_jeffries-1  1962-08-05-brentwood-eunice_murray_norma_jeffries-3-1  1962-08-05-brentwood-eunice_murray_norma_jeffries-3-1a 

> Départ de Patricia Newcomb
- photographies de Dan Tompkins
1962-08-05-brentwood-pat_newcomb-1  1962-08-05-brentwood-pat_newcomb-2  1962-08-05-brentwood-pat_newcomb-4 
1962-08-05-brentwood-pat_newcomb-3 
- Pat avec Norman Jefferies
1962-08-05-brentwood-pat_newcomb-5 
- Un journaliste interpelle Pat
1962-08-05-brentwood-pat_newcomb-6 

> captures
1962-08-05_cap-18  1962-08-05_cap-19  1962-08-05_cap-20 
1962-08-05_cap-21  1962-08-05_cap-22  1962-08-05_cap-23


> peu avant 12h00: Hazel Washington (femme de chambre de Marilyn) et son mari Rocky (policier de Los Angeles) arrivent à la maison pour récupérer des tables et chaises prêtées à Marilyn en février, car la maison serait ensuite fermée. Mrs Washington va remarquer un des hommes en noir brûler des documents dans la cheminée: des blocs-notes de Marilyn, des papiers de la Fox, des pages d'agenda, des bandes de magnétophones. Les serrures de classeur avait été forcées et les tiroirs vidés.
Avant de partir, Mrs Washington remarque que les gardes du studio de la Fox avaient investi toute la maison et de voir Frank Neill et trois autres attachés à la publicité de s'emparer de tous les documents relatifs à la Fox (notamment le nouveau contrat de négociation et de réintégration de Marilyn à la Fox avec la reprise du tournage de Something's got to give ont disparu).
Les hommes en noir ont même vérifié le contenu de la voiture de Hazel et Rocky avant leur départ.
Cependant, ces allégations affirmant que des papiers ont été détruits ont été formellement démenties par les officiers de police présents sur les lieux toute la journée. Néanmoins, il est indiscutable que des personnes sont parvenues à emporter des documents, tel que le confirme l'auteur Donald Spoto qui consultera des papiers acquis lors de la succession d'Inez Melson.
shortly before 12.00 am: Hazel Washington (Marilyn's maid) and husband Rocky (Los Angeles' policeman) arrive at Marilyn's home to retrieve tables and chairs lent to Marilyn in February, as the house would then be closed. Mrs. Washington notices one of the men in black burn papers in the fireplace: Marilyn's notebooks, Twentieth Century Fox 'papers, calendar pages, strips of tapes. The locks of workbooks had been forced and the drawers were emptied.
Before leaving, Mrs. Washington notes that guards from Fox Studios had invested the house and she sees Frank Neill and three others guy from publicity department to take all documents relating to the Fox (including the new contract with negotiation and reintegration of Marilyn to the Fox Studios with the resumption of filming 'Something's got to Give' which have disappeared ) .
Men in black have even checked the content of the car of Hazel and Rocky before they leave.
However, these allegations stating that the papers were destroyed, have been formally denied by the police officers who were present all the day. Nevertheless, it is indisputable that some people were able to take documents, as confirmed by the author Donald Spoto who will consult papers acquired in succession of Inez Melson.


> La police met la maison de Fifth Helena Drive sous scellés.
Police put the house of Fifth Helena Drive sealed.

> La police pose les scellés sur la porte
1962-08-05-brentwood-out-police_seal_after_body_removed-1  1962-08-05-brentwood-out-police_seal_after_body_removed-1d 
1962-08-05-brentwood-out-police_seal_after_body_removed-1b  1962-08-05-brentwood-out-police_seal_after_body_removed-1c 
1962-08-05-brentwood-out-police_seal_after_body_removed-2  1962-08-05-brentwood-out-police_seal_after_body_removed-3  1962-08-05-brentwood-out-police_seal_after_body_removed-4
- photographie de Dan Tompkins >>
1962-by_dan_tompkins-b417e84956d8a27  1962-08-05-brentwood-out-police_seal_after_body_removed-1d 

> captures
1962-08-05_cap-06  1962-08-05_cap-07  1962-08-05_cap-08 


Des gens se réunissent devant le Grauman's Chinese Theatre de Los Angeles et déposent des fleurs devant la plaque où Marilyn Monroe avait laissé ses empreintes (le 26 juin 1953).
People meet in front of the Grauman's Chinese Theatre in Los Angeles and lay flowers in front of the foot and hans prints left by Marilyn Monroe (in June, 26, 1953).

1962-08-05-graumans_chinese_theatre-crowd 

- photographie de Gene Anthony >>
1962-08-05-graumans_chinese_theatre-by_gene_anthony


L'information de la mort de Marilyn Monroe défile sur les panneaux lumineux du New York Times sur Times Square à Manhattan, New York.
The news of the Marilyn Monroe's death scrolls on the light panels on the New York Times building in Times Square in Manhattan, New York City.

1962-08-05-ny-times_square-ny_times_building-1  1962-08-05-ny-times_square-ny_times_building-2 


VIDEOS

> News USA

> Divers extraits

> Eunice Murray, Norman Jefferies, Pat Newcomb et Maf


> Original du certificat de décès
1962-08-05-certificate_of_death-1  1962-08-05-certificate_of_death-1a 


Les réactions des proches de Marilyn recueillies par les journalistes:

  • James Dougherty: "Je suis atterré". Quand son collègue Jack Clemmons lui apprend la nouvelle, Dougherty se tourne vers sa femme et lui dit: "Fais une prière pour Norma Jeane. Elle est morte."
  • Arthur Miller, à Paris avec sa nouvelle femme Inge Morath, refuse de s'exprimer publiquement, sans doute étant trop bouleversé. A l'un de ses proches, il aurait dit: "Il fallait bien que ça arrive. Je ne savais ni quand, ni comment, mais c'était inévitable."
  • Isadore Miller (père d'Arthur): "Elle était comme ma propre fille. Elle était une fille gentille et bonne. Je suis tellement désolé, je n'étais pas là pour être avec elle. Elle a du se sentir vraiment seule et effrayée."
  • Billy Wilder, interviewé à sa descente d'avion par des journalistes qui ne le tiennent pas au courant, ne dit que des banalités sur Marilyn. Il apprendra la nouvelle dans le taxi qui l'amenait à l'hôtel.
  • Joshua Logan: "Marilyn était l'une des personnes les plus sous-estimées de la terre !"
  • Paula Strasberg: "Marilyn était une actrice comme il n'en existe aucune autre."
  • Milton et Amy Greene sont à Paris et apprennent la nouvelle par téléphone à leur hôtel. Ils sont bouleversés (avant leur départ, après un mauvais pressentiment, Amy avait incité Milton à contacter Marilyn, qui semblait heureuse et leur avait assurer que tout allait bien).
  • Frank Sinatra se dit "profondément affligé (...) Elle va beaucoup me manquer." George Jacobs, son domestique, racontera que "Il demeura dans une sorte d'état de choc pendant des semaines après la mort de Marilyn, profondément angoissé."
  • Kay Gable (veuve de Clark Gable) apprend la nouvelle au flash d'information à 7 heures: "Je suis allée à la messe, j'ai prié pour elle."
  • La famille Greenson se dit "accablée de chagrin". Le Dr. Greenson rencontre DiMaggio et les deux hommes se serrent dans les bras, se consolant l'un et l'autre.
  • Peter Lawford: "Pat et moi l'aimions profondément. C'est probablement l'un des êtres humains les plus merveilleux et les plus chaleureux que j'ai connus. Tout ce que je pourrais dire d'autre serait superflu."
  • L'Osservatore Romano du Vatican: "Elle a été la victime d'une mentalité et d'un mode de vie dont on l'a forcée à être le symbole. Sa mort transcende les limites d'une tragédie personnelle pour atteindre un retentissement universel." 

sources:
Marilyn Monroe, encyclopédie d'Adam Victor
Les vies secrètes de Marilyn Monroe
, d'Anthony Summers

Marilyn Monroe, biographie de Barbara Leaming
Marilyn Monroe, Private and Undisclosed, de Michelle Morgan
Marilyn, Histoire d'un assassinat, de Brown et Barham


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

Enregistrer