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Divine Marilyn Monroe
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DIVINE MARILYN

Marilyn Monroe
1926 - 1962

BLOG-GIF-MM-BS-1 

Identités

Norma Jeane Mortenson
Norma Jeane Baker
Norma Jeane Dougherty
Marilyn Monroe
Marilyn DiMaggio
Marilyn Miller
Jean Norman
Mona Monroe
Zelda Zonk

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10 juillet 2016

45 things you didn't know about Marilyn Monroe

telegraph_logo

 45 things you didn't know about Marilyn Monroe
published on June, 1st, 2016
by Horatia Harrod - online Telegraph

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Norma Jeane Mortenson - better known as Marilyn Monroe 

1. Marilyn was relatively poorly paid. Jane Russell was paid around 10 times as much as Marilyn when they co-starred in Gentlemen Prefer Blondes. Her salary for her final unfinished film, Something’s Got to Give, was $100,000. Compare that with Elizabeth Taylor, who was getting a million dollars for Cleopatra; or even Marilyn’s co-star in the film, Dean Martin, who was on $500,000. Today, her estate makes around five million dollars a year.

2. But she died having become a million-dollar movie star. In 1962 she was fired by Twentieth-Century Fox from the production of Something’s Got to Give because of her chronic lateness and no-shows (she didn’t appear for the first two weeks of filming). But on August 1, four days before her death, she was rehired by Fox on a $1million, two-picture deal.

3. She found it almost impossible to learn lines, and took 60 takes to deliver the line “It’s me, Sugar”, in Some Like it Hot.

4. She was Playboy’s first Sweetheart (later Playmate) of the Month, in 1953. Marilyn had been paid $50 to model for the picture in 1949; Hugh Hefner bought it for $500.

5. Several of the burial vaults near to Marilyn’s have been put on sale. When Elsie Poncher, the widow of the man in the vault above Marilyn’s, put his space up for sale on eBay, she received dozens of bids, including one for £2.8million.

6. Hugh Hefner owns the burial vault next to Marilyn at the Westwood Memorial Park in Los Angeles. He bought it in 1992 for £50,000.

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Marilyn Monroe on the cover of the first issue of 'Playboy'

7. She went by many names. On her birth certificate she is Norma Jeane Mortenson; she was baptised Norma Jeane Baker; she modelled under the names Jean Norman and Mona Monroe; her initial idea for a screen name was Jean Adair; she signed into hotels as Zelda Zonk and into a psychiatric clinic as Faye Miller. She only legally changed her name to Marilyn Monroe in March 1956, when she was already a star.

8. She was placed with 11 sets of foster parents after her mother, Gladys, was institutionalised. She also spent almost a year in the Children’s Aid Society Orphanage in Los Angeles.

9. Goya was her favourite artist: “I know this man very well, we have the same dreams, I have had the same dreams since I was a child.”

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Marilyn Monroe poses over the updraft of a New York subway grating
during a photo session to promote the film The Seven Year Itch in September 1954
Credit: Matty Zimmerman 

10. Marilyn became a Christian Scientist at the age of 18; later in her life she dabbled in alternative spiritualities, including Anthroposophy, the philosophy espoused by Rudolf Steiner. She converted to Judaism before her 1956 marriage to Arthur Miller.

11. Her weight went up and down so dramatically during the filming of The Prince and the Showgirl that the costume designer, Beatrice Dawson, had to create facsimile dresses in different sizes. “I have two ulcers from this film,” she said, “and they’re both monogrammed MM.”

12. She was rarely without an acting coach. Her first, Natasha Lytess, worked with her for six years and 22 films, clashing with directors, whose authority she challenged, and studio heads, who paid her bills. (Marilyn also paid her a wage – and settled her £11,000 debt at the dentist.)
Later, Paula Strasberg took Lytess’s role; unlike Lytess, who tried to direct Marilyn’s every movement from behind the camera, Strasberg was consulted between takes. To coach Marilyn in The Prince and the Showgirl, she was paid $25,000 – as much as some of the featured actors were getting.

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Marilyn Monroe and Laurence Olivier on the set of The Prince and the Showgirl

13. For 20 years after Marilyn’s death, Joe DiMaggio arranged to have roses sent to her crypt three times a week.

14. In January 2011, Authentic Brand Groups bought the licensing rights to the Marilyn Monroe estate, for a price in the range of $30million. “On the media and entertainment side,” said the company’s chief executive, Jamie Salter, “I think she’s got a career in front of her, just based on technology.

15. At the 1999 auction of Marilyn’s effects, her white baby grand piano was bought by Mariah Carey, the singer, for $662,500. (The estimate had been $10,000-$15,000.) The piano had been bought by Marilyn’s mother, and sold after she had her breakdown, but Marilyn eventually found it and bought it back, keeping it with her until her death.

16. There was an open casket at her funeral. She wore an apple green Pucci sheath dress made of nylon jersey and a platinum wig (her head had been partially shaved during the autopsy).

17. She was thought to have been planning to remarry Joe DiMaggio at the time of her death. After the failure of their marriage, DiMaggio had undergone therapy, stopped drinking alcohol and expanded his interests beyond baseball: he and Marilyn read poetry together in these later years.

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Marilyn Monroe and Joe DiMaggio Credit: Reuters 

18. Marilyn’s beaded Jean Louis gown, worn when she sang Happy Birthday to President Kennedy, was sold in 1999 for £820,000. At the time it was the record price for a single item of clothing, until Marilyn’s billowing white Seven Year Itch dress was put up for sale by Debbie Reynolds in 2011, where it made £2.8 million.

19. Marilyn owned many dogs during her life; her last was a Maltese terrier given to her by Frank Sinatra, which she named Maf (short for Mafia Honey). At the Christie’s sale in 1999, two Polaroids of Maf sold for £220,000.

20. Marilyn left 75 per cent of her estate to the Strasbergs; eventually this fell to Anna Strasberg, Lee Strasberg’s third wife. She vetoes the use of all images in which Marilyn wears fur, citing Marilyn’s love of animals as a reason.

21. The Anna Freud Centre, a child therapy clinic in Hampstead, north London, owns the remaining 25 per cent of Marilyn Monroe’s estate. The centre was left its share by Dr Marianne Kris, one of Marilyn’s therapists, and the original beneficiary of her will.

22. Before her marriages to Joe DiMaggio and Arthur Miller, Marilyn was married to James Dougherty. She was 16 when they tied the knot. Dougherty, who later became a detective in the LAPD, was forbidden by his second wife from going to see any of Marilyn’s films.

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 Marilyn Monroe with her first husband, James Dougherty Credit: EPA

23. Marilyn whitened her skin with hormone cream, one side effect of which was to encourage the growth of blonde down on her face; Marilyn would not remove this peach fuzz, believing that it gave her face a soft glow on camera.

24. She was never nominated for an Academy Award, but she was voted the “Oomph Girl” at Emerson Junior High in 1941; crowned Castroville’s first Artichoke Queen in 1948; and was Stars and Stripes magazine’s Miss Cheesecake of 1950.

25. She was named “The Most Advertised Girl in the World” by the Advertising Association of the West in 1953. Among the brands she represented were American Airlines, Kyron Way Diet Pills, Pabst Beer, Tan-Tan Suntan Lotion and Royal Triton Oil.

26. In 1950, Johnny Hyde, her agent, paid for her to have two plastic surgeries: a tip rhinoplasty (reshaping the soft cartilage at the end of her nose); and a chin implant.

27. She was an early devotee of yoga, and was taught by Indra Devi, a Swedish-Russian Bollywood film star who also taught Greta Garbo and Gloria Swanson.

28. Marilyn’s intervention got Ella Fitzgerald her first major engagement at a Los Angeles nightclub. In 1955 the colour bar was still in force, but Marilyn convinced the management to let Fitzgerald play by promising to sit in the front row for a week.

29. Marilyn was only the second woman to head her own production company (Mary Pickford was the first).

30. Marilyn had a fixation on Clark Gable, her co-star in The Misfits; as a young girl, Marilyn dreamed that he was her father. When he died, she said that she cried for two days.

31. She preferred to go naked. Among female studio employees – wardrobe mistresses, hairdressers, make-up artists – she often went without clothes. She gave interviews in the nude and often went out wearing nothing under the black mink that Joe DiMaggio had given her.

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Montgomery Clift, Marilyn Monroe and Clark Gable, stars of 'The Misfits' Credit: AP 

32. Writers loved her. Jean-Paul Sartre wanted her to play the role of a hysterical patient in the film Freud, for which he wrote the first draft of a screenplay; she was Truman Capote’s first choice for the part of Holly Golightly in Breakfast at Tiffany’s.

33. Marilyn’s death was ruled a “probable suicide”, but toxicology tests were only carried out on her liver. When the deputy coroner, Thomas Noguchi, tried to obtain her other organs for testing, he was told they’d been destroyed.

34. Veronica Hamel, an actress, bought Marilyn’s house in 1972. She claimed that when she was renovating the house she discovered an extensive system of wire-taps.

35. Marilyn’s hero was Abraham Lincoln: “I used to read everything I could find about him,” she wrote in her (ghosted) autobiography, My Story. “He was the only famous American who seemed most like me, at least in his childhood.

36. The books she was reading at the time of her death were Harper Lee’s To Kill a Mockingbird and Captain Newman MD, a novel by Leo Rosten based on the life of Monroe’s psychiatrist, Ralph Greenson.

37. Two men claimed paternity of Marilyn on their deathbeds: C Stanley Gifford, who both Marilyn and her mother believed was her father, but who refused to meet Marilyn when she was alive; and Edward Mortensen, who was married to her mother at the time of her birth, and whose (misspelled) surname appears on her birth certificate.

38. She was athletic. As a young married woman on Catalina Island in the early Forties, she studied weightlifting with a former Olympic champion named Howard Corrington. She later went tandem surfing with a boyfriend, Tommy Zahn, balancing on his shoulders as they cut through the waves.

39. She was a talented producer. Marilyn Monroe Productions, which she formed in 1955 with Milton Greene, the photographer, only solely produced one film, The Prince and the Showgirl. Marilyn showed her nous in winning the script: she managed to wangle a meeting with the writer, Terence Rattigan, in New York, where he was stopping over en route to Hollywood to discuss the script with the director William Wyler, luring him from the airport to a downtown bar. When Wyler failed to make him a concrete offer, Rattigan went with Monroe.

40. Many of her friends believed she was murdered. Among the potential suspects: Robert Kennedy (with whom she had had an affair); John F Kennedy (ditto); mafioso Sam Giancana; the FBI; the CIA; her psychiatrist, Ralph Greenson.

41. During the filming of Let’s Make Love, Marilyn’s no-shows added 28 days to the shooting time and $1 million to the budget.

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Allan 'Whitey' Snyder applying Marilyn Monroe's makeup
on the set of 'Let's Make Love' Credit: AP

42. Her career in front of the camera began when she was discovered working on the assembly line at Radioplane, a munitions factory, by a photographer called David Conover.

43. Arthur Miller’s play After the Fall is generally thought to be a thinly veiled portrayal of his marriage to Marilyn. The writer James Baldwin walked out of the play because he thought that “Maggie”, the Monroe character, was written so cruelly.

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 Marilyn Monroe with then-husband Arthur Miller in July 1956 Credit: AP

44. She only owned one home by herself: the house she died in at 12305 Fifth Helena Drive, Brentwood.

45. When she met Nikita Khrushchev, they discussed The Brothers Karamazov. She dreamed of playing the part of Grushenka in a film of the book.

1 novembre 2016

Marilyn Monroe Auction - 11/2016 - docs papiers 1


Documents papiers - Vie Privée
Papers documents - Private Life


Lot 1: MARILYN MONROE HANDWRITTEN POSTCARD
 A Beverly Hills Hotel postcard in Marilyn Monroe's handwriting, sent to Ralph Roberts in May 1961. Monroe wrote, "Dear Raffe, See I did write! I have a surprise for you and I'm not pregnant either. XOXO Love, M." Accompanied by a copy of a letter from Roberts.
3½ by 5½ inches
PROVENANCE: Partial Lot 334, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $1,000 - $2,000

245009_0  245010_0  


Lot 17: MARILYN MONROE ARTHUR MILLER SIGNED MOCK-UP TITLE PAGE
 A mock-up title page from Arthur Miller's collected plays, The Viking Press, New York, 1957, with printed dedication reading "For Marilyn" and signed by Arthur Miller.
8 1/2 by 11 1/2 inches
PROVENANCE: Lot 358, “Film and Entertainment,” Christie's, South Kensington, Sale number 6343, December 17, 1993
 Estimate: $250 - $350 

245037_0  245038_0  


Lot 33: MARILYN MONROE LEE STRASBERG EULOGY, FUNERAL GUEST LIST, AND REMBERENCE CARD
 Five typescript pages bound by a staple relating to the funeral service of Marilyn Monroe. The first page is titled "Service for Marilyn Monroe Wednesday, August 8, 1962, 1PM." The second and third pages detail Lee Strasberg's eulogy for Monroe. The fourth page is a list titled “Those invited to Attend.” The last page has a paragraph with a statement to Monroe's uninvited friends explaining the desire to keep the service private, credited to Berniece Miracle, Inez Melson and Joe DiMaggio. Together with an In Memory of Marilyn Monroe remembrance card from her funeral service at Westwood Memorial Park, dated "August 8th, 1962," and containing the 23rd Psalm and service details.
Largest, 11 by 8 1/2 inches
PROVENANCE Lot 69, “Popular Culture: Film and Entertainment,” Christie's, London, South Kensington, Sale Number 5579, November 25, 2010
 Estimate: $1,000 - $2,000

245075_0 245076_0 


Lot 78: MARILYN MONROE LETTER TO BOBBY MILLER MENTIONING ROBERT KENNEDY
 A typed, unsigned file copy of a four-page letter on two leaves, letter dated "Noon February 2" (1961), addressed to Arthur Miller's son, "Dear Bobbybones." She writes in response to Bobby's letter, "That pool table you told me about in that Danish hotel sounds great. Did I ever tell you that I can really play pool. I learned when I was about sixteen and it is something that you never forget." She also comments, "I am going to get that book you recommended; is it "Lord of the Flies" or "The Fleas"? I would love to read something really terrifying."
Most poignantly, Monroe tells Bobby about her new home, "Bobby, I have the best news: I have just completely bought my new house. ...It is an authentic little Mexican house, but it's got a gigantic swimming pool, and it looks just like Mexico. You would just love it. I have two guest rooms plus a large playroom, plus lots of patios, and a big Mexican wall goes all around the place with big high Mexican gates (that's to keep intruders out, in case anybody gets intrusive.) ...Anyway, I would love - for whichever vacation it can be arranged - if you and Janie wanted to - at least for part of vacation, even if it is just for a few days, or a week - you are welcome to stay as long as you wanted to. I will take care of your plane tickets and meet you at the airport. ..."
Monroe is also excited to share other news, "Oh, Bobby, guess what: I had dinner last night with the Attorney-General of the United States, Robert Kennedy, and I asked him what his department was going to do about Civil Rights and some other issues. He's very intelligent, and besides all that, he's got a terrific sense of humor. I think you would like him. Anyway, I had to go to this dinner last night as he was the guest of honor and when they asked him who he wanted to meet, he wanted to meet me. So, I went to the dinner and I sat next to him, and he isn't a bad dancer either." She continues telling Bobby about her conversation and pressing Kennedy to find out what he planned to do about civil rights and that he answered her questions and told her he would send her a letter with all of his plans. He asked her if she had been attending "some kind of meetings" she writes to Bobby, "I laughed and said 'no, but these are the kind of questions that the youth of America want answers to and want things done about.' Not that I'm so youthful, but I feel youthful. But he's an old 36 himself which astounded me because I'm 35. It was a pleasant evening, all in all."
She begins to close, "I haven't heard from her [Janie] since Christmas. I guess we are all a little sloppy about writing. However, I think we all know what we mean to each other, don't we. At least I know I love you kids and I want to be your friend and stay in touch. ...I love you and miss you, and, give my love to Janie."
8 1/2 by 11 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $1,500 - $2,000

245228_0 


Lot 79: MARILYN MONROE RECEIVED LETTER FROM JEAN KENNEDY SMITH
 A single sheet of stationery listing an address in Palm Beach, Florida, with autograph notation in blue ink on recto and version reading in full, "Dear Marilyn - Mother asked me to write and thank you for your sweet note to Daddy - He really enjoyed it and you were very cute to send it. / Understand that you and Bobby are the new item! We all think you should come with him when he comes back east! Again thanks for the note. / Love, Jean Smith." Jean Smith is one of nine children to Rose and Joseph Kennedy and sister to John F. Kennedy, Robert F. Kennedy, Ted Kennedy, Eunice Kennedy Shriver and four other siblings.
7 3/4 by 5 3/4 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $3,000 - $5,000

245229_0  245230_0 


Lot 90: MARILYN MONROE RECEIVED LETTER FROM ANA LOWER
 A single-page letter written by Ana Lower to Monroe on recto and verso, dated October 10, 1944. Lower, "Aunt Ana," as Monroe called her, was actually Grace Goddard's aunt but was a mother figure for Monroe and by all accounts one of the most important figures in her life until Lower's death in 1948. This early letter reads in part, "My precious Girl, You are outward bound on a happy journey. May each moment of its joyous expectations be filled to the brim./ New places, faces and experiences await you. You will meet them all with your usual sweetness and loving courtesy./ When you see your sister you will truly both receive a blessing." The letter was written by Lower as a send-off to Monroe as she left Los Angeles, headed to Detroit to meet her half-sister, Berniece Miracle, for the first time face-to-face in 1944.
7 1/4 by 6 inches
 Estimate: $1,000 - $1,500

245252_0  245253_0 


Lot 91: MARILYN MONROE STAMP COLLECTION BOOK
 A three-hole stamp collection book with vinyl covers from Grimes-Stassforth Stationery Company in Los Angeles, consisting of 30 pages, 10 of which have stamps glued to them. Interestingly, many of the stamps in the book are used, accompanied by new and unused identical stamps. Stamps in the book range in years from 1935 to 1936, suggesting that Marilyn Monroe collected the stamps when she was between 9 and 10 years old. The final stamp entry in the booklet contains a handwritten annotation, “#1319 AP8,” presumably in Monroe’s hand.
11 1/4 by 9 inches
 Estimate: $1,000 - $1,500

245254_0 
245255_0 245256_0  


Lot 93: MARILYN MONROE RECEIVED LETTER FROM ANA LOWER
 A four-page letter on two leaves, written by Ana Lower to Monroe, dated "Monday 6:45 pm Oct 23, 1944." This early letter was written to Monroe while she was on her trip to Detroit to meet her half-sister for the first time in person. The letter reads in part, "How nice for you to have found such a lovely sister and family. I hope they will be out here too later on./ Love arranged this trip for you dear, and Love will bring Jimmie home at the right time. Now stop this nonesense [sic] about car sickness. God does not cease to be because you board a train, nor do you cease to be his perfect child because you take a car ride or a ship ride. You just forget to put your armour [sic] on."
6 3/4 by 5 1/2 inches
 Estimate: $1,000 - $1,500

245259_0  


Lot 97: MARILYN MONROE GRACE GODDARD NOTES ON BEHAVIOR OF MARILYN MONROE'S MOTHER
 An undated single page of stationery from B & H Waterproofing Mfg. Co. letterhead containing notes in pencil, in Grace Goddard's hand. A parenthetical note at the bottom of the first page reads "(I wrote these things down as Gladys said them while she was staying with me) Grace Goddard." The notes were then presumably sent to Monroe as they were among her belongings at the time of her death. The list, numbered from 1 to 15, is essentially a portrait of someone suffering mental illness, including paranoid delusions: "2. She thinks she was sent to State Hospital because years ago she voted on a Socialist ballot at Hawthorne and was being punished for doing so."; "6. She is being punished because years ago she took a drink of liquor (during prohibition) and should have been sent to jail."; "7. Sleeps with her head at the foot of bed so as not to look at Marilyn's picture - they disturb her."; "10. After listening to a political speech, said she was needed in Russia to help them."; "11. Wishes she never had had a sexual experience so she could be more Christ like."; "15. Misplaces or losing her glasses, watch, gloves, or other possessions and either accuses someone of stealing them, or are to blame for her losing them." She also expresses sudden aversion to meat and fish, fear of Catholics, belief that she was a nurse working for the government while at "Agnew" mental hospital, and belief that nobody should listen to the radio because the people are drunk when they go on the air, among many other observances. This is a fascinating firsthand account of Monroe's mother directly from someone witnessing and documenting her behavior.
8 1/2 by 11 inches
 Estimate: $2,000 - $3,000
245264_0 245265_0 


Lot 98: MARILYN MONROE CARD FROM HER MOTHER
 A small greeting card featuring a charming representation of a lady wearing a feather hat and veil, constructed using a button. The autograph note in pencil reads in full, "Dear One; I am very grateful for all the kindness you've shown me and as a Loving Christian Scientist (my pencil broke) I hope our God will let me return some goodness to you with out doing myself any harm. For I know good is reflected in goodness, the same as Love is reflected in Love./ As a Christian Scientist I remain very truly your Mother." The undated note is in an unpostmarked envelope addressed to "Miss Norma Jeane Dougherty 6707 Odessa Ave., Van Nuy's Cal." with return address for her mother listed as "From - G. P. Eley 2713 Honolulu Ave. Verdugo City, Cal."
5 by 4 inches
 Estimate: $3,000 - $5,000
245266_0 245267_0 


Lot 103: MARILYN MONROE RECEIVED LETTER ABOUT SECRETLY CARING FOR HER MOTHER
 A four-page autograph letter with postscript continuing onto the verso of first page, in pencil, in the hand of Grace Goddard, Monroe's one-time legal guardian. The letter dated August 25, 1953, reads in part, "I have been having a wild time over that bill for G - I phoned the secretary as you said ... I could tell by her answers that you had not confided in her about G - She said she didn’t have $600 left to pay that amount and wouldn’t anyway without specific instructions from you. I had to let the whole matter drop as I didn’t want to say anything. I just hoped and prayed you would get home. Sunday morning Miss O’Brien phoned and I was too sick to talk to her … I phoned her today ... and she said if they didn’t receive $600 within the next week they would be forced to turn G - over to the county, which would mean I would have to appear again and this time we couldn’t keep it from becoming public. Another $300 is due by or before the 11th of Sept. I’m so sorry you didn’t send me a check before you left and Doc could have handled it as we did before. The only reason I asked you to have some one else handle that account was because I expected to be in Texas for several months and Doc might be out of town. Now that I don’t need that operation and expect to be here I think it is best not to confide in any more people than you have to. I wish you would send me a check for $600 quick like and I’ll tend to it immediately. Such a burden for a delicate little girl like you to hear. If we had anywhere near that amount in the bank Doc would have sent the check anyway..."
The letter is accompanied by the original transmittal envelope and a pink carbon receipt for a $600 money transfer through the Canadian Pacific Railway Company addressed to Mrs. E.S. Goddard anddated August 27, 1953, with facsimile signature of Marilyn Monroe and a note in her hand saying "sorry difficulty hope you feel better." The form states Monroe's "Place" as the Banff Springs Hotel, where she and Joe DiMaggio stayed while she was filming River of No Return (20th Century Fox 1953) in Canada. The letter clearly shows that even Monroe's secretary was not told about Monroe's mother Gladys being re-admitted to a psychiatric care facility at this time and demonstrates that Monroe was able to keep it a secret with the help of close contacts like the Goddards. Grace Goddard passed away on September 28, 1953, just over a month after this letter was written.
8 by 5 inches
 Estimate: $1,500 - $2,500

245276_0  


Lot 105: MARILYN MONROE ROCKHAVEN SANITARIUM RECEIPTS FOR THE CARE OF MARILYN MONROE'S MOTHER
A grouping of 42 receipts, ranging in date from October 1962 through April 1966, addressed to Inez C. Melson, for the care of Monroe’s mother, Gladys P. Eley, while she was staying at Rockhaven Sanitarium in Verdugo City, California. Included with the Rockhaven Sanitarium receipts are other invoices for products and services provided to Eley, including prescription medications, toothbrushes and toothpaste, repairs to her dentures, cash advances, and package deliveries sent to Gainsborough, Florida, for Eley's other daughter, Berniece Miracle. The April 27, 1966, invoice indicates that Eley’s account at Rockhaven was $7,355.90 in arrears.
 Estimate: $5,000 - $7,000

245278_0  245279_0   


Lot 159: MARILYN MONROE TYPED 1943 NOTES
 Six pages of typed thoughts and feelings from a very young Norma Jeane Dougherty expressing her thoughts on her marriage to James Dougherty as she confronts her fear that her husband has been unfaithful with his former girlfriend, Doris Ingram. She writes the letter after a night apart from Dougherty and examines her feelings with great depth of understanding and maturity, "[I]n the beginning I would/ never have stayed with him but for his love of classical/ music his intellect which made a pretense at being more/ then [sic] it was." She continues, "I was greatly/ attracted to him as one of the few young men I had no sexual repulsion for." She comments that despite steady modeling, "... to an outsider it might/ not be conceivable that I had taken my small insecurities/ and built them up into a nervous tension which although it/ had outlets was always present." After discovering that Dougherty "had spent the evening & most of the morning hours with the other woman ..." she says she "... now would/ like a chance at a third act - the unsuspecting male and/ the vengful [sic] female, but now I'm only fooling my-/ self if I do get my last act I will portray the heroine/ who bravely suffers tucking it all away to use as barage [sic]/ some now unknown man." Pages have been stored folded together and are brittle with some separation along crease lines of first page.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 5-11. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/4 by 7 1/4
 Estimate: $8,000 - $10,000

245357_0 


Lot 160: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of unlined paper with handwritten poem in pencil reading "Life -/ I am both of your directions/ Somehow remaining hanging downward/ the most/ but strong as a cobweb in the/ wind-I exist more with the cold glistening frost./ But my beaded rays have the colors I've/ seen in a painting-ah life they/ have cheated you."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 16-17. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 1/4 by 10 1/2 inches
 Estimate: $10,000 - $15,000

245358_0 


Lot 161: MARILYN MONROE HANDWRITTEN NOTE
 A single page of lined paper from a Steno notebook with writing, in pencil, and with a fatalistic tone, reading in full, "Oh damn I wish that I were/ dead-absolutely nonexistent-/ gone away from here-from/ everywhere but how would I/ There is always bridges-the Brooklyn/ bridge/ But I love that bridge (everything is beautiful from there/ and the air is so clean) walking it seems/ peaceful even with all those/ cars going crazy underneath. So/ it would have to be some other bridge/ an ugly one and with no view-except/ I like in particular all bridges-there's some-/ thing about them and besides I've / never seen an ugly bridge."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 18-19. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $10,000 - $15,000

245359_0  


Lot 162: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of lined paper, folded at center. The page contains a verse in pencil reading "Stones on the walk/ every color there is/ I stare down at you/ like a horizon-/ the space-air is between us beckoning/ and I am many stories up/ my feet frightened/ as I grasp towards you."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 20-21. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
12 3/8 by 8 inches
 Estimate: $8,000 - $12,000

245360_0 


Lot 163: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of lined paper with unevenly torn top edge and minor paper loss along bottom edge. The recto of page contains a poem written in pencil reading "Only parts of us will ever/ touch parts of others-/ one's own truth is just/ that really-one's own truth./ We can only share the/ part that is within another's knowing acceptable/ so one/ is for most part alone./ As it is meant to be in/ evidently in nature-at best perhaps it could make/ our understanding seek/ another's loneliness out."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 22-23. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $6,000 - $8,000

245361_0  


Lot 164: MARILYN MONROE HANDWRITTEN NOTE
 A single piece of lined notebook paper with notation in pencil showing Monroe's frustration with what must have been a relentless demand for her time and attention, reading in full, "I can't really stand Human/ Beings sometimes-I know/ they all have their problems/ as I have mine-but I'm really/ too tired for it. Trying to understand,/ making allowances, seeing certain things/ that just weary me."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 24-25. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
12 3/8 by 8 inches
 Estimate: $6,000 - $8,000

245362_0   


Lot 165: MARILYN MONROE HANDWRITTEN POEM
 An envelope with rhyming poem written by Monroe in pencil on back making light of the fact that hospital gowns do not cover her "derriere." The envelope also contains a list of composers and musicians: "Beethoven/ Last 6-quartets/ Ravel-the Waltz/ Bartok-quartets of his."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 26-27. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
4 1/8 by 9 1/2 inches
 Estimate: $4,000 - $6,000

245363_0 245364_0 


Lot 166: MARILYN MONROE NOTE ON BEVERLY HILLS HOTEL STATIONERY
 A single page of hotel stationery note paper, folded down the center of the page. There are multiple marginal notes, but the main body of text reads like a poem and appears to be a mantra-like acting relaxation exercise reading in part, "Keep the balloon, and/ Dare not to worry/ Dare to/ let go - so loose/ They you pick up/ Stretch into your tone" and "Let go of my/ eyes -/ so relaxed/ only let/ my thought/ come through/ them without/ doing any/ thing to/ them."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 28-29. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
5 1/2 by 4 inches
 Estimate: $8,000 - $12,000

245365_0  


Lot 169: MARILYN MONROE EARLY CAREER PERSONAL JOURNAL
 A black "Record" book with 150 numbered and lined pages, dating to the late 1940s to early 1950s, with approximately 12 pages containing entries in Monroe's hand, including notes about Monroe’s 1948 trip to Salinas and Castroville in northern California and also a line referencing her 1951 film Love Nest. Monroe wrote on the first pages of the book, “Alone!!!!! I am alone – I am always alone no matter what.” The writings include class notes as well as deeply personal writings of her deepest insecurities, reading in part, "Fear of giving me the lines new, maybe won't be able to learn them, maybe I'll make mistakes, people will either think I'm no good, or laugh or belittle me or think I can't act."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 32-47. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 3/4 by 5 inches
 Estimate: $10,000 - $20,000

245368_0 245369_0   


Lot 170: MARILYN MONROE PERSONAL JOURNAL
 A black "Record" book with 150 numbered and lined pages, the first page dated "Feb 18, 1953" with approximately 14 pages containing entries in Monroe's hand. The notes are very personal with Monroe ruminating about her life and experiences in her past that continue to affect her life, including these notes about the childhood influence of Ida Bolender that lingers into her adult life, reading in part, "Ida - I have still been obeying her - it's not only harmful for me to do so but unrealality [sic] because in my work - I don't want to obey her any longer."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 50-65. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 1/4 by 4 3/4 inches
 Estimate: $12,000 - $18,000

245370_0 245371_0   


Lot 171: MARILYN MONROE HANDWRITTEN PROSE
 A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955, with multiple verses in pencil and ink on front and back of page. The primary verse on recto was written as Monroe observed Manhattan from her suite at the hotel, reading in part, "Sooooo many lights in the darkness/ making skeletons of buildings/ and life in the streets." A poem about trees that appears to begin in the upper left margin of recto and continues onto the lower right of verso reads in full, "Sad, sweet trees-/ I wish for you-rest/ but you must be wakeful/ You must suffer-/ to loose [sic] your dark golden/ when your covering of/ even dead leaves leave you/ strong and naked/ you must be-/ alive-when looking dead/ straight though bend/ with wind/ And bear the pain & the joy/ of newness on your limbs."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 70-73. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
 Estimate: $10,000 - $15,000

245372_0  245373_0 


Lot 172: MARILYN MONROE HANDWRITTEN DREAM NARRATIVE
 Two sheets of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955. The pages contain notes in pencil recounting a dream in which Lee Strasberg acts as surgeon and her analyst, Dr. Hohenberg, administers anesthesia, but they are disappointed when they "cut her open" to find nothing there. She concludes, "Strasberg's dreams & hopes for theater are fallen./ Dr. H's dreams and hopes for a permant phicatrcic [sic] cure/ is given up-Arthur is disappointed-let down +." Another note in the margin mentions a dream about a "horrible repulsive man" in an elevator that she wants to discuss with Dr. Hohenberg.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 74-77. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
 Estimate: $10,000 - $15,000
245374_0  245375_0   


Lot 175: MARILYN MONROE HANDWRITTEN LETTER TO NORMAN ROSTEN
 A single sheet of hotel stationery from the Waldorf Astoria, New York, where Monroe stayed between April and September 1955. The page contains a letter written in multiple passes, first in pencil with added thoughts in ink, addressed to the Rostens' Brooklyn address. The cryptic letter contains a multitude of inside references and is quite difficult to follow but also sends her regards to Norman Rosten's wife Hedda, their daughter Patty and their pets Bam-Moo and Candy. Monroe also muses about the "Mr. Johnson Club," a reference to Rosten's play Mister Johnson.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 84-85. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
10 1/2 by 7 1/4 inches
 Estimate: $4,000 - $6,000

245379_0


Lot 177: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and the Showgirl in London in 1956. The page contains a poem in pencil on front of sheet, likely written about Miller while staying at Parkside, reading in part, "my love sleeps beside me-/ in the faint light-I see his manly jaw/ give way-and the mouth of his/ boyhood returns." The back of the sheet contains two mournful verses reading, "the pain of his longing when he looks/ at another=/ like an unfulfillment of the day/ he was born" as well as the line "And I in merciless pain/ and with his pain of Longing-/ when he looks at and loves another/ like an unfulfillment of the day/ he was born-/ we must endure/ I more sadly because I can feel no joy."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 106-109. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $15,000 - $20,000

245386_0  245387_0


Lot 178: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and the Showgirl in London in 1956. The page contains a poem in pencil on front of sheet with multiple strikethroughs and edits, reading in part, "oh silence/ you stillness hurt my head -and / piece ears/ jars my head with the stillness/ of sounds unbearable -durable/ on the screen of pitch blackness."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 110-111. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $10,000 - $15,000

245388_0 


Lot 179: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and the Showgirl in London in 1956. The page contains a poem in red and blue ink on front of sheet reading "To have your heart is/ the only completely happy proud thing (that ever belonged/ to me) I've ever possessed so" with alternate language suggestion in blue ink reading "thing that ever completely happen to me."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 112-113. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $6,000 - $8,000

245389_0 


Lot 180: MARILYN MONROE HANDWRITTEN NOTE
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and The Showgirl in London in 1956. The note reads “I guess I have always been deeply terrified to really be someone's wife since I know from life one cannot love another, ever, really.” Monroe had just entered her third marriage and was on location with her new husband, Arthur Miller.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 114-115. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $10,000 - $20,000

245390_0  


Lot 181: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and the Showgirl in London in 1956. The page contains a poem in pencil on front of sheet with multiple strikethroughs and edits, reading in part, "It is not to be for granted/ the old woman hides-/ from her glass-the one she polishes so it won't be dusty-/ daring sometimes/ to see her toothless gasp and if she perhaps very gently smiles/ she remembers-/ her pain."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 116-117. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $10,000 - $15,000

245391_0  


Lot 182: MARILYN MONROE HANDWRITTEN POEM
 A single sheet of stationery from Parkside House, the English manor where Monroe and Arthur Miller stayed in Surrey while she filmed The Prince and the Showgirl in London in 1956. The page contains a mournful poem in pencil on front of sheet with multiple strikethroughs and edits, reading in full, "where his eyes rest with pleasure-I/ want to still be-but time has changed/ the hold of that glance./ Alas how will I cope when I am/ even less youthful-/ I seek joy but it is clothed/ with pain-/ take heart as in my youth/ sleep and rest my heavy head/ on his breast for still my love/ sleeps beside me."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 118-119. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 by 5 1/4 inches
 Estimate: $12,000 - $15,000

245392_0 


Lot 184: MARILYN MONROE HANDWRITTEN "ROXBURY NOTES"
 Three sheets of lined notebook paper torn from a spiral-bound book, each containing thoughts in pencil on recto. The notes portray a tired Monroe who has endured more than she could bear. Monroe was living in Roxbury, Connecticut, with husband Arthur Miller and was clearly disenchanted with domestic life in the country. She writes, "I've tried to imagine spring all winter-it's/ here and I still feel hopeless. I think I hate it here because there is no love here/ anymore. I regret the effort I desperately made here." She poetically writes of the mature trees on the property and then turns to self-deprecation, examining her appearance: "I see myself in the mirror now, brow furrowed-/ If I lean close I'll see-what I don't want to know-tension, sadness, disappointment, my eyes dulled, cheeks flushed with capillaries that look/ like rivers on a map -hair lying like snakes. The mouth makes me the saddes [sic]."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 125-131. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
12 1/4 by 7 1/2 inches
 Estimate: $15,000 - $20,000

245394_0  


Lot 185: MARILYN MONROE 1958 NOTEBOOK
 A red Livewire wide-ruled spiral-bound notebook, most likely dating to 1958. The notebook contains five meaningful pages of writing in both pen and pencil, all of which were published in the book Fragments . One additional page not shown in the book contains pencil notations of calorie counts for foods like "Wheat germ 1/2 c" and 1 cup of orange juice, eggs and skim milk. Two of the pages written in ink reference lines from Some Like It Hot while other pages reveal deeply personal thoughts and poems, including this page that reads in part, "Help Help/ Help/ I feel life coming closer/ when all I want/ is to die."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 134-145. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
11 1/8 by 8 1/2 inches
 Estimate: $12,000 - $15,000

245395_0  245396_0   


Lot 186: MARILYN MONROE NOTES OF FRUSTRATION
 Two pages of lined note paper torn from a notebook containing agonizing notes written by Monroe on the set of a film, likely in the privacy of her dressing room, dated simply "Aug 27." The two small pages reveal the tortured nature of Monroe's process and the enormous amount of pressure she felt, reading in part, "I almost threw up my whole lunch. I'm tired. I'm searching for a way to play this part I am depressed with my whole life since I first remember - How can I be such a gay young hopeful girl ... my concentration wavers most of the time ... I must try to work and work on my concentration."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 150-151. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 4 3/4 inches
 Estimate: $15,000 - $20,000

245397_0  245398_0   


Lot 187: MARILYN MONROE 1955 GUCCI ADDRESS BOOK
 A personalized brown leather, six-ring Gucci address book with custom stamped "M.M." on the front cover, belonging to Monroe circa 1955, with handwritten entries, many in Monroe’s hand. Contacts include Marlon Brando, "Mother Miller," Lee Strasberg, Maurine Stapleton, and Harold Clurman, among others. The book includes various handwritten entries and notes throughout. Of particular note is Monroe's handwritten list of very personal things she must make an effort to do, including "as often as possible to observe Strassberg's [sic.] other private classes"; "never miss my actors studio sessions"; "must make strong effort to work on current problems and phobias that out of my past has arisen," among other entries.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 152-153. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 1/2 by 6 inches
 Estimate: $40,000 - $60,000

245399_0 245400_0 
245401_0 245402_0 245403_0  
245404_0  245405_0  


Lot 190: MARILYN MONROE HANDWRITTEN NOTE
An undated note on a single sheet of unlined paper, entirely in Monroe’s hand, reading “For life/ It is rather a determination not to be overwhelmed./ For work/ The truth can only be recalled, never invented."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 158-159. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 5 inches
 Estimate: $10,000 - $20,000

245409_0  


Lot 191: MARILYN MONROE HANDWRITTEN NOTES
 Two sheets of lined notebook paper with drafts of a birthday message, likely the same message referenced by Norman Rosten in his book Marilyn Among Friends . In the book, Rosten explains that Monroe often gave herself nicknames, and "One day, she signed a note with Noodle, Sam, Max, Clump, Sugar Finny, Pussy, and so on." Both pages contain a nearly verbatim list of names reading "Happy birthday and love (we all love you)/ Noodle/ Sam/ Max/ Clump/ Sugar Finny/ Pussy/ and all the rest of us-" The draft note also reads in part "[F]orgive me for being sentimental/ I'm so glad you were born/ and that I'm living at the/ same time as you."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 160-163. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $6,000 - $8,000

245410_0  245411_0  


Lot 202: MARILYN MONROE DEEPLY PERSONAL LETTER TO PAULA STRASBERG
 A single page of lined yellow notebook paper, folded multiple times and addressed on the exterior of the folded page "To Paula/ Personal MM." The letter reads "Paula Dear,/ You asked me yesterday why-/ I felt somehow (I'm only conceiving of it this morning) that if I didn't have the control or the will to make myself do anything simple & do it right I would never be able to act or do anything - I know it sounds crazy - maybe it was even superstitious - I don't know - I don't know anything./ Something has happened I think to make me lose my confidence. I don't know what it is. All I know is I want to work./ Oh Paula I wish I knew why I am so anguished. I think maybe I'm crazy like all the other members of my family were, when I was sick I was sure I was. I'm so glad you are with me here!"
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Photocopy of this original letter on Page 190-191. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
12 1/4 by 8 inches
 Estimate: $6,000 - $8,000

245424_0 
246708_0  


Lot 261: MARILYN MONROE NOTES IN STENO BOOK
 A spiral-bound stenographer notebook by Chase Press Stationers & Printers, who supplied Monroe with her custom stationery, containing four pages with notes in Monroe's hand. The first page reads "Tonight/ be there at 7:15 - Strassbergs [sic]" then "Later - Norman & Hedda - drums?" and "Tomorrow be ready at 12:30 (for lunch) John Houston [sic]/ 4:00 Norman's play reading." The second page has a list of phone calls to make. The other two pages contain single words: "Ruby" and "My."
9 1/4 by 6 inches
 Estimate: $2,000 - $3,000

245524_0 
245525_0  245526_0  245527_0  


Lot 266: ARTHUR MILLER HANDWRITTEN NOTE TO MARILYN MONROE
 A single piece of lined paper torn from a spiral-bound notebook, heavily stained, containing a note in Miller's hand for Monroe. The note reads "I am sitting here, Dearheart, and my heart is bursting with love. I try to figure when is the best date for a wedding, who should be there, where it should be. I want us to marry on my 41st birthday - October 17, 1956." The note was written early in their relationship before Monroe knew she would be in London for the filming of The Prince and the Showgirl, and before Miller knew he would be in London for the premiere of A View from the Bridge in October 1956. Despite Miller's wish to be married on his birthday, he would marry Monroe June 29, 1956, very soon after his Reno divorce from his first wife was finalized. Miller announced his intentions to marry Monroe during his testimony before The House Un-American Activities Committee, June 21, 1956, and they perhaps moved the date forward in an effort to help Miller obtain his passport to accompany his new wife to London.
8 1/2 by 11 inches
 Estimate: $1,500 - $2,500

245538_0 
245539_0 


Lot 314: MARILYN MONROE LETTER TO ROBERT MILLER AS HUGO THE DOG WITH PHOTOGRAPHS
 An unsigned file copy of a letter written by Monroe to "Bobby" Miller dated August 22, 1957. Monroe writes the letter entirely in the voice of Hugo, their pet Basset Hound. The letter opens, "It sure is lonesome around here! But first of all I will tell you I made a mistake and I am sorry, but I chewed up one of your baseballs. I didn't mean to. I thought it was a tennis ball and that it wouldn't make any difference but Daddy and Marilyn said that they would get you another one." It continues "Oh, I did something else that I should tell you about. I jumped up very high and knocked down the badminton set. Then I proceeded to chew up the net but I didn't wreck the rackets or the birds. I am sorry I did this Bob, but what is a dog going to do?" The letter is accompanied by three small black and white snapshots of Bobby with Hugo the dog.
Photos, 2 1/2 by 2 1/2 inches
 Estimate: $500 - $700

245630_0  245631_0  


Lot 316: MARILYN MONROE LETTER TO JANE MILLER AS HUGO THE DOG WITH PHOTOGRAPHS
 An unsigned file copy of a letter written by Monroe to "Janie" Miller dated August 22, 1957. Monroe writes the letter entirely in the voice of Hugo, their pet Basset Hound. The letter opens, "How is my Mommie? Boy, was I glad to get your letter written only to me! Of course Daddy and Marilyn have been telling me things from your other letters and Bob's too, about what you have been doing at Camp and how much you are enjoying it and I don't want you to feel badly, but I have to tell you that I have missed you something awful." The letter continues with a confession: "I have been sleeping on your bed. It's because it is your bed. So far I don't think Daddy or Marilyn knows about it but every night after they close their door and they go to sleep I wait a little while and then I tiptoe upstairs and I sleep right on your bed. I think they are getting suspicious though because I heard Berniece (that's the new maid and you will like her) say, ‘I found the strangest footprints up on this bedspread.’ Of course, between you and me, they were mine." This charming letter is accompanied by two small black and white snapshots of Jane and Robert Miller with Hugo the dog.
Photos, 2 1/2 by 2 1/2 inches
 Estimate: $600 - $800
245633_0 


Lot 318: MARILYN MONROE LETTER TO HER STEPCHILDREN FROM THE CAT
 An unsigned file copy of a letter composed by Monroe in the voice of the family cat Sugar Finney, clumsily typed with misspellings reading in part, "I'm having fun driving old Rocky and that old grumpy maid of yours nuts. …Thers never a dull moment in this shack. ... Love, Sugar Feeny."
7 3/4 by 5 3/4 inches
 Estimate: $200 - $300
245635_0  


 Lot 319: MARILYN MONROE PHOTOGRAPH OF HUGO WITH INVOICES
 A group of four invoices from the Southdown Kennel in Roxbury, Connecticut addressed to Mr. Arthur Miller at 444 East 57th Street for boarding and care of Hugo the Basset Hound. Together with a small black and white snapshot of the dog.
Photo, 2 1/2 by 2 1/2 inches
 Estimate: $200 - $300
245636_0  


 Lot 320: MARILYN MONROE LETTERS TO BOBBY MILLER AT SUMMER CAMP
 Two single-page typed, unsigned file copies of letters dated July 16, 1958, and August 9, 1957, relating a number of amusing stories. The 1958 letter is typed on the back of a piece of stationery from the Hotel Bel-Air. In the first letter, Monroe tells Bobby Miller about Hugo the dog's escapades, taking things from the neighbors, and asks him to help her figure out what his sister Janie would like for her birthday. The 1958 letter tells him, "I haven't seen Jack Lemmon yet because he is still working on another picture. He has a very funny part in this picture. Also, he plays a friend of mine. I started to take ukulele lessons because I'm supposed to know how in the picture. I've got an idea: Maybe we can learn something together--you on the guitar and me on the ukulele--you know, charge people admission to hear us."
Monroe also tells him about her brief ownership of a Cocker Spaniel: "About two days ago someone gave me a Cocker Spaniel puppy 10 months old, completely house-broken. So I was going to call your Dad and ask him if it was okay to keep him--then I found out quite by accident that he bites--he didn't bite me but he bit a woman on the throat the day before, so I said 'thanks a lot but no thanks.' His name was 'Walter' and he was a golden-haired spaniel and just beautiful but he seemed just too 'schizo' --short for schizophrenic --you remember you explained what that meant."
Largest, 8 1/2 by 11 inches
 Estimate: $800 - $1,200
245637_0  


 Lot 321: MARILYN MONROE LETTERS TO JANE MILLER
 Two single-page typed, unsigned file copies of letters dated July 16, 1958, and August 9, 1957, relating a number of amusing stories. The 1958 letter is typed on the back of a piece of stationery from the Hotel Bel-Air and is addressed, "Dear Janie-bean." The letter, written as Monroe is preparing for Some Like It Hot , reads in part, "... [T]hanks for helping me into my white skirt. I almost didn't make it --but now that I'm busier I'll start losing weight -- you know where./ Along with ukulele lessons I have to take I'm learning three songs from the 1920 period. ... I don't know how my costumes in the picture will be yet. I'll let you know."
The second letter is written to Janie at summer camp and recounts a number of amusing stories about Hugo the Bassett Hound reading in part, "He got kicked by that donkey. Remember him? His nose swelled up with a big lump on top and it really wrecked his profile. I put an ice pack on it and it took several days for it to go down but the last time I saw him it was pretty well healed. Bernice is taking care of him and the house while I am at the hospital./ We are going home tomorrow and then I will write you by hand./ Listen, I had better stop now because I want to get off a note to Bobby today. Don't worry about me in the hospital. I am feeling much better now and I have the funniest Scotch nurse."
8 1/2 by 11 inches
 Estimate: $600 - $800
245638_0  


 Lot 322: MARILYN MONROE FORD THUNDERBIRD DOCUMENTS
 A Declaration of Ownership of Motor Vehicle card listing Marilyn Monroe Productions, Inc., address 444 East 57th Street, New York City, as the owner of a 1956 black Ford Thunderbird, engine #P6FH151382. The vehicle was purchased from Westport Motor Co. Inc. of Westport, Connecticut, on December 20, 1955. Together with a blank "Seller's Report of Sale of Unregistered Motor Vehicle" card and a letter dated January 7, 1960, regarding renewal of insurance for the vehicle with secretarial note regarding deadlines and the amount of payment.
Cards, 3 1/2 by 6 inches
 Estimate: $300 - $500
245639_0 
245640_0  


 Lot 323: MARILYN MONROE RECEIVED LETTER RELATED TO HER 1956 FORD THUNDERBIRD
A letter from the City of New York Department of Finance, dated October 1, 1959, to Marilyn Monroe Productions, Inc., indicating the following: "[I]t appears that the 3% New York City Sales or Compensating Use Tax was due and payable on 6/20/57. If the tax due on this transaction has been paid by you, please submit evidence thereof. If it has not been paid, kindly remit the tax plus interest of 14%, with the enclosed form on or before 10/8/59.” Monroe, husband Arthur Miller, and business partner and friend Milton Greene were photographed riding in this Thunderbird on July 2, 1956, driving from New York City to Roxbury, Connecticut.
 Estimate: $500 - $700
245641_0  


 Lot 324: MARILYN MONROE DRIVER'S MANUAL
 An official Driver's Manual booklet from the State of Connecticut Department of Motor Vehicles with interior date of August 1955, although it may have been issued anytime after this date until an updated manual was released. Together with a blank postcard addressed to the department meant to be filled out by applicant to request an appointment for a Connecticut driver test.
Booklet, 6 by 4 1/2 inches
 Estimate: $200 - $300
245642_0  


 Lot 325: MARILYN MONROE SIGNED DRIVER'S LICENSE
 A State of Connecticut Motor Vehicles Operator's License dated October 24, 1957, and expiring June 30, 1958, listing "MM Miller of Tophet Road, Roxbury Connecticut, operator number 181034533. The license also lists Monroe's height as five feet and five inches with a date of birth of June 1, 1926, and is signed in blue pen "Marilyn Monroe Miller."
3 1/4 by 2 1/2 inches
 Estimate: $10,000 - $15,000
245643_0  


 Lot 326: MARILYN MONROE SIGNED DRIVER'S LICENSE
 A State of Connecticut Motor Vehicles Operator's License dated July 8, 1958, and expiring June 30, 1960, listing "MM Miller of Tophet Road, Roxbury Connecticut, operator number 181034533. The license also lists Monroe's height as five feet and five inches with a date of birth of June 1, 1926, and is signed in blue pen "Marilyn Monroe Miller."
3 1/4 by 2 1/2 inches
 Estimate: $10,000 - $15,000
245644_0  


Lot 373: MARILYN MONROE TO-DO LIST
 A small piece of lined notebook paper with notes in Monroe's hand, reading in part, "Call - Lee on Monday/ about private class" and "Monday - Luchon [sic.] interview 12:00 / Sleeping prince/ Elsa Maxwell" as well as a phone number for Dr. Kris. Lee is clearly a reference to acting coach Lee Strasberg.
3 1/2 by 5 inches
 Estimate: $2,000 - $3,000
245715_0  245716_0 


Lot 380: MARILYN MONROE GLADSTONE HOTEL STATEMENT
 A statement in the name of Mr. and Mrs. A Miller, dated January 13, 1958, from Gladstone Hotel on East 52nd Street at Park Avenue with charges for a room January 13-17, 1958, as well as restaurant charges. Notations on the bill read "[F]or meeting held at suite with De Laurentis and MCA officials from time to time."
9 by 6 1/2 inches
 Estimate: $200 - $300
245727_0  


Lot 411: MARILYN MONROE PERSONAL JOURNAL
 A black "Record" book with 150 numbered and lined pages, the first page dated "Feb 18, 1953" with approximately 14 pages containing entries in Monroe's hand. The notes are very personal with Monroe ruminating about her life and experiences in her past that continue to affect her life, including these notes about the childhood influence of Ida Bolender that lingers into her adult life, reading in part, "Ida - I have still been obeying her - it's not only harmful for me to do so but unrealality [sic] because in my work - I don't want to obey her any longer."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments : Poems , Intimate Notes , Letters . Pages 50-65. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
7 1/4 by 4 3/4 inches
 Estimate: $12,000 - $18,000 
245762_0 245763_0   


Lot 431: MARILYN MONROE INSCRIBED RECORD FROM TRUMAN CAPOTE
 A copy of the LP Truman Capote Reading his A Christmas Memory from Breakfast at Tiffany's. "The United Artists album (1959), is inscribed in black ink on the cover in fine print "for Marilyn, with love from Truman, 1959."
12 1/4 by 12 1/4 inches
 Estimate: $2,000 - $3,000
245797_0 245798_0 


Lot 433: LEE STRASBERG ADDRESS BOOK
 A cream leather six-ring binder of alphabetically indexed lined notebook pages containing hundreds of names, addresses and telephone numbers written in multiple hands. The book contains strikethroughs and check marks throughout, as the information was likely being transferred and updated into a new book by a secretary. The book dates to circa 1960 and contains the names of celebrities such as Shelley Winters, Marlon Brando, Eli Wallach, and Maureen Stapleton, among others. Of note is a page listing multiple numbers for “MM” as well as Marilyn Monroe’s New York City address. The book also has more administrative contacts.
9 1/8 by 8 1/4 inches
 Estimate: $2,000 - $3,000
245801_0 
245802_0 245803_0 
245804_0 245805_0  


Lot 478: MARILYN MONROE NOTEBOOKS
 A small six-ring binder containing blank lined notebook pages in black covers by Vernon. Together with an Italian daily planner with a quantity of blank pages intact. Both books were used by Monroe, and some of the pages included in the book Fragments were removed from these notebooks.
Largest, 7 by 4 3/4 inches
 Estimate: $300 - $500
245886_0     


Lot 484: DON FELD DRAWING FOR MARILYN MONROE
 A piece of heavy brown card stock with ink and acrylic picture of a girl holding flowers with greeting reading "The World's Happiest Birthday to you from Don Feld." Together with a small note that reads "M-/ I hope this finds you well and happy - My thoughts are with you now - love, Feld."
Largest, 8 1/2 by 6 1/4 inches
 Estimate: $300 - $500
245893_0   


Lot 497: MARILYN MONROE AKC FORMS FOR MAF
 A single-page typed letter on Marilyn Monroe Productions Inc. letterhead from Pearl Moskowitz to Monroe with original postmarked transmittal envelope addressed to Monroe at The Beverly Hills Hotel. The letter accompanied forms for Monroe's dog Maf to be registered under Monroe's name with the American Kennel Club signed on verso with a secretarial signature. Together with a postcard to have the dog licensed with the ASPCA in New York City. The AKC forms list Maf's breeder as Maria S. Gurdin of Van Nuys, California a whelping date of Jan. 16, 1961; and the Sire and Dam of the dog.
Largest, 10 1/2 by 7 1/4 inches
 Estimate: $400 - $600
245908_0 245909_0 245910_0  


Lot 499: MARILYN MONROE INVOICE FOR BOARDING MAF
 A single-page invoice from the Southdown Kennel in Roxbury, Connecticut, dated December 18, 1961, for "Miss M. Munroe" [sic] for boarding and housebreaking of Maf, Monroe's poodle. The charges include boarding between August 3 and December 14, 1961, at a rate of $75 per month for a total of $330, as well as brushings, shampoos, wormings, and transportation to airport for a total of $43 in additional charges.
7 1/2 by 7 1/4 inches
 
Estimate: $200 - $300
245912_0
  


Lot 507: MARILYN MONROE HOTEL NOTEPADS
 Three notepads, one with a note in Monroe's hand from the Continental Hilton in Mexico with a phone number for Wally Cox and the Bel Air Sands. Together with a blank notepad from The Beverly Hills Hotel and the Beverly Wilshire Hotel.
Largest, 5 1/2 by 4 inches
Estimate: $1,000 - $1,500
245927_0 


Lot 534: MARILYN MONROE CORRESPONDENCE WITH GERMAN DIPLOMAT
 A single-page typed, unsigned file copy of a letter dated February 12, 1962, addressed to Mr. Volkmar von Fuehlsdorff in response to a gift card that accompanied Champagne. The note card reads "Dear Miss Monroe: It was such a pleasure to have you at the party the other day - since you liked the German Champagne, May I send you this with my kind personal regards/ Sincerely V. von F." Monroe's response reads "Dear Mr. von Fuehlsdorff: Thank you for your champagne. It arrived, I drank it, and I was gayer./ Thanks again./ My best,/ Marilyn Monroe."
Largest, 8 1/2 by 11 inches
 Estimate: $300 - $500
245969_0  


Lot 535: MARILYN MONROE LETTER FROM MAY REIS
 An autograph two-page letter on stationery from the Shelbourne Hotel, Dublin, dated April 22, 1961. The letter is accompanied by the original transmittal envelope postmarked April 22, 1961. The letter, written in red ink by Monroe's one- time secretary and assistant, May Reis, is a light travel note updating Monroe on her travels and stop in Dublin before heading to Paris.
8 by 5 inches
 Estimate: $300 - $500
245970_0  


Lot 538: EXTRAORDINARILY AMUSING LETTER FROM ERNIE KOVACS TO MARILYN MONROE
 A single sheet of paper with blind embossed address at bottom of page containing typed, signed letter from Ernie Kovacs, undated in original transmittal envelope postmarked May 29, 1961. The envelope is addressed to Monroe at her Beverly Hills Hotel bungalow. The letter, addressed to "Marilyneleh," invites Monroe to a get together at his home on June 15, giving the dress code as "... slacks or if you want to be chic, just spray yourself with aluminum paint or something." He continues, "I'll try to find someone more mature than Carl Sandburg for you. ... if Frank is in town, will be asking him. ... don't be a miserable shit and say you can't come. ... Look as ugly as possible cause the neighbors talk if attractive women come into my study." He signs the letter in black pen "Ernie" and adds a note at the bottom: "If you don't have any aluminum paint, you could back into a mud pack and come as an adobe hut. ... we'll make it a costume party. … Kovacs." The letter is a perfect portrait of the iconic, quick-thinking, zany comedian who died tragically in an auto accident in January 1962.
8 1/2 by 7 1/2 inches
 Estimate: $400 - $600
245973_0  


Lot 573: MARILYN MONROE PERSONAL NOTES
 Three pieces of paper torn from a telephone message pad with deeply personal musing in Monroe's hand in pencil reading in part, "In a way I feel better when I feel terrible because at leaast I'm feeling something" and "[D]epression - it starts to depress me when I feel that I have exposed my truest feelings to people - I am afraid that they see through me - my faults and the fact that I am really a phoney who needs and wants admiration and love (I do not want to be like this - to depend on this need - its almost" the thought continues onto another page "a form of being an ego maniack [sic] - I don't really like my self [sic]. ..." One of the pages has "Oct. 15" written, but no year is indicated.
5 1/4 by 4 inches
 Estimate: $3,000 - $5,000
246011_0  246012_0
  


Lot 574: MARILYN MONROE 1962 ADDRESS BOOK
 A red cardboard covered six-ring address book, front and back covers detached but present, belonging to Monroe circa 1962, with typed entries, including photographer Richard Avedon, Actors Studio, Henry Weinstein-the producer of Monroe’s final film Something’s Got To Give), Rupert Allan (Monroe’s publicist), Montgomery Clift, Henry Fonda, and Frank Sinatra, among many others. The book includes numerous entries and notes in Monroe’s hand throughout.
6 1/2 by 6 inches
 Estimate: $30,000 - $50,000
246013_0 246014_0 
246015_0 246016_0 246017_0 
246018_0 246019_0 246020_0  


Lot 600: MARILYN MONROE TYPED LETTER TO LEE AND PAULA STRASBERG
 A typed file copy letter dated June 1, 1962, beneath "5th Helena" addressed "Dear Lee and Paula:" and reading in part, "The most important thing in my life is my work, my work with you. The Actors Studio is my home. … I wonder if you realize what the work has meant to me. ... The studio is for the theatre and for life. Marlon and I are having talks and we hope to persuade you to come to California for awhile to do work with us. Thank you Lee for being my friend and my teacher. Thank you Paula, for being with me and really truly directing the good and right moments on film. ... When I think of home it is New York and the Actors Studio. That is where I can exist in the human race. Love, Marilyn."
8 1/2 by 11 inches
 Estimate: $500 - $700
246074_0  


Lot 602: MARILYN MONROE PERSONAL PROPERTY APPRAISAL
 A formal written appraisal of the contents of Monroe's home at 12305 Fifth Helena in Brentwood, California, prepared for Monroe's executor by John J. Donahue & Associates of Los Angeles. The 14-page typed report includes 12 pages of itemized listings in a room-by-room format assigning value to Monroe's personal property in the home totaling $3,176. The report gives a listing of the contents of the Living Room, Hall, Front Bedroom, Middle Bedroom, Study, Dining Room, Sun Room, Kitchen, Playroom, Exterior and Garage, and Clothing in addition to miscellaneous items.
8 1/2 by 11 inches
 Estimate: $800 - $1,200
246078_0 246079_0 246080_0  


Lot 603: MARILYN MONROE DOCUMENTS RELATED TO THE 1963 PURCHASE OF HER BRENTWOOD HOME
 A group of documents related to the 1963 purchase of Monroe’s Brentwood, California, home, located at 12305 Fifth Helena Drive. Included are the original “Bid for Purchase of Real and Personal Property as a Unit” signed by Gilbert M. Nunez and Betty J. Nunez, dated March 14, 1963, specifying a sale price of $87,500.00 and a deposit of $8,750.00, the original deposit receipt, and a typed memo to Mrs. Inez Melson, Monroe’s business manager, from Lavon Fitzgerald, who represented the Nunez family in the transaction, with a business card for Fitzgerald stapled to the memo.
 Estimate: $1,000 - $1,500
246081_0  


Lot 604: MARILYN MONROE 1963 NOTICE OF PROPERTY SALE FOR BRENTWOOD HOME
A group of documents related to the 1963 sale of Monroe’s Brentwood, California, home, located at 12305 Fifth Helena Drive, including a letter to Inez Melson, Monroe’s business manager, stating that the petition for confirmation of the sale of Monroe’s home was set for 9:15 a.m. on May 7, 1963, together with the actual court documents and the actual notice of sale of real and personal property as a unit at private sale, likely used to publicize the sale in newspapers. The legal documents specified that Monroe’s Hotpoint freezer-refrigerator, built-in dinette set, and all tacked-down carpeting and drapes presently on premises would be included in the transaction.
 Estimate: $1,000 - $1,500
246082_0 


Lot 789: MARILYN MONROE JUNIOR HIGH SCHOOL DIPLOMA
 A diploma issued to Norma Jean Baker from Ralph Waldo Emerson Junior High in Los Angeles, California, on June 27, 1941. The future Marilyn Monroe turned 15 in June 1941. The following June, Monroe married her first husband, Jim Dougherty.
6 by 8 inches
PROVENANCE Lot 324, "Books Auction," Sotheby Parke Bernet, Sale number 94, October 21, 1973
 Estimate: $40,000 - $60,000
246331_0   


Documents papiers - Mode & Beauté
Papers documents - Mode & Beauty


Lot 149 : MARILYN MONROE HAT RECEIPTS
Two invoices from Rex Inc. of Beverly Hills, the first dated January 5, 1960, lists a Black Velour Cloche and a White Velour Cloche each priced at $55. The second invoice is dated January 20, 1960, and lists a White Feather Toque priced at $85. Both invoices indicate that Miss Dorothy Blass purchased the hats in person and charged them to "Mrs. A. Miller" of The Beverly Hills Hotel.
7 by 8 1/2 inches
 Estimate: $150 - $250
245340_0  


Lot 154: MARILYN MONROE DIET PLAN
 A two-page, typed plan titled "Calorie Restricted Diet/ 1000 Calories/ 100 Grams Protein" prepared for Monroe by Dr. Leon Krohn. The pages are undated, but some of the approved foods and meal plans are in line with the notations found in Monroe's hand in the back of Lot 185, one of Monroe's notebooks from 1958. The diet put forth presents sound health advice even by today's standards, recommending the restriction of sugar, fats and carbohydrates to whole wheat and "one small white potato boiled baked or riced" as a substitution for one slice of bread.
8 1/2 by 11 inches
 Estimate: $400 - $600
245348_0  


Lot 219: MARILYN MONROE FUR STORAGE AND SERVICE RECEIPT AND AGREEMENT
A storage and service receipt and agreement from Maximilian Fur Company, Inc., addressed to Mrs. A. Miller, 444 East 57th Street, New York City, Apt. 13E, dated July 3, 1958, listing a ranch mink coat, a white ermine coat, and a black fox stole trimmed with silk, together with a typed note to Mrs. A. Miller on Maximilian letterhead recommending a clean and glaze for the ranch mink coat and a glaze for the black fox stole. Original business reply envelope from Maximilian Fur Company included. The ranch mink coat referenced is very likely the coat Joe DiMaggio gave to Monroe.
 Estimate: $500 - $700
245450_0  


Lot 220: MARILYN MONROE FUR APPRAISAL
 An appraisal document dated February 4, 1954, signed by Al Teitelbaum of Teitelbaum Furs for "Marilyn Monroe DiMaggio" listing a black mist mink coat valued at $10,000. This is the well-known mink coat gifted to Monroe by DiMaggio.
7 1/4 by 7 inches
 Estimate: $300 - $500
245451_0  


Lot 225: MARILYN MONROE FUR STORAGE RECEIPTS
 Four pages of storage receipts from Maximilian Furs of New York City dated July 19, 1960, itemizing 17 items in storage, together with two corresponding "Temporary fur storage record" tickets and a letter detailing work to be done to repair two of the furs on the storage receipts.
Largest, 8 1/2 by 9 1/2 inches
 Estimate: $400 - $600
245457_0  


Lot 226: MARILYN MONROE TEITELBAUM FUR DOCUMENTS
 A carbon copy of an invoice from Teitelbaum Furs for an oyster white beaver coat of Canadian origin, dated November 22, 1958, sold for $1,375 with facsimile customer signature of Arthur Miller. Together with an invitation to fashion show and letter from Al Teitelbaum to Mrs. Arthur Miller dated January 5, 1959.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
245458_0 


Lot 271: MARILYN MONROE ARTHUR MILLER SAKS FIFTH AVENUE RECEIPTS
A group of five receipts from Saks Fifth Avenue in New York City, addressed to Arthur Miller, together with a corresponding Saks Fifth Avenue invoice. All receipts are dated March 23, 1960, and specify Miller purchased trousers and an overcoat among other items. The invoice is dated April 17, 1960.
 Estimate: $150 - $250
245557_0  


Lot 297: MARILYN MONROE HANDWRITTEN AND SIGNED CHECK
 A blank counter check written entirely in Monroe's hand, in black ink, dated August 14, 1954, paid to Jax in the amount of $800. Monroe has listed her address as "508 N. Palm Dr." and her phone number as "CR62211."
3 3/8 by 8 1/4 inches
 Estimate: $2,000 - $3,000
245612_0  


Lot 298: MARILYN MONROE JAX STORE RECEIPT
 A four-page itemized carbon copy receipt for $1,858.30 worth of clothing from Jax boutique with facsimile signature of Monroe. The receipt is dated simply "8-5" with no year given. Monroe's address is listed as "444 E. 57th St. NYC," but there are instructions on the last page to mail the items to "Mrs. Arthur Miller" at her Roxbury, Connecticut, residence.
6 by 4 inches
 Estimate: $300 - $500
245613_0  


Lot 305: MARILYN MONROE EVENING GLOVE ORDER
 A group of documents dated February 19, 1958, regarding the purchase of evening gloves from the John E. Fuchs Corporation in New York City. The documents include a typed signed letter from Kay Fuchs addressed to Mrs. Miller reading in part, "Kenneth Lane of Delman's asked us to send you the enclosed gloves. ... Enclosed find also a sample pair with our compliments of white satin glove." Together with a packing slip for the order listing a pair of 20-button white kid gloves for $165 and a pair of 10-button white kid gloves for $105, an invoice for the gloves, and a statement of account.
Largest, 8 1/2 by 5 1/2 inches
 Estimate: $200 - $300
245620_0  


Lot 328: MARILYN MONROE SIGNED CHECK WITH CORRESPONDING INVOICE
 A check signed by Monroe in blue ink, dated February 14, 1958, Valentine's Day, paid to the Profile Symmetry Salon in New York City in the amount of $58.50. The check is drawn on Monroe's Colonial Trust Company account. Together with the original invoice from the salon sent to Monroe at her 444 East 57th Street residence in New York City dated February 3rd for "9 Treatments (Jan. 7th - Jan. 30th, inc.)" in the amount of $58.50.
Invoice, 7 1/4 by 7 1/4 inches
 Estimate: $3,500 - $4,500
245648_0  


Lot 332: MARILYN MONROE STATEMENT AND INVOICES FROM ERNO LASZLO
 A statement, dated July 8, 1958, addressed to Monroe's secretary "Miss Mary [sic] Reis" presenting the total amount due for goods and services provided between June 1and July, 1958, $1,211.22. Together with 18 corresponding invoices detailing the products and services provided between these dates. The statement has a secretarial notation indicating that these charges were paid with check number 206 on July 31, 1958.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600
245653_0  245654_0 


Lot 334: MARILYN MONROE SKINCARE REGIME
 Five sets of instructions, eight pages, from the Erno Laszlo Institute written out for Marilyn Monroe Miller, dated June 5, 6, 11, and 12, 1958, and July 3, 1958, outlining her constantly changing skincare regime in great detail. The instructions not only divide skincare into "Morning," "Evening 'if' dressing," and "Evening before retiring," but also there are instructions on what not to eat: "Not one piece of any kind of nuts, olives, chocolate, clams and oysters." There are also separate instructions for California and "Instructions for Makeup While Making Films."
8 1/2 by 11 inches
 Estimate: $600 - $800
245656_0 245657_0 245658_0 
245659_0 245660_0 245661_0 
245662_0 245663_0 245664_0 


Lot 337: MARILYN MONROE CHANEL No. 5 PERFUME RECEIPT
 A receipt from I. Magnin & Co. of Beverly Hills for a bottle of Chanel No. 5 perfume totaling $73.15 including tax and delivery through "Red Arrow Spec. Delivery" service. The perfume was billed to Marilyn Monroe Miller and signed for by "(D. Blass)" to be sent to Agnes Flannigan [sic], likely a Christmas present as the receipt is dated December 24, 1959. Flanagan was one of Monroe's hairdressers for many years, including for Bus Stop in 1956 and The Misfits in 1961, among many other occasions.
6 1/4 by 4 1/4 inches
 Estimate: $400 - $600
245667_0  


Lot 338: MARILYN MONROE BEVERLY HILTON SALON RECEIPT
 A single piece of stationery from the Beverly Hilton Hotel in Beverly Hills with handwritten receipt for five hair treatments signed by "Miss Porter - Beauty Salon/ Beverly Hilton Salon."
10 1/2 by 7 1/4 inches
 Estimate: $100 - $150
245668_0 


Lot 339: MARILYN MONROE INVOICE FOR SPECIAL EVENT MAKEUP
 A single page of stationery from Marie Irvine of Long Island dated September 29, 1959, addressed to Marilyn Monroe at 444 East 57th Street for "Special make-up for photography" on September 22 and 27, 1958, for a total of $100. Monroe attended the premiere of An Evening with Ives Montand at the Henry Miller's Theatre in New York with Montgomery Clift on September 22, and she attended an American Friends of the Hebrew University award ceremony with her husband on September 27.
7 by 6 inches
 Estimate: $100 - $150
245669_0 


Lot 340: MARILYN MONROE ELIZABETH ARDEN RECEIPT
 A receipt dated July 1958 from the Arden Salon for eight pairs of black false lashes signed for by "Irvine," likely makeup artist Marie Irvine, for a total of $20.60.
8 by 5 1/2 inches
 Estimate: $200 - $300
245670_0  


Lot 374: DESIGN SKETCH FOR MARILYN MONROE GOWN
 An unsigned pencil on paper sketch of a form-fitting mermaid gown. The sketch perfectly matches the silhouette and seam construction of the gown worn by Marilyn Monroe to the June 13, 1957, premier of The Prince and the Showgirl at Radio City Music Hall in New York City. The gown was made for Monroe by John Moore, who presented Monroe with options for the color of the dress including burgundy and Kelly Green, but Monroe chose beige silk satin.
14 by 11 inches
 Estimate: $2,000 - $3,000
245717_0 


Lot 375: DESIGN SKETCH FOR MARILYN MONROE GOWN
 An unsigned pencil on paper sketch of a form-fitting mermaid gown. The sketch perfectly matches the silhouette of the gown worn by Monroe to the June 13, 1957, premier of The Prince and the Showgirl at Radio City Music Hall in New York City. This sketch, most likely by designer John Moore, however introduces a much more elaborate set of swirled seam lines around the body. This is likely a variation presented to Monroe, who opted for the more simple and streamlined design that she wore to the premiere.
14 by 11 inches
 Estimate: $1,000 - $1,500
245718_0  


Lot 379: MARILYN MONROE ROYAL COMMAND PERFORMANCE GLOVE DOCUMENTS
 A typed letter, dated July 14, 1957, signed by Kenneth C. Rouse of London and reading in part, "I am enclosing herewith a statement … for your information, regarding the making of a pair of gloves in gold lame for Miss Marilyn Monroe, to match her dress for the Royal Command show late last year." The letter elucidates the color and fabric of this dress captured almost exclusively on black and white film. Together with three account statements and four additional administrative letters regarding settlement of the account.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
245725_0  245726_0  


Lot 383: MARILYN MONROE BERGDORF GOODMAN RECEIPT
A receipt from Bergdorf Goodman dated June 28, 1960, addressed to Mrs. Arthur Miller, 444 E. 57th Street, New York. Items purchased were signed for by May Reis, Monroe’s secretary.
 Estimate: $500 - $700
245731_0 


Lot 384: MARILYN MONROE FASHION INVOICE
 Two invoice pages from Polly's at 480 Park Avenue in New York City listing a "Black wool dinner dress" for $290 and a "Natural baby lama [sic] wool coat" for $350. The salesperson has written extensive notes for "Mrs. Arthur Miller" reading in part, "This Christian Dior coat ought to be very good for you both here and in California" and "the shirred bottom can be cut off at a later period and you can have a regular hem put in and have a charming free flowing dress."
6 3/4 by 8 3/4 inches
 Estimate: $100 - $150
245732_0 


Lot 385: MARILYN MONROE COMMUNICATIONS FROM CHRISTIAN DIOR
 A series of messages from Simone Noir of Christian Dior in Paris to "Mrs. Miller," the first a letter dated March 7, 1958, reading in part, "I am very pleased to know that you will come to Paris in a few days. I certainly hope that we will have the pleasure of your visit at Christian Dior's, in spite of the heavy schedule. ... Naturally, we can show you models at your hotel. ..." The second is a telegram dated March 8, 1958, from Simone Noir saying that they are sending sketches and wish Monroe a pleasant stay in Paris. The third is a price list of the latest Dior designs, and the last is a telegram dated April 2, 1959, stating that they are happy Monroe is coming to Festival Cannes and they could make dresses for her arrival.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
245733_0  


Lot 386: MARILYN MONROE HANDWRITTEN AND SIGNED CHECK
 A check written entirely in Marilyn Monroe's hand, in black ink, dated July 14, 1952, and paid to Saks & Company, in the amount of $257.51. The check is drawn on Monroe's Bank of America account. Monroe lists her address as "Bel Air Hotel."
3 1/2 by 8 1/4 inches
 Estimate: $2,000 - $3,000
245734_0 


Lot 387: CORRESPONDENCE REGARDING LOST MARILYN MONROE GARMENTS
 A letter from fashion designer John Moore to May Reis dated February 3, 1960, saying he will find out what happened to two "beige and black broadcloth shirtwaist sheaths" that were according to Moore "made by two of my best girls here in my workroom. … " Moore promised to trace the shipment to find the outcome of where they went. Subsequent documents, including claim to insurance company, reveal that the garments were in fact destroyed when TWA flight 595, a cargo flight, crashed after takeoff from Chicago Midway Airport on November 24, 1959, killing three people on board and eight people on the ground. The documents valued the lost garments at $750.
8 1/2 by 11 inches
 Estimate: $200 - $300
245735_0 


Lot 389: MARILYN MONROE FERRAGAMO RECEIPT
 A handwritten receipt from the Ferragamo Shoe Salon at 424 Park Avenue in New York City dated July 3, 1958. The receipt lists Marilyn Monroe Miller at 444 East 57th Street with note that the shoes were sold "c/o Miss Reis," Monroe's secretary. Additional note at top of the page reads "Address where to send red shoes." The receipt lists six pairs of shoes, including the Felitia in white, black, beige, and red calf leather, as well as shoe trees, polish, and a pair of hose.
6 by 4 1/4 inches
 Estimate: $300 - $500
245737_0 


Lot 392: MARILYN MONROE FERRAGAMO STATEMENT
 A handwritten balance statement on a page torn from a Beverly Hills Ferragamo Shoe Salon invoice pad dated April 1, 1960. The statement is in the name of Mrs. Arthur Miller at The Beverly Hills Hotel and has secretarial notation that the balance was paid on April 29, 1960.
6 by 4 1/4 inches
 Estimate: $200 - $300

245740_0 


Lot 394: MARILYN MONROE FERRAGAMO CLIPPING AND LETTER
 A clipping from a 1959 issue of the New York Herald Tribune featuring an article titled, "Shoes by Ferragamo Designed for Comfort." Monroe, already a fan of the shoes, is not mentioned specifically in the article, although it does note that Ferragamo makes shoes for "innumerable top movie stars." Together with a letter from J. Hoffner of the Park Avenue Ferragamo Shoe Salon in New York City addressed "Dear Miss Monroe," dated September 3, 1958. The letter reads in part, "Since I know you like our spike heel opera pump very much; and since we have a great many more pair here than in our Beverly Hills store, I am writing to tell you the colors and materials I have in your size at the present time."
Largest, 8 1/2 by 11 inches
 Estimate: $300 - $500

245742_0 


 Lot 401: MARILYN MONROE ALIATA STATEMENT OF ACCOUNT
 A typed statement dated December 1, 1959, listing outstanding charges for purchases made on October 24 and November 25, 1959, including a pair of purple suede shoes, silver kid shoes, and a pair of beige calf shoes totaling $151.74. The statement has a secretarial notation indicating that the charges were paid with check number 209 on December 8, 1959.
5 1/2 by 8 1/2 inches
 Estimate: $200 - $300

245751_0  


 Lot 402: MARILYN MONROE ALIATA SHOE RECEIPT
 A typed receipt, undated, listing a pair of "Multicolor Shoes" sold to Miss Marilyn Monroe at the Bel Air Hotel for a total of $51.50. Secretarial notation on the invoice indicates that the charges were paid with check number 306 on September 5, 1958.
5 1/2 by 8 1/2 inches
 Estimate: $200 - $300

245752_0   


 Lot 403: MARILYN MONROE ALIATA SHOE RECEIPT 
A handwritten receipt from Aliata Inc. imported shoes in 43 East 57th Street New York dated January 22, 1959, sold to Mrs. Marilyn Monroe of 444 East 57th Street in New York. The receipt lists 10 pairs of designer shoes by the Italian maker, including beige calf shoes, red suede, black suede, ivory - multicolor among others for a total of $392.43 including tax. Additional note at bottom of receipt lists "Bag - Helena Arpels" for an additional $64.59.
10 1/2 by 7 1/4 inches
  Estimate: $400 - $600
245753_0  245754_0
 


Lot 409: MARILYN MONROE DELMAN DOCUMENTS
 A typed letter, signed and dated June 23, 1959, from Rube Adler of Delman Inc. an exclusive New York boutique that carried Christian Dior shoes. The letter apologizes for charging Monroe for a pair of black calf pumps that were sent at the request of Kenneth Lane. Together with corresponding credit memo to correct the error, a credit invoice dated June 18, 1958, for a pair of shoes listed as "Debonair" for $18.75, and a statement dated March 25, 1958, for outstanding balance of $106.
Largest, 10 1/2 by 7 1/4 inches
 Estimate: $300 - $500
245760_0
 


Lot 443: MARILYN MONROE DANCE SHOES RECEIPT
 A receipt dated November 16, 1959, from Capezio shoes in Los Angeles listing four pairs of "#32 Black Medium" at a cost of $5 per pair, sold to "20 Century Fox" with additional notations and secretarial Marilyn Monroe signature. The receipt is for the shoes worn by Monroe as she began dance rehearsals for her film Let's Make Love that began filming in January 1960.
5 1/2 by 8 inches
 Estimate: $300 - $500
245821_0  


Lot 455: MARILYN MONROE HANDBAG RECEIPT
 A store receipt from I. Magnin & Co. of Beverly Hills. The receipt is dated June 24, 1956, and is in the name of Mrs. Arthur Miller and Marilyn Monroe of 444 East 57th Street and signed by assistant Hazel Washington. The receipt lists two items bags on sale for $30 and $46.
6 1/4 by 4 1/4 inches
 Estimate: $200 - $300
245856_0 


Lot 464: MARILYN MONROE JEWELRY INVOICE
 An invoice dated February 19, 1958, from Talmack, New York sold to Mrs. Arthur Miller. The invoice lists one pair of rhinestone earrings, $14.00.
8 1/2 by 8 1/4 inches
 Estimate: $200 - $300
245866_0  


Lot 472: MARILYN MONROE JEWELRY INVOICE
 An invoice dated June 15, 1960, from Porflex Co. of Beverly Hills listing Monroe's housekeeper, Hazel Washington. The invoice is for a pair of 14k white gold earrings with diamonds, 14k bracelet, and 14k charm totaling $406.98.
6 1/2 by 8 1/4 inches
 Estimate: $200 - $300
245875_0  


Lot 481: MARILYN MONROE I. MAGNIN & CO. STATEMENTS
 One complete and one partial original statement from I. Magnin & Company addressed to Mrs. Arthur Miller, 444 E. 57th Street, New York City. The partial statement indicates a payment of $28.97 was paid on May 2, 1960. The complete statement documents receipt of the May 2 payment, and indicates a total balance still due of $10.40.
 Estimate: $500 - $700
245890_0  


Lot 482: MARILYN MONROE CEIL CHAPMAN INVOICE
 A two-page invoice, in triplicate, listing 11 items purchased from Ceil Chapman February 10, 1958, totaling $817.75 plus $3.00 for messenger charges.
8 1/2 by 8 1/2 inches
 Estimate: $200 - $300
245891_0  


Lot 485: MARILYN MONROE CUSTOM BRA RELATED DOCUMENTS
 A handwritten note dated September 23, 1960, from Augusta Bouvier of Hollywood, California, addressed "Dear Miss Monroe:" and reading "I completed these bras on my own time, it took me four days to alter them, so I am giving you a special price of seventy five dollars." Together with an unsigned file copy of a letter dated October 31, 1957, to Fifth Avenue Fashions, reading in part, "Will you kindly send me three bras the same make as I got from you before - I believe it was Carnival - size 38-C."
Largest, 8 1/2 by 11 inches
 Estimate: $300 - $500
245894_0 


Lot 495: MARILYN MONROE FERRAGAMO RECEIPTS
 A handwritten note and invoice on the back of a page and partial page torn from a Ferragamo Shoe Salon invoice pad, undated. The note reads "Dear Miss Reis, I have all 5 pairs and am sending them to you Air Mail. Enclosed is your bill. Thank you./ Sincerely yours, J. Hoffner/ P.S. We have shoe trees priced at $2.00 a pair such as I sold Miss Monroe previously. Would she like to have some?" The note is accompanied by an informally written invoice listing five pairs of Felitia shoes in beige and black calf, size 7 1/2 B, for a total of $199.75, and a more formal invoice for the same shoes dated February 3, 1960, with additional postage and packaging charges added for a new total of $203.50 billed to Monroe at The Beverly Hills Hotel.
Largest, 6 by 4 1/4 inches
 Estimate: $300 - $500
245906_0 


Lot 556: MARILYN MONROE PERFUME RECEIPT
 An invoice from Floris of Jermyn Street in London dated December 14, 1959, listing Marilyn Monroe Miller of The Beverly Hills Hotel as the purchaser of six bottles of rose geranium toilet water for a total of $28.25.
8 by 8 1/2 inches
 Estimate: $100 - $150
245992_0   


Lot 960: MARILYN MONROE SIGNED RECEIPT
 A Marilyn Monroe signed Elizabeth Arden receipt. Monroe has signed the receipt in blue ballpoint ink over the salon’s handwritten itemization of services.
8 by 5 1/2 inches
 Estimate: $2,000 - $3,000
246609_0 


 Lot 964: MARILYN MONROE SAKS FIFTH AVENUE RECEIPT
 A handwritten Saks Fifth Avenue receipt for Marilyn Monroe for six articles of clothing totaling $215.23. The receipt is dated "3-20."
6 1/4 by 4 1/2 inches
 Estimate: $600 - $800
246613_0 


Lot 989: MARILYN MONROE SAKS FIFTH AVENUE RECEIPTS
 Two handwritten Saks Fifth Avenue receipts charged to Marilyn Monroe: the first is for two lashes totaling $8.32, signed by makeup artist and hairstylist George Masters; the second is for four pieces of clothing totaling $159.12 with a carbon copy of the receipt. Together with a payment stub from February 15, 1962, showing a balance due of $1,140.88.
Largest, 7 1/2 by 6 1/2 inches
 Estimate: $600 - $800
246645_0 246646_0 

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9 novembre 2016

Marilyn Monroe Auction - 11/2016 - photos 2 -photographies


Photographies - Famille, Enfance & Adolescence
Photographs - Family, Childhood & Teens


Lot 18: MARILYN MONROE FAMILY PHOTOGRAPH
 An original snapshot of Gladys Baker and Marion Otis Monroe, Marilyn Monroe's mother and uncle, with a handwritten note on the photo indicating they were aged 8 and 10 at the time the photo was taken.
3 3/4 by 2 3/4 inches
PROVENANCE: Partial Lot 81, “Fine Manuscripts,” Christie's Los Angeles, Sale 9814, September 20, 2001
 Estimate: $200 - $400
245039_0  


Lot 19: MARILYN MONROE FAMILY PHOTOGRAPH
 An original snapshot of Gladys Baker, Marilyn Monroe's mother, with a handwritten note on the photo indicating Baker was 13 at the time the photo was taken.
3 1/4 by 2 1/4 inches
PROVENANCE: Partial Lot 81, “Fine Manuscripts,” Christie's Los Angeles, Sale 9814, September 20, 2001
 Estimate: $200 - $400
245040_0  


Lot 85: MARILYN MONROE BABY PICTURE
 A vintage black and white photograph of Monroe as an infant printed on heavy photo paper stock. Verso of image has note in the hand of Grace Goddard reading "Marilyn Monroe age 6 ms."
5 7/8 by 3 7/8 inches
 Estimate: $600 - $800
245241_0 245242_0  


Lot 86: MARILYN MONROE BABY PICTURE
 A vintage black and white photograph printed as a postcard. The image features Monroe as a toddler posing with floral dress and matching bonnet. Verso has note in the hand of Grace Goddard reading "Marilyn Monroe age 2 yrs." Coffee mug ring stain to image.
5 3/8 by 3 1/2 inches
 Estimate: $600 - $800
245243_0  245244_0  


Lot 87: MARILYN MONROE CHILDHOOD PHOTOGRAPH
 A hand tinted vintage photograph of Monroe at the age of five. The vintage photograph has writing on the back in the hand of Grace Goddard, her legal guardian, reading "Marilyn Monroe age 5yrs." Additional writing on verso in another hand has instructions for the tinting of the photograph listing that her dress should be pink with light hair and blue eyes.
5 3/4 by 3 7/8 inches
 Estimate: $1,200 - $1,800
245245_0  245246_0  


Lot 88: MARILYN MONROE CHILDHOOD PHOTOGRAPH
 A vintage black and white photograph of Monroe at the age of five with Lester Bolender. A note on verso in the hand of Grace Goddard reads "Marilyn Monroe age 5 yo." An earlier notation has been erased beneath that read "Norma Jeane and Lester."
4 1/2 by 2 7/8 inches
 Estimate: $300 - $500
245247_0 
245248_0 


Lot 89: MARILYN MONROE CHILDHOOD PHOTOGRAPHS
 Two vintage black and white photographs featuring a young Monroe, one showing Monroe with Lester Bolender. Monroe's first foster home placement was with the Bolenders, and she and Lester became known as the twins. Each photograph has notes on verso in the hand of Grace Goddard reading "Marilyn Monroe age 4yrs." One of the images had previous writing reading "Lester Bolender and Norma Jeane Baker" that has been erased and written over.
4 1/2 by 2 7/8 inches 
245249_0 
245250_0  245251_0  


Lot 92: MARILYN MONROE PHOTOGRAPHS
 A small frame with Art Deco style matte containing a vintage oval portrait of a woman circa 1900 based upon hairstyle. This image could possibly be of a young Ana Lower, whom Marilyn Monroe referred to as Aunt Ana, an important mother figure in her life. Lower was born Edith Ana Atchinson in Los Angeles in 1880. Behind this image in the same frame were found two small black and white portraits of Monroe's first husband, Jim Dougherty, in his Merchant Marine uniform.
Frame, 6 1/8 by 4 1/8 inches
 Estimate: $600 - $800
245257_0 245258_0  


Lot 790: MARILYN MONROE HIGH SCHOOL YEARBOOK
 A 1942 Chieftain yearbook that includes Marilyn Monroe. Monroe's picture is on page 48 under the name Norma Baker. Monroe attended University High School in Los Angeles as a tenth grader until February, when she dropped out to marry Jim Dougherty. This yearbook belonged to Barbara Abston, also a tenth grade student. The book has numerous inscriptions to Abston.
9 by 12 inches
 Estimate: $600 - $800
246332_0  246333_0  


Lot 791: MARILYN MONROE 1941 SCHOOL PHOTOGRAPH
 A 1941 Ralph Waldo Emerson Junior High School class photograph. The original vintage panoramic photograph is inscribed by a number of students on verso. Some inscriptions read "To Norma." The front of the photograph is marked "Belongs to Norma Jeane Baker." Monroe can be seen in the photograph in the seventh row from the bottom, and the 15th person from the right. Housed in a frame with a reproduction of the photograph at top and the reverse of the photograph at bottom. The frame is double-sided with a glazed window in the back to show the front of the photograph.
24 3/4 by 32 3/4 inches, framed
 Estimate: $20,000 - $30,000
246334_0 246335_0 246336_0 
246337_0  


Lot 792: MARILYN MONROE HIGH SCHOOL YEARBOOK
 A Chieftain 1942 yearbook from University High School in Los Angeles. Norma Jeane Baker, soon to become Marilyn Monroe, attended University High School in Los Angeles for half of the year as a 10th grade student. Her picture appears on page 48. In February 1942, at age 16, Monroe dropped out of University High School to marry Jim Dougherty.
12 by 9 inches
 Estimate: $800 - $1,200
246338_0  246339_0 


Photographies & Snapshots - en public
Photographs & Snapshots - Public Appearances


Lot 77: MARILYN MONROE PHOTOGRAPHS SOLD WITH COPYRIGHT
 A group of five color photographs of Marilyn Monroe taken on May 19, 1962, at the birthday gala for President John F. Kennedy at Madison Square Garden in New York City. Three of these images show Monroe singing "Happy Birthday" on stage and are likely the only known color photos taken of Monreo during this performance. From the collection of Frieda Hull.
This item sold with copyright but not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $5,000 - $6,000
245222_0  245223_0  245224_0 
245225_0 245226_0 245227_0 


Lot 299: MARILYN MONROE SNAPSHOT
 A single color photograph on glossy Kodak Pavelle paper of Monroe as she appeared to kick the first ball at Ebbets Field in New York, May 12, 1957, for a match between the American Soccer League and a team from Israel.
3 1/4 by 5 inches
 Estimate: $300 - $500
245614_0  


Lot 420: MARILYN MONROE FILM PREMIERE PHOTOGRAPHS
 A group of four vintage black and white glossy photographs of Monroe and Arthur Miller at the New York City premiere of her film Some Like It Hot on March 28, 1959.
8 by 10 inches
 Estimate: $400 - $600
245778_0  245781_0 
245779_0  245780_0  


Lot 531: MARILYN MONROE SNAPSHOTS
 Three black and white photographs of Monroe likely taken by a fan on the streets of New York City in the late 1950s.
4 3/4 by 3 3/4 inches
 Estimate: $300 - $500
245966_0  


Lot 607: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original black and white photograph of Marilyn Monroe taken on October 25, 1951, when she attended the Hollywood Foreign Correspondents Association dinner at the Mocambo club in Los Angeles.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246088_0  


Lot 614: MARILYN MONROE SIGNED SNAPSHOT
 A black and white snapshot of Marilyn Monroe in front of the Sherry Netherland Hotel in New York City, 1952. The image is signed in blue ballpoint pen "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246097_0   


Lot 615: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of five original black and white photographs of Marilyn Monroe taken on April 4, 1952, as she attended a publicity event held at the Owl Drug Store in Los Angeles. The event was sponsored by Life magazine, and Monroe was there to sign copies of the magazines with her on the cover. Four of the photographs have writing on the back referencing the event, likely in Frieda Hull's own hand. Some of the photographs are never before seen.
Largest, 4 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
246098_0  247261_0 


Lot 616: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original photo of Monroe taken on January 26, 1952, at the Henrietta Awards ceremony held at Club Del Mar in Santa Monica, CA.  Marilyn won the "Henrietta Award for Best Young box Office Personality," given by the Hollywood Foreign Press Association.
3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246099_0 


Lot 617: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original black and white photographs of Marilyn Monroe taken on June 3, 1952, at a Look magazine awards party held at the Beverly Hills Hotel. One image from this lot is likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400 
246100_0 


Lot 618: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 10 original color and black and white photographs of Marilyn Monroe taken on August 3, 1952, at a party thrown in her honor at the home of big band leader Ray Anthony in Sherman Oaks, California. This lot contains eight black and white and two color images, some likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $900 - $1,100
246101_0  247262_0  


Lot 619: MARILYN MONROE REPRODUCTION PHOTOGRAPHS
 A group of two reproduction black and white photographs of Marilyn Monroe taken on June 26, 1952, as she appeared in court to testify as part of a lawsuit against an entity using her name and likeness to sell pornographic photographs.
Largest, 3 1/4 by 2 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246102_0  


Lot 620: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original black and white photographs of Marilyn Monroe taken on October 3, 1952, at a party sponsored by Photoplay magazine.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246103_0 


Lot 629: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of Marilyn Monroe original black and white photographs, circa 1953, at an unknown event. Both are likely never before seen images.
Larger, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246115_0  


Lot 630: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of five original black and white photographs of Marilyn Monroe taken on February 9, 1953, at the Photoplay magazine awards ceremony where she received the award for Fastest Rising Star of 1953. Two of the photos have "Beverly Hills Hotel" written on verso. Some images in this lot are possibly never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
246116_0 247263_0 247264_0  


Lot 631: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of four original color and black and white photographs of Marilyn Monroe taken on May 13, 1953, when she was at a birthday party for Walter Winchell at Ciro’s restaurant in Los Angeles. Two photographs show Monroe with Jane Russell, and two show her with Betty Grable. Reverse of one black and white image is stamped "Photo by Darlene Hammond/ 1416 Belfast Drive/ Hollywood 46, Calif./ CR. 10747." This lot contains two color and two black and white images.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246117_0 


Lot 632: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 18 original color and black and white photographs of Marilyn Monroe taken on July 10, 1953, at a gala arranged by Danny Thomas to benefit St. Jude Hospital. The fundraiser, which was held at the Hollywood Bowl, also included appearances by Jane Russell, Robert Mitchum, and Danny Kaye. Thomas, Mitchum, and Kaye are photographed with Monroe in this set of photographs. This lot includes 17 black and white images and one color image. Some photographs from this lot are likely never before seen.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246118_0  246119_0 
246120_0  247265_0 


Lot 634: MARILYN MONROE ORIGINAL PHOTOGRAPHS
 A pair of Marilyn Monroe original color and black and white photographs, circa 1953, taken at an unknown event. Both are likely never before seen.
Larger, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246122_0 


Lot 636: MARILYN MONROE CANDID PHOTOGRAPHS
 A group of 13 color and black and white photographs of Marilyn Monroe, some reproductions, taken on December 19, 1953, when she appeared at the Ambassador Hotel in Los Angeles to receive the Miss Press Club Award. This lot contains five color and eight black and white photographs. Some photographs from this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
246124_0  247266_0 


Lot 638: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original color and black and white photographs of Marilyn Monroe from March 9, 1954, when she appeared at the Beverly Hills Hotel to receive the Photoplay magazine award for The Most Popular Actress of 1953 due to her roles in Gentlemen Prefer Blondes (20th Century, 1953) and How To Marry A Millionaire (20th Century, 1953). This lot contains two color photographs and one black and white photograph.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $500
246126_0  


Lot 639: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 10 original black and white photographs of Marilyn Monroe with Jane Russell taken on June 26, 1953, at Grauman's Chinese Theatre as Monroe and Russell memorialized their autographs, shoe prints, and handprints in wet cement. Nine photographs are stamped on verso "Photo by Darlene Hammond/ 1416 Belfast Drive/ Hollywood 46, Calif./ CR. 10747."
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $900 - $1,100
246127_0  246128_0   


Lot 640: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of four original color photographs of Marilyn Monroe, one together with Jane Russell, taken on June 26, 1953, in conjunction with a Grauman's Chinese Theatre event where Monroe and Russell memorialized their autographs, shoe prints, and handprints in wet cement.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246129_0  246130_0 


Lot 647: MARILYN MONROE THERE'S NO BUSINESS LIKE SHOW BUSINESS SCREENING PHOTOGRAPH
 A black and white photograph of Marilyn Monroe, Gracie Allen, Jack Benny, Joan Collins, and Bing Crosby, among many other stars, attending a special screening of There’s No Business Like Show Business at 20th Century Fox studios in 1954.
11 by 14 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
246137_0  246138_0  


Lot 657: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 10 original black and white photographs taken on June 1, 1955, at the premiere of The Seven Year Itch (20th Century, 1955). Seven of the photographs show Marilyn Monroe with her date for the evening, husband Joe DiMaggio. Two photographs show the theater marquee with large cutout images of Monroe in the now famous skirt- blowing scene from the film. Some images in this lot are likely never before seen.
Largest, 5 by 7 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $900 - $1,100
246150_0 
246151_0  246152_0 


Lot 667: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 10 original color and black and white photographs of Marilyn Monroe alone and with guests, taken on January 7, 1955, at an event announcing the launch of Marilyn Monroe Productions, a joint venture with friend and photographer Milton Greene. This lot contains three color and seven black and white photographs. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $900 - $1,100
246162_0 247271_0 247272_0 


Lot 669: MARILYN MONROE COLOR SLIDES
 A pair of color slides of Marilyn Monroe from March 11, 1955, at the Friars Club Testimonial Dinner.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246164_0


Lot 670: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 24 original color and black and white photographs of Marilyn Monroe taken on March 11, 1955, at the Friars Club Testimonial Dinner. Monroe is pictured surrounded by fans signing autographs and talking to James Haspiel. Several photographs show her with friend, photographer, and business partner Milton Greene. This lot contains 22 black and white photographs and two color photographs. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246165_0  246167_0  246168_0 
246166_0  247273_0 


Lot 676: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of eight original black and white photographs of Marilyn Monroe taken on March 24, 1955, when she attended the play Cat on a Hot Tin Roof with Milton and Amy Greene. Some images in this lot are likely never before seen.
Largest, 4 1/2 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $700 - $900
246174_0 


Lot 686: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 19 original black and white photographs of Marilyn Monroe taken at the East of Eden premiere on March 9, 1955, at the Astor Theatre in New York City. Monroe was an official usherette at the event. Some images show friend, photographer, and business partner Milton Greene and his wife, Amy Greene. Some images are never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246185_0 247276_0  


Lot 687: MARILYN MONROE SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe wearing a white brocade gown with matching jacket and white evening gloves as she attended the New York City premiere of East of Eden starring James Dean on March 9, 1955. The photograph is signed in blue ballpoint pen "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246186_0 


Lot 691: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original black and white photographs of Marilyn Monroe in costume taken on March 30, 1955, for her appearance on opening night at the Ringling Bros. Circus at Madison Square Garden, which was a benefit produced by Mike Todd for the Arthritis and Rheumatism Foundation.
Largest, 7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246191_0 246192_0 


Lot 692: MARILYN MONROE ORIGINAL PRESS AND PUBLICITY PHOTOGRAPHS
 An archive of nine vintage press and publicity photographs featuring Marilyn Monroe.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $500 - $700
246193_0  


Lot 693: MARILYN MONROE VINTAGE PHOTOGRAPH
 A large, glossy black and white photograph of Marilyn Monroe during her famous appearance on March 31, 1955, when she rode a Barnum & Bailey elephant painted pink as part of the Mike Todd memorial event to benefit victims of arthritis.
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $800 - $1,200
246194_0   


Lot 703: MARILYN MONROE COLOR SLIDES
 A group of 20 slides of Marilyn Monroe, from the collection of Frieda Hull. Some are never before seen images, from August 6, 1955, as she was at the airport in New York City preparing to fly to Bement, Illinois. Together with an original "Automatic Slide Changer" storage box, owned by Hull.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
246207_0   


Lot 704: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 11 original color and black and white photographs of Marilyn Monroe taken on August 6, 1955, when she was at the airport in New York City preparing to fly to Bement, Illinois. One of the photographs is an original press photograph from the United Press Association. This lot contains six black and white and five color photographs. Some images in this lot are likely never before seen.
Largest, 9 by 6 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,200
246208_0 246209_0 247279_0 
247278_0 


Lot 706: MARILYN MONROE SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe wearing a white brocade gown with matching jacket and white evening gloves as she attended the New York City premiere of East of Eden starring James Dean on March 9, 1955. The photograph is signed in blue ink "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246211_0 


Lot 711: MARILYN MONROE SIGNED SNAPSHOT
 A color snapshot of Marilyn Monroe posing in the backseat of a car circa early 1950s. The image is signed in blue ink “Marilyn Monroe.” The autograph was obtained by Frieda Hull, one of the “Monroe Six, a group of legendary fans with whom Monroe became friendly.
3 by 2 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246218_0 


Lot 712: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of five original color and black and white photographs of Marilyn Monroe taken the evening of December 12, 1955, when she attended the premiere of The Rose Tattoo. This lot contains two color and three black and white photographs.
Largest, 4 1/2 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
246219_0  


Lot 713: MARILYN MONROE COLOR SLIDES
 A group of three slides of Marilyn Monroe from evening of December 12, 1955, when she attended the premiere of The Rose Tattoo.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246220_0 


Lot 714: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original black and white photographs of Marilyn Monroe taken on December 18, 1955, at the Waldorf Astoria Hotel following her attendance at the premiere of Baby Doll. Two of the images show Monroe with husband Arthur Miller. Research indicates that this may be the only documented occasion where Monroe parted her hair on the right. Her regular part was always on the left.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800
246221_0 


Lot 718: MARILYN MONROE SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe in New York City circa 1955 wearing a white gown and white fur, signed in blue ink "Marilyn Monroe." The autograph was obtained by Frieda Hull, one of the "Monroe Six," a group of legendary fans with whom Monroe became friendly.
7 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $2,000 - $3,000
246225_0 


Lot 719: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of eight original color and black and white photographs of Marilyn Monroe taken on February 8, 1956, when she attended the premiere of Middle of the Night in New York City. This lot contains seven black and white photographs and one color photograph. Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $900 - $1,100
246226_0 246227_0 247282_0 


Lot 720: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
A pair of original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken on June 11, 1956. Monroe and Miller were outside her Sutton Place apartment. Miller's divorce from Mary Slattery had just been granted.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246228_0 


Lot 721: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of four original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken at a press conference in front of Monroe's Sutton Place apartment on June 22, 1956. Miller was in the throes of defending himself against accusations of communist activities. Monroe transitioned the focus of the press conference away from Miller toward their impending marriage, their plans to travel to England for their honeymoon, and the filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246229_0 


Lot 722: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 14 original black and white photographs of Marilyn Monroe and soon-to-be husband Arthur Miller, taken on June 29, 1956. Monroe and Miller were married in a civil ceremony later that day. The photographs also show Milton Greene and Miller's parents, Isidore and Augusta. Some images in this lot are likely never before seen.
Largest, 4 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
246230_0 246231_0 247283_0 


Lot 724: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original candid color photograph of Marilyn Monroe and husband Arthur Miller, taken on January 7, 1957, following their return from their honeymoon in Jamaica.
3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246233_0 


Lot 726: MARILYN MONROE SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe as she boarded a plane for Hollywood at Idlewild Airport in New York on February 25, 1956. The image is signed in blue ballpoint pen over a photographer's arm, "To Frieda Love & Kisses," and below along the line of the white railing, "Marilyn Monroe." In the photograph Frieda Hull is pictured with her camera, which is lot 697 in this auction.
8 by 10 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $4,000 - $6,000
246235_0 


Lot 728: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 20 original color and black and white photographs of Marilyn Monroe that document her 1956 travels to and from Los Angeles to film Bus Stop (20th Century, 1956). Several of the photographs show Monroe walking across the tarmac to a plane among a sea of fans and photographers, then posing for photographs at the top of the stairs leading to the plane. One photograph shows the crowd on hand at the airport to see Monroe. This lot includes eight color and 11 black and white photographs, many that have never been seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246242_0 247284_0 


Lot 729: MARILYN MONROE COLOR SLIDES
 A group of 18 slides of Marilyn Monroe from the collection of Frieda Hull, documenting Monroe’s travels to and from Los Angeles to film Bus Stop (20th Century, 1956) in 1956. Several slides show Monroe posing for photographs at the top of the stairs leading to the plane. Together with an original "Automatic Slide Changer" storage box, owned by Frieda Hull. Many of the slides have never been seen.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
246243_0 


Lot 730: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 19 original color and black and white photographs of Marilyn Monroe taken on February 25, 1956, when she held a press conference at Los Angeles Airport. Monroe had flown to Los Angeles to work on Bus Stop (20th Century, 1956). Some images in this lot are likely never before seen.
Largest, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246244_0 247285_0


Lot 737: MARILYN MONROE VINTAGE PHOTOGRAPH
 A large matte black and white photograph of Marilyn Monroe at the Plaza Hotel in New York City during a 1956 press conference for The Prince and the Showgirl (Warner Bros., 1957).
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $800 - $1,200
246255_0 


Lot 738: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe signing autographs for fans on February 8, 1956, when she attended the premiere of Middle of the Night in New York City.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246256_0   


Lot 739: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe, from July 13, 1956, as she and husband Arthur Miller departed New York City for England to film The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246257_0   


Lot 740: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original candid black and white photograph of Marilyn Monroe taken on July 13, 1956, as she and husband Arthur Miller departed New York City for England to film The Prince and the Showgirl (Warner Bros., 1957).
3 1/2 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246258_0 


Lot 742: MARILYN MONROE COLOR SLIDES
 A group of 11 slides of Marilyn Monroe and husband Arthur Miller, from May 13, 1959, at the Italian Consulate on Park Avenue in New York City, where she attended a ceremony to receive the David di Donatello Award, the equivalent of the Academy Award, for her work in The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,200
246263_0  


Lot 743: MARILYN MONROE VINTAGE PUBLICITY IMAGE ARCHIVE
 An archive of approximately 30 vintage black and white publicity images related to Marilyn Monroe and The Prince and the Showgirl (Warner Bros., 1957). The photographs show Monroe at various press conferences, publicity events, and the premiere of the film.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
246264_0  


Lot 746: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original color photographs of Marilyn Monroe and husband Arthur Miller taken on May 13, 1959, as she arrived at the Italian Consulate on Park Avenue in New York City to receive the David di Donatello Award, the equivalent of the Academy Award, for her work in The Prince and the Showgirl (Warner Bros., 1957).
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246267_0  


Lot 747: MARILYN MONROE COLOR SLIDES
 A pair of color slides of Marilyn Monroe, from February 26, 1959, as Monroe was on her way to the French Film Institute to receive the Crystal Star Award, the French equivalent of the Academy Award, for her performance in The Prince and the Showgirl (Warner Bros., 1957).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300

246268_0  


Lot 748: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of seven original color photographs of Marilyn Monroe taken on February 26, 1959, when she was on her way to the French Film Institute to receive the Crystal Star Award, the French equivalent of the Academy Award, for her performance in The Prince and the Showgirl (Warner Bros., 1957). Monroe is seen in the photographs with members of the "Monroe Six," including Frieda Hull, Eileen Collins, Gloria Milone, and Edith Pitts. Three photographs show Monroe with James Haspiel. Some images in this lot are likely never before seen.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800
246269_0 


Lot 749: MARILYN MONROE ORIGINAL PHOTOGRAPHS SOLD WITH COPYRIGHT
 A group of 15 photographs of Marilyn Monroe, circa 1957, likely taken at a New York City showing of The Prince and the Showgirl (Warner Bros., 1957). These photographs show Monroe with husband Arthur Miller at what appears to be a movie theater as a poster for the film can be seen on the theater lobby wall. Monroe is shown in the back of a cab signing autographs for fans, walking to the theater, and inside the lobby of the theater. This lot contains 12 color and three black and white photographs that are believed to be never before seen images.
This item sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $8,000 - $9,000
246270_0 246271_0 247287_0 


Lot 750: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe and husband Arthur Miller, from January 7, 1957, following their return from their honeymoon in Jamaica.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246272_0 


Lot 751: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe, from November 18, 1957, when she and husband Arthur Miller attended Conversation Piece, a play in which Miller's sister Joan Copeland appeared.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246273_0   


Lot 752: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of seven original color and black and white photographs of Marilyn Monroe taken on November 18, 1957, when she and husband Arthur Miller attended Conversation Piece, a play in which Miller's sister Joan Copeland appeared. James Haspiel appears in two images, "Monroe Six" member Gloria Malone in another. Some images in this lot are never before seen. This lot contains four black and white and three color photographs.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800
246274_0  247288_0 


Lot 755: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original never before seen original color photographs of Marilyn Monroe taken on May 30, 1958, as she exited her apartment at 444 East 57th Street in New York City. Just three days prior, Monroe was photographed by Richard Avedon for Life magazine.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800
246277_0 


Lot 756: MARILYN MONROE COLOR SLIDES
 A group of four never before seen original color slides of Marilyn Monroe, from May 30, 1958, as she exited her apartment at 444 East 57th Street in New York City. Just three days prior, Monroe was photographed by Richard Avedon for Life magazine.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246278_0   


Lot 753: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of four original candid color photographs of Marilyn Monroe taken on May 12, 1957, at Ebbets Field in Brooklyn, New York. Monroe was on hand to make the ceremonial first kick at a soccer match between the USA and Israel. It's reported that she sprained two of her toes while kicking the ball, yet she stayed until the end of the match to award the trophy to Israel, the winning team by a score of 6-4.
Largest, 3 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246275_0 


Lot 754: MARILYN MONROE COLOR SLIDES
 A group of eight color slides of Marilyn Monroe, from May 12, 1957, at Ebbets Field in Brooklyn, New York. Monroe was on hand to make the ceremonial first kick at a soccer match between the USA and Israel. It's reported that she sprained two of her toes while kicking the ball, yet she stayed until the end of the match to award the trophy to Israel, the winning team by a score of 6-4.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $700 - $900

246276_0 


Lot 757: MARILYN MONROE COLOR SLIDES
 A group of four slides of Marilyn Monroe and husband Arthur Miller, from their departure from New York for Los Angeles for her to film Some Like It Hot (UA, 1959).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246279_0   


Lot 758: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of eight original color and black and white photographs of Marilyn Monroe and husband Arthur Miller as they departed New York for Los Angeles for her to film Some Like It Hot (UA, 1959). This lot contains five color and three black and white photographs, some never before seen.
Largest, 5 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $700 - $900
246280_0  


Lot 759: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of 15 original color and black and white photographs of Marilyn Monroe taken on March 29, 1959. These images are believed to have been taken following the premiere of Some Like It Hot (UA, 1959) as Monroe and husband Arthur Miller traveled from the theater to the home of Lee and Paula Strasberg for a party they were throwing for Monroe. Many images are never before seen. This lot contains eight black & white and seven color photographs.
Largest, 6 3/4 by 5 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,000
246281_0  246282_0 
246283_0  247289_0  


Lot 760: MARILYN MONROE COLOR SLIDES
 A group of 11 slides of Marilyn Monroe, from March 29, 1959. These images are believed to have been taken following the premiere of Some Like It Hot (UA, 1959) as Monroe and husband Arthur Miller traveled from the theater to the home of Lee and Paula Strasberg for a party they were throwing for Monroe. Many images are never before seen.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,200
246284_0   


Lot 761: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe, from September 18, 1959, as she left her apartment at 444 East 57th Street. She was leaving to fly to Los Angeles to attend a gala in honor of Soviet Premier Nikita Khrushchev held by Twentieth Century Fox Studios.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246285_0   


Lot 762: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of original color photographs of Marilyn Monroe and husband Arthur Miller taken on September 18, 1959, when the couple left their apartment at 444 East 57th Street. Miller was escorting his wife to the airport, where she would fly to Los Angeles to attend a gala in honor of Soviet Premier Nikita Khrushchev held by Twentieth Century Fox Studios. Because this was an event in honor of a Communist leader, Miller didn't attend the gala as it wouldn't have been appropriate considering his appearance before the House Committee on Un-American Activities about his political leanings in June 1956.
Larger, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246286_0 


Lot 763: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A group of three original black and white photographs of Marilyn Monroe taken on September 27, 1959, at the Bellevue-Stratford Hotel, where Monroe and husband Arthur Miller were attending the American Friends of The Hebrew University Awards Banquet, where Miller was honored for Distinguished Achievement in the Dramatic Arts. All the photographs in this lot are likely never before seen.
Largest, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400 
246287_0 


Lot 764: MARILYN MONROE PHOTOGRAPHS
 A group of four color photographs of Marilyn Monroe, likely reproductions, taken on September 21, 1959, at Henry Miller's Theatre on Broadway in New York City, where Monroe was attending An Evening with Yves Montand, accompanied by friend and co-star Montgomery Clift. All four photographs reference Terri Arden on the reverse.
Largest, 6 by 4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246288_0 


Lot 765: MARILYN MONROE COLOR SLIDES
 A group of three color slides of Marilyn Monroe, from November 2, 1959, when she and husband Arthur Miller departed New York City for Los Angeles to film Let's Make Love (20th Century, 1960). Of note, one slide in particular shows Monroe sitting in the back of a car holding a bird in a birdcage, likely Butch, the Millers' pet parakeet.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $400
246289_0   


Lot 766: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original candid color photograph of Marilyn Monroe, likely taken on April 16, 1960, as she attended Josephine Baker's show at the Hollywood Hartford Theatre, accompanied by Yves Montand.
3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246290_0


Lot 767: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of original candid color photographs of Marilyn Monroe, likely taken on June 1, 1960, her 34th birthday. The cast and crew of Let's Make Love (20th Century, 1960) celebrated her birthday earlier that day. That evening, Monroe attended a party in her honor held by press agent Rupert Allan at his Beverly Hills home. In these photographs, Monroe wears the same clothing worn on the set earlier in the day.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246291_0 


Lot 773: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of original Marilyn Monroe black and white photographs, one of her with Clark Gable, believed to have been taken on July 24, 1960, at an event held for the cast and crew of The Misfits (United Artists, 1961) at the Mapes Hotel in Reno, Nevada. This was Monroe's final completed film.
Larger, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246308_0 


Lot 779: MARILYN MONROE COLOR SLIDE
 A color slide of Marilyn Monroe surrounded by fans and security, from March 14, 1961. Monroe was attending a benefit for the Lee Strasberg Actors Studio held at the Roseland Dance Hall in New York City.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246321_0  


Lot 780: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of original color photographs of Marilyn Monroe taken on March 14, 1961. Monroe was attending a benefit for the Lee Strasberg Actors Studio held at the Roseland Dance Hall in New York City.
Larger, 5 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $300
246322_0 


Lot 835: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original photograph of Marilyn Monroe, circa 1950, with the words "Bel Air Hotel for Red Book Awards Party" written on verso. Likely never before seen.
3 3/4 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246404_0 


Lot 838: MARILYN MONROE VINTAGE TRANSPARENCY
 A vintage color transparency of Marilyn Monroe with Herman Hover, owner of Ciro’s nightclub, circa 1953.
2 1/2 by 2 1/2 inches
 Estimate: $500 - $700
246410_0 


Lot 846: MARILYN MONROE ORIGINAL SLIDES AND PHOTOGRAPHS WITH COPYRIGHT
 A group of four color transparency slides and two color photographs of Marilyn Monroe taken by Sgt. Marvin Stamness in Korea when Monroe entertained troops there in 1954. Copyright of the images has been applied for. Once copyright is granted, it will be transferred to the winning bidder. Stamness was with the 189th Field Artillery 45th Division of the United States Army and served in the Korean War. At that time, he was from Barrett, Minnesota.
While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Photographs, 2 1/8 by 3 1/8 inches; Slides, 2 by 2 inches
 Estimate: $800 - $1,200
246426_0  246427_0  


Lot 861: MARILYN MONROE SEVEN YEAR ITCH PREMIERE TRANSPARENCY
 A vintage color transparency of Marilyn Monroe and Joe DiMaggio at the premiere of The Seven Year Itch (20th Century, 1955).
2 1/2 by 2 1/2 inches
 Estimate: $500 - $700
246455_0  


Lot 894: MARILYN MONROE VINTAGE CONTACT SHEET
 A vintage partial contact sheet of images of Marilyn Monroe and others. The black and white contact sheet includes nine images, six of which show Monroe taken by Milton Greene at the 1955 announcement of the formation of Marilyn Monroe Productions Inc.
5 by 10 inches
 Estimate: $200 - $400 
246512_0 


Lot 895: MARILYN MONROE MMP ANNOUNCEMENT CONTACT SHEET
 A vintage black and white partial contact sheet of images of Marilyn Monroe taken by Milton Greene at the 1955 announcement of the formation of Marilyn Monroe Productions Inc. The sheet contains 10 frames, with numbering below each image.
3 1/2 by 10 inches
 Estimate:  $200 - $400
246513_0  


Lot 896: MARILYN MONROE MMP ANNOUNCEMENT CONTACT SHEET
 A vintage black and white contact sheet of images taken at the 1955 announcement of the formation of Marilyn Monroe Productions Inc. Marlene Dietrich appears in many of the photographs along with Monroe and Milton Greene, among others. The sheet has 27 frames with grease pencil markings in red.
7 by 10 inches
 Estimate: $600 - $800

246514_0 


Lot 901: MARILYN MONROE MILTON GREENE VINTAGE CONTACT SHEET
 A vintage Milton Greene contact sheet of 34 black and white images taken at the Sheraton Astor Hotel in December 1955. Two of the images are of Marilyn Monroe.
8 by 10 inches
 Estimate: $600 - $800
246523_0 
246702_0 


Lot 903: MARILYN MONROE MEDIA PHOTOGRAPHS
 A group of three vintage Marilyn Monroe media photographs. Each is stamped by a media outlet or includes a snipe. Two images are of Monroe with husband Arthur Miller. One image is of Monroe with Jack Warner and Milton Greene from a press conference announcing the production of The Prince and the Showgirl (Warner Bros., 1957). Accompanied by one contemporary print of Monroe at a party for the film Let's Make Love (20th Century, 1960).
Largest, 8 by 10 inches
 Estimate: $200 - $600
246525_0 


Lot 917: MARILYN MONROE AND ARTHUR MILLER CANDID PHOTOGRAPHS
 A group of 12 black and white photographs of Marilyn Monroe with husband Arthur Miller. Each photograph is dated in the margin "Jul 56" and marked "Pitts" on verso in an unknown hand.
5 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,200 - $1,400
246546_0  


Lot 934: MARILYN MONROE CANDID PHOTOGRAPHS
 A group of seven vintage black and white candid photographs of Marilyn Monroe.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $600 - $800
246567_0  


Lot 935: MARILYN MONROE CANDID PHOTOGRAPHS
 A group of 11 vintage black and white candid photographs of Marilyn Monroe attending various events.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $1,500
246568_0 


Lot 936: MARILYN MONROE CANDID PHOTOGRAPHS
 A group of 10 vintage black and white candid photographs of Marilyn Monroe attending various events.
5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $1,500
246569_0 


Lot 937: MARILYN MONROE CANDID PHOTOGRAPHS
 A group of five candid vintage black and white photographs of Marilyn Monroe at an event.
4 3/4 by 3 1/4 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $600 - $800
246570_0 


Lot 938: MARILYN MONROE VINTAGE NEW YORK PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip dating the photograph to February 22, 1956, and stating the pair were leaving Monroe’s apartment for lunch with Elsa Maxwell.
9 1/2 by 13 3/4 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $800 - $1,200
246571_0  246572_0 


Lot 939: MARILYN MONROE VINTAGE NEW YORK PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip, dating the photograph to February 22, 1956, and stating the pair were leaving the Ambassador Hotel for a cocktail party.
10 3/4 by 11 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $800 - $1,200
246573_0 246574_0 


Lot 940: MARILYN MONROE NEW YORK PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe with Lois Weber on the street in New York City taken by photographer Hans Knopf. PIX Incorporated stamp on verso. A New York Post snipe is attached with a paperclip dating the photograph to February 22, 1956, and stating the pair were walking to the studio of Cecil Beaton.
14 by 10 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $800 - $1,200
246575_0 246703_0 


Lot 944: MARILYN MONROE CONTACT SHEET
 A contact sheet containing 10 vintage black and white candid images of Marilyn Monroe and one additional photograph from the set of an unknown production. The photographs were taken by Lois Weber.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $400 - $600
246587_0  


Lot 945: MARILYN MONROE CANDID PHOTOGRAPHS
 A pair of vintage candid black and white photographs of Marilyn Monroe beside a plane.
5 1/4 by 3 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $200 - $400
246588_0 


Lot 946: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner in 1959. The photograph shows Monroe during an interview in her hotel living room at the Ambassador East Hotel in Chicago, Illinois. Monroe was in Chicago to promote the film Some Like It Hot (UA, 1959). Photographer's and other stamps on verso.
9 1/2 by 10 inches
 Estimate: $1,000 - $2,000
246589_0  


Lot 947: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner in 1959 while Monroe was in Chicago to promote the film Some Like It Hot (UA, 1959). Photographer’s stamp on verso with additional stamp that reads “Kindler Und Schiermeyer Verlag AG Archiv.”
13 1/2 by 10 1/2 inches
 Estimate: $1,500 - $2,000
246590_0 


Lot 948: MARILYN MONROE MANFRED KREINER PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe taken by Manfred Kreiner circa 1959. Photographer's stamp and other notations on verso.
14 by 9 1/2 inches
 Estimate: $400 - $600
246591_0  


Lot 949: MARILYN MONROE AND ARTHUR MILLER PHOTOGRAPH BY MANFRED KREINER
 A vintage black and white photograph of Marilyn Monroe and Arthur Miller at the New York City premiere of Some Like It Hot (UA, 1959) taken by Manfred Kreiner. Photographer's stamp on verso along with information about the photograph in an unknown hand, written with pencil in German.
10 1/2 by 13 1/2 inches
 Estimate: $1,000 - $2,000
246592_0 


Lot 950: MARILYN MONROE AND ARTHUR MILLER VINTAGE PHOTOGRAPH
 A Marilyn Monroe and Arthur Miller black and white vintage original photograph. Taken by Paul Schumach at the premiere of Some Like It Hot (UA, 1959). Photographer's stamp on verso.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
 Estimate: $600 - $800
246593_0 
246594_0 


Lot 971: MARILYN MONROE MONROE, MONTAND AND CUKOR SIGNED PHOTOGRAPH
 A Marilyn Monroe, Yves Montand, and George Cukor signed black and white photograph. The image was taken at a party for the film Let’s Make Love (20th Century ,1960) in which Monroe and Montand starred and Cukor directed. The photograph is inscribed “To Herbert Stern from his first director with every good wish George Cukor,” “For Herbert Love & Kisses Marilyn Monroe,” and “Pour Herbert Stern amical souvenir Y Montand 60.”
8 by 10 inches
 Estimate: $8,000 - $10,000
246621_0  


Lot 976: MARILYN MONROE GOLDEN GLOBE CEREMONY PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe at the 1962 Golden Globes award ceremony taken by Gene Daniels. Monroe won the award for Female World Film Favorite. Photographer's stamp on verso with additional “Revue” stamp and notation.
9 by 13 1/2 inches
 Estimate: $400 - $600
246628_0  


Lot 977: MARILYN MONROE GOLDEN GLOBE CEREMONY PHOTOGRAPH
 A vintage black and white photograph of Marilyn Monroe at the 1962 Golden Globes award ceremony taken by Gene Daniels. Monroe won the award for Female World Film Favorite. Photographer's stamp on verso with additional “Revue” stamp and notation.
13 1/2 by 9 inches
 Estimate: $400 - $600
246629_0 


Photographies - Joseph Jasgur
Photograph
s


 Lot 796: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
 A black and white photograph of Marilyn Monroe taken by Joseph Jasgur in 1946 with infrared film. Gelatin silver print. Printed by the artist. Artist’s copyright sticker on mount verso.
13 1/4 by 10 inches, mounted
 Estimate: $600 - $800
246343_0  


Lot 797: MARILYN MONROE COLOR PHOTOGRAPHS
 A group of six color photographs of Marilyn Monroe taken by photographer Joseph Jasgur. The images are of Monroe alone, and one image shows her with other models at Zuma Beach in 1946.
Each, 11 by 14 inches
 Estimate: $600 - $800
246344_0 246345_0 246346_0 
246347_0 246348_0 246349_0  


Lot 798: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
 Two black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946 at Zuma Beach, California. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $800 - $1,200
246350_0 


Lot 799: MARILYN MONROE JOSEPH JASGUR NEGATIVE
 A Joseph Jasgur black and white negative of Marilyn Monroe produced in 1946. Accompanied by a photograph of the image, printed 2000–2001. Signed in ink lower right.
Negative, 2 1/4 by 2 1/4 inches; Photograph, 14 by 11 inches
 Estimate: $400 - $600
246351_0  246352_0 


Lot 800: MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
 Six Joseph Jasgur black and white negatives of Marilyn Monroe produced in 1946. Accompanied by a photograph of a cropping of the image, printed 2000–2001. Library of Congress number VA 308-684. The winning bidder is responsible for transfer of copyright.
One Negative, 2 1/4 by 2 1/4 inches; Five Negatives, 5 by 4 inches; Photograph, 14 by 11 inches
 Estimate: $800 - $1,200
246353_0  246354_0   


Lot 801: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
 A sepia toned photograph of Marilyn Monroe taken by Joseph Jasgur in 1946. Toned gelatin silver print. Printed by the artist.
20 by 16 inches, mounted
 Estimate: $400 - $600 
246355_0 


Lot 802: MARILYN MONROE PHOTOGRAPHS BY JOSEPH JASGUR
 Two black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. One is a cropped portrait from the full image. Gelatin silver prints. Printed by the artist. Each with the artist’s stamp on mount verso.
10 by 8 inches each, mounted
 Estimate: $500 - $700
246356_0  246357_0 


Lot 803: MARILYN MONROE JOSEPH JASGUR NEGATIVE AND COPYRIGHT
 A Marilyn Monroe negative of an image taken by Joseph Jasgur in 1946, accompanied by copyright. The black and white negative shows Monroe on the beach with Tom Burton.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arriving as a result of any imperfection in copyright given.
5 by 4 inches
PROVENANCE Partial Lot 986, "Hollywood Legends," Julien's, Beverly Hills, April 11, 2014
 Estimate: $1,500 - $2,000
246358_0 


Lot 804: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
 A group of three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $600 - $800
246359_0 


Lot 805: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
 A group of three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Each with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $600 - $800
246360_0  


Lot 806: MARILYN MONROE BLACK AND WHITE PHOTOGRAPHS
 A group of nine black and white photographs of Marilyn Monroe taken by photographer Joseph Jasgur. Jasgur photographed Monroe in 1946 when she was still known as Norma Jeane Dougherty and was a model with the Blue Book Model Agency.
Largest, 11 by 14 inches
 Estimate: $800 - $1,200
246361_0 246363_0 246364_0 
246362_0 
246365_0 246366_0 246367_0 
246368_0 246369_0 


Lot 807: MARILYN MONROE JOSEPH JASGUR PHOTOGRAPHS
 A group of four black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver prints. Printed by the photographer. Two with photographer’s stamp on mount verso.
10 by 8 inches each
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $600 - $800
246370_0  


Lot 808: MARILYN MONROE PHOTOGRAPHS BY JOSEPH JASGUR
 Three black and white photographs of Marilyn Monroe taken by Joseph Jasgur in 1946 using infrared film. Gelatin silver prints. Printed by the photographer. Two with photographer’s stamp on mount verso.
10 by 8 inches each, mounted
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $400 - $600
246371_0 246372_0 246373_0  


Lot 809: MARILYN MONROE PHOTOGRAPH BY JOSEPH JASGUR
 A black and white photograph of Marilyn Monroe taken by Joseph Jasgur in 1946. Gelatin silver print. Printed by the artist. Artist’s stamp on mount verso.
10 by 8 inches, mounted
 Estimate: $600 - $800
246374_0  


Lot 810: MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
 A group of three Joseph Jasgur black and white negatives of Marilyn Monroe produced in 1946. Copyright to this image will be transferred to the winning bidder.
While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
5 by 4 inches, each
PROVENANCE From the Estate of Joseph Jasgur
 Estimate: $1,000 - $2,000
246375_0 
247292_0 247293_0 


Photographies - André De Dienes
Photograph
s


Lot 795: MARILYN MONROE LIMITED EDITION ANDRE DE DIENES PRINT
A Marilyn Monroe black and white photograph taken by Andre De Dienes in 1945, printed in a limited edition, gelatin print made from the original transparency, numbered 29/50. This print is stamped, signed, and hand numbered by the estate of Andre De Dienes and stamped and hand numbered by OneWest Publishing.
19 1/2 by 16 inches
 Estimate: $800 - $1,200
246342_0  


Lot 813: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
 A black and white gelatin silver print montage photograph of Marilyn Monroe. Taken in 1949 by Andre de Dienes, printed circa 1960. Hand stamped on verso.
16 by 16 inches
PROVENANCE From the Estate of Andre de Dienes
 Estimate: $1,000 - $2,000
246700_0 


Lot 814: MARILYN MONROE PHOTOGRAPH BY ANDRE de DIENES
 A black and white gelatin silver print montage photograph of Marilyn Monroe by Andre de Dienes. Notations on the front of the photograph read "7/7 1949 A.D." in black ink.
24 by 20 inches
PROVENANCE From the Estate of Andre de Dienes
 Estimate: $1,000 - $2,000
246701_0  


Lot 850: MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin vintage print of Marilyn Monroe taken by Andre de Dienes in 1953. The photograph is hand printed circa 1958 on double-weight paper and stamped by the photographer on verso.
19 1/2 by 16 inches
 Estimate: $800 - $1,200
246434_0  


Lot 851: MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin vintage print of Marilyn Monroe taken by Andre de Dienes in 1953. The photograph is hand printed circa 1958 on double-weight paper and stamped by the photographer on verso.
20 by 16 inches
 Estimate: $800 - $1,200
246435_0  


Lot 852: MARILYN MONROE VINTAGE ANDRE de DIENES PHOTOGRAPH
 A photograph of Marilyn Monroe taken by Andre de Dienes in 1953. Silver gelatin print, printed circa 1955. Signed at lower right, photographer's stamp on verso.
24 by 20 inches
PROVENANCE Lot 420, "Hollywood Legends," Julien's, Beverly Hills, March 31, 2012
 Estimate: $2,000 - $4,000
246436_0 246437_0   


Lot 853: MARILYN MONROE VINTAGE ANDRE de DIENES PHOTOGRAPH
 A photograph of Marilyn Monroe taken by Andre de Dienes in 1953. Silver gelatin print, printed circa 1955. Signed at lower right, photographer's stamp on verso.
24 by 20 inches
PROVENANCE Lot 421, "Hollywood Legends," Julien's, Beverly Hills, March 31, 2012
 Estimate: $2,000 - $4,000
246438_0  246439_0   


Lot 865: MARILYN MONROE INSCRIBED MAGAZINE PAGE
 A black and white page of an unknown magazine inscribed to child star Linda Bennett. Inscription reads "To Linda, I saw you in the Seven Little Foys - Great Marilyn Monroe."
17 1/2 by 14 inches, framed; 7 1/4 by 6 3/4 inches, sight
 Estimate: $3,000 - $5,000
246461_0  


Photos Tom Kelley & Calendriers 'Golden Dreams'
Tom Kelley's Photos & Calendars 'Golden Dreams'


Lot 35: MARILYN MONROE UNCUT TIN TRAY
 A circa 1950s uncut tin tray, illustrated with two nude photographs of Marilyn Monroe, "Golden Dreams" and "A New Wrinkle" both taken during a photo session with Tom Kelley in 1949.
Framed, 26 1/2 by 36 1/2 inches
PROVENANCE Lot 110, “Film & Entertainment,” Christie's, South Kensington, Sale number 9771, December 16, 2003
 Estimate: $200 - $400

245078_0  


Lot 817: MARILYN MONROE RED VELVET SESSION PHOTOGRAPHS
A group of four color Marilyn Monroe photographs from the Red Velvet session with Tom Kelley in 1949. The group of contemporary prints includes an interesting composite image of Monroe and other less often seen images from the session. Mackie was given the photographs by a fan who knew that he had worked on Monroe’s costumes and that he was a fan of Monroe's. Printed circa 2004.
15 by 10 inches
PROVENANCE From the Collection of Bob Mackie
 Estimate: $2,000 - $4,000

246384_0 


Lot 818: MARILYN MONROE PHOTOGRAPH FROM THE REMASTERED RED VELVET COLLECTION
 A photograph of Marilyn Monroe from the 1949 Red Velvet session with Tom Kelley. The limited edition print is part of the “Remastered Red Velvet Collection” issued by the estate of Tom Kelley in 2004. The image is numbered 2/500 and is signed by Tom Kelley Jr. in the lower right corner. The image is referred to as pose number 7.
27 3/4 by 23 1/2, framed
 Estimate: $600 - $800
246385_0  247296_0  


Lot 819: MARILYN MONROE VINTAGE NUDE PHOTOGRAPH
 A vintage Marilyn Monroe “New Wrinkle” photograph from her 1949 photo session with Tom Kelley. The black and white print is affixed to foam core board. The absence of optical brighteners in the print indicates that this print was made prior to 1953.
Photograph, 10 by 8 1/4 inches; 15 1/4 by 13 1/2 inches, overall
 Estimate: $400 - $600
246386_0 

 


Lot 36: MARILYN MONROE CALENDAR
 A U.S. calendar from 1952, featuring a color print of nude Marilyn Monroe photographed by Tom Kelley.
Matted, 30 by 21 1/2 inches
PROVENANCE Lot 64, “Film & Entertainment Memorabilia,” Christie's, South Kensington, Sale number 5238, December 19, 2007
 Estimate: $200 - $400
245079_0  


Lot 310: MARILYN MONROE GOLDEN DREAMS CALENDAR
 A calendar from Connors Bar & Grill New York City, 1958, all months intact. Paper loss to lower edge, tape residue along top edge.
15 1/2 by 9 1/2 inches
 Estimate: $600 - $800
245625_0  


Lot 626: 1955 MARILYN MONROE CALENDAR
 A four-page calendar with spiral-bound top edge featuring images of Marilyn Monroe taken by Tom Kelley in the late 1940s. The calendar features a modesty cover with added lace overprint to cover Monroe and three pin-up images of Monroe in cowboy boots, all over triple month pages. Together with original envelope advertising the calendar as "The Most Talked of Calendar in the World" for 50 cents.
12 1/4 by 8 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800
246112_0 


Lot 833: MARILYN MONROE GOLDEN DREAMS 1952 CALENDAR
 A 1952 Marilyn Monroe “Golden Dreams” calendar. This is an early version of Monroe’s famously posed calendar and does not have her name printed on the calendar itself. A note attached to the lower portion of the calendar does identify the model as Monroe, reading in part, “This Champion Calendar was posed by Marilyn Monroe. ...Since that time she has received much publicity in the daily newspapers and national magazines and has been [sic] starred in two movies.” The calendar advertises San Fernando Valley Motor. Housed in a frame.
37 by 19 inches, framed
 Estimate: $700 - $900
246402_0 


Photographies - Bert Stern
Photographs


Lot 984: MARILYN MONROE PHOTOGRAPH BY BERT STERN
 A color photograph of Marilyn Monroe lying in bed, signed by Bert Stern. The photograph is contained in an orange portfolio.
23 3/4 by 19 3/4 inches
 Estimate: $1,000 - $2,000

246640_0  


Lot 985: MARILYN MONROE PHOTOGRAPH BY BERT STERN
 A color photograph of a nude Marilyn Monroe holding a striped scarf, signed by Bert Stern.
23 3/4 by 19 3/4 inches
 Estimate: $6,000 - $8,000

246641_0   


Lot 986: MARILYN MONROE PHOTOGRAPH BY BERT STERN
 A Marilyn Monroe color photograph taken by Bert Stern in 1962 during "The Last Sitting." Numbered 188/250 and signed by Stern in the lower right. A Martin Lawrence Galleries label attached to backing of the framed photograph is typed with the title "Last Sitting: Not Bad For 36."
27 1/2 by 26 1/4 inches, framed
 Estimate: $2,000 - $3,000

246642_0 


Lot 1006: MARILYN MONROE BERT STERN SIGNED PHOTOGRAPH
 A black and white digital print photograph of Marilyn Monroe resting her chin on her hand, inscribed and dated in black marker to the upper left "For Bill/ 3-3-08" and signed and dated in red grease pen to the lower right "Bert Stern/ 2008" with Stern's copyright stamp on the verso.
8 1/2 by 11 inches
 Estimate: $200 - $400
246671_0 


Photographies - George Barris
Photographs


Lot 996: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe talking on the telephone signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso.
7 by 5 inches
 Estimate: $200 - $400

246654_0 246655_0 


Lot 997: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe talking on the telephone signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
14 by 11 inches
 Estimate: $800 - $1,200

246656_0 246657_0 247317_0  


Lot 998: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A color photograph of Marilyn Monroe dressed in orange signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
11 by 14 inches
 Estimate: $800 - $1,200

246658_0 246659_0 247318_0   


Lot 999: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A color photograph of Marilyn Monroe leaning against a cinder block wall signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
11 by 14 inches
 Estimate: $800 - $1,200

246660_0 246661_0 247319_0   


Lot 1000: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A color photograph of Marilyn Monroe standing in the surf signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
10 by 8 inches
 Estimate: $400 - $600

246662_0 246663_0 247320_0 


Lot 1001: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A color photograph of Marilyn Monroe in a bikini signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
14 by 11 inches
 Estimate: $800 - $1,200

246664_0 246665_0  247321_0 


Lot 1002: MARILYN MONROE GEORGE BARRIS SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe standing in the surf signed in black marker to the lower right by George Barris with Weston Editions copyright stamp on the verso. Includes a certificate of authenticity from OneWest Publishing signed by Chuck Murphy.
8 by 10 inches
 Estimate: $400 - $600

246666_0  246667_0 


Lot 1003: MARILYN MONROE PHOTOGRAPH BY GEORGE BARRIS
 A photographic print of Marilyn Monroe, limited edition numbered 21/50, taken in 1962 by George Barris. Silver gelatin print, printed on double-weight fiber paper under the guidance and approval of George Barris by OneWest Publishing. Signed by the photographer and stamped by OneWest Publishing.
20 by 16 inches
 Estimate: $1,000 - $2,000

246668_0 


Photographies - Milton H Greene
Photographs


Lot 257: MARILYN MONROE OUTTAKE PHOTOGRAPH
A black and white test print on archival paper of Monroe during the Mandolin Sitting with photographer Milton Greene. The image is stamped on verso "Reproduction Forbidden" with additional pencil notations documenting the exposure settings for the print.
7 by 5 inches
 Estimate: $500 - $700
245520_0 


Lot 890: MARILYN MONROE VINTAGE CONTACT SHEET
 A vintage black and white partial contact sheet of Marilyn Monroe and Milton Greene. The sheet, which consists of two partial contact sheets stapled together, contains 17 images of Monroe.
4 1/2 by 10 inches
 Estimate: $500 - $700
246508_0  


Lot 891: MARILYN MONROE VINTAGE MILTON GREENE CONTACT SHEET
 A vintage partial black and white contact sheet of Marilyn Monroe. The Milton Greene contact sheet includes 12 images of Monroe in a black cocktail dress.
3 by 10 inches
 Estimate: $400 - $600
246509_0 


Lot 892: MARILYN MONROE VINTAGE MILTON GREENE CONTACT SHEET
A  vintage partial black and white contact sheet of Marilyn Monroe. The Milton Greene contact sheet includes 10 frames with images of Monroe and others. The images were taken by Milton Greene at the 21 Club in New York in 1954. Monroe can be seen talking to the restaurant owner, Robert Kriendler.
4 by 8 inches
 Estimate: $400 - $600
246510_0 


Lot 893: MARILYN MONROE VINTAGE CONTACT SHEET
 A vintage black and white partial contact sheet of Marilyn Monroe and Milton Greene. The sheet includes 10 images of Monroe. Most of the images were likely taken by Greene circa 1955.
3 by 10 inches
 Estimate: $400 - $600
246511_0  


Lot 909: MARILYN MONROE VINTAGE MILTON GREENE PRINTS
 A group of four vintage black and white contact sheet prints of Marilyn Monroe, Laurence Olivier, Arthur Miller and others taken by Milton Greene circa 1956 during the preparation for and filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 4 by 5 inches
 Estimate: $400 - $600
246535_0  


Lot 910: MARILYN MONROE MONROE, OLIVIER AND RATTIGAN CONTACT SHEET IMAGES
 A group of four vintage black and white contact sheet prints of Marilyn Monroe with Laurence Olivier and Terence Rattigan taken by Milton Greene. The photographs were taken during a 1956 publicity photo session for The Prince and the Showgirl (Warner Bros., 1957). Two of the images show Monroe with Olivier, who co-starred with Monroe and directed the film. One image is of Monroe and Olivier with Rattigan, author of the play on which the film was based and of the screenplay for the film, and one image is of Olivier and Rattigan. Notations on verso.
Each, 2 1/2 by 3 inches
 Estimate: $400 - $600
246536_0  


Lot 911: MARILYN MONROE MONROE, OLIVIER AND RATTIGAN CONTACT SHEET IMAGES
 A group of four vintage black and white contact sheet prints of Marilyn Monroe with Laurence Olivier and Terence Rattigan taken by Milton Greene. The photographs were taken during a 1956 publicity photo session for The Prince and the Showgirl (Warner Bros., 1957). Three of the images show Monroe with Olivier, who co-starred with Monroe and directed the film. One image is of Monroe and Olivier with Rattigan, author of the play on which the film was based and of the screenplay for the film. Notations on verso.
Each, 2 1/2 by 3 inches
 Estimate: $400 - $600
246537_0 


Lot 913: MARILYN MONROE VINTAGE MILTON GREENE PRINTS
 A group of six vintage black and white contact sheet prints of Marilyn Monroe, Laurence Olivier, Arthur Miller, Vivien Leigh and others taken by Milton Greene circa 1956 during the preparation for and filming of The Prince and the Showgirl (Warner Bros., 1957).
Largest, 4 by 5 inches
 Estimate: $400 - $600
246539_0  246540_0   


Lot 921: MARILYN MONROE PHOTOGRAPH BY MILTON GREENE
 A vintage black and white photograph of Marilyn Monroe and Laurence Olivier taken by Milton Greene in 1956. Photographer's stamp on verso.
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $600 - $800
246553_0  


Lot 922: MARILYN MONROE PHOTOGRAPH BY MILTON GREENE
 A vintage black and white photograph of Marilyn Monroe, Terence Rattigan and Laurence Olivier taken by Milton Greene in 1956. Photographer's stamp on verso.
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $600 - $800
246554_0 


Lot 1010: MARILYN MONROE PRINT BY MILTON GREENE
 A large-scale silkscreen print of Marilyn Monroe removing her stockings. Marked "A/P" [Artist's Proof] to the lower left and signed to the lower right by photographer Milton H. Greene.
46 by 35 1/2 inches, framed
PROVENANCE From the Collection of Allan Rich
 Estimate: $600 - $800
246684_0 
246685_0  246686_0  


Lot 1011: MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
 A limited edition silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 218/300 and signed by Greene at lower right.
35 by 46 inches
 Estimate: $600 - $800
246687_0 
246688_0  246689_0  


Lot 1012: MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
 A silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 44/300 and signed by Greene in pencil at lower right.
 Estimate: $600 - $800
246690_0 
246691_0 246692_0 


Photographies - Divers photographes
Photographs - Various photographers


Lot 37: MARILYN MONROE AND JOHNNY HYDE PHOTOGRAPH
 A black and white gelatin silver photograph featuring Marilyn Monroe dancing with talent agent Johnny Hyde, to whom she owed much of her success, presumably taken by Bruno Bernard. Numbered 9/350 in ink to the lower left.
16 by 20 inches
PROVENANCE Lot 332, “Film and Entertainment,” Christie's, South Kensington, Sale Number 6343, December 17, 1993
 Estimate: $400 - $600
245080_0 


Lot 94: MARILYN MONROE EARLY SNAPSHOT
 A circa late 1940s black and white glossy photograph of Monroe with her Chihuahua. The photograph was taken by Richard C. Miller.
4 by 5 inches
 Estimate: $300 - $500
245260_0 


Lot 100: MARILYN MONROE MODELING PHOTOGRAPH
 A vintage black and white glossy photograph of photographer Richard C. Miller posing as he takes a photo of Monroe in hunting clothing holding a rifle during a 1946 photo session. The back of the photograph has pencil notation dating the photograph, "4/5/46."
3 3/4 by 4 3/4 inches
 Estimate: $300 - $500
245270_0  


Lot 434: MARILYN MONROE PHOTOGRAPH BY CECIL BEATON
 A vintage copy of Monroe's favorite image of herself by Cecil Beaton. As evidenced by receipts among Monroe's documents, she ordered reprints of this photograph to sign for people. This is one of her vintage copies of the image, ordered during her lifetime.
8 by 10 inches
 Estimate: $1,000 - $1,500
245806_0 


Lot 663: MARILYN MONROE PHOTOGRAPH ARCHIVE
 An archive of approximately 20 photographs featuring or related to Marilyn Monroe, some vintage and some reproductions, collected by Frieda Hull.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
246158_0  


Lot 664: MARILYN MONROE COLOR SLIDES
 A group of four slides of Marilyn Monroe from various points in her career: a costume test shot from Something's Got To Give ; on the set of Something’s Got To Give ; a double exposure from the Red Velvet session by Tom Kelley; and an early photo of Monroe by Richard C. Miller.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
246159_0   


Lot 665: MARILYN MONROE VINTAGE PHOTOGRAPH
 A large, glossy black and white publicity photograph of Marilyn Monroe in white dress, heels and gloves.
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $800 - $1,200
246160_0  


Lot 793: MARILYN MONROE PHOTOGRAPH BY LASZLO WILLINGER
 A large-scale Cibachrome color photograph of Marilyn Monroe taken by Laszlo Willinger. Stamp-signed on verso.
34 1/2 by 30 1/2 inches, framed
 Estimate: $400 - $600
246340_0 


Lot 794: MARILYN MONROE HURRELL STAMPED PHOTOGRAPH
 A photograph of Marilyn Monroe with a George Hurrell attribution statement on verso signed by Hurrell-endorsed authenticator Allan Rich.
14 by 12 1/2 inches, framed
PROVENANCE From the Collection of Allan Rich
 Estimate: $200 - $400
246341_0  


Lot 811: MARILYN MONROE ORIGINAL VINTAGE PHOTOGRAPH BY BERNARD OF HOLLYWOOD
 An original vintage photograph of Marilyn Monroe taken by Bruno Bernard in 1946. The photograph is titled “Mistletoe” and is part of the Discovery Series. Signed on verso “Bernard of Hollywood.” The photograph is accompanied by a copy of Monroe’s model release signed “Norma Jeane Dougherty” on July 24, 1946. This image was among the photographs that Bernard gave to Twentieth Century Fox.
11 by 14 inches
PROVENANCE From the Estate of Bruno Bernard
Estimate: $4,000 - $6,000
246376_0 


Lot 812: MARILYN MONROE VINTAGE NEGATIVE
 A vintage black and white negative of Marilyn Monroe. The image was taken by Ed Cronenweth while Monroe did her hair and makeup during the time of production for Ladies of the Chorus (Columbia, 1948). Accompanied by a contemporary print of the negative.
5 by 4 inches
PROVENANCE From the Collection of Ted Stampfer
 Estimate: $200 - $400
246377_0  246378_0   


Lot 821: MARILYN MONROE VINTAGE TRANSPARENCY
 A Marilyn Monroe vintage color transparency of an image taken in 1951. The image shows Monroe in the gown she wore to the 23rd Academy Awards ceremony, where she presented the award for Best Sound Recording. The award went to All About Eve (20th Century, 1950).
5 by 4 inches
 Estimate: $500 - $700
246388_0  


Lot 822: MARILYN MONROE VINTAGE ED CLARK TRANSPARENCY
 A Marilyn Monroe vintage color transparency of an image taken in 1950 by Ed Clark, a LIFE photographer.
5 by 4 inches
Estimate: $400 - $600
246389_0  


Lot 825: MARILYN MONROE PHOTOGRAPH BY BRUNO BERNARD
 A color photograph of Marilyn Monroe taken by Bruno Bernard in 1952. In the photograph, Monroe is wearing the hot pink dress she wore in her role as Rose Loomis in Niagara (20th Century, 1953). The photograph is numbered 15/90 and signed “From the estate of Bernard of Hollywood."
16 by 20 inches
PROVENANCE From the Estate of Bruno Bernard
 Estimate: $1,500 - $2,500
246393_0  


Lot 826: MARILYN MONROE PHILLIPPE HALSMAN PHOTOGRAPH
 A black and white image of Marilyn Monroe taken by Phillippe Halsman during a 1952 photo session for LIFE magazine. Numbered 81/250.
14 by 11 inches
 Estimate: $400 - $600
246394_0 


Lot 827: MARILYN MONROE HAROLD LLOYD PHOTOGRAPH
 A limited edition poster photograph print of Marilyn Monroe taken by Harold Lloyd in 1952. The color print is numbered 25/250 at lower right. The photograph was taken by silent screen star turned photographer Harold Lloyd during a photoshoot at Monroe’s Los Angeles apartment with Philippe Halsman. Later in 1952, a photograph from Halsman’s session appeared on the cover of LIFE magazine. Printed on crystal archive paper from the original 35mm Kodachrome negative in 2005. Blind stamped in the lower right corner by the Harold Lloyd Trust.
20 by 20 inches
PROVENANCE Lot 204, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
 Estimate: $2,000 - $4,000
246395_0 


Lot 828: MARILYN MONROE HAROLD LLOYD PHOTOGRAPH
 A limited edition poster photograph print of Marilyn Monroe taken by Harold Lloyd in 1952. The color print is numbered 25/250 at lower right. The full-length photograph of Monroe speaking to photographer Philippe Halsman was taken by silent screen star turned photographer, Harold Lloyd, during a photo shoot at Monroe’s Los Angeles apartment with Halsman. Later in 1952, a photograph from Halsman’s session appeared on the cover of LIFE Magazine. Printed on crystal archive paper from the original 35mm Kodachrome negative in 2005. Blind stamped in the lower right corner by the Harold Lloyd Trust.
20 by 20 inches
PROVENANCE Lot 206, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
 Estimate: $2,000 - $4,000
246396_0  


Lot 831: MARILYN MONROE AND JOHN FLOREA PHOTOGRAPH NEGATIVES
 A pair of vintage original negatives showing Marilyn Monroe with photographer John Florea. The first image was taken during a publicity photograph session for the film Monkey Business (20th Century, 1952). The second was taken while shooting publicity images for How To Marry a Millionaire (20th Century, 1953). The negatives were originally from the collection of John Florea.
6 by 2 1/2 inches
 Estimate: $400 - $600
246399_0   


Lot 839: MARILYN MONROE JOHN FLOREA SIGNED PHOTOGRAPH
 A black and white photograph of Marilyn Monroe stacking thousand-dollar bills next to photographer John Florea, likely from a series of promotional photos for the Monroe film How To Marry A Millionaire (20th Century, 1953). Signed on the verso by Florea with a copyright stamp.
14 by 11 inches
 Estimate: $300 - $500
246411_0 246412_0   


Lot 840: MARILYN MONROE AND OTHERS FRANK WORTH PHOTOGRAPHS
 A group of five black and white Frank Worth images, including two of Marilyn Monroe. All are blind stamped “Frank Worth Estate Limited Edition.” The first is an image of Monroe wearing a dress she made famous in the film How To Marry a Millionaire (20th Century, 1953). In the second image, Monroe is wearing the same dress and leaning against a car in the background, and Sammy Davis Jr. is in mid-leap, dancing in the foreground. The remaining photographs are portraits of Frank Sinatra, Elizabeth Taylor and James Dean.
Each, 12 by 17 1/2 inches
 Estimate: $500 - $700
246416_0  246417_0 246415_0 

246413_0 246414_0 


Lot 857: MARILYN MONROE SIGNED AND INSCRIBED PORTRAIT
 A vintage print full-length black and white studio portrait shot by Bernard of Hollywood, signed and inscribed by Marilyn Monroe as she appeared in a floral corset with lace trim, fishnet stockings and high-heel shoes in a provocative pose. Inscription reads in full, “To Carole, It’s a pleasure to work with you/ Marilyn Monroe.
18 1/2 by 17 inches, overall; 9 1/2 by 7 1/2 inches, sight
PROVENANCE Lot 173, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, California, June 4, 2005
 Estimate: $3,000 - $5,000
246446_0   


Lot 866: MARILYN MONROE SIGNED PHOTOGRAPH
 A vintage black and white matte photograph signed in green ink "Dear Inez, My love and deepest thanks, Marilyn."
8 by 10 inches
 Estimate: $15,000 - $20,000
246462_0  


Lot 867: MARILYN MONROE PHOTOGRAPH BY CECIL BEATON
 A vintage black and white image of Marilyn Monroe taken by Cecil Beaton in 1956 at the Ambassador Hotel. Camera Press stamp on verso with additional typed label that reads in part, "Monroe by Beaton:/ THE ETERNAL MARILYN/ Sophisticated innocence.../ Please acknowledge: photograph by Cecil Beaton/ Camera Press London."
9 1/4 by 8 inches
 Estimate: $1,000 - $2,000
246463_0  246464_0  


Lot 872: MARILYN MONROE VINTAGE PHOTOGRAPHS
 A vintage Marilyn Monroe photograph and contact sheet prints circa 1956. The black and white image, which shows Monroe having her photograph taken, is stamped with Hans Knopf photographer's stamp on verso. With nine additional vintage contact sheet photographs assumed to have been taken at the same time. The contact sheet prints were all affixed to black paper at one time.
Largest, 8 by 10 inches
Estimate: $600 - $800
246472_0 246476_0 246477_0 
246475_0  246481_0 
246473_0 246478_0 246474_0 
246479_0 246480_0 


Lot 873: MARILYN MONROE VINTAGE PHOTOGRAPH
 A Marilyn Monroe vintage portrait publicity photograph from her personal collection.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
 Estimate: $600 - $800
246482_0  


Lot 874: MARILYN MONROE CECIL BEATON PHOTOGRAPH
 A black and white photograph of Marilyn Monroe taken by Cecil Beaton in 1956. The photograph, from Monroe's personal archive, is mounted to board and contained in a brown folder.
Photograph, 9 by 9 1/4 inches; 16 by 14 1/2 inches, overall
PROVENANCE From the Lost Archive of Marilyn Monroe
 Estimate: $1,000 - $2,000
246483_0  


Lot 878: MARILYN MONROE SIGNED AND INSCRIBED PHOTOGRAPH
 A framed photograph of Marilyn Monroe signed "To David, so you're still counting my money - what money? Marilyn Monroe."
20 1/2 by 17 1/2 inches, overall; 13 by 10 1/4 inches, sight
 Estimate: $4,000 - $6,000
246493_0  246494_0 


Lot 919: MARILYN MONROE VINTAGE PUBLICITY PHOTOGRAPH
 A vintage Marilyn Monroe black and white publicity photograph with a notation in pencil on verso in an unknown hand "500 8x10's ordered 6/16/58 deliver and bill MM."
11 by 14 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $600 - $800
246548_0 


Lot 972: MARILYN MONROE PORTRAIT IMAGES
A group of nine Marilyn Monroe portrait images from film studios for reference or publicity and from photoshoots, with photographers Eric Skipsey and Richard Avedon. Eight of the images are in black and white with one color image from the film Let's Make Love (20th Century, 1960).
Most, 8 by 10 inches
Estimate: $800 - $1,200
246622_0  


Lot 1009: MARILYN MONROE DOUGLAS KIRKLAND PORTFOLIO
 A limited edition portfolio of Marilyn Monroe photographs taken by Douglas Kirkland and published by the Govinda Gallery in Washington, D.C. Each of the six photographs is numbered 16/30 to the lower left and signed by Kirkland to the lower right. Housed in a blue cloth clamshell case with gilt-stamped morocco label.
19 3/4 by 16 1/2 inches, overall
PROVENANCE From the Collection of Allan Rich
 Estimate: $800 - $1,200
246677_0 246678_0 246679_0 
246680_0 246681_0 246682_0 
246683_0 

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5 février 2018

Marilyn Through The Lens - 03/2017 - Julien's I

Photographies
(diverses)


Lot 1: MARILYN MONROE AT NIAGARA PARTY, BRUNO BERNARD
Winning bid: $1,875

2017-03-27-Marilyn_through_the_lens-lot01 


Lot 2: MARILYN MONROE AT NIAGARA PARTY, BRUNO BERNARD
Winning bid: $1,875

2017-03-27-Marilyn_through_the_lens-lot02 


Lot 3: MARILYN MONROE AT NIAGARA FALLS, BRUNO BERNARD
Winning bid: $3,750

2017-03-27-Marilyn_through_the_lens-lot03 


Lot 4: MARILYN MONROE WITH FLOWERS, ANDRE DE DIENES
Winning bid: $1,250

2017-03-27-Marilyn_through_the_lens-lot04 


Lot 5: MARILYN ON SET OF THE MISFITS, BRUCE DAVIDSON
Winning bid: $1,000

2017-03-27-Marilyn_through_the_lens-lot05 


 Lot 6: MARILYN ON SET OF LET'S MAKE LOVE, NAT DALLINGER
Winning bid: $1,250

2017-03-27-Marilyn_through_the_lens-lot06 


Lot 7: MARILYN ON SET OF LET'S MAKE LOVE, NAT DALLINGER
unsold

2017-03-27-Marilyn_through_the_lens-lot07 


Lot 8: MARILYN IN GENTLEMEN PREFER BLONDES, JOHN FLOREA
Winning bid: $ 562.50

2017-03-27-Marilyn_through_the_lens-lot08 


Lot 9: MARILYN READING BOOK, EVE ARNOLD
Winning bid: $ 625

2017-03-27-Marilyn_through_the_lens-lot09 


Lot 10: MARILYN MONROE & JACK LEMON IN SOME LIKE IT HOT
Winning bid: $ 1,500

2017-03-27-Marilyn_through_the_lens-lot10  


Lot 11: MARILYN MONROE AND ARTHUR MILLER, JOHN BRYSON
Unsold

2017-03-27-Marilyn_through_the_lens-lot11 


Lot 12: MARILYN MONROE HOLDING CAMERA, JOSEPH JASGUR
Winning bid: $ 375

2017-03-27-Marilyn_through_the_lens-lot12 


Lot 13: MARILYN MONROE AT ZUMA BEACH, JOSEPH JASGUR
Winning bid: $ 375.75

2017-03-27-Marilyn_through_the_lens-lot13 


Lot 14: MARILYN MONROE AT ZUMA BEACH, JOSEPH JASGUR
Winning bid: $ 625

2017-03-27-Marilyn_through_the_lens-lot14 


Lot 15: MARILYN MONROE AT ZUMA BEACH, JOSEPH JASGUR
Winning bid: $ 531.25

2017-03-27-Marilyn_through_the_lens-lot15 


  Lot 16: MARILYN MONROE AT ZUMA BEACH (2), JOSEPH JASGUR
Winning bid: $ 750

2017-03-27-Marilyn_through_the_lens-lot16 


 Lot 17: MARILYN ON HOLLYWOOD ROOF (3), JOSEPH JASGUR
Winning bid: $ 812.50

2017-03-27-Marilyn_through_the_lens-lot17 


 Lot 58: MARILYN MONROE PUBLICITY PHOTOGRAPH
Winning bid: $ 1,250

2017-03-27-Marilyn_through_the_lens-lot58 


Lot 59: MARILYN MONROE PUBLICITY PHOTOGRAPH, NICK DE MORGOLI
Winning bid: $ 437.50
2017-03-27-Marilyn_through_the_lens-lot59 


Lot 60: MARILYN MONROE PUBLICITY PHOTOGRAPH, ED CLARK
Winning bid: $ 1,187.50
2017-03-27-Marilyn_through_the_lens-lot60 


Lot 61: MARILYN MONROE PUBLICITY PHOTOGRAPH, ERNEST BACHRACH
Winning bid: $ 812.50
2017-03-27-Marilyn_through_the_lens-lot61 


Lot 62: MARILYN MONROE PUBLICITY PHOTOGRAPH, BERT REISFELD
Winning bid: $ 812.50
2017-03-27-Marilyn_through_the_lens-lot62 


Lot 63: MARILYN MONROE PUBLICITY PHOTOGRAPH, EARL THEISEN
Winning bid: $ 625
2017-03-27-Marilyn_through_the_lens-lot63 


Lot 64: MARILYN SUPPORTING 'STOP ARTHRITIS', MILTON GREENE
Winning bid: $ 812.50
2017-03-27-Marilyn_through_the_lens-lot64  


Lot 65: MARILYN PHOTOS ON RIVERBANK, MILTON GREENE
unsold
2017-03-27-Marilyn_through_the_lens-lot65 


 

Lot 66: MARILYN SUPPORTING 'STOP ARTHRITIS', MILTON GREENE
Winning bid: $ 2,000

2017-03-27-Marilyn_through_the_lens-lot66 


Lot 67: MARILYN MONROE (BLACK RAINCOAT), MILTON GREENE
Winning bid: $ 750

2017-03-27-Marilyn_through_the_lens-lot67 


Lot 68: MARILYN WITH A TIGER, RICHARD AVEDON
Winning bid: $ 937,50 

2017-03-27-Marilyn_through_the_lens-lot68 


  Lot 69: MARILYN ON ARMY TANK IN KOREA, ROBERT H. MCKINLEY
unsold

2017-03-27-Marilyn_through_the_lens-lot69 


Lot 70: MARILYN MONROE PUBLICITY PHOTOGRAPH
Winning bid: $ 437,50 

2017-03-27-Marilyn_through_the_lens-lot70 


  Lot 71: MARILYN MONROE KOREA IMAGES WITH COPYRIGHT
Winning bid: $ 1,000

2017-03-27-Marilyn_through_the_lens-lot71a 
2017-03-27-Marilyn_through_the_lens-lot71b 

1 décembre 2018

01/06/1960, Sur le plateau de "Let's Make Love" - Anniversaire de Marilyn

Le 1er juin 1960, une fête d'anniversaire est organisée pour les 34 ans de Marilyn Monroe sur le plateau de tournage du film "Le Milliardaire". Le réalisateur George Cukor découpe les parts du gâteau apporté et sur lequel est disposé deux figurines représentant Yves Montand et Marilyn Monroe. La petite réception est décoré à l'image du film: plusieurs petites figurines sont disposées sur la table, représentant un pianiste jouant au piano, une chanteuse, une danseuse et Elvis Presley.

On June, 1st, 1960, a birthday's party is held to celebrate the 34 years of Marilyn Monroe on the set of the movie "Let's Make Love". The director George Cukor cuts out the cake on which there are two figurines representing Yves Montand and Marilyn Monroe. on the honor of the 57 years of the actor Wilfrid Hyde-White on the set of "Let's Make Love". The small reception is decorated in the image of the film: several small figures are placed on the table, representing a pianist playing piano, a singer, a dancer and Elvis Presley.


Yves Montand, Marilyn Monroe, Frankie Vaughan, George Cukor

1960-06-01-on_set_LML-birthday_of_MM-010-3 
1960-06-01-on_set_LML-birthday_of_MM-010-1  1960-06-01-on_set_LML-birthday_of_MM-010-2 
1960-06-01-on_set_LML-birthday_of_MM-010-3a  1960-06-01-on_set_LML-birthday_of_MM-011-1  1960-06-01-on_set_LML-birthday_of_MM-012-1 


Un collier de perles de rocaille est offert à Marilyn
de la part de toute l'équipe du film

A seed-pearl necklace is offered to Marilyn
from all the cast and crew of the film

1960-06-01-on_set_LML-birthday_of_MM-014-1a 
1960-06-01-on_set_LML-birthday_of_MM-013-1 
1960-06-01-on_set_LML-birthday_of_MM-013-2 

1960-06-01-on_set_LML-birthday_of_MM-various-1 


1960-06-01-on_set_LML-birthday_of_MM-020-1 
1960-06-01-on_set_LML-birthday_of_MM-021-1  1960-06-01-on_set_LML-birthday_of_MM-022-1  1960-06-01-on_set_LML-birthday_of_MM-030-1 
1960-06-01-on_set_LML-birthday_of_MM-031-1 
1960-06-01-on_set_LML-birthday_of_MM-031-2  1960-06-01-on_set_LML-birthday_of_MM-031-2a 
1960-06-01-on_set_LML-birthday_of_MM-040-1  


Marilyn Monroe et Gil, l'homme à tout faire de l'équipe

Marilyn and Gil, the handyman of the crew

1960-06-01-on_set_LML-birthday_of_MM-032-1a  


Marilyn Monroe & Sidney Skolsky

1960-06-01-on_set_LML-birthday_of_MM-033-with_skolsky-1 


- Des petites figurines à l'effigie de Marilyn sont distribuées

Small figurines representing are offered
1960-06-01-on_set_LML-birthday_of_MM-doll-1 


 carte d'anniversaire signée par toute l'équipe

1960-06-01-on_set_LML-birthday_of_MM-card-juliens_2009-1 

 Birthday card signed by the crew

1960-06-01-on_set_LML-birthday_of_MM-card-juliens_2009-1a  


 La soirée continue chez l'attaché de presse de Marilyn, Rupert Allan, qui vit à Beverly Hills.

The party continues the evening at Marilyn's press secretary, Rupert Allan, who lives in Beverly Hills.

1960-06-01-on_set_LML-birthday_of_MM-mm-010-1-frieda_hull  1960-06-01-on_set_LML-birthday_of_MM-mm-020-1  1960-06-01-on_set_LML-birthday_of_MM-mm-030-1 

- de la collection de James Haspiel et Frieda Hull, des fans
-from the personal collection of James Haspiel and Frieda Hull, fans

1960-06-01-on_set_LML-birthday_of_MM-mm-010-1-haspiel  1960-06-01-on_set_LML-birthday_of_MM-mm-020-1-frieda_hull 


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

3 décembre 2022

17/12/2022, HERITAGE "Hollywood & Entertainment Signature": Lots

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-1 Enchères "Hollywood & Entertainment Signature"
17 décembre 2022
- 29 lots avec Marilyn Monroe -

> 17/12/2022, HERITAGE "Hollywood & Entertainment Signature": Vente


Lot 89077: Marilyn Monroe in Los Angeles, 1945, by André de Dienes (3)
Vintage original gelatin silver matte and semi-gloss borderless double-weight 20" x 15- ½", 17-¾" x 16", and 19" x 16" prints of Marilyn Monroe in Los Angeles, 1945, by André de Dienes, with A. Diénes signature in ink on the recto of one, PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 blue and black rubber stamps and copyright stamps on the verso. Printed 1960s.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89077a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89077b 


Lot 89078: Marilyn Monroe in Los Angeles, 1945, by André de Dienes (2)
Vintage original gelatin silver semi-gloss and glossy borderless double-weight 13" x 11" and 13-½" x 10-¾" prints of Marilyn Monroe in Los Angeles, 1945, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamps on the verso of each and PHOTO / ANDRE DIENES on the verso of one. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89078a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89078b 


Lot 89079: Marilyn Monroe at Mt. Hood, Oregon, 1945, by André de Dienes (2)
Vintage original gelatin silver glossy borderless double-weight 13" x 10-½" and 10-½" x 13-½" prints of Marilyn Monroe at Mt. Hood, Oregon, 1945, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamp and PHOTO / ANDRE DIENES on the verso of each. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89079a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89079b  


Lot 89080: Marilyn Monroe at Malibu Beach, 1946 and Tobey Beach, 1949 by André de Dienes (3)
Vintage original gelatin silver semi-gloss borderless double-weight 9-½" x 12-3/16", 13-½" x 10-14/16", and 13" x 9-½" prints of Marilyn Monroe at Malibu Beach, 1949, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 /TELEPHONE 652-6737 black rubber stamp and dedication by Shirley de Dienes in black ink (1) on the verso. Printed 1960s.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89080a 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89080b  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89080b1  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89080c 


Lot 89081: Marilyn Monroe at Tobey Beach, 1949, by André de Dienes (2)
Vintage original gelatin silver glossy and semi-gloss borderless double-weight 13-½" x 10-¾" and 13-¼" x 10-½" prints of Marilyn Monroe at Tobey Beach, 1949, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 and ANDRE / Dienes / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD CALIFORNIA 90069 / 652-1727 black rubber stamps on the verso. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89081a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89081b 


Lot 89082: Marilyn Monroe at Malibu Beach, 1949, by Andre de Dienes (1)
Vintage original gelatin silver semi-gloss double-weight 10" x 8" print of Marilyn Monroe posing on driftwood, at Malibu Beach, 1949, by Andre de Dienes, with red and black rubber stamps and Kim Goodwin collection stamp on the verso. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89082  


Lot 89083: Marilyn Monroe at Malibu Beach, 1945, by André de Dienes (2)
Vintage original gelatin silver glossy borderless double-weight 13-¾" x 10- ¼" and 12-¼" x 10" prints of Marilyn Monroe at Malibu Beach, 1945, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 and PHOTO / ANDRE DIENES black and red rubber stamps on the verso. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89083a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89083b  


Lot 89084: Marilyn Monroe at Tobey Beach, 1949, by André de Dienes (3)
Vintage original gelatin silver glossy borderless double-weight 13-¾" x 10-¾", 11-¼" x 8-¾", and 13-½" x 10-14/16" prints of Marilyn Monroe at Tobey Beach, 1949, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamp on the verso of each. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89084a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89084b  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89084c  


Lot 89085: Marilyn Monroe at Her Bungalow at the Bel Air Hotel, 1953 by André de Dienes (2)
Vintage original gelatin silver glossy borderless double-weight 13-½" x 10-¾" and 13- ¾ x 11" prints of Marilyn Monroe at the Bel Air Hotel, 1953, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 red and black rubber stamp on the verso. Printed 1960s and printed later.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89085a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89085b 


Lot 89086: Marilyn Monroe at Her Bungalow at the Bel Air Hotel, 1953 by André de Dienes (2)
Vintage original gelatin silver glossy borderless double-weight 13-½" x 10-¾" and 13- ¾ x 11" prints of Marilyn Monroe at the Bel Air Hotel, 1953, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 red and black rubber stamp on the verso. Printed 1960s and printed later.
Sold: -  

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89086 


Lot 89087: Marilyn Monroe by Philippe Halsman, for LIFE, 1952 (1)
Edition 235 of 250, printed 1981. Vintage original gelatin silver semi-gloss double-weight 14" x 11" print of Marilyn Monroe by Philippe Halsman, for LIFE cover variant, April 7, 1952, Edition 235 of 250, printed 1981, with HALSMAN/MARILYN copyright rubber stamp and numbered (graphite addition) on the verso.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89087  


Lot 89088: Marilyn Monroe at Her Bungalow at the Bel Air Hotel, Los Angeles, 1953, and at Mt. Hood, Oregon, 1945, by André de Dienes (2) .
Vintage original gelatin silver matte double-weight 23" x 19-½" and 22-¼" x 19- ½" prints of Marilyn Monroe at her Bungalow at the Bel Air Hotel, Los Angeles, 1953, and at Mt. Hood, Oregon, by André de Dienes, with 53 and Diénes signature in black ink on the recto and blue rubber stamp on the verso of one; and brown rubber stamp and extensive dedication by Shirley de Dienes in blue ink on the verso of one. Printed 1960s. 
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89088 


Lot 89088: Marilyn Monroe at the Bel Air Hotel, 1953, Oversize Gelatin Silver Prints by André de Dienes (3)
Vintage original gelatin silver glossy borderless double-weight 13- ½" x 10-¾", 13-¾" x 10", and 12" x 10- ¾" prints of Marilyn Monroe at the Bel Air Hotel, 1953, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamp and 1953 - MM / AD / SD / 6/85 in blue ink (1) on the verso. Printed ca. 1985, and printed 1960s.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89089a 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89089b 


Lot 89089: Marilyn Monroe Lifting Barbells at the Bel Air Hotel, 1953, by André de Dienes (2)
Vintage original gelatin silver glossy borderless double-weight 11 x 13-½" and 11" x 13" prints of Marilyn Monroe lifting barbells at the Bel Air Hotel, 1953, by Andre de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamp on the verso of each. Printed 1960s.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89090   


Lot 89090: Marilyn Monroe in a Book Store, 1953, by André de Dienes (2)
Vintage original gelatin silver glossy and semi-gloss borderless double-weight 8" x 7-½" and 13-¾" x10-¾" prints of Marilyn Monroe in a book store, 1953, by Andre de Dienes, with Dienes signature in black ink on the recto of one, and PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black and red rubber stamp on the verso. Printed 1960s.
Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89091a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89091b 


Lot 89091: Marilyn Monroe at Malibu Beach, 1945, by André de Dienes (1)
Vintage original semi-gloss borderless double-weight 11" x 14" print of Marilyn Monroe at Malibu Beach, 1945, by André de Dienes, with PHOTO / ANDRE DE DIENES / 1401 SUNSET PLAZA DRIVE / HOLLYWOOD, CALIF. 90069 black rubber stamp on the verso. Printed 1960s.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89092  


Lot 89092: Marilyn Monroe at the Barnum & Bailey Circus, Madison Square Garden, 1955, by Wegee (Arthur Fellig) (1)
Vintage original gelatin silver semi-gloss double-weight 14" x 11" print of Marilyn Monroe at the Barnum & Bailey Circus, Madison Square Garden, 1955, by Wegee (Arthur Fellig).
Sold: -  

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89093  


 Lot 89094: Marilyn Monroe at the Actor's Studio, by Roy Schatt (1)
Vintage original gelatin silver semi-gloss double-weight 17" x 14" print of Marilyn Monroe at the Actor's Studio by Roy Schatt, printed 1987, with signature and "taken in 1955 - this print done in 1987" in black ink on the verso.
Sold: -  

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89094  


Lot 89095: Marilyn Monroe in Los Angeles, 1962, by George Barris (4)
Vintage original gelatin silver semi-gloss double-weight 17" x 14" print of Marilyn Monroe at the Actor's Studio by Roy Schatt, printed 1987, with signature and "taken in 1955 - this print done in 1987" in black ink on the versoVintage original gelatin silver matte double-weight (2) and semi-gloss (2) 7" x 5" prints of Marilyn Monroe in Los Angeles, 1962, by George Barris, with signature in black ink on the recto and Kim Goodwin collection stamp on the verso of each. Printed later.
Sold: - 

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89095a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89095b 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89095c  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89095d 


Lot 89096: Marilyn Monroe Signed Photograph
Vintage original silver gelatin photograph signed by legendary icon Marilyn Monroe. Monroe has inscribed in blue ink, "To Vernon, the customer is always right Marilyn Monroe". The signature is clear and legible.    
Bid: $8,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89096a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89096b  


Lot 89097: Marilyn Monroe "Angela Phinlay" Jumper from The Asphalt Jungle (MGM, 1950)
Vintage original 2-piece bespoke beige crepe jumper with integral blouse with short shawl collar, ¾-sleeves with crème stripes, and hoop and button front closure. Integral pleated pants match the design of the crème-striped sleeves and feature a banded waist with self-fabric belt hoops and zipper front closure. Includes the beige web belt with self-fabric covered brass buckle. Interior unlined. Highly visible in the scene when "Emmerich" (Louis Calhern) discovers "Angela" (Marilyn) sleeping on a sofa and throughout the scene. Exhibiting age and production wear.
Bid: $60,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89097a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89097b  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89097c 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89097d 


Lot 89098: Marilyn Monroe "Nell Forbes" Dress with Belt from Don't Bother to Knock (TCF, 1952)
Vintage original green and black patterned cuffed short-sleeve, knee length, shift dress with white cotton, lace-edged Peter Pan collar, and snap front closure. Created by legendary film, stage, and screen costume designer William Travilla, who designed some of Marilyn's most famous costumes. Altered for subsequent production, the collar has been added, sleeves shortened and cuffed, front buttons removed and self-belt not included. Visible throughout the movie and in the trailer and other publicity materials. Retaining the internal fabric bias label handwritten, "1-27-1-7611 Marilyn Monroe A-661-05" sewn in at the seam. Exhibiting wear and age and some fading to areas.
Bid: $20,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098b  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098c 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098d 2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098g 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098e  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89098f 


Lot 89099: Marilyn Monroe "Lorelei Lee" Showgirl Leotard Worn for Promotion of Gentlemen Prefer Blondes (MGM, 1953)
Vintage original bespoke showgirl leotard constructed of form-fitted nude nylon panels ornamented with sunflower yellow and jet-black sequins, clear and black strung bugle beads, faceted crystals, black bead tassels and sprays, with large crystal embellishment of a variety of shapes and sizes of faceted crystals ringing the halter collar and culminating in a cluster of brooch-style crystals at the plunging v-neckline of the garment. With zipper and hook and eye back closure, and black lace over nude fabric at the hips. Worn by Marilyn for publicity appearances alongside her Gentlemen Prefer Blondes co-star Jane Russell, who wore an identical custom costume. The interior has been reinforced for display with 2-web bands, which are gently thread-basted and easily removed. The leotard retains its original internal 20th Century-Fox bias label handwritten in ink, "M. Monroe" and an interior studio paper laundering tag. Exhibiting wear, rubbing to base fabric, exposed elastic shoulder straps, and sequin and bead loss, soiling throughout, not detracting from the spectacular effect of the dazzling, glamorous, and revealing costume.   
Bid: $40,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099b 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099c   2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099f 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099d  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89099e 


Lot 89100: Marilyn Monroe "Elsie" Signature Pearl-Encrusted Mermaid Gown from The Prince and the Showgirl (Warner Bros., 1957)
Vintage original short-sleeved, floor-length mermaid ball gown constructed of crème silk, and sheer organza sleeve with pearl-beaded sweetheart neckline and form-fitted bodice, embellished with delicate seed pearls and faceted rhinestones and beads on ruched bust, left sleeve, and lower sleeve above the voluminous, heavily-weighted ivory satin "mermaid tail" hem. Left sleeve with top hook and eye closure extending to the side zipper closure surrounded by more hook and eye closures.
Custom designed and constructed to Marilyn Monroe's legendary form by British designer Beatrice Dawson. The iconic Monroe shows off this dramatic hourglass silhouette and dramatically sweeping skirt throughout many principal scenes in the film. This gown is also featured in images of Monroe in this form-fitting garment in much of the film's publicity materials. Retaining the internal Western Costume bias label handwritten "#5 Marilyn Monroe".
Exhibiting expected age and production wear. Of the three examples of this dress we've encountered, this is by far the prime article. The quality and preservation of materials and embellishments are unparalleled. Most minor soiling from age and storage can be easily reversed and the appearance of the gown further enhanced by the new owner.
Bid: $80,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100b  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100c 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100d  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100e   2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100f 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100g  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89100h  


Lot 89101: Marilyn Monroe's Personal Custom-Made 3-Piece Mirror from Her Dressing Room In Her Final Brentwood, California Home (1963)
Vintage original, full-length 3-paneled dressing mirror, hinged between mirror panels and adjustable to see a subject from all angles. This custom-made mirror was installed in Marilyn Monroe's third bedroom, which she used as her committed dressing and fitting room. The central stationary mirror panel measures 42" x 96", while the side wing mirror panels measure 24" x 96" each. Originally acquired by Dr. and Betty Nunez, the first purchasers of Monroe's house in 1963 after her untimely death in late 1962. Comes with a copy of a notarized letter from Michael Nunez, whose parents, Dr. and Betty Nunez, purchased Marilyn's home in 1963 and an LOA from the consignor, whose parents were gifted the mirror by the Nunez family in 1976 after escrow fell through on them purchasing Marilyn's home from the Nunez's.
Bid: $5,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89101a   2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89101b 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89101c  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89101d  


Lot 89102: Marilyn Monroe's Wall Sconce from her Master Bedroom in her Brentwood, California (1960s)
Vintage original tin framed, smoked glass paneled wall lighting sconce from Marilyn Monroe's Brentwood, California home. The sconce was originally a candle holder with the front glass panel retaining the hinge and latch, which allows it to be opened for access. Measuring 12" x 9" x 4.5". Acquired directly from the wall in the master bedroom next to the door of Marilyn's home by the consignor's parents in 1976 while they were in escrow to buy Marilyn's house before the deal ultimately fell through. Exhibiting age, oxidization, and with bulb and some electronics present but untested. In vintage Very Good to Fine condition. Accompanied by a LOA from the consignor who was present at the time of acquisition from Monroe's home.
Bid: $3,000  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89102a  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89102b 
2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89102c  2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89102d 


Lot 89103: Marilyn Monroe's Decorative Striped Tiles (36) from Her Brentwood, California Home (1960s)
Vintage original (36) striped ornamental ceramic tiles from Marilyn Monroe's Brentwood, California home. These tiles were personally chosen and purchased by Marilyn Monroe in Taxco, Mexico, to redecorate her new home. These were replacement tiles kept by Marilyn in the event of damage. Measuring 1.5" x 4.5" x .5". Acquired by the consignor's parents in 1976 while they were in escrow to buy Marilyn's house before the deal ultimately fell through. Exhibiting age and minor chipping. In vintage Very Good to Fine condition. Accompanied by a LOA from the consignor who was present at the time of acquisition at Monroe's home.
Bid: $775  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89103 


 Lot 89104: Marilyn Monroe's Decorative Orchid Tiles (22) from Her Final Home in Brentwood, California (1960s)
Vintage original (22) orchid motif ornamental ceramic tiles from Marilyn Monroe's Brentwood, California home. These tiles were personally chosen and purchased by Marilyn Monroe in Taxco, Mexico, to redecorate her new home. These were replacement tiles kept by Marilyn in the event of damage. Measuring 1.5" x 4.5" x .5". Acquired by the consignor's parents in 1976 while they were in escrow to buy Marilyn's house before the deal ultimately fell through. Exhibiting age and minor chipping. In vintage Very Good to Fine condition. Accompanied by a LOA from the consignor who was present at the time of acquisition from Monroe's home.
Bid: $825  - Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89104 


 Lot 89105: Bette Davis "Margo Channing" Costume Sketch by Edith Head for All About Eve (TCF, 1950)
Vintage original costume sketch accomplished in pencil and gouache on 13" x 17" artist's paper leaf. Featuring a pencil skirt gown with jewel encrusted neckline and sable stole. Handwritten at the top left corner of the page, "Bette Davis" and signed in the lower right "Edith Head". Exhibiting age and production wear with some chipped edges and water staining to lower edge of paper.
 Sold: -

2022-12-17-HERITAGE-Hollywood_Entertainment_Signature-lot89105  


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

14 juin 2007

14/05/1994, Odyssey, "Rock N Roll & Hollywood Memorabilia and Autographs": Catalogue

1994-05-14-ODYSSEY-1Catalogue de la vente aux enchères
"Rock N Roll & Hollywood Memorabilia and Autographs"
par Odyssey
du 14 mai 1994

Auction catalog
"Rock N Roll & Hollywood Memorabilia and Autographs"
by Odyssey
from May, 14, 1994


Catalogue qui présente une 30aine de lots consacrés à Marilyn Monroe: des photographies, dédicaces, effets personnels (robes, chapeaux, bijoux, chaussures, lunettes de soleil, épingles à cheveux, maquillage, étui à cigarettes), lettres (de Joe DiMaggio, des enfants d'Arthur Miller, de Marilyn à son psychiatre Greenson, de Jean Kennedy Smith, de Kay Gable, de sa mère Gladys), certificat de divorce d'avec DiMaggio, factures et chèques, permis de conduire, documents sur le chien Hugo, plan de la maison de Brentwood, carnet d'adresses, une collection de timbres qui appartenait à Marilyn, certificats d'awards.

Catalog which presents some 30 lots dedicated to Marilyn Monroe: photographs, dedications, personal effects (dresses, hats, jewelry, shoes, sunglasses, hairpins, make-up, cigarette case), letters (from Joe DiMaggio, children of Arthur Miller, of Marilyn to her psychiatrist Greenson, of Jean Kennedy Smith, of Kay Gable, of her mother Gladys), divorce certificate from DiMaggio, bills and checks, driver's license, documents on the dog Hugo, plan of the house in Brentwood, address book, a collection of stamps that belonged to Marilyn, certificates of awards.


- pages avec Marilyn -

1994-05-14-ODYSSEY-p1  1994-05-14-ODYSSEY-p2  1994-05-14-ODYSSEY-p3 
1994-05-14-ODYSSEY-p4   1994-05-14-ODYSSEY-p5 
1994-05-14-ODYSSEY-p6  1994-05-14-ODYSSEY-p7  1994-05-14-ODYSSEY-page-back_cover 


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

31 août 2008

26/01/1952 Marilyn reçoit un Henrietta

Le 26 janvier 1952, se tient la cérémonie des "Henrietta Awards" à Santa Monica, qui prit place au Del Mar Club. Marilyn Monroe reçoit le prix Henrietta de la "Meilleure jeune personnalité du box office 1951". Au cours de cette soirée, Marilyn a été vue au côté de Charlie Chaplin Jr. (le fils de), avec qui elle eut une brève aventure (voir dernière photo). Parmi les autres invités figurent Tony Curtis, Dean Martin, Bob Hope, Alan Ladd, Jane Wyman, Gregory Peck, Mitzi Gaynor, Leslie Caron, Esther Williams, Errol Flynn, Janet Leigh...
Les 'Henrietta Awards' seront ensuite remplacés par les 'Foreign Press Award' puis par les 'Golden Globe Awards'.
On January, 26, 1952, helds the ceremony of "Henrietta Awards" in Santa Monica, which tooks place at Del Mar Club. Marilyn Monroe is awarded by an Henrietta for "The Best Young Box Office Personality in 1951." During this evening party, Marilyn is seen with Charlie Chaplin Jr. (son of Chaplin), with whom she had a brief affair. The other personalities are Tony Curtis, Dean Martin, Bob Hope, Alan Ladd, Jane Wyman, Gregory Peck, Mitzi Gaynor, Leslie Caron, Esther Williams, Errol Flynn, Janet Leigh...

1952_henrietta_2 1952_henrietta_2a 1951_Henrietta_01_Arrive040_010
 1951_Henrietta_01_Arrive050_010 1952-henrietta 1952_henrietta_3310 
 1951_Henrietta02_award_00100_1 1951_Henrietta02_award_00110 

 1952_henrietta_3  1951  henrietta
1952_02_08_del_mar_club_henriette_awards  1952_henrietta_2710c10  7156812_m 
1951_Henrietta03_Dinner_010_010_1  award-henrietta  1951_Henrietta03_Dinner_010_010_c2 
aw_henrietta_Henr19  1951  aw_henrietta_Henr18   
aw_henrietta_Henr22 1952_henrietta_4  1951_Henrietta031_danse_010 

> Marilyn avec le chroniqueur José Jasd
 1951_Henrietta03_Dinner_award_010  1951_Henrietta03_Dinner_award_010a  1951_Henrietta03_Dinner_award_030_1

> Marilyn avec Roy Craft
aw_henrietta_avec_roy_craft_010_1  1951_Henrietta03_Dinner_020_020 
1952  1952_henrietta_1  1951HenriettaAward_17 
1951_Henrietta03_Dinner_020_010_1  1952_c41  

> > Marilyn avec Valentina Cortesa et son mari Richard Basehart
Richard_Basehart_y_Valentina_Cortese  

> Marilyn avec Lita Grey et Charles Chaplin Jr.
aw_henrietta_avec_litagreychaplin_charlychaplinjr_1 1951_Henrietta04_withLitaGreyChaplin_CharlyChaplinJr_1

> Marilyn avec le photographe Charlie See
1952-with_photographer_charlie_see-124043847  Gamma_675766_05

> Liz Taylor / Tony Curtis / Mitzi Gaynor
953f28a9073d42ed_large  d7e5bddcd9512ecb_large  c8ed17c00ceb0883_large 
> Alan Ladd / Bob Hope

1952 1952 1952
> Bob Hope / Dean Martin 
1952 1952
1952 1952 1952


>> Photo de Murray Garrett >>
murray_garrett_04  1952-Show Stopper a CROP MINUS TXT


>> Photos de Loomis Dean >> 
1952_henrietta_05 1952_henrietta_13
Loomis_Dean_marilyn_far_right
1952_henrietta_20 1952_henrietta_14 1952_henrietta_15
1952_henrietta_17 1952_henrietta_18 1952_henrietta_16
1952_henrietta_19 1952_henrietta_10 1952_henrietta_11
1952_henrietta_12 1952_henrietta_22
1952_henrietta_21 1952_henrietta_23
1952_henrietta_06 1952_henrietta_07
1952_henrietta_08 1952_henrietta_09
Hollywood_Stars_Party_


> dans la presse
1952-01-26 


Pour cette soirée, Marilyn portait une robe au décolleté vertigineux, une création de Oleg Cassini - elle réajustait sans cesse sa robe sans bretelles - si bien que la presse s'en offusqua, un journaliste présent à la soirée, allant jusqu'à écrire que Miss Monroe était "insignifiante et vulgaire dans cette robe" et que "même dans un sac à patates, elle aurait été plus élégante". Marilyn prit alors la brutale critique au mot, et posa vêtue d'un sac à pommes de terre le 6 octobre 1952 (>> voir les photos d'Earl Theisen )
For that evening, Marilyn wore a dress with a dizzy neckline - she constantly readjusted her strapless dress - so that the press took offense, and a journalist who was at the party, write that Miss Monroe was "insignificant and vulgar in that dress" and that "even in a potato sack, she would have been more elegant." Marilyn then took the sharp criticism at the word, and took photos wearing a potatoes sack in October 6, 1952 (see pictures of Earl Theisen)

>> Séance photos de la fameuse robe portée pour la cérémonie
(sur la photo de groupe "des jeunes premiers d'Hollywood',
se trouve Mitzi Gaynor, Leslie Caron, John Derek
et Tony Curtis, ce dernier vécut d'ailleurs une brève idylle
avec Marilyn durant cette époque, vers 1951/1952)
1951_Henrietta01_Photos_010_010_1 1951_Henrietta01_Photos_010_010 1951_Henrietta01_Photos_010_011_1 1951_Henrietta01_PhotoStudio_011_GF
1951_Henrietta01_PhotoStudio_010_20 1951_Henrietta01_PhotoStudio_010_withTonyCurtis_010 1951_Henrietta01_PhotoStudio_011_b 1951_Henrietta01_PhotoStudio_020

>> Photos de Loomis Dean >> 
1952_henrietta_01 1952_henrietta_04
 1952_henrietta_02 1952_henrietta_03 

1952-by_loomis_dean  


> couvertures de magazines:
mag_reves_1954_cover ph_mag_mivanda 


 - Bonus sur le blog -

Plus d'informations sur la robe:
More information about the dress:
article Robe moulante en velours rouge d'Oleg Cassini  


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

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18 avril 2011

07/01/1955, New York - Marilyn Monroe Productions

Après un exil d'une année loin d'Hollywood, Marilyn s'est installée à New York et s'est engagée dans une bataille contre la 20th Century Fox, refusant les rôles que les studios lui proposent. Le 7 janvier 1955, Marilyn Monroe organise avec désormais son associé, le photographe Milton H. Greene, une conférence de presse où sont conviés près de 80 journalistes, ainsi que quelques amis. La réunion a lieu dans la maison de leur avocat Frank Delaney, sur la 64ème Avenue à New York.
Marilyn porte une robe de satin blanc et un manteau de fourrure d’hermine, des créations du couturier Norman Norell. Elle porte des boucles d'oreilles en diamants de chez Van Cleef & Arpels.
After a year of an exil far from Hollywood, Marilyn is settled in New York and is battling against the 20th Century Fox Studios, refusing the roles that the studios propose to her. In January 7, 1955, Marilyn Monroe organizes with his partner, photographer Milton H. Greene, a press conference where are invited nearly 80 journalists and some friends. The meeting takes place in the home of their lawyer Frank Delaney, on 64th Avenue in New York.
Marilyn wears a white satin dress and an ermine fur coat, creations of designer Norman Norell. She wears earrings in diamonds from Van Cleef & Arpels.

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1955_01_07_mm_prod_010_arrive_040_1 ph_greene_1955a 1955_01_07_mm_prod_010_arrive_060_1 

Elle annonce elle-même officiellement la création de la maison de production "Marilyn Monroe Productions" (MMP), dont elle en est la présidente (elle détient 51% des parts), et Milton Greene le vice-président (il en détient 49%). Frank Delaney répond à quelques questions des journalistes, déclarant notamment qu’elle n’est plus sous contrat avec la Fox et qu'elle envisage de travailler pour la télévision. De leur côté, la Fox tient aussi une conférence de presse pour affirmer que Marilyn est encore sous contrat pour quatre ans.
She announces officially the creation of the production company the "Marilyn Monroe Productions" (MMP) on which she is the president (she helds 51% of shares), and Milton Greene is the vice president (he owns 49%). Frank Delaney answers questions of journalists, by stating that she is no longer under contract with Fox and she plans to work for television. For their part, the 20th Century Fox also helds a press conference to say that Marilyn is still under contract for four years.

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 1955_01_07  1955-mm_prod-1a  1955_01_07_mm_prod_020_sit_013_1 
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1955_01_07_mm_prod_020_sit_014_1 1955_01_07_mm_prod_020_sit_015_1 1955_mmprod
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1955_01_07_mm_prod_030_sit_040_with_delaney_1 1955_GYUFTYFRR 1955_01_07_mm_prod_030_sit_050_1 1955_01_07_mm_prod_030_sit_050_2
1955_01_07_mm_prod_030_sit_060_1 1955_01_07_mm_prod_030_sit_with_frank_delaney_1 1955_01_07_mm_prod_030_sit_with_frank_delaney_2 1955_07_01_mmprod
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1955_01_07_mm_prod_031_room_050_with_elsa_maxwell_1  1955_01_07_mm_prod_031_room_050_with_elsa_maxwell_2 
1955_01_07_mm_prod_031_room_040_with_elsa_maxwell_1 1955_MarilynMonroe_PressConferenceForMarilynMonroeProductions_Jan_7_1955_09   
1955_01_07_mm_prod_042_wall_030_2 1955_01_07_mm_prod_043_stairs_020_1 1955_01_07_mm_prod_043_stairs_021_1  
1955_01_07_mm_prod_042_wall_020_1 1955_01_07_mm_prod_042_wall_030_1 1955_01_07_mm_prod_043_stairs_010_with_milton_1
 1955_01_07_mm_prod_043_stairs_030_2 1955_01_07_mm_prod_043_stairs_030_1 1955_01_07_mm_prod_043_stairs_031_1
1955_01_07_mm_prod_032_room_050_1 1955_01_07_mm_prod_032_room_060_with_milton_1 H3257_L44538766_by_greene 

- Avec le photographe Sam Shaw (à droite) -
1955_01_07_mm_prod_042_wall_040_1 1955_01_07_mm_prod_042_wall_050_with_sam_shaw_1 1955_01_07_mm_prod_042_wall_051_with_sam_shaw_1

>> Marilyn signe des autographes à ses fans
1955_01_07_mm_prod_040_door_010_1 1955_01_07_mm_prod_040_door_020_1 1955_01_07_mm_prod_040_door_030_1

>> Photos prises par ses fans (James Haspiel ?)
1955_01_07_mm_prod_040_door_040_1 1955_01_07_mm_prod_041_talking_010_by_haspiel_2 1955_01_07_mm_prod_041_talking_020_2
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1955_01_07_mm_prod_041_talking_040_by_haspiel_1 1955_01_07_mm_prod_041_talking_050_by_haspiel_1 

> photographies de James Collins, fan des 'Monroe Six' 
lot89018k  lot89018m  lot89017n 
lot89018a  lot89018d  

> photographies collection de Frieda Hull, fan des 'Monroe Six' 
1955-01-07-MMProd-collection_frieda_hull-1  1955-01-07-MMProd-collection_frieda_hull-1b 
1955-01-07-MMProd-collection_frieda_hull-1a  1955-01-07-MMProd-collection_frieda_hull-1c 1955-01-07-MMProd-collection_frieda_hull-1d 

>> Photographie de Michael Rouger
Autographe pour James Collins, un des 'Monroe Six'
("To Jim / Love & Kisses / Marilyn Monroe")
lot89009-a  


Marilyn ne s'est pas montrée en public depuis près d'un mois, ce qui attise la curiosité des journalistes mais aussi de ses fans, dont certains sont conviés. Parmi les convives célèbres, figure la journaliste à potins Elsa Maxwell, le dramaturge Sidney Kingsley, le compositeur Richard Rodgers (ami de Milton Greene), le photographe Sam Shaw, ainsi que Marlène Dietrich.
Marilyn was not shown in public apperance for almost a month, which arouses the curiosity of journalists but also her fans, some of whom are invited. From the famous guests, are included the gossip columnist Elsa Maxwell, playwright Sidney Kingsley, composer Richard Rodgers (friend of Milton Greene), the photographer Sam Shaw and Marlene Dietrich.

 Marilyn Monroe & Marlene Dietrich

1955-01-07-NY-Cocktail_Party-070-1  1955-01-07-NY-Cocktail_Party-071-1 
1955-01-07-NY-Cocktail_Party-073-1 
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1955-01-07-NY-Cocktail_Party-072-1  1955-01-07-NY-Cocktail_Party-074-1  1955-01-07-NY-Cocktail_Party-075-1 

Après la conférence de presse, Marilyn, Milton et Marlene fêtent l’événement au Copacabana Club, où se produit Frank Sinatra. Ils vont ensuite dîner avec Sinatra au Club 21 et finissent la soirée chez Marlene Dietrich.
After the press conference, Marilyn, Marlene and Milton celebrate the event at the Copacabana Club, where Frank Sinatra produces on stage. Then, they go to dinner with Sinatra at the Club 21 and they end the evening on Marlene Dietrich's home.


Séance "Soirée Cocktail"
Cocktail Party Sitting
- Milton H Greene -


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1955-01-07-NY-Cocktail_Party-010-1-MHG-MMO-CP-01  1955-01-07-NY-Cocktail_Party-013-1-MHG-MMO-CP-04 
1955-01-07-NY-Cocktail_Party-012-1-MHG-MMO-CP-03  1955-01-07-NY-Cocktail_Party-021-1-MHG-MMO-CP-13  1955-01-07-NY-Cocktail_Party-031-1-MHG-MMO-CP-10  
1955-01-07-NY-Cocktail_Party-020-1-MHG-MMO-CP-06 
1955-01-07-NY-Cocktail_Party-022-1-MHG-MMO-CP-07  1955-01-07-NY-Cocktail_Party-023-1-MHG-MMO-CP-09  1955-01-07-NY-Cocktail_Party-030-1-MHG-MMO-CP-08 
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1955-01-07-NY-Cocktail_Party-050-1-MHG-MMO-CP-14  1955-01-07-NY-Cocktail_Party-052-1-MHG-MMO-CP-16   1955-01-07-NY-Cocktail_Party-051-1-MHG-MMO-CP-15 
1955-01-07-NY-Cocktail_Party-060-1-MHG-MMO-CP-11  1955-01-07-NY-Cocktail_Party-060-2-MHG-MMO-CP-12 
1955-01-07-NY-Cocktail_Party-070-1-MHG-MMO-CP-17  1955-01-07-NY-Cocktail_Party-072-1-MHG-MMO-CP-19 
1955-01-07-NY-Cocktail_Party-071-1-MHG-MMO-CP-18  1955-01-07-NY-Cocktail_Party-073-1-marilyn_monroe_CP_20 
1955-01-07-NY-Cocktail_Party-073-1-MHG-MMO-CP-20  1955-01-07-NY-Cocktail_Party-074-1  1955-01-07-NY-Cocktail_Party-075-1 

- planche contact -
contact sheet   

1955-01-07-NY-Cocktail_Party-CS-1 


- photo de presse -

1955-mm_prod-1a 1955-mm_prod-1b


 dans la presse

1955_mmprod_australianmagazinecover04051955 mag_cronaca_1962_08_11_num32_cover_1 1955_times


All photos are copyright and protected by their respective owners. 
copyright text by GinieLand.

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2 août 2012

Le Nouvel Observateur 2/08/2012

lenouvelobs_coverLe magazine français Le Nouvel Observateur n°2491, paru le 2 août 2012 consacre un article de 4 pages à Marilyn Monroe (chapitre 4, par François Forestier).
 prix: 3,50  


Marilyn Monroe, ange et démon
Par François Forestier
en ligne
sur nouvelobs.com  

Avec "Le Prince et la Danseuse", le conte de fées de Marilyn Monroe, dont on commémore le 50e anniversaire de la mort, tourne au cauchemar.

lenouvelobs_photo 
Une collection unique de près de 4.000 photographies de Marilyn Monroe, dont certaines jusqu'à présent non publiées, sera exposée en août en Pologne avant d'être mise aux enchères, a indiqué vendredi le quotidien Gazeta Wyborcza. (c) Afp

Marilyn, vêtue d'une robe sombre en velours, le cou orné d'une rangée de perles, descend l'escalier de marbre blanc. C'est une apparition magique. Laurence Olivier la prend par le bras, la mène vers son fauteuil. La conférence de presse pour annoncer le tournage du "Prince et la Danseuse" est prometteuse : Laurence Olivier, le plus grand acteur du monde, et Marilyn Monroe, la femme la plus célèbre du cosmos. Merveilleux casting.
Les journalistes, hypnotisés, demandent à Marilyn : "Vous allez continuer avec l'Actor Studios ?" Elle bat des cils, sa gorge palpite. Elle répond : "Je voudrais me développer de toutes les façons possibles." Silence. Laurence Olivier prend la parole : "Miss Monroe a un talent... Mmm... Extraordinaire pour vous faire croire une minute qu'elle est une petite chose coquine et, la minute suivante, vous convaincre qu'elle est une ravissante idiote", dit-il. Les photographes shootent au niveau du genou, espérant prouver que Marilyn ne porte rien sous sa culotte. L'atmosphère est électrique. Soudain, la bretelle de la robe de Marilyn cède. La salle devient dingue. Marilyn se rajuste, gênée, innocente, rougissante. Une assistante apporte une épingle de nourrice. Marilyn la lui a remise juste avant l'"accident".

"Fais comme si tu étais une bouteille de ketchup"

Depuis qu'elle est tombée sous de l'empire de Lee Strasberg, le gourou de l'Actor Studio, Marilyn s'emploie à devenir une tragédienne. Elle répète Eschyle, martèle Shakespeare, énonce James Joyce. L'épouse de Lee, Paula Strasberg, une sorte de sorcière adipeuse en djellaba noire et éternellement coiffée d'un chapeau de paille, cornaque Marilyn tout le temps, à prix d'or - 1 500 dollars la semaine. Les metteurs en scène deviennent fous, de voir cette ombre sinistre souffler des âneries à l'oreille de la blonde. "Fais comme si tu étais une bouteille de ketchup" ou "imagine une brosse à dents très sale", voilà les indications scéniques de la Strasberg.

Le précédent réalisateur de Marilyn, Joshua Logan, a failli verser dans la rage baveuse, pendant le tournage de "Bus Stop". Maintenant que la star est sa propre productrice, personne ne peut plus la contredire. Elle navigue entre son psy et son médecin, et fait des efforts pathétiques pour plaire à son nouveau mari, Arthur Miller, auteur dramatique en vogue. Lequel est empêtré dans ses déclarations devant la Commission des Activités anti-américaines. Soupçonné d'être communiste, il est invité à balancer des noms, comme son ex-ami Elia Kazan. Il ne le fera pas. Il finaude, se dérobe, a signé une pièce anti-McCarthy, "Les Sorcières de Salem". Cet intellectuel avec cette blonde ? C'est l'union de la Belle et de la Bête, daube la presse.

 lenouvelobs 
  Laurence Olivier à Marilyn : « Soyez sexy. » Catastrophe : c'est exactement ce qu'elle ne veut pas entendre. © DR  

Quand Marilyn et Miller sont arrivés en Angleterre pour « Le Prince et la Danseuse », ils ont été accueillis comme des seigneurs. Flanqués de quatre motards, ils ont été déposés à Parkside House, un manoir géorgien qui jouxte le palais de Windsor. Onze chambres à coucher, un parc privé, une armée de valets, thé à tous les étages. Mais la réception fastueuse masque le mépris de Laurence Olivier pour le maigre talent de dramaturge de Miller. De plus, Olivier est noyé dans les problèmes que lui pose son épouse, la sublime Vivien Leigh, qui le cocufle allégrement avec un autre acteur, Peter Finch, avant de s'offrir, nue sous un manteau de fourrure, au premier passant venu. C'est que lady Olivier a sombré dans une schizophrénie agressive. Sir Laurence, qui doit interpréter le rôle principal et mettre en scène le film, compte sur Marilyn pour redorer son blason. Il est sous le charme, absolument.

Tandis que Miller se met à écrire une adaptation de l'une de ses pièces, Marilyn se rend à l'essayage. Elle est dans son état non-Marilyn : blême, le cheveu gras, le regard égaré. Laurence Olivier est stupéfait. Derrière elle, à trois pas, Paula Strasberg. La magie s'effrite instantanément. On débarbouille l'actrice, on la maquille, on l'éclaire. Ouf, c'est réparé. Le conte de fées entre le grand-duc Charles de Carpathie et la danseuse Elsie, surnommée The Coconut Girl, peut commencer. Mince histoire d'amour, dans la tradition des pâtisseries viennoises - tout repose sur la légèreté, la drôlerie, la vivacité. C'est ce que Laurence Olivier essaie d'expliquer à Marilyn. Celle-ci le regarde comme une huître morte. Paula Strasberg murmure à l'oreille de l'actrice. Sir Laurence se contient pour ne pas faire expulser cette Carabosse. Le 30 juillet 1956, le tournage débute. Marilyn arrive une heure en retard. Le deuxième jour, deux heures. Le troisième… Les acteurs anglais sont ponctuels, connaissent leur texte, n'ont pas besoin de se chauffer comme les derviches de l'Actors Studio. Laurence Olivier se consume de colère. Marilyn, elle, pense qu'au contact de ce shakespearien renommé un peu de son éclat va déteindre sur elle. C'est son obsession. Le soir, avec Arthur Miller, elle ne songe qu'à sortir de son rôle de bimbo. Son mari l'observe avec dépit : il a épousé la plus belle créature du monde, il se retrouve avec une névrosée bourrée de pilules, torturée par son image, dévorée d'angoisse, agressive, agaçante. Il espérait être avec Marilyn, il est avec la Poison.

Laurence Olivier, costumé en aristocrate d'opérette, se tourne vers Marilyn et, juste avant que la caméra ne se mette en marche, lui dit : « Soyez sexy. » Catastrophe : c'est exactement ce qu'elle ne veut pas entendre. Elle est donc utilisée, une fois de plus, pour sa sensualité ? Pas pour son talent ? Elle fuit, s'enferme dans sa loge, appelle Lee Strasberg à New York, pleure la nuit, tempête dans les onze chambres à coucher, rage. On s'est moqué d'elle. Miller se cache la tête sous l'oreiller. Elle ouvre le carnet de notes de son mari, lit : « J'ai pensé avoir épousé un ange, je me suis trompé. » Là, Marilyn craque complètement. Elle a déjà été abandonnée par son père, par sa mère, par son producteur, par ses deux premiers maris. On la laisse tomber une fois de plus ? Miller repart aux Etats-Unis, pour apparaître devant les inquisiteurs. Marilyn avale des poignées d'anxiolytiques et boit du champagne. Puis elle couche avec le gentil assistant, Colin Clark, qui fera de cette aventure un livre - non, deux. En attendant, Laurence Olivier se retrouve avec deux folles : sa femme, qui vient de faire une fausse couche, et son actrice, qui est camée. Quand Arthur Miller revient, il fait grand cas de se montrer à la première londonienne de sa pièce « Vu du pont ». Il demande sa carte de membre du Comedy Club, devant les photographes. Pour ce faire, il doit certifier qu'il est éligible et que sa femme n'est pas « indésirable ». Il certifie énormément.

Lee Strasberg arrive au studio. Il lui est interdit d'entrer, il reste à la grille. Sa femme, qu'Olivier surnomme « The Beast », tempête. Marilyn plonge dans un marécage opiacé. Son look se détériore. Elle ne se souvient plus de son texte. Le directeur photo, Jack Cardiff, qui a travaillé avec Huston sur « African Queen » et avec le tandem Michael Powell-Emeric Pressburger, fait tout pour camoufler les dégâts. Par moments, Marilyn retrouve son éclat, sa vivacité, sa fraîcheur. Puis elle retombe dans une aboulie pâteuse, et déserte le plateau le lendemain. Ravie, elle écoute Lee Strasberg lui expliquer qu'elle est géniale, que Laurence Olivier est un acteur surestimé, qu'elle n'est pas jugée à sa vraie valeur. Son mari pense qu'elle est une « pute emmerdante », dit-elle à Strasberg. Arthur Miller rétorque que c'est faux, et que les Strasberg sont des serpents venimeux. L'ambiance est bien pourrie. Pour alléger, Miller emmène Marilyn à Stratford-upon-Avon, visiter le lieu de naissance de Shakespeare. La presse anglaise note que le couple fait chambre à part, désormais. Un adolescent enamouré campe devant le manoir, jour après jour, une fleur à la main. Finalement, Marilyn sort, lui adresse quelques mots et le remercie pour la belle rose. Puis elle l'embrasse sur la bouche. Un demi-siècle plus tard, le vieil homme est encore émerveillé.

De fable charmante, « le Prince et la Danseuse » vire au cauchemar. Quand Laurence Olivier demande à Marilyn de se déplacer pour être dans l'axe de la caméra, celle-ci rétorque : « Vous ne me voyez pas. Pas la peine d'être ici, alors », et elle s'en va. Milton Greene, l'associé de Marilyn, ex-photographe devenu producteur, s'alarme de la note de téléphone (la psychanalyse longue distance, c'est cher), des retards, du budget qui explose. Un jour que Marilyn attend avec Paula dans sa loge, l'assistant fait savoir au metteur en scène que la star est prête. Il entend Laurence Olivier, gentleman exquis, pair du royaume, dire  : « Qu'elle aille se faire foutre. » Et Marilyn recommence ses caprices : alors que l'équipe attend, elle commande des robes, des chaussures, des ensembles. Le 29 octobre, elle est officiellement présentée à la reine, devant laquelle elle fait une jolie révérence, en robe lamée or, bretelles de topazes. Sur les clichés, Sa Majesté regarde avec curiosité le décolleté très ajusté de sa voisine de palier. Mais peut-être jauge-t-elle les topazes…

Le tournage s'achève en novembre, avec onze jours de retard. Avant de rentrer aux Etats-Unis, où Arthur Miller a finalement été très légèrement condamné pour avoir « manifesté du mépris pour la cour » et non pour ses opinions de gauche, le couple se rend à une soirée, pour rencontrer deux acteurs français : Simone Signoret et Yves Montand. Deux ans plus tard, Marilyn tournera « Le Milliardaire » avec ce dernier. Le 13 juin 1957, « le Prince et la Danseuse » sort au Radio City Music Hall, l'une des plus belles salles de New York. A cette occasion, Marilyn, apparemment heureuse, décrit à la presse la petite maison au bord de la mer où elle passe ses vacances avec son mari, « juste assez grande pour nous et des enfants », et, au détour d'une interview, dit : « La seule chose dont j'aie peur, c'est de moi-même. » Elle a raison : sa consommation de pilules s'accroît, ses absences aussi. Bientôt, elle sera internée. Mais, pendant le tournage du « Prince et la Danseuse », un événement mondain a eu lieu : Grace Kelly est devenue princesse de Monaco. Or, il y a un an, c'est Marilyn qui a été approchée pour être l'élue. Elle a simplement répondu : « Monaco ? C'est où, ça ? » Elle a failli vivre l'histoire du « Prince et la Danseuse », en vrai. Bientôt, le destin va lui offrir une deuxième chance, un deuxième prince : JFK. Elle rêvera de devenir première dame. A l'époque, pas question d'être la « first girl-friend ».

Le plus étonnant, c'est que le film de Laurence Olivier, s'il est fade et mou, n'existe que par la présence de Marilyn. Les orages, les angoisses, l'amertume, rien ne transparaît : Marilyn est lumineuse, parfois un peu rêveuse, mais si sexy, si touchante, on ne voit qu'elle. Le « plus grand acteur du monde », à côté, est aussi sensuel qu'un ravier à margarine. Il a de la prestance, de l'allure, du style, mais il est déplacé. Il voudrait être Cary Grant, il n'est que l'ombre de sa manchette. Marilyn va bientôt tourner son chef-d'oeuvre absolu : « Certains l'aiment chaud ». C'est là que Tony Curtis, exaspéré, déclarera : « Embrasser Marilyn, c'est comme embrasser Hitler », comparaison discutable mais pittoresque. Surtout, l'espoir de fonder un foyer va fondre comme un glacier sous réchauffement climatique. Déjà, Arthur Miller s'éloigne. Le jour de leur mariage, il a offert à sa fiancée un bracelet en or. Avec ces mots : « A à M, juin 1956. Maintenant et à jamais. »

Le bonheur ? Jamais.

Lire l'intégralité de l'article de François Forestier, "Marilyn, ange et démon", dans "le Nouvel Observateur" du 2 août 2012.
sur le site  cinema.nouvelobs.com   


Marilyn : « Merci de m'aider à sauver ma vie »
le 4/08/2012
Par Bernard Comment
en ligne
sur cinema.nouvelobs.com

lenouvelobs_ecrits
 © KOBAL-AFP-© DR  

Chaque semaine, l'éditeur des écrits et dessins de la star - mandaté par la famille Strasberg - nous offre un document rare. Aujourd'hui, une lettre inédite à Lee Strasberg

Durant les premiers mois de 1956, Marilyn Monroe, désormais new-yorkaise, quitte sa nouvelle ville d'adoption pour se rendre sur le tournage de « Bus Stop ». Elle rentre d'abord à Hollywood, après plus d'un an d'absence, puis se rend à Phoenix (Arizona) et à Sun Valley (Idaho), avant de revenir à Los Angeles où elle réside au luxueux hôtel Chateau Marmont, sur Sunset Boulevard (elle y retrouve Arthur Miller, pour des amours encore clandestines à ce moment-là). Le réalisateur de « Bus Stop », Joshua Logan, était incertain au départ sur le choix de Marilyn et s'était renseigné auprès de Lee Strasberg, qui l'avait chaleureusement recommandée, convaincu de l'énorme talent d'actrice de celle que les studios de Hollywood s'efforçaient d'enfermer dans un rôle de blonde sexy et superficielle. Elle tenait ainsi l'occasion de démontrer son talent, avec un beau rôle complexe, dirigée par un cinéaste de talent.

Quatorze mois plus tôt, en décembre 1954, alors que le monde du cinéma la reconnaissait enfin comme une star en l'honorant d'un grand dîner de gala après les énormes succès, coup sur coup, de « Niagara », « Les hommes préfèrent les blondes » et « Comment épouser un millionnaire », elle avait quitté la Côte Ouest pour se rendre à New York, à la fois pour y fonder une société de production cinématographique (avec le photographe Milton Greene) et pour suivre les cours de Lee Strasberg à l'Actors Studio. La décision de ce déplacement est vertigineuse, et exceptionnelle : aucune star n'a jamais renoncé à l'éclat de la gloire pour aller se perfectionner sur les bancs d'une école, fût-elle hautement prestigieuse.

Ce choix, au demeurant, ne manque pas de cohérence. En effet, la formation de Marilyn au métier de comédienne s'est toujours faite sous les auspices du grand maître russe, Stanislavski. Ce choix est dû au départ à un certain hasard, lorsque la Columbia donne comme coach à sa starlette Natasha Lytess, formée à cette tendance de l'art dramatique. Cela relève ensuite d'une vraie décision, quand Marilyn va suivre l'enseignement de Michael Tchekhov, le neveu d'Anton, lui aussi apôtre de Stanislavski. Et c'est donc en bonne logique que Marilyn se rend à New York auprès de Lee Strasberg, un des fondateurs de l'Actors Studio, dont la « méthode » consiste à se fondre totalement dans le personnage, à s'imprégner de ses goûts, de ses réflexes, de sa façon de vivre et de sentir (en complément, Lee Strasberg encourageait ses étudiants à entreprendre une psychanalyse, ce que fit Marilyn dès les premiers mois de 1955). De fait, le génie de Marilyn tenait à ce qu'elle ne jouait pas, mais qu'elle était - à l'écran comme sur les photos. Dans son livre « Tu vois, je n'ai pas oublié », Montand ne dit pas autre chose : « Marilyn était un être d'exception dans la mesure où c'était sa lumière intérieure qui lapropulsait à l'avant-scène, devant les projecteurs. Si tu crois en Dieu, tu peux dire que c'est Dieu seul qui produit une lumière pareille, une lumière que ne maîtrise pas celui qu'elle habite… Marilyn soufrait de ne pas être une actrice reconnue, mais ce n'était pas véritablement une actrice : elle se situait bien au-delà du jeu. »

Dans les coulisses de « Bus Stop » se joue un petit drame. Natasha Lytess n'est plus là, elle a été évincée par Paula Strasberg, la femme de Lee, qui sera le coach de studio de Marilyn jusqu'à la fin, au grand dam parfois de célèbres réalisateurs (George Cukor, John Huston) supportant mal cette double commande où le commentaire sur les scènes tournées et la nécessité de les refaire ou non appartenait davantage à Paula qu'à eux-mêmes.

Ce qui est sûr, c'est que Lee Strasberg a joué un rôle déterminant dans la vie et la carrière de Marilyn. Il a d'emblée cru en elle, qu'il considérait comme une nouvelle Duse, promise à une étincelante carrière sur les planches. Il avait compris que ses peurs et sa fragilité devaient devenir sa force, et que seules la technique et la discipline pourraient lui permettre d'exprimer son fragile équilibre au bord de l'abîme. Marilyn se sentait enfin comprise.

Ce brouillon de lettre sur papier à en-tête du Chateau Marmont aurait dû figurer dans « Fragments ». Il se trouve simplement qu'il était classé par erreur dans les courriers reçus par Marilyn (des archives qui feront l'objet d'un gros volume à paraître en automne 2013 aux éditions du Seuil), et n'a été découvert que quelques mois après la publication des écrits intimes. Il m'a paru qu'en cette date anniversaire il était légitime de faire paraître le texte dans « le Nouvel Observateur », qui avait consacré sa couverture à Marilyn lors de la sortie de « Fragments », en octobre 2010, ce qui permettra à chacun de glisser les deux pages ici présentes dans le livre, comme un précieux complément. Je suis, à titre personnel, évidemment touché par cette lettre où Marilyn se compare à « un poisson hors de l'eau » (ce qu'elle était en effet, perdue parmi la foule des cyniques), le titre d'un de mes romans…

La lettre de Marilyn à Lee Strasberg

Cher Lee,

Si je n'avais pas trouvé le moyen de me mettre au travail je serais (comme je l'ai toujours été depuis que j'ai une conscience) un poisson hors de l'eau - agitée et rêvant (à des choses impalpables auxquelles je n'ai pas accès) et cent fois plus nerveuse, et totalement désespérée. Je reste mal organisée - mais j'entrevois même légèrement mes responsabilités pour moi-même et pour les autres qui m'ont aidée et même ceux qui m'ont abîmée et qui sont tous mes autres moi-même, dans ce que j'endure, ce que par miracle je parviens à faire. Mais Lee, pourquoi est-ce que ça doit être si douloureux ? sauf que j'éprouve plus fortement que jamais à quel point l'être humain est dans la survie.

J'essaye d'être même plus sociable que je l'ai jamais été mais les gens semblent prendre cela à tort pour une sorte de [mot manquant] et pour une faiblesse revendiquée qui et comme les poulets - qui donnent des coups de bec à ceux qui sont malades et s'affaiblissent - jusqu'à ce que je sente que je vais tout lâcher et mourir - par leur faute et surtout par la mienne - je suis certaine que tout ceci semble absurde - mais je vous remercie de votre patience. Et de laisser Paula à mes côtés - elle m'aide - même parfois elle a la bonne idée - ainsi je peux parler avec elle et parfois avoir l'espoir de m'identifier à sa présence féminine et chaleureuse alors que toutes les autres personnes avec qui je parle se mettent à penser que je débloque et leur grande inquiétude - semble me terrifier - la crainte qu'ils aient raison avec leur inquiétude.

Merci, merci, merci de m'aider à sauver ma vie.

Peut-être que je ne serai jamais capable de faire ce que je veux faire - mais au moins j'ai de l'espoir. Je ne sais pas comment je joue - je sais juste que je peux rester concentrée, au moins une partie du temps - et que les exercices que j'ai appris en cours peuvent toujours marcher à condition que je les convoque franchement.

Merci.

Amitié

M

Mon amitié à Suzie et Johnnie

(*)Susan et John, les deux enfants de Lee et Paula Strasberg.

30 juillet 2010

3/08/1952 Ray Anthony Party

Le 3 août 1952, Marilyn Monroe est l'invitée d'honneur de la fête Ray Anthony Party, organisée par l'attaché de presse de Ray Anthony, Red Doff, et par la Fox pour promouvoir leur nouvelle star, car Marilyn accédait peu à peu à une certaine notoriété: elle était en tournage du film Niagara et son film Don't bother to knock était encore à l'affiche sur les écrans américains et de grandes pancartes publicitaires étaient disposées pour promouvoir le film. La fête s'est tenue dans la villa de Ray Anthony à Sherman Oaks, dans le district de Los Angeles, situé dans la vallée de San Fernando, avec près de 500 invités (Sammy Davis Jr, Mickey Rooney). Ventura Boulevard a été embouteillée pendant des heures. Marilyn est vêtue de la robe rouge du film Niagara.
Le magazine Look couvre l'événement. Les photographes présents: Bob Willoughby, Leni Carlson, Bruno Bernard, Phil Stern et Earl Theisen.
On August, 3, 1952, Marilyn Monroe is the guest of honor of the Ray Anthony Party, organised by Ray Anthony's press secretary Red Doff, and by Fox to promote their new star, as Marilyn accessed gradually to the celebrity: she was filming Niagara her movie Do not bother to knock was still showing on U.S. screens and large advertising signs were willing to promote the film. The party is held in the Ray Anthony's home, at Sherman Oaks, in the district of Los Angeles, located in the San Fernando Valley, with 500 guests (Sammy David Jr, Mickey Rooney). Ventura Boulevard was bottled for hours. Marilyn is wearing the red dress of the film Niagara.
Look magazine covers the event. Photographers who are present: Bob Willoughby, Leni Carlson, Bruno Bernard, Phil Stern and Earl Theisen.
 

>> Sur le blog: voir les vidéos de Ray Anthony Party.


>> Marilyn et Ray Anthony

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La légende raconte que Marilyn est arrivée en hélicoptère, ce qui est faux. Marilyn est en réalité arrivée en voiture, et l'hélicoptère s'est posé avec quelques difficultés liées au vent, dans le terrain de la propriété.
Legend tells that Marilyn is arrived by helicopter, which is false. Marilyn is actually arriving by car and the helicopter landed with some difficulty due to the wind in the property's garden. 

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En attendant Marilyn, le chien vedette de la série Lassie a posé dans l'hélico. 
Before Marilyn arrives, the dog star of Lassie posed in the helicopter. 

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Marilyn arrive en voiture et descend les escaliers où elle pose pour les photographes.
Marilyn arrives by car and down the stairs where she poses for photographers. 

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>> Marilyn et Sammy Davis Jr.
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>> Photographie de Bruno Bernard
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 Marilyn et les pancartes de Don't Bother to Knock

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Photographies de Earl Theisen
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Marilyn pose avec le chien star de la série Lassie.
Marilyn and celeb dog Lassie pose for the photographers.

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>> Photographies de Lani Carlson
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Marilyn pose ensuite devant l'hélicoptère, avec le pilote et Ray Anthony.
Marilyn then pose in front of the helicopter, with the pilot and Ray Anthony.

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1952-08-03-ray_anthony-juliens-1c  1952-08-03-ray_anthony-juliens-2a 

>> Photographie de Bruno Bernard
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>> Photographies de Bob Willoughby  
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>> Photographies de Lani Carlson
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1952-ray-by_lani_carlson-11  bonhams_4053f  1952-ray-by_lani_carlson-6
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On fait porter à Marilyn un collier de fleurs blanches autour du cou.
Marilyn is wearing a necklace of white flowers around her neck.

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>> Photographies de Charlotte Brooks
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>> Photographie de Bob Willoughby
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>> Photographies de Lani Carlson
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>> Photographie de Frank Worth
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>> Marilyn et les musiciens:
Ray Anthony
et Mickey Rooney (trompettes)
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>> Photographie de Art Weissman
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Avant de rejoindre la fête, Marilyn répond aux interviews des journalistes avec Ray Anthony à ses côtés.
Before joining the party, Marilyn answers to the journalists's interviews with Ray Anthony at her side.

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Marilyn traverse la foule pour rejoindre l'estrade et participer au numéro musical avec Ray Anthony à la trompette et Mickey Rooney à la batterie. Elle se prête au jeu des photographes en faisant mine de jouer des instruments, pendant que Ray Anthony chantait une chanson spécialement dédiée à Marilyn pour cette occasion, intitulée My Marilyn.
Marilyn crosses through the crowd to reach the stage and participate in the musical number with Ray Anthony playing trumpet and Mickey Rooney on drums. She poses for photographers, pretending to play instruments while Ray Anthony sings a song specially dedicated to Marilyn for the occasion, entitled 'My Marilyn'.

1952_niagara_party_mickeyrooney_0012135 1952_08_03_RAP_06_trompette_010_mickey_rooney_1
1952_08_03_RAP_04_musicians_010_1 1952_08_03_RAP_04_musicians_020_1 1952_08_03_RAP_04_musicians_021_1
1952_08_03_RAP_04_musicians_022_1 
1952-08-03-ray_anthony-juliens-1a 
1952_08_03_RAP_04_partition_020_1
  1952-rayanthony 
1952_08_03_RAP_04_musicians_030_1 1952_08_03_RAP_04_partition_020_2 1952_08_03_RAP_05_drumer_040_1
1952_08_03_RAP_05_drumer_010_1 1952_08_03_RAP_05_drumer_020_by_bob_willoughby_1 1952_08_03_RAP_05_drumer_030_1
1952_08_03_RAP_05_drumer_031_1 1952_131651497 1952_08_03_RAP_05_drumer_041_1 
1952_08_03_RAP_05_drumer_050_1 1952_08_03_RAP_05_drumer_051_1 1952_08_03_RAP_05_drumer_052_1
1952_08_03_RAP_05_drumer_060_1 1952_08_03_RAP_05_drumer_061_1 1952_08_03_RAP_05_drumer_061_2
 
1952-08-03-ray_anthony-juliens-1b  

>> Photographies de Lani Carlson
bonhams_4053e 1952-ray-by_lani_carlson-16  bonhams_4053i
bonhams_4053c
1952-ray-by_lani_carlson-13   1952_08_03_RayAnthonyParty_by_lani_carlson_4
1952-ray-by_lani_carlson-4 1952-ray-by_lani_carlson-5

> captures
1952-ray_anthony-cap_party-01-7min00 1952-ray_anthony-cap_party-02 1952-ray_anthony-cap_party-03
1952-ray_anthony-cap_party-04 1952-ray_anthony-cap_party-05 1952-ray_anthony-cap_party-06
1952-ray_anthony-cap_party-07 1952-ray_anthony-cap_party-08 1952-ray_anthony-cap_party-09
1952-ray_anthony-cap_party-10 1952-ray_anthony-cap_party-11 1952-ray_anthony-cap_party-12
1952_08_03_RAP_cap_musicians_1 1952_08_03_RAP_cap_musicians_2 1952_08_03_RAP_cap_musicians_3
1952-ray_anthony-cap_party-13 1952-ray_anthony-cap_party-14 1952-ray_anthony-cap_party-15
1952-ray_anthony-cap_party-16 1952-ray_anthony-cap_party-17 1952-ray_anthony-cap_party-18
1952-ray_anthony-cap_party-19 1952-ray_anthony-cap_party-20 1952-ray_anthony-cap_party-21
1952-ray_anthony-cap_party-22 1952-ray_anthony-cap_party-23 1952-ray_anthony-cap_party-24
1952_08_03_RAP_cap_musicians_4 1952_08_03_RAP_cap_musicians_5 1952_08_03_RAP_cap_musicians_6
1952-ray_anthony-cap_party-25 1952-ray_anthony-cap_party-26 1952-ray_anthony-cap_party-27
1952-ray_anthony-cap_party-28 1952-ray_anthony-cap_party-29 1952-ray_anthony-cap_party-30


>> Marilyn devant les partitions
1952_08_03_RAP_03_partition_010_1 1952_08_03_RAP_03_partition_010_2 1952_08_03_RAP_03_partition_020_1
1952_08_03_RAP_03_partition_011_1 1952_08_03_RAP_03_partition_012_1 1952_08_03_RAP_03_partition_013_1

>> Photographies de Lani Carlson 
 bonhams_4053b  1952-ray-by_lani_carlson-8  1952-ray-by_lani_carlson-1


Marilyn se joint à la fête et discute avec les invités. Le prénom "Marilyn" est écrit en majuscule avec des fleurs posées sur la piscine.
Marilyn joins the party and discussed with the guests. The name "Marilyn" is written in uppercase with flowers placed on the pool.

>> Marilyn et les invités
1952_08_03_RAP_02_arrive_020_1
1952_08_03_RAP_02_arrive_021_1 1952_08_03_RAP_02_arrive_022_1 1952_08_03_RAP_05_drumer_062_1
1952_08_03_RAP_02_arrive_030_1 1952_08_03_RAP_02_arrive_by_willoughby_1 1952_08_03_RAP_05_drumer_062_2
1952_08_03_RAP_10_crowd_010_1 1952_08_03_RAP_10_crowd_011_1 1952mmelle
1952_08_03_RAP_11_marilyn_010_1
1952_08_03_RAP_11_marilyn_020_1 1952_RAP_anthony21 

>> Photographie de Bruno Bernard
lot968-202964_0 

>> Bob Willoughby, Marilyn et Phil Stern
1952_08_03_RAP_10_BobWilloughby_MM_RayAnthony_byPhilStern_1

- Marilyn et le photographe Earl Theisen -
ph_theisen_1952_rayanthony_mm_with_earl_1

>> Marilyn assise à une table
1952_RAP_1005ez10 1952_08_03_RAP_08_musicians_031_by_Bob_Willoughby_1 1952_08_03_RAP_09_pause_012_2
1952_08_03_RAP_09_pause_010_1 1952_08_03_RAP_09_pause_011_1 1952_08_03_RAP_09_pause_012_1

>> Photographies de Bob Willoughby  
1952_08_03_RAP_09_pause_020_1
 1952_08_03_RAP_09_pause_024_by_Bob_Willoughby_2 1952_08_03_RAP_09_pause_022_by_bob_willoughby_1
1952_08_03_RAP_09_pause_024_by_Bob_Willoughby_1
 1952_niagara_party_by_bob_willoughby_2 1952_08_03_RAP_09_pause_022_by_bob_willoughby_2
1952_08_03_RAP_09_pause_021_1 1952_08_03_RAP_09_pause_023_by_Bob_Willoughby_1
 1952_party_annex2020monroe20marily

> captures
1952-ray_anthony-cap_party-31 1952-ray_anthony-cap_party-32 1952-ray_anthony-cap_party-33
1952-ray_anthony-cap_party-34-10min15 1952-ray_anthony-cap_party-35 1952-ray_anthony-cap_party-36
1952-ray_anthony-cap_party-37 1952-ray_anthony-cap_party-38 1952-ray_anthony-cap_party-39
1952-ray_anthony-cap_party-40 1952-ray_anthony-cap_party-41 1952-ray_anthony-cap_party-42
1952-ray_anthony-cap_party-43 1952-ray_anthony-cap_party-44 1952-ray_anthony-cap_party-45
1952-ray_anthony-cap_party-46 1952-ray_anthony-cap_party-47 1952-ray_anthony-cap_party-48


Les musiciens, avec Ray Anthony et Marilyn en tête, font le tour de la piscine en jouant de la musique; et se réunissent devant l'estrade.
The musicians, with Ray Anthony and Marilyn forward, go around the pool playing music; and gather in front of the stage.

1952_08_03_RAP_02_arrive_011_1 1952_08_03_RAP_02_arrive_010_1 1952_08_03_RAP_06_trompette_020_1
1952_08_03_RAP_06_trompette_031_1 1952_08_03_RAP_06_trompette_030_1 1952_08_03_RAP_06_trompette_021_1

> captures
1952-ray_anthony-cap_party-49 1952-ray_anthony-cap_party-50 1952-ray_anthony-cap_party-51
1952-ray_anthony-cap_party-52 1952-ray_anthony-cap_party-53 1952-ray_anthony-cap_party-54
1952-ray_anthony-cap_party-55 1952-ray_anthony-cap_party-56 1952-ray_anthony-cap_party-57 


>> Planches Photos / Snapshots
1952_08_03_RAP_contact_sheet_010_1 1952_08_03_RAP_contact_sheet_by_bob_willoughby_1_1 
1952-08-03-ray_anthony-juliens-1  1952-08-03-ray_anthony-juliens-2 


>> Videos


Marilyn Monroe Party thrown at Ray Anthony's Home 1952 from Ray Anthony on Vimeo.


> couvertures de magazines:
mag_familje mag_teenetwenty mag_vision
mag_familieblad mag_movielafilm mag_wereld
mag_downbeat mag_rayanthony mag_rythme
1952_08_03_RAP_mag_movie_fan_1 mag_trio_cover ray_NOUSDEUX1953a
mag_prevue mag_wienefilm mag_music_1952_anthony_ray_party_tyy catalogue_bonhams_14decembre2011

> timbre:
stamp_rayanthony


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

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31 juillet 2011

Dressing - Robe noire à col bijoux de Charles Le Maire

Robe noire à col bijoux
Black gown with jewels collar

CL-Dress_Black_Jewels-01 

Robe de soirée noire, longue jusqu'au pied, au décolleté profond sur le devant, et au dos nu, retenu par deux longues bretelles. Le contour du décolleté et les bretelles comporte des strass de bijoux argentés.

Black evening dress, long to the foot, with a deep neckline on the front, and a bare back, held by two long straps. The outline of the neckline and the straps features silver jeweled rhinestones.


La Robe portée par d'autres
The Dress worn by others


CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-aff-1  Cette robe est portée initialement par l'actrice allemande Hildegard Knef dans le film Les neiges du Kilimandjaro de Henry King, avec Gregory Peck, Susan Hayward et Ava Gardner dans les rôles principaux. Le film est sorti sur les écrans américains en septembre 1952. La robe est une création de Charles Le Maire, le superviseur des costumes du film.

This dress was originally worn by German actress Hildegard Knef in Henry King's movie The snows of Kilimanjaro, starring Gregory Peck, Susan Hayward and Ava Gardner. The film is released in US screens in September 1952. The dress was designed by Charles Le Maire, the film's costume supervisor.

CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-3  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-4  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-6 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-2 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-9  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-11  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-cap-1-12 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-film-4-1a  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-film-3-1 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-film-1-1  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-film-2-1 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-test-1-1 
CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-film-5-1  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-studio-1-2  CL-Dress_Black_Jewels-1952-Hildegard_Knef-Snows_Kilimanjaro-studio-1-1 


Marilyn et la robe
Marilyn and the gown


  Marilyn Monroe emprunte la robe qui avait dû être remise au département costumes des studios de la Fox, pour la porter à une séance de portraits Studio de la Fox par Frank Powolny, vers septembre 1952.
Pour cette séance, elle porte deux paires de boucles d'oreilles différentes, et un large bracelet à strass à son poignet droit.

Marilyn Monroe borrows the dress that must have been given to the costume department at Fox Studios, to wear it to a Fox Studio portrait session by Frank Powolny, circa September 1952.
For this shoot, she is wearing two different pairs of earrings, and a large rhinestone bracelet on her right wrist.

CL-Dress_Black_Jewels-02 

Un photographe de l'armée, J W Richardson, envoyé par le magazine Leatherneck, la prend en photos en coulisses: elle a retiré le bracelet et porte une troisième paire de boucles d'oreilles.

An army photographer, J W Richardson, sent by Leatherneck magazine, takes pictures of her backstage: she has removed the bracelet and wears a third pair of earrings.

CL-Dress_Black_Jewels-03 


 Inspirations

Robes noires à col ou bretelles à strass / bijoux
Black dresses with collar or straps with rhinestones / jewels

Ethel Merman - 1930
sur scène à Broadway dans la comédie musicale "Girl Crazy"
on stage on Broadway in the musical "Girl Crazy".
CL-Dress_Black_Jewels-style-ethel_merman-1930-girl_crazy-1 

Arlene Dahl - 1952
CL-Dress_Black_Jewels-style-arlene_dahl-1952-see 

Ethel Merman - 1954
partenaire de Marilyn dans "La Joyeuse Parade"
partner of Marilyn in "There's no business like show business"
Styliste: William 'Billy' Travilla
CL-Dress_Black_Jewels-style-ethel_merman-1954-TNB-1 

Jeanne Crain - 1955
film "Les hommes épousent les brunes", la suite de "Les hommes préfèrent les blondes"
film "Gentlemen marry brunettes", a sequel of "Gentlemen Prefer Blondes"
Styliste: William 'Billy' Travilla
gentlemen_marry_brunettes-jeanne_crain-1 gentlemen_marry_brunettes-jeanne_crain-2 gentlemen_marry_brunettes-jeanne_crain-3 
CL-Dress_Black_Jewels-style-jeanne_crain-1953-GMB-studio-1-1  CL-Dress_Black_Jewels-style-jeanne_crain-1953-GMB-studio-2-1 

Sandra Dee - 1965
film "Ah si papa savait ça"
film "Take Her, She's Mine"
Styliste: William 'Billy' Travilla
  CL-Dress_Black_Jewels-style-sandra_dee-1963-Take_Her_Shes_Mine-st-1-3a 
CL-Dress_Black_Jewels-style-sandra_dee-1963-Take_Her_Shes_Mine-st-1-4  CL-Dress_Black_Jewels-style-sandra_dee-1963-Take_Her_Shes_Mine-st-1-4  CL-Dress_Black_Jewels-style-sandra_dee-1963-Take_Her_Shes_Mine-st-1-2 

Romy Schneider (1970) & Catherine Deneuve (1976)
couturier: Yves Saint Laurent
CL-Dress_Black_Jewels-style-romy-1970-YSL-1  CL-Dress_Black_Jewels-style-catherine_deneuve-1976-YSL-1 

Barbara Bach
en James Bond Girl en 1977 dans "L'espion qui m'aimait"
as James Bond Girl in 1977 in "The Spy Who Loved Me"
Styliste: Rosemary Burrows
CL-Dress_Black_Jewels-style-barbara_bachs-1977-The_Spy_Who_Loved_Me-2-3 
CL-Dress_Black_Jewels-style-barbara_bachs-1977-The_Spy_Who_Loved_Me-3-2  CL-Dress_Black_Jewels-style-barbara_bachs-1977-The_Spy_Who_Loved_Me-2-1 

Sheila & Sylvie Vartan - 1970's
CL-Dress_Black_Jewels-style-sheila-1970s-disco-1  CL-Dress_Black_Jewels-style-sylvie_vartan-1981-TP-1 

Mariah Carey - 1991 - Grammy Awards
CL-Dress_Black_Jewels-style-mariah_carey-1991-grammys-1 

Esther Canadas (1998) & Adriana Karembeu (1999)
couturier: Thierry Mugler
CL-Dress_Black_Jewels-style-thierry_mugler-1998_aut_hiv-esther_canadas-1  CL-Dress_Black_Jewels-style-thierry_mugler-1999-adriana-1 

Christina Aguilera - 2004 - Pub parfum "X Pose"
CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-1-1  CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-2-1  CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-2-2  CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-gif-1 
CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-cap-1  CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-cap-2  CL-Dress_Black_Jewels-style-christina_aguilera-2004-Xpose-cap-3 
 

Sharon Stone - 2005 - film "Basic Instinct 2"
CL-Dress_Black_Jewels-style-sharon_stone-2005-07-studio-1  CL-Dress_Black_Jewels-style-sharon_stone-basic_instinct2-1   

Emily Blunt - 2018 - Vanity Fair US
mm_dress-emily_blunt-2018-VF 

Mode: Moschino - Défilé Hiver 2019 - Milan Fashion Week
CL-Dress_Black_Jewels-style-Moschino-2019_fall-MilanFashionWeek-1  CL-Dress_Black_Jewels-style-Moschino-2019_fall-MilanFashionWeek-2 


The snows of Kilimanjaro

Marilyn a empunté une autre robe de Charles Le Maire portée aussi par Hildegard Knef dans le même film:une robe orangée ornée de perles, aussi pour une séance de portraits en studio pour la Fox en 1953 (séance de John Florea).

article Robe orange ornée de perles de Charles Le Maire

CL-Dress_Orange_beads-02-2 

Marilyn borrowed another Charles Le Maire dress also worn by Hildegard Knef in the same film: an orange dress decorated with pearls, also for a studio portrait session for Fox in 1953 (John Florea session).


>> sources:
Le film The snows of Kilimanjaro sur  imdb
Photos d'Hildegard Knef sur doctormacro.com  


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

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15 juin 2013

Sur le tournage de la scène coupée de Seven Year Itch

Sept ans de réflexion
Sur le tournage - scène coupée

La plupart des photographies ont été prises par le photographe Sam Shaw.
Mostly of the photographs were taken by Sam Shaw.

> Sur le plateau de tournage, avec Tom Ewell, Robert Strauss et Billy Wilder
 On the set, with Tom Ewell, Robert Strauss and Billy Wilder
syi_sc_cut_on_set_010_1 syi_sc_cut_on_set_010_2 syi_sc_cut_on_set_011_1
syi_sc_cut_on_set_012_1  film-syi-lot1173-H3257-L78855650 
film-syi-lot1173-H3257-L78855635 film-syi-lot1173-H3257-L78855637 
syi_sc_cut_on_set_012_2  syi_sc_cut_film_031_1  syi_sc_cut_on_set_012_3
syi_sc_cut_film_030_1_by_shaw_1 syi_sc_cut_film_030_2 
syi_sc_cut_film_030_3 syi_sc_cut_on_set_mae_west  
syi_sc_cut_on_set_011_2 syi_sc_cut_on_set_015_1

> Avec Billy Wilder et Natasha Lytess
syi_sc_cut_on_set_013_1 syi_sc_cut_on_set_013_2 syi_sc_cut_on_set_014_1 
 syi_sc_cut_on_set_020_2
film-syi-MONROE__MARILYN_-_SEVEN_YEAR_ITCH325 syi_sc_cut_on_set_021_1a
syi_sc_cut_on_set_020_1a  syi_sc_cut_on_set_021_1
marilyn_monroe_by_sam_shaw_contact_sheet_1954_1957_1 

> Avec Robert Strauss
syi_sc_cut_on_set_030_1  

> Avec sa coiffeuse Gladys Rasmussen
tsyi_cut_47232846 
 syi_sc_cut_on_set_022_1 

> Avec le journaliste Sidney Skolsky
syi_sc_cut_on_set_with_skolsky_1 syi_sc_cut_on_set_with_skolsky_by_shaw_1 

syi_sc_cut_on_set_by_shaw_010_1 syi_sc_cut_on_set_by_shaw_020_1 syi_sc_cut_on_set_by_shaw_040_1 syi_sc_cut_on_set_by_shaw_040_1 
syi_sc_cut_on_set_by_shaw_030_1 syi_sc_cut_on_set_by_shaw_032_1 syi_sc_cut_on_set_by_shaw_031_1
syi_sc_cut_on_set_by_shaw_030_1a syi_sc_cut_set_backstage_by_shaw_010_1 syi_sc_cut_set_backstage_by_shaw_010_1a
syi_sc_cut_set_by_shaw_010_1 syi_sc_cut_set_by_shaw_011_1 syi_sc_cut_set_by_shaw_012_1
syi_sc_cut_set_by_shaw_020_1 syi_sc_cut_set_by_shaw_020_2 syi_sc_cut_set_by_shaw_030_1
syi_sc_cut_set_by_shaw_040_1 syi_sc_cut_set_by_shaw_050_1 syi_sc_cut_set_by_shaw_050_1b

> Avec Charles Feldman (son agent) et Billy Wilder
syi_sc_cut_set_with_charles_feldman_1_1 syi_sc_cut_set_with_charles_feldman_1_2 syi_sc_cut_set_with_charles_feldman_by_shaw_1 

film-syi-lot1173-H3257-L78855632  film-syi-lot1173-H3257-L78855631  film-syi-lot1173-H3257-L78855633  


Photographie de Milton H Greene
Photographs by Milton H Greene

> Avec son maquilleur Whitey Snyder et sa coiffeuse Gladys Rasmussen
with makeup artist Whitey Snyder and haidresser Gladys Rasmussen

marilyn_monroe_PR_052 syi_sc_cut_on_set_by_greene_010_1a 


All photos are copyright and protected by their respective owners. 
copyright text by GinieLand.

16 août 2015

1950s - Jayne Mansfield, la "Marilyn grande taille de la classe ouvrière"

Jayne Mansfield
(1933 - 1967)

actrice et sex-symbol américaine
Surnommée "Working's Man Monroe", "Marilyn King Sized"

jayne-1957-studio-satin_and_fur-010-2 

 jayne-1940s-teenager-1-1 Jayne Mansfield naît le 19 avril 1933 sous le nom de Vera Jayne Palmer à Bryn Mawr (en Pennsylvanie) dans une famille bourgeoise. Elle est la fille unique de Herbert William Palmer (1904–1936), avocat, et de Vera (Jeffrey) Palmer (1903–2000) aux origines allemandes et anglaises et dont les parents avaient fait fortune dans l'industrie de l'ardoise. Jayne passe sa petite enfance à Phillipsburg (dans le New Jersey) où son père est l'avocat de Robert B. Meyner, futur gouverneur du New Jersey. En 1936, alors que Jayne n'a que trois ans, son père décède d'une attaque cardiaque pendant qu'il conduisait sa voiture avec sa femme et Jayne en passagères. Se retrouvant veuve, sa mère travaille comme professeur et se remarrie en 1939 avec Harry Lawrence Peers, un ingénieur commercial. La famille démènage à Dallas (au Texas) et Jayne prend le nom de Vera Jayne Peers.
Dès son plus jeune âge, Jayne rêve d'Hollywood et admire l'enfant star Shirley Temple, elle dira plus tard: «Je dévorais les magazines de cinéma. Et je voulais être une nouvelle Lana Turner.» A l'âge de 12 ans, elle prend des leçons de danse de salon; et au lycée, elle suit des cours de piano, de violon et d'alto. Elle étudie aussi l'espagnol et l'allemand et obtient d'excellentes notes à ses diplômes, particulièrement en mathématiques.
C'est à l'âge de 13 ans -en 1946- qu'elle aurait subi des attouchements d'un de ses professeurs.

jayne-1950-with_jayne_marie-2 A l'âge de 17 ans, en 1950, Jayne obtient son diplôme du lycée Highland Park HighSchool et, découvrant qu'elle est enceinte, elle s'enfuit pour se marier en secret le 28 janvier 1950 à Paul James Mansfield (un étudiant de 21 ans qu'elle a rencontré à une fête de Noël 1949; il travaillera plus tard dans les relations publiques). Ils organisent un mariage public et officiel le 10 mai 1950 à Fort Worth au Texas; leur fille, Jayne Marie Mansfield, naît le 8 novembre 1950 (cette dernière apparaîtra dans Playboy en 1976) (voir photo ci-contre). Les époux fréquentent l'université methodiste où ils étudient l'art dramatique, emmenant parfois à leur cours leur fille, manquant de finances pour faire garder l'enfant. C'est aussi l'année de sa première apparition à l'écran: elle tient un tout petit rôle dans un film de série B "Prehistoric Women" (nommé aussi "The Virgin Goddess").

jayne-1950s En 1951, ils emmènagent à Austin, au Texas, où Jayne étudie l'art dramatique à l'université d'Austin. Durant cette période, elle enchaîne divers petits boulots: elle pose comme modèle nue pour des étudiants en art, vend des livres en faisant du porte à porte et travaille comme réceptionniste le soir dans un studio de danse. Elle pose une fois nue pour un photographe de Dallas. Elle gagne aussi quelques concours de beauté et se teint les cheveux en blonde: elle est 'Miss Photoflash', 'Miss Magnesium Lamp', 'Miss Blues Bonnet of Austin', 'Miss Texas Tomato' et 'Miss de la semaine de prévention des incendies' ! Elle intègre ensuite le Curtain Club (un club théâtral populaire de l'université), rejoint le Austin Civic Theater, et apparaît dans de petites productions théâtrales locales (dans les pièces The Slaves of Demon Rum, Ten Nights in a Barroom et Anything Goes). En 1952, elle retourne à Dallas quelques mois et devient l'élève de l'acteur et professeur d'art dramatique Baruch Lumet (le père du futur réalisateur Sidney Lumet), très impressionné par le potentiel de Jayne, il lui donne gratuitement des cours et la dirige le 22 octobre 1953 dans la pièce d'Arthur Miller, Death of a Salesman, avec la troupe Knox Street Theater, ce qui lui vaut de se faire remarquer par la Paramount qui lui propose une audition. Lumet va l'aider à préparer le casting.
Puis, la famille part pour un an au Camp Gordon (en Georgie) où Paul est réserviste pour la guerre de Corée; ils se produisent ensemble dans la pièce Anything Goes. Jayne étudie alors le théâtre et la psychologie à l'université de Géorgie pendant que Paul est en Corée. A la base, Jayne fait des étirements sur la pelouse et se rend à la piscine en bikini de velours rouge. Au retour de Paul, elle le supplie d'aller vivre dans la cité du cinéma: Los Angeles.

jayne mansfield-1954 En 1954, la petite famille (et leurs nombreux animaux: un grand danois, deux chihuahuas, un caniche teint en rose, trois chats et un lapin) s'installent dans un petit appartement de Los Angeles où Jayne étudie l'art théâtral à l'universite d'UCLA pendant l'été (laissant sa fille Jayne Marie chez sa mère). Quand Paul repart pour la Corée, elle devient la maîtresse de son voisin, l'acteur Steve Cochran. Elle gagne la première étape du concours de Miss California, ayant caché son statut marital, puis se retire du concours; elle obtient aussi son premier rôle au cinéma, dans le film à petit budget "Female Jungle", dont le tournage a été bouclé en une dizaine de jours et pour lequel Jayne a gagné 150 $; pour ensuite finir le reste de l'année à l'université méthodiste du Texas afin de valider son diplôme. Elle continue à enchaîner les jobs: vendeuse de pop-corn dans un théâtre, elle donne des cours de danse, travaille dans une usine à chapeaux; elle est aussi vendeuse de bonbons dans un cinéma (où elle tape dans l'oeil d'un producteur de télé), pose comme modèle dans l'agence Blue Book (où Marilyn Monroe fit ses débuts) et est même photographe dans un restaurant huppé (le "Esther Williams' Trails Restaurant") où elle gagne 6 $ plus 10% de ses ventes chaque soir, à photographier de grands patrons. Et elle continue à remporter de nombreux prix de beautés, dont certains demeurent étranges: 'Gas Station Queen', 'Cherry Blossom Queen', 'Nylon Sweater Queen', 'Hot Dog Ambassador', 'Miss Analgesin', 'Miss Third Platoon', 'Miss Direct Mail', 'Miss Electric Switch', 'Miss Fill-er-up', 'Miss Negligee', 'Miss One for the Road',' Miss Freeway', 'Hot Dog Ambassador', 'Miss Geiger Counter', 'Best Dressed Woman of Theater', 'Miss 100% Pure Maple Syrup', 'Miss Tomato', 'Miss Potato Soup', 'Miss July Fourth', 'Miss Standard Foods', 'Miss Orchid', 'Miss Lobster', 'Miss United Dairies' et 'Miss Chihuahua Show'. Le seul titre qu'elle refuse est celui de 'Miss au fromage de Roquefort', car elle dit "que ça ne sonne pas très bien".

jayne_earl_moran-1956 Paradoxalement, elle ne parvient pas à percer en tant que mannequin, à cause de son physique jugé bien trop sexy pour l'époque (ses 117 cm de tour de poitrine ne faisaient pas parti des "critères" de beauté dictés par la mode de l'époque; elle est surnommée le "sablier" en référence à ses courbes; ses mensurations sont de 102-53-91 cm pour 1,68 m -1,73 m selon l'autopsie).
Elle perd ainsi des contrats publicitaires (Emmeline Snively de l'agence Blue Book l'avait dirigée vers le photographe Gene Lester qui était chargé de la campagne General Electric qui représentait de jeunes femmes en maillot de bain se relaxant autour d'une piscine).
C'est alors qu'elle se tourne vers le cinéma et passe de nombreuses auditions pour Paramount Pictures, Columbia, Twentieth Century Fox et Warner Brothers. Elle auditionnera d'ailleurs pour un rôle dans le film "The Seven Year Itch" ("Sept ans de réflexion", dans lequel Marilyn Monroe tient le rôle principal), pour "Rebel without a cause" ("La fureur de vivre") et pour "Jeanne D'arc" (un projet de la Paramount qui n'aboutira pas). Elle obtient son premier rôle au Lux Video Theatre, une série de CBS (dans l'épisode "An Angel Went AWOL", du 21 octobre 1954), où elle gagne 300 $ pour jouer au piano et prononcer quelques lignes de dialogues. En décembre 1954 -à la veille de Noël- elle frappe à la porte du manager et publicitaire James Byron pour qu'il la prenne en charge. Le crédo de Jayne est d'abord de devenir célèbre, et d'être une actrice en second lieu. Il s'occupera de sa carrière jusqu'à la fin de l'année 1961, assisté d'une équipe: William Shiffrin (agent de presse), Greg Bautzer (avocat) et Charles Goldring (business manager).

En janvier 1955, Jayne va capter l'attention des médias et d'Hollywood en laissant tomber le haut de son maillot de bain rouge (prêté par son ami le photographe Peter Gowland) en plongeant dans la piscine d'un banquet organisé à Silver Springs en Floride pour la sortie du film Underwater ! avec Jane Russel. Le coup publicitaire marche tellement bien (avec une publication dans le magazine Variety du 12 janvier 1955), qu'elle va réitérer l'expérience le 8 juin de la même année, en laissant tomber sa robe jusqu'à sa taille deux fois dans la même soirée (à une première de film et dans un nightclub).
jayne-1955-02-playboy-playmate-by_hal_adams-2b  En février 1955, elle est 'Miss Playboy' pour le magazine Playboy (voir photo ci-contre); les photos de Jayne en pyjama rose vont non seulement booster les ventes du magazine, mais aussi donner un coup de pouce à sa carrière. Elle sera l'une des Playmates préférées du magazine qui publiera des photos de Jayne tous les mois de février de 1955 à 1958, et en 1960.
C'est aussi en février 1955 que James Byron lui négocie un contrat de sept ans avec la Warner Bros, qui était plutôt intrigué par ses pitreries en public, et qui la paie 250 $ la semaine pour les films "Pete Kelly's Blues" ("Le Gang du Blues", 1955), "Hell on Frisco Bay" ("Colère noire", 1955), "Illegal" ("Le témoin à abattre", 1955, où elle chante "Too Marvelous for Words") et "The Burglar" ("Le Cambrioleur", qui sortira sur les écrans deux après, en 1957). Insatisfaite de son contrat avec la Warner, elle parvient à le rompre, avec l'aide de l'avocat Greg Bautzer.

LIFE-1955-11-21 Le 21 novembre 1955, elle figure, parmi d'autres actrices de Broadway (dont Susan Strasberg), en couverture du célèbre et populaire magazine américain LIFE (voir photo ci-contre) photographiées par Alfred Eisenstaedt.
En janvier 1955, Jayne et Paul Mansfield se séparent: trop de divergences dans le couple dû à l'ambition de carrière et les infidélités de Jayne (et ses nombreux animaux). En août 1956, Paul réclame la garde de leur fille, affirmant que Jayne est une mère indigne en posant nue pour Playboy. Jayne demande le divorce de Paul en Californie le 21 octobre 1956 et Paul en fait la demande au Texas le 16 mars 1957 pour cruauté mentale. Ils signeront le divorce définitif le 8 janvier 1958. Après le divorce, Jayne décide de conserver le nom de "Mansfield" comme nom d'artiste.
Elle fréquente le réalisateur Nicholas Ray, l'acteur et compositeur George Jessel et le pilote Robby Robertson.

jayne_will_success Son agent William Shiffrin parvient à lui faire décrocher le rôle principal dans une pièce de George Axelrod à Broadway, celui du rôle d'une star de ciné Rita Marlowe, une sorte de Marilyn Monroe caricaturale dans "Will Success Spoil Rock Hunter ?" avec Orson Bean et Walter Matthau (voir photo ci-contre). Il s'agit de sa première grande performance sur scène, receuillant l'attention des critiques (pas toujours positives; elle obtiendra tout de même le prix de "l'actrice la plus prometteuse" aux Theatre World Award), et la popularité auprès du public (sa tenue en serviette de bain sur scène fera sensation). Brooks Atkinson du New York Times décrit "l'abandon louable" de son interprétation légèrement vêtue de Rita Marlowe dans la pièce telle "une sirène de cinéma blonde platine aux contours ondulés à la Marilyn Monroe".
Le 3 mai 1956, Jayne fait son grand retour à Hollywood (portant un manteau de vison à 20 000 $). La Twentieth Century-Fox lui signe un contrat de six ans, espérant ainsi remplacer leur star Marilyn Monroe, qui leur pose quelques problèmes. Jayne, qui sera alors une concurrente à Marilyn, sera surnommée la "Working Man's Monroe" ("La Marilyn Monroe des ouvriers").

1956-the girl cant help it  Son premier rôle pour la Fox est celui de Jerri Jordan pour le film de Frank Tashlin "The Girl Can't Help It" ("La blonde et moi") avec Tom Ewell (l'inoubliable partenaire de Marilyn dans "Sept ans de réflexion" - voir photo ci-contre) et dans lequel elle chante deux chansons ("Ev'rytime" et "Rock Around the Rock Pile"). Le film, qui réunit un casting important de stars du rock (Gene Vincent, Eddie Cochran, Fats Domino, The Platters et Little Richard) remporte un vif succés critique et auprès du public. La Fox rachète pour 100 000 $ le contrat que Jayne avait signé à Broadway (elle continuait en parallèle à se produire sur les planches) et stoppe ainsi la représentation de Will Success Spoil Rock Hunter ? après 444 représentations. 
jayne-portrait-1950s-02-13 La Fox fait savoir aux médias que Jayne est la "Marilyn Monroe king-sized", afin d'effrayer Marilyn pour qu'elle revienne honorer son contrat aux studios. Le personnage que Jayne s'est construite sera désormais sa marque de fabrique: une blonde stupide, au déhanché chaloupé, parlant d'une voix de bébé essoufflé en poussant de petits cris stridants. Sa carrière médiatique est lancée: elle sera en photos dans près de 2 500 journaux et magazines et 122 000 lignes d'articles sont écrits sur elle entre septembre 1956 et mai 1957.
  En 1956, elle participe au grand show télé de la NBC, la série "Sunday Spectacular: The Bachelor"; et est l'invité vedette du show prestigieux "The Jack Benny Show" (où elle y joue du violon).
  Le 13 mai 1956, elle rencontre Mickey Hargitay (acteur et bodybuilder d'origine hongroise qui a remporté le titre de "Monsieur Univers" en 1955) au Latin Quarter à New York; il figure parmi les accompagnateurs du show de Mae West. Jayne tombe immédiatement amoureuse, ce qui provoque une dispute avec Mae West et Mickey de se faire frapper par le bodyguard de Miss West, Chuck Krauser (Monsieur California).

jayne-1957-12-04-beverly_hills-romanoffs-with_sophia_loren-4  Le 12 avril 1957, Jayne va parvenir à lancer un grand coup médiatique qui restera dans les annales: la Fox a organisé une grande soirée au restaurant Romanoff's de Beverly Hills en l'honneur de la venue de l'italienne Sophia Loren. Jayne va faire son apparition au cours de la soirée, portant une robe au décolleté très provoquant, la poitrine quasiment à l'air. Une photographie (voir photo ci-contre) va être prise montrant Sophia Loren lançant un regard dédaigneux dans le décolleté de la blonde et souriante Jayne. La photographie va faire le tour du monde et reste encore aujourd'hui une image culte.
En mai 1957, d'anciennes photos de nues d'elle posant pour des calendriers refont surface dans la presse.

jayne-1957-the_wayward_bus  Jayne joue ensuite un rôle à contre-emploi dans l'adaptation du roman de John Steinbeck, "The Wayward Bus" ("Les naufragés de l'autocar", 1957) avec Joan Collins (voir photo ci-contre). Elle tente de s'écarter de l'image de la blonde sexy et de s'établir en actrice sérieuse. Le film rencontre un petit succés et Jayne remporte le prix du Golden Globe de la 'Nouvelle Star de l'année" en 1957 face à Carroll Baker et Natalie Wood.
Puis elle tourne à nouveau sous la réalisation de Frank Tashlin, pour l'adaptation de la pièce qui l'a révélée "Will Success Spoil Rock Hunter ?" ("La Blonde Explosive") reprenant son rôle de Rita Marlowe, avec Tony Randall et Joan Blondell; Jayne parvient même à faire obtenir un petit rôle à son chéri, Mickey Hargitay. La Fox lance leur nouvelle star en lui faisant faire un tour d'Europe de 16 pays pendant 45 jours (du 25 septembre au 6 novembre 1957) pour promouvoir le film. Elle assiste à la première du film à Londres, récite du Shakespeare (Hamlet), joue du piano et du violon à la télévision britannique et elle est même présentée à la Reine d'Angleterre. A Rome, elle succombe aux charmes du Duc italien Amoalli.

> reportage et interview de Jayne en France (1957)

jayne-1957-studio-satin_and_fur-011-2   En mai 1957, elle est l'invité vedette du "Ed Sullivan Show" où elle joue du violon accompagnée de six musiciens, elle dira après l'émission: "Maintenant, je suis vraiment nationale. Maman et tout Dallas ont vu le Ed Sullivan show !"; en août 1957, elle est invitée au grand show de la télé américaine "What's My Line ?" (elle y reparticipera en 1964 et en 1966) et en novembre 1957, elle est représentée dans un épisode de "The Perry Como Show" qui va faire des records d'audience sur NBC. Elle tourne avec Cary Grant dans "Kiss Them for Me" ("Embrasse-la pour moi", 1957) qui sera un flop au box-office.
En fin d'année 1957, c'est accompagnée de Mickey Hargitay qu'elle fait une tournée de 13 jours -le "Christmas USO Tour"- avec Bob Hope à travers tous les lieux du Pacifique où est postée l'armée américaine: Hawaii, Okinawa, Guam, Tokyo et la Corée. Elle sera l'invitée dans trois émissions du "Bob Hope Show". En novembre 1957, elle achète une grande demeure de style espagnol de 40 pièces, qu'elle nomme son "Pink Palace" à Los Angeles  et où elle y recevra de nombreux photographes pour se mettre en scène avec son mari et ses enfants. Sa maison va alors devenir aussi célèbre que ses propriétaires: la décoration est ostentatoire (moquettes et tapisseries en fourrure jusque dans la salle de bain), de couleur rose (sa couleur préférée: cadillac et chihuahas teints en rose) avec des coeurs partout (lit, baignoire, cheminée, piscine). Les travaux -bien que Mickey, ancien plombier et charpentier, s'occupe de la construction de la piscine- et l'entretien ont un coût. En 1958, Jayne hérite de ses grands-parents maternels d'une somme assez conséquente (126 000 $). D'ailleurs, dès 1958, elle monnaye ses apparitions, notamment télévisuelles, se faisant payer 20 000 $ par participation dans un show TV. Elle revend aussi l'eau de son bain pour 10 $ la bouteille.

1958-wedding_mickey  Mickey Hargitay demande Jayne en mariage le 6 novembre 1957, lui offrant une bague de diamants de 10 carats à 5 000 $; le mariage est célébré le 13 janvier 1958 (soit cinq jours après son divorce officiel d'avec Paul Mansfield - voir photo ci-contre) à la Chapelle Wayfarers à Rancho Palos Verdes en Californie: le lieu n'est pas anodin, la chapelle est en verre et permet ainsi au couple d'être vu du public et surtout, des journalistes. Jayne porte une robe en dentelle de rubans roses, une robe prêtée par la Fox. Le couple part ensuite en Floride pour leur lune de miel.
Le couple semble avoir les mêmes ambitions: ils vont se mettre en scène, construisant des coups publicitaires populaires et vont devenir des partenaires dans le business: «Il est si beau et si fort, dit Jayne. Et au lit, il est tellement bon !». Ils sont un couple à la scène (dans des shows, dans les films, à la télévision) comme à la ville (posant avec bonheur pour les photographes chez eux et se montrant publiquement partout aux soirées hollywoodiennes) et dans les affaires (ils ont monté ensemble plusieurs sociétés de holdings: 'the Hargitay Exercise Equipment Company', 'Jayne Mansfield Productions', et 'Eastland Savings and Loan').

1956-10-jayne_66 En février 1958, Jayne et Mickey Hargitay signent un contrat de quatre semaines (qui va s'étendre à huit semaines) au club Tropicana de Las Vegas où Jayne propose une revue de striptease sous le nom de Trixie Divoon dans "The Tropicana Holiday". Les bénéfices de la soirée d'ouverture (20 000 $) sont reversés à l'association caritative de March of Dimes. Jayne perçoit 25 000 $ par semaine (alors que son contrat avec la Fox ne lui verse "que" 2 500 $ la semaine), avec une assurance d'un million de dollars au cas où Mickey chuterait quand il la porte: en effet, leur numéro le plus populaire et qui fera la gloire du couple, est le porté de Jayne par Mickey (voir photo ci-contre), qui la fait tournoyer en cercle autour de sa taille, tous deux vêtus de maillots en léopards !
En mai 1958, elle participe au Festival de Cannes en France avec Mickey Hargitay; elle est interviewée par François Chalais dans l'émission "Reflets de Cannes" et où elle reproduit son petit gloussement sensuel qui a participé à la naissance de son mythe. Elle reste en Europe et passe le reste de l'été 1958 entre Londres et L'Espagne pour le tournage du western "The Sheriff of Fractured Jaw" ("La blonde et le shérif", sorti en 1959) et dans lequel Jayne chante trois chansons (l'une d'entre elles est doublée par Connie Francis). Le film sera son dernier grand succès au box-office.

jm-1 Les studios, qui veulent surtout mettre en avant sa plastique, la cantonnent à des personnages caricaturaux qui lui valent les surnoms de «Blonde explosive» ou «le Buste». Et malgré la publicité perpétuelle autour de son physique et dont participe avec bonheur Jayne, sa carrière va peu à peu décliner et après 1959, elle ne parvient plus à obtenir des rôles de qualité. Surtout, elle n'est plus assez disponible pour la Fox, à cause de ses grossesses successives (elle est par exemple contrainte de refuser un rôle dans la comédie romantique "Bell, Book and Candle" (1958) aux côtés de James Stewart et Jack Lemmon, car elle est enceinte). Et sa réputation la précède, elle est boudée par certains acteurs: quand la Fox lui offre un rôle dans "Rally 'Round the Flag, Boys !" avec Paul Newman, l'acteur s'oppose à l'engagement de Jayne, qui sera remplacée par Joan Collins. La Fox la "prête" alors à des productions étrangères (anglaises et italiennes) jusqu'à la fin de son contrat en 1962 et Jayne se retrouve alors à l'affiche de films à petits budgets sans grand intérêt.
Même certains médias se lassent de ses apparitions en bikini où Jayne ondule le ventre et finit toujours par faire tomber le haut du maillot, comme le haut de ses robes de soirée. A cause de ces "accidents" en public, même Richard Blackwell, son couturier attitré, va finir par ne plus vouloir travailler avec Jayne.

1958-12-pink_palace-jayne_mickey_miklos  Le 21 décembre 1958, Jayne donne naissance à Miklós (Jeffrey Palmer) Hargitay, le premier fils de Jayne et Mickey (voir photo ci-contre, le couple et Miklos au Pink Palace).
En février 1959, les Hargitay assistent au Carnaval de Rio puis le couple part en Italie pour tourner dans le film "The Loves of Hercules" ("Les amours d'Hercule") où ils sont en tête d'affiche (Jayne n'a accepté de tourner le film que si Mickey obtenait le premier rôle masculin). C'est aussi en 1959 que la Fox la fait tourner dans le film indépendant "The Challenge" (qui sort en 1963) en Angleterre.
En 1959, elle apparaît dans un épisode de la série "The Red Skelton Show" (elle y jouera dans deux autres épisodes en 1961 et en 1963).
Quand Jayne fait son retour à Hollywood au milieu de l'année 1960, la Fox la prête à une petite production anglaise pour le film "Too Hot to Handle" ("La blonde et les nus de Soho" qui sort en 1961, et dont une scène où Jayne apparaît seins nus sera censurée), elle y interprète le rôle d'une entraîneuse burlesque (et y chante les chansons "Too Hot To Handle", "You Were Made For Me", "Monsoon" et "Midnight" ); enfin, la Fox lui offre un rôle secondaire dans le film "It Happened in Athens" (qui sort en 1962), tourné en Grèce, avec Trax Colton, un nouveau venu que souhaitait lancer la Fox, qui fera un bide et qui marquera l'abandon de son contrat avec la Twentieth Century Fox. 
1960-08-pink_palace-jayne_mickey_jaynemarie_miklos_zoltan Le 8 février 1960, son étoile est déposée sur la célèbre avenue d'Hollywood, le 'Hollywood Walk of Fame'. En juin 1960, elle est interviewée par Edward Murrow dans son émission "Person to Person". Le 1er août 1960, le deuxième enfant de Jayne et Mickey, Zoltán (Anthony) Hargitay, voit le jour (voir photo ci-contre, le couple avec Jayne Marie, Miklos et Zoltan au Pink Palace). Et à la fête des mères de l'année 1960, le "Mildred Strauss Child Care Chapter" de l'hôpital de Mount Sinai à New York, célèbre la famille de Jayne comme "la famille de l'année". Pourtant, dans le privé, le couple connait quelques problèmes conjuguaux: Jayne se confiant même à des amis que la fin de son mariage est proche.
C'est au cours de l'année 1960 que Jayne rencontre, par l'intermédiaire de Peter Lawford, le sénateur -et futur président des USA- John F. Kennedy. Ils ont une aventure (se rencontrant à Palm Springs et à Santa Monica chez Lawford -> article The Kennedys in Hollywood ). Elle aurait aussi une liaison avec son frère, Robert F. Kennedy (vers 1964 -> cf extraits du livre "Here They Are Jayne Mansfield" par Raymond Strait, sur BooksGoogle).

1961-the_house_of_love_by_bernard_of_hollywood Puis elle retourne à Las Vegas: en décembre 1960, elle se produit dans une revue "The House of Love" (produite par Jack Cole, avec Mickey Hargitay - voir photo ci-contre) à l'hôtel et casino de Dunes et pour lequel elle perçoit un salaire de 35 000 $ la semaine: en 1962, la Fox réalisera un album intitulé "Jayne Mansfield Busts Up Las Vegas" avec les chansons de la revue.
Dès 1960, elle fait des promotions jusque dans des supermarchés et drug store, se faisant payer 10 000 $ pour chacune de ses apparitions: elle fait plus d'apparitions publiques qu'un candidat en politique. Elle reste au top dans les médias qui ne cessent de parler d'elle et est l'une des célébrités les plus photographiées au monde. Le journaliste James Bacon écrira en 1973 dans le Los Angeles Herald-Examiner: "C'était une fille avec un réel talent de comédie, une figure et un physique spectaculaires et pourtant se ridiculisant elle-même par une étrange publicité". Quand au réalisateur Frank Tashlin, il déclarera: "Jayne avait tout: la beauté, le talent, l'énergie; mais elle a fichu sa carrière à terre avec trop de publicité".

En 1961, elle joue un rôle dans un épisode de la série "Kraft Mystery Theatre", est invitée au "Jackie Gleason Show" et elle tourne pour la Warner un petit rôle dans le film biographique "The George Raft Story" ("Le dompteur de femmes"). Puis les années suivantes, elle ne tourne que dans des petites productions étrangères: allemandes "Heimweh nach St. Pauli" ("Freddy et le nouveau monde", 1963, où elle y chante "Wo Ist Der Mann" et "Snicksnack Snuckelchen"), "Einer frisst den anderen" (1964) et italiennes "L'Amore Primitivo" (1964), "Panic Button" (1964).
jayne_et_mickey_danse  A la fin de l'année 1961, elle fait une tournée spéciale pour Noël au Canada à Newfoundland, Labrador et l'île de Baffin.
En février 1962, Jayne et Mickey s'offrent une seconde lune de miel à Nassau, aux Bahamas lorsqu'un drame va surgir: leur bateau va se retourner, le couple sera découvert près de 12 heures après, frigorifiés et choqués, après s'être réfugiés sur une petite île (Rose Island). Curieusement, le couple va médiatiser l'événement, Jayne se laissant filmer en état de choc: bon nombre de personnes vont considérer ce fait comme un canular, un coup de pub de mauvais goût.

En 1962, elle participe à un épisode de la célèbre série "Alfred Hitchcock Presents", et dans la série "Follow the Sun". En juin 1962, Jayne fait parler d'elle dans la presse après s'être montrée le haut de sa robe à pois grande ouverte, avec le soutien-gorge apparent dans un nighclub de Rome. Les journalistes de télévision, radio et cinéma italien lui décernent cette année là le prix "Silver Mask".

1963-by_bruno_bernard Au début de l'année 1963, elle se produit dans une revue (pour la première fois hors de Las Vegas) au Plantation Supper Club à Greensboro (en Caroline du Nord), empochant 23 000 $ la semaine, puis à l'Iroquois Gardens à Louisville (dans le Kentucky). Dans ses spectacles, elle joue de la comédie en stand-up, chante, et finit sur un strip-tease. Elle obtient souvent l'ovation du public.
L'acteur et réalisateur Tommy Noonan (partenaire de Marilyn dans "Les hommes préfèrent les blondes") avec qui Jayne vit une relation passionnée, la persuade d'accepter le rôle principal de" Promises ! Promises !" avec son mari Mickey Hargitay, et dans lequel elle apparaît intégralement nue. Les photos de tournage sont publiées dans le magazine Playboy de juin 1963 (la Cour de Chicago fait un procès pour obsénité à Hugh Hefner) et le film d'être banni à Cleveland, mais rencontre un petit succés relatif au box-office.
Jayne enchaîne les aventures sentimentales (mais avant tout sexuelles). On lui prête près de 1500 amants (elle affirme que, pour se sentir bien dans son corps, il lui faut jouir au moins une fois par jour) parmi lesquels Claude Terrail (propriétaire du restaurant La Tour d'Argent à Paris), Jorge Guinle (millionaire brésilien), Oleg Cassini (couturier), Henry Miller (romancier), Porfirio Rubirosa (diplomate et playboy dominicain), Sergio Villagran (acteur), Stephen Vlabovitch (un bedeau), Raymond Strait (attaché de presse)... Certains hommes ont même payé pour passer une nuit avec elle: des hommes d'affaires et même un ministre autrichien! Quand on lui fait remarquer que cela s'apparente à de la prostitution, elle réplique: "Oui, et alors ? J'y trouve mon compte, le client aussi, ce que nous faisons ne lése personne et ne regarde que nous."
 Qu
and elle tourne pour le compte de la Fox dans le film mineur italien "Panic Button" (qui sortira sur les écrans en 1964), Jayne rencontre le producteur italien Enrico Bomba, avec qui elle vit une relation médiatisée. Mickey Hargitay, avec qui Jayne a loué une villa à Rome pendant le tournage, va accuser Bomba de saboter leur mariage. D'ailleurs, Jayne demande le divorce le 4 mai 1962, avant de se raviser en déclarant: "Je suis sûre que nous parviendrons à faire face" et retourne auprès de son mari pour les fêtes de fin d'année. Mais l'année suivante, en 1963, Jayne s'affiche avec le chanteur brésilien Nelson Sardelli et déclare vouloir l'épouser une fois divorcée d'avec Mickey. Et c'est accompagnée de Sardelli que Jayne se rend en mai 1963 au Mexique, à Juarez, pour divorcer: c'est une rupture pleine d'aigreur, où Jayne va aller jusqu'à accuser Mickey d'avoir kidnappé l'un de leurs enfants, afin d'obtenir les faveurs financières.

> Les liaisons de Jayne:
  Enrico Bomba (1962, Rome) / Nelson Sardelli (1963) / Claude Terrail (1963)

1962-Jayne-Mansfield-with-Enrico-Bomba  1963-jayne_et_nelson_sardelli  1963-09-paris-au_pied_de_cochon-jayne_mickey_claude_terrail 

1964-01-naissance_mariska  Mais après ce divorce, Jayne découvre qu'elle est enceinte (la paternité n'est pas clairement établie: Hargitay ou Sardelli). Pour sa carrière (donner naissance à un enfant en ayant divorcée quelques mois auparavant aurait été mal vu et aurait pu faire décliner son statut populaire), Jayne et Mickey annoncent qu'ils sont toujours ensemble et mariés, le divorce au Mexique n'étant pas reconnu en Californie. Leur fille Mariska (Magdolna) Hargitay naît le 23 janvier 1964 (elle deviendra une actrice populaire, grâce à la série "Law & Order" - "New York, Unité Spéciale"- voir photo ci-contre, le couple, Jayne-Marie, Miklos, Zoltan et Mariska nourrisson). Mais Jayne entreprend de faire reconnaître le divorce au Mexique comme légal; et le divorce est ainsi prononcé aux Etats-Unis le 26 août 1964. Néanmoins, le couple restera tout de même amis, continuant à se produire ensemble.
C'est alors qu'on lui propose un rôle intéressant (en remplacement de Marilyn Monroe, décédée en 1962): tourner sous la direction de Billy Wilder dans "Kiss Me, Stupid" avec Dean Martin. Mais Jayne, enceinte de Mariska, décline le rôle qui échouera à Kim Novak. 
C'est aussi le 26 août 1964 au club Whiskey A-Go-Go de Los Angeles, que Jayne rencontre le groupe les Beatles, alors en tournée aux Etats-Unis. Lorsque les journalistes leur ont demandé quelle célébrité américaine ils souhaitaient rencontrer, ils ont répondu "Jayne Mansfield". Lorsqu'elle voit John Lennon, Jayne lui demande si ses cheveux sont vraiment les siens, ce à quoi il répond: "Et vos seins, sont-ils vrais ?" On raconte qu'à la fin de la soirée, George Harrison a voulu lancer son verre de Scotch vers une Jayne en état d'ébriété, mais c'est Mamie Van Doren qui l'aurait reçu en plein visage !

1965-jayne_et_matt_cimber  En 1964, elle apparaît dans un épisode de la série "Burke's Law" ("L'homme à la Rolls"), tourne dans un petit film italien "L'Amore Primitivo" ("Primitive Love" tourné en Italie en mai 1964) avec Mickey Hargitay, puis Jayne reprend deux rôles tenus par Marilyn Monroe au cinéma dans les pièces "Gentlemen Prefer Blondes" au Carousel Theater et "Bus Stop" mise en scène par Matt Cimber, au Yonker Playhouse à New York, avec Mickey Hargitay. Le couple reçoit de bonnes critiques et font la tournée des petites villes des Etats-Unis. Jayne tombe sous le charme de Matt Cimber (voir photo ci-contre, le couple en 1965) réalisateur d'origine italienne, et ils se marient le 24 septembre 1964 à Mulegé au Mexique. Cimber va devenir le manager de Jayne en gérant sa carrière; mais il va la mener à sa perte en lui faisant signer des contrats pour des projets sans envergures (tel que le film "The Las Vegas Hillbillys").
Elle co-écrit son autobiographie (avec Mickey Hargitay) "Jayne Mansfield's Wild, Wild World" sortie en 1964; un projet associant un film documentaire, du même nom, qui verra le jour en 1968, après sa mort, et où on y voit Jayne aux USA et en Europe (Rome, Paris, Cannes) lors de sorties publiques, mais aussi visitant des camps de nudistes, des bars gays et des clubs de strip-tease. Le documentaire, un peu trash, deviendra culte auprès de ses admirateurs.

> Documentaire "Jayne Mansfield's Wild, Wild, World" (narration par Jayne)

1964-jaynemansfield-shakespeareToujours en 1964, la MGM Records sort un album novateur "Jayne Mansfield: Shakespeare, Tchaikovsky & Me" (voir photo ci-contre) dans lequel Jayne récite des sonnets de Shakespeare et des poèmes de Marlowe, Browning, Wordsworth, et bien d'autres sur la musique de Tchaikovsky. L'album ne rencontre pas de bonnes critiques, tel que le mentionne un journaliste du New York Times: "Miss Mansfield est une dame aux charmes apparents, mais lire de la poésie n'en fait pas parti".
En 1965, elle joue dans les pièces "Rabbit Habit" au Latin Quarter (New York) et "Champagne Complex" au Pabst Theater, dirigées par Matt Cimber et qui reçoivent un mauvais accueil. Cette même année -1965-, Jayne enregistre deux chansons à New York, avec Jimi Hendrix à la basse: "As the Cloud Drift By" et "Suey", qui sortiront en 45 Tours en 1966 par London Records. Le motif de cette collaboration est qu'ils partagaient le même manager.

1966-04-19-birthday_jayne_with_baby_tony  Côté vie privée, son troisième mariage avec Matt Cimber est un échec: Jayne abuse trop de l'alcool, est constamment infidèle (elle ramène chez elle un étudiant, Douglas Olivares, dont elle s'est entichée lors d'une représentation en discothèque), et va juqu'à dire à son mari que le seul avec qui elle a été heureuse fut son précédent amant, Nelson Sardelli. Le couple ne tient pas et ils se séparent le 11 juillet 1965, bien que Jayne soit enceinte: leur fils, Tony (Antonio Raphael Ottaviano) Cimber, naît le 18 octobre 1965 (voir photo ci-contre, Jayne et Tony, à la fête des 33 ans de Jayne en 1966 - Tony travaillera plus tard à la télévision, comme annonceur et producteur). Et le divorce est prononcé le 20 juillet 1966. Le projet qu'ils menaient ensemble, "Single Room Furnished", réalisé par Cimber, est temporairement suspendu, avant d'être finalement repris: elle y tient un rôle dramatique où elle interprète trois personnages différents, mais le film ne sortira sur les écrans qu'en 1968, un an après sa mort. Puis elle apparaît dans un film à petit budget, "The Las Vegas Hillbillys" (1966) avec Mamie Van Doren et Ferlin Husky, où elle tient le rôle de Tawni Downs, une show girl de Las Vegas (elle y interprète la chanson "That makes it"), et pour lequel elle fait une promotion assidue avec une tournée de 29 jours à travers les grandes villes américaines en compagnie de musiciens de country. Jayne déclare qu'elle ne voulait pas "partager un moment de l'écran avec la réponse drive-in de Marilyn Monroe", faisant référence à l'actrice Mamie Van Doren (une concurrente à Marilyn dans les années 50s). Et alors que leurs personnages ne partagent qu'une seule scène, les deux actrices ont filmé chacune leur scène à part, reconstituée au montage !
Pour les fêtes de Noël 1965, elle organise une réception pour son dernier enfant Tony, mais personne ne vient. Isolée, Jayne reprend contact avec Mickey Hargitay.

Icône déchue noyée dans l'alcool, les psychotropes, et la prise de drogue (LSD), Jayne Mansfield a pris du poids (elle porte des robes amples du style de l'époque) et malgré le déclin de sa carrière, elle reste populaire et réunit toujours les foules lors de ses performances sur scène et ses frasques publicitaires, mais en est réduite à des tournées miteuses dans des shows burlesques bon marché. Elle retourne d'ailleurs à Las Vegas en 1966, pour un show joué à Fremont Street, bien loin des clubs à la mode qu'elle a connu (tels Tropicana et Dunes); puis part se produire à New York pendant six semaines au Latin Quarter pour le show "French Dressing" avec Mickey Hargitay, une version réarrangée de son ancien show du Tropicana qui connaît un succès relatif. Fin octobre 1966, elle passe une semaine au Canada, se produisant à "The Cave Nightclub".

1966-jayne_anton_lavey  En 1966, lors du Festival du Film de San Francisco (où Jayne se fait virer après s'être montrée dans une tenue très dévêtue), Jayne et Sam Brody visitent l'Eglise de Satan et elle est présentée à Anton LaVey, le fondateur de l'Église (voir photo ci-contre, Jayne et Anton LaVey), avec qui on lui prête une aventure, qui fera d'elle une grande prêtresse honoraire. L'Eglise la proclame membre à part entière et elle reçoit un certificat qu'elle fera encadrer et accrocher dans sa chambre rose. Les médias rapportent l'événement et Jayne est considérée comme une sataniste.
Dès juillet 1966, Jayne partage sa vie avec son avocat Sam Brody, avec qui elle a de fréquentes altercations quand ils sont tous deux ivres. La femme de Sam, Beverly Brody, demande le divorce après avoir déclarée que Jayne est "l'autre 41ème femme" dans la vie de Sam.

1966-jayne_zoltan  Le 23 novembre 1966, Jayne visite le parc à thème "Jungleland USA" à Thousand Oaks en Californie: son fils Zoltan se fait sévèrement attaquer par un lion qui l'a mordu au cou. Le petit garçon souffre de traumastisme crânien et subit trois opérations de chirurgies, dont une opération du cerveau qui dure six heures avant de contracter une méningite (voir photo ci-contre, Jayne et Zoltan au Community Memorial Hospital). Il parvient à en guérir mais Jayne, par le biais de son avocat Sam Brody, attaque le parc en justice réclamant des dommages à 1 600 000 $. La publicité négative amènera à la fermeture du parc.
Au début de l'année 1967, elle se rend au Vietnam pour réconforter les soldats: sa tournée sera jugée décevante, Jayne ne se produit pas sur scène et se contente de poser pour des photos et signer des autographes; elle tourne ensuite son dernier film, une apparition dans "A Guide for the Married Man" ("Petit guide pour mari volage") de Gene Kelly et participe au documentaire indépendant "Spree" (intitulé aussi "Las Vegas by Night") où elle chante "Promise Her Anything" (chanson du film "Promises! Promises!") en se déshabillant.

jayne-1966-portrait-2-1  En mars 1967, elle fait une tournée -désastreuse- en Angleterre (les beuveries et bagarres du couple Jayne/Brody ne permettent pas à une Jayne ivre et dont les jambes sont pleines d'ecchymoses de monter sur scène) et elle s'affiche aux bras du propriétaire de club Allen Welles. Et en mai 1967, sa performance au Mount Brandon Hotel à Tralee en Irelande est annulée à cause du clergé catholique qui condamne une telle représentation.
Au début du mois de juin 1967, sa fille aînée, Jayne Marie, 16 ans, porte plainte contre Sam Brody: elle l'accuse de coups et blessures, encouragés par sa mère. La jeune fille est alors placée temporairement chez l'oncle de son père Paul, William W. Pigue et son épouse Mary.
Le 19 juin 1967, Jayne fait sa dernière apparition à la télévision dans le "Joey Bishop Show".

Elle conclut un accord avec Mamie Van Doren qui se produit elle aussi en spectacle, à New York. Son show faisant salle comble, Mamie demande à Jayne si elle peut se produire dans le Mississippi où Mamie était attendue, lui permettant d'assurer à son tour le prochain show. Jayne accepte et c'est après une dernière représentation sordide dans le cabaret Gus Stevens Supper Club à Biloxi dans le Mississippi, que Jayne, qui a 34 ans, rejoint sa chambre d'hôtel au Cabana Courtyard Apartments.
1967-06-28-Gus Stevens Supper Club Après deux représentations de 30 minutes ce soir là (à 21h et à 23h - voir photo ci-contre, l'une des dernières photographies de Jayne), elle reprend la route le 28 juin 1967 un peu avant minuit à bord de la Buick Electra 225 bleue assise entre Ronnie Harrison, son chauffeur de 20 ans, et Sam Brody, âgé de 40 ans. Trois de ses enfants (Miklós, Zoltán et Mariska) sont endormis à l'arrière. Ses quatre chihuahas sont aussi du voyage. Ils se rendent à la Nouvelle-Orléans où Jayne est attendue pour une émission de télé, le "Midday Show", sur WDSU's à midi. Vers 2h30 du matin, le 29 juin 1967, leur voiture, lancée à pleine vitesse après un virage, s'encastre dans l'arrière d'un tracteur semi-remorque qui a donné un brutal coup de frein, à cause d'un camion de pulvérisation anti-moustiques. Les trois adultes, ainsi que l'un des chiens de Jayne, meurent sur le coup. Les enfants sont indemnes, s'en tirant avec quelques blessures légères (Miklos, 9 ans, a un bras cassé et Mariska, 3 ans et demie, gardera une cicatrice en zig-zag sur la tempe). Contrairement à une légende tenace, Jayne n'est pas morte décapitée mais d'un écrasement de la boîte crânienne. La rumeur provient des photos de la police prises sur le lieu de l'accident où on y découve les cheveux de Jayne sur le bitume. En fait, il s'agit d'une perruque bien bouffante; et Jayne est décédée de plusieurs traumatismes crâniens, ayant été scalpée d'un morceau de crâne et du cerveau. Après sa mort, la NHTSA (National Highway Traffic Safety Administration - L'Administration nationale de la sécurité routière) demande la nécessité d'inclure une protection anti-encastrement (une forte barre en tube d'acier) à l'arrière de tous les poids lourds. Cette grande barre est désormais connue sous le nom de la "Mansfield bar".

jayne_grave  Les funérailles de Jayne ont lieu le 3 juillet 1967 à Pen Argyl en Pennsylvanie dans un cercle privé, avec néanmoins beaucoup de curieux. De ses trois maris, seul Mickey Hargitay, très affecté, est présent, ayant organisé les funérailles: il se jette sur le cercueil rose de Jayne pendant la cérémonie. Sa pierre tombale, en forme de coeur où est inscrit "We Live to Love You More Each Day" (avec une photographie de Jayne ajoutée en 2003 - voir photo ci-contre) , se trouve au cimetière de Fairview Cemetery, au sud-est de Pen Argyl. Vingt ans après, une pierre tombale en granite rose et en forme de coeur est installée. Un cénotaphe similaire a été installé dans le cimetière d'Hollywood par son fan-club. Une dernière rumeur scabreuse va courir: certains vont raconter que sa tête aurait été recousue à l'envers sur son corps (alors que l'on sait aujourd'hui que Jayne n'a pas été décapitée) !
En 1968, le 'Hollywood Publicists Guild' lance le prix "Jayne Mansfield Award" pour toutes les actrices qui reçoivent un maximum d'exposition publicitaire dans l'année. C'est l'actrice Raquel Welch qui reçoit le premier prix en 1969.

1950s-jayne-936full-jayne-mansfield Après sa mort, beaucoup de ses proches vont tenter de mettre main basse sur l'héritage: Mickey Hargitay, Matt Cimber, Vera Peers (sa mère), William Pigue (son représentant légal), Charles Goldring (son business manager), Bernard B. Cohen et Jerome Webber (ses administrateurs). Sa succession est évaluée à environ 600 000 $, dont le "Pink Palace" estimé à 100 000 $, une voiture de sport à 7 000 $, ses bijoux, et le testament de Sam Brody lui léguant 185 000 $.
Mickey Hargitay, remarié en 1968 à Ellen Siano une hôtesse de l'air, engage un procés réclamant 275 000 $ pour l'éducation des enfants (Micky, Zoltan et Mariska dont il obtient la garde intégrale en juin 1967). Il n'obtiendra pas satisfaction. Quand au petit dernier Tony, il est élevé par son père Matt Cimber et la styliste Christy Hilliard Hanak, qu'il a épousé le 2 décembre 1967.
En 1971, l'ex femme de Sam Brody, Beverly Brody (dont le divorce était en cours au moment de la mort de son mari), réclame à la succession de Jayne la somme de 325 000 $ représentant les cadeaux et bijoux achetés par Sam à Jayne et qui n'avaient pas été comptabilisés. En 1977, ce sont quatre des enfants de Jayne (Jayne Marie, Mickey, Zoltan et Mariska) qui sont face à la cour à cause des 500 000 $ de dettes contractées par Jayne, dont 11 000 $ de lingerie et 11 600 $ de frais de plomberie pour la piscine, et dont le litige avait déclaré la succession insolvable. Le Pink Palace, qui a connu divers acquéreurs, va finir par tomber en ruine et être détruit en novembre 2002. Ce qui reste de l'héritage de l'image et de la propriété intellectuelle de Jayne est désormais géré par la compagnie CMG Worldwide.

 --- Epilogue ---
1950s-jayne307Malgré ses rôles caricaturaux de blondes idiotes, son exhibitionnisme provoquant et sa nymphomanie affirmée (elle aurait dit, en se masturbant devant les photographes sur le tournage de Promises! Promises !: "La plus belle sensation dans la vie, c’est l’orgasme. Plus j’ai des orgasmes et plus je suis heureuse !"), Jayne Mansfield était une femme cultivée, polyglotte (elle parlait cinq langues: anglais, français, allemand, italien et espagnol), jouait du piano et du violon et disait avoir un QI de 163; ce qui fit d'elle "la plus intelligente des blondes stupides". Son personnage a été construit, maniant avec art la publicité, comme le montre cette citation, sur sa soit-disant couleur préférée: "On m'a identifié par le rose au cours de ma carrière, mais je ne suis pas autant folle que ça de cette couleur alors que j'ai laissé les gens le croire. Mes couleurs préférées sont en fait neutres -le noir et le blanc- mais à ce moment là, que penser d'une star de cinéma en noir et blanc ? Tout se doit d'être de couleurs vivantes." Sa fin tragique l'a fait entrer dans la légende, son image reste encore aujourd'hui, populaire et est encore beaucoup utilisée dans la culture des différents arts (écriture, BD, cinéma, séries, bon nombre font référence à Jayne, son image, sa vie, ses films, sa mort).

> Sur le blog: 
>> Photothèque consacrée à Jayne dans l' Album Photos


En 1980, le téléfilm biopic "The Jayne Mansfield Story" est diffusé par CBS. Réalisé par Dick Lowry, on y découvre Loni Anderson (dans le rôle de Jayne) et Arnold Schwarzenegger (dans celui de Mickey Hargitay). La fiction a été nommée pour trois Emmy Awards (des catégories coiffure, maquillage et costumes). Quelques images (extraits de films) de Marilyn Monroe sont incluses dans le film.

film-biopic-the_JM_story-1980-loni_anderson_schwarzie-4 film-biopic-the_JM_story-aff_dvd film-biopic-the_JM_story-1980-loni_anderson-2 
film-biopic-the_JM_story-1980-loni_anderson-2a  film-biopic-the_JM_story-1980-loni_anderson_schwarzie-2  film-biopic-the_JM_story-1980-loni_anderson_schwarzie-3  
film-biopic-the_JM_story-1980-loni_anderson_schwarzie-1  film-biopic-the_JM_story-1980-loni_anderson-1 
film-biopic-the_JM_story-1980-loni_anderson-3  film-biopic-the_JM_story-1980-loni_anderson-4  


> Presse: scans persos 
img923  img924 
img926 img925 img922 
img930 img931 img932 
img136  img137 

- Mariska Hargitay -
img933 img936 img935 
  img937 img938   

> Pages extraites du livre "Les séductrices du cinéma"
book-les_seductrices-jayne-1  book-les_seductrices-jayne-2 


 >> Jayne vs Marilyn <<

Prémisses d'une rencontre: Le 26 juin 1953, Marilyn Monroe laisse ses empreintes de mains et de pieds (chaussures à talons) dans le ciment frais du sol d'Hollywood, devant le Grauman's Chinese Theatre (> sur le blog: l'article 26/06/1953 Grauman's Chinese Theatre ). Deux ans plus tard, la starlette Jayne Mansfield cherche à se faire un nom à Hollywood: le 19 avril 1955 au soir, elle est photographiée accroupie devant les fameuses empreintes, apposant ses mains dans celles de Marilyn.

1953_06_26_graumans_chinese_04_12  mm_jayne-1955-04-19-LA-graumans_chinese_theatre-1 

La rencontre: Le 12 décembre 1955 se tient la grande première du film "The Rose Tattoo" à New York. Plusieurs célébrités participent à l'événement dont Marlon Brando, acteur du film, qui escorte Marilyn Monroe. Après la représentation du film, à la soirée organisée au Sheraton Astor Hotel, une autre blonde au nom de Jayne Mansfield va faire son apparition, s'incrustant au milieu des autres stars, telle en est sa spécialité, afin de se faire photographier et remarquer. Ce qui n'est pas au goût de Marilyn, qui ne va même pas lui jeter un regard (> sur le blog: l'article 12/12/1955 Première de Rose Tattoo ).

 1955_12_12_astor_theater_05_party_020_1    
1955_12_12_astor_theater_05_party_030_1  1955_12_12_astor_theater_05_party_030_1a  1955_12_12_astor_theater_05_party_040_1   

En 1957, Jayne dira: "Marilyn pense de moi que je suis une rivale. Je sais que ça l'agace." A un journaliste, elle confiera que "Marilyn n'était jamais cordiale".
Quand à Marilyn, elle dira, à propos de Jayne, à un journaliste: "Tout ce qu'elle fait, c'est de m'imiter. Mais ses imitations sont une insulte autant pour elle que pour moi. Je sais que c'est supposé être flatteur que d'être imitée, mais elle le fait si grossièrement, si vulgairement. Je voudrais avoir quelques moyens légaux pour la poursuivre envers la dégradation de l'image pour laquelle j'ai mis des années à construire."

  *  *  *  *  *

- Comparaison: mêmes poses et attitudes - partie 1 -
mmlook-1-attitude_vamp mmlook-1-car mmlook-1-bed
mmlook-1-film_bus  mmlook-1-sport-football  
mmlook-2-herbe mmlook-2-pin_up-moran mmlook-2-kiss 
mmlook-2-matelas   mmlook-2-parasol   

 *  *  *  *  *

Le parcours: Mariées et divorcées trois fois (premier mariage à 16 ans pour Marilyn, à 17 ans pour Jayne avec des hommes engagés dans l'armée), les deux blondes étaient menées par une soif de réussite à Hollywood. Elles ont étudié à l'université d'UCLA en Californie, ont été mannequins (dans la même agence: la "Blue Book" dirigée par Emmeline Snively, ce qui les as conduit à travailler avec les mêmes photographes, comme Earl Moran). Elles ont posé nues pour un calendrier et l'affaire a été révélée une fois qu'elles sont devenues célèbres (en 1952 pour Marilyn, en 1957 pour Jayne). Elles ont remporté de nombreux concours de beauté. Elles ont aussi parfois donné la réplique aux mêmes acteurs: Cary Grant, Groucho Marx, Dan Dailey, Jack Benny, Tom Ewell, Tommy Noonan, Tony Randall (qui a déclaré avoir préféré travailler avec Jayne: "Au moins, elle essaie d'être professionnelle. Elle se montre sur le plateau, répète, travaille et tourne. Elle a un grand sens de l'autodérision.") Elles ont toutes deux été présentées à la Reine d'Angleterre (en 1956 pour Marilyn, en 1957 pour Jayne) et se sont rendues en Corée pour égayer le moral des soldats (en 1954 pour Marilyn, en 1957 pour Jayne). Elles ont été utilisées par la Fox, interprétant des rôles stéréotypées de blondes idiotes mais ayant tenues un rôle dramatique marquant dans leur carrière ("Don"t Bother to Knock" pour Marilyn, "The Burglar" pour Jayne), et ont remporté le prix "Golden Globe" (en 1957 pour Jayne, en 1960 et 1962 pour Marilyn). De tradition catholique, elles se sont intéressées à d'autres religions, comme le judaïsme, pour un homme (Marilyn pour Arthur Miller, Jayne pour Sam Brody). Elles ont eu comme amant le président John F Kennedy (rencontré par l'intermédiaire de Peter Lawford) et parmi leurs relations sentimentales, leur deuxième mari leur est resté toujours fidèle, s'occupant de leurs funérailles (Joe DiMaggio pour Marilyn, Mickey Hargitay pour Jayne). Elles sont décédées tragiquement très jeunes (34 ans pour Jayne, 36 ans pour Marilyn). 

- Comparaison: les mêmes rencontres -
mm_meeting-the_queen   mm_partner-tom_ewell 
mm_partner-cary_grant  mm_partner-dan_dailey 
mm_partner-groucho_marx mm_partner-jane_russell mm_partner-JB
mm_partner-jerry_lewis  mm_partner-robert_wagner  

- les mêmes admirateurs: James Haspiel, John Reiley -
mmfan-james_haspiel   mmfan-John_Reily_fromMonroeSix 

*  *  *  *  *

Le look: Jayne comme Marilyn, avait les cheveux naturellement châtains foncés. Elle se les décolore en 1954, afin de faciliter sa carrière d'actrice. Devenue blonde platine, elle figurera parmi les nombreuses "copies de Marilyn" des années 1950s, allant jusqu'à porter parfois le même style de tenues, voire les mêmes vêtements (> sur le blog: les articles du dressing de Marilyn )

- Comparaison: les mêmes tenues
mm_clothe_blouse-jayne-1957-09-26-london_promo-mm_bus_stop-2 mm_clothe_chemise_raye
mm_clothe_robe_zebre-jayne_mm
 mm_clothe_robe_mermaid-jayne_mm mm_clothe_robe_lame-jayne_mm mm_clothe_robe_orange-jayne_mm 

*  *  *  *  *

Jayne, une doublure de Marilyn: En 1954, Marilyn Monroe claque la porte des studios de la Fox et part se réfugier à New York, où elle étudie à l'Actors Studio, et monte sa maison de production "Les MM Prod." avec un ami photographe, Milton Greene. Elle se montre désormais plus exigeante au niveau des scénarios que la Fox lui propose et impose un droit de regard sur les films qu'elle tourne, refusant bon nombre de navets où les rôles proposés sont toujours identiques: ceux de la blonde idiote, un brin sexy. La Fox cherche alors d'autres actrices blondes, pour leur refourguer leurs nanars: Mamie Van Doren, Cleo Moore, Diana Dors, Sheeree North... des blondes décolorées et jolies, il y en a des tonnes ! Et puis arrive Jayne Mansfield, qui signe son contrat avec la Fox en 1956. Les studios sont ravis, ils ont enfin trouvé une rivale à Marilyn; et Jayne est vite surnommée la "Marilyn Monroe Workings' Man" (autrement dit, la version 'cheap' de Marilyn), ou encore la "Marilyn Monroe King Sized" (en référence à son généreux tour de poitrine). Et Jayne va vite se prendre au jeu de la "doublure" de Marilyn, la parodiant à de nombreuses reprises:

> Dans la pièce de théâtre "Will Success Spoil Rock Hunter ?" jouée en 1956 à Broadway, Jayne interprète le rôle de Rita Marlowe, une caricature outrageuse de Marilyn. La pièce a été écrite par George Axelrod, celui-là même à qui l'on doit la pièce "The Seven Year Itch" où Marilyn joua le rôle de la voisine blonde dans l'adaptation cinéma et pour lequel Jayne avait auditionné. Rien que le nom Rita Marlowe est une combinaison des stars Rita Hayworth, Marilyn Monroe et Jean Harlow. Le personnage est celui, à première vue, d'une blonde idiote au déhanché terriblement sexy, poussant de petits cris accentuant sa naïveté, mais qui est en fait une femme intelligente car use de son image auprès des médias pour parvenir à ses fins. Quand la Fox souhaite adapter la pièce en version cinéma, le rôle est proposé à Mamie Van Doren, qui décline l'offre. Alors la Fox engage Jayne Mansfield, qui avait déjà brillé dans la peau du personnage sur les planches New-Yorkaises. En offrant ce rôle à Jayne, la Fox semblait comme se moquer de Marilyn, qui souhaitait être prise au sérieux, à travers ce rôle qui caricaturait sa carrière.

> Dans la série télévisée "Sunday Spectacular: The Bachelor" du 12 juin 1956, Jayne parodie Marilyn. D'abord, en lisant le livre "Les frères Karamazov", alors que Marilyn venait à peine d'annoncer qu'elle souhaitait jouer dans l'adaptation du roman de Dostoievski. Puis, en chanson, chantant le titre "Heat Wave" interprété par Marilyn dans le film "There's no business like show business".

> Dans l'émission de télévision "Jack Benny Show", épisode "Jack takes a boat from Hawai" du 26 novembre 1963, Jayne rejoue à l'identique le sketch joué en 1953 par Marilyn "The Honolulu Trip" avec Jack Benny dans la même émission (> sur le blog: l'article 13/09/1953 The Jack Benny Show ) -excepté pour la chanson, où le "Bye Bye Baby" de Marilyn est remplacé par "Too Marvelous for Words" par Jayne:


> En 1964, Jayne reprend les rôles tenus par Marilyn au cinéma en jouant sur scène dans les pièces "Gentlemen Prefer Blondes" (au Carousel Theater) et "Bus Stop" (au Yonker Playhouse) à New York.

> Quand elle se produisait dans les clubs (et notamment dans ses shows de Las Vegas), il arrivait parfois que Jayne reprenne la chanson incontournable de Marilyn: "Diamonds Are a Girl's Best Friend".

*  *  *  *  *

- Comparaison: mêmes poses et attitudes - partie 2 -
mmlook-3-attitude_blue_jean_rondin  mmlook-3-attitude-serviette  mmlook-3-attitude_vamp-porte 
mmlook-3-pose-bus_stop  mmlook-3-pose-swimsuit_colonne  mmlook-3-pose-swimsuit_yellow 
mmlook-3-attitude-premiere  mmlook-3-attitude-finger  mmlook-3-robe_strass 
mmlook-3-pose-pin_up  mmlook-3-attitude-swimsuit_white  mmlook-3-pose_assise 
mmlook-3-chair  mmlook-3-chair-nuisette  mmlook-3-chair-robe_blanche 
mmlook-3-columbia-2  mmlook-3-columbia-1  mmlook-3-graumans 
  mmlook-3-robe_noire  mmlook-3-pose-fourreau  mmlook-3-style 
mmlook-3-sport  mmlook-3-sport-baseball  mmlook-3-attitude-pose 
 mmlook-3-attitude-fur  mmlook-3-water_beach-jayne_mickey-mm_arthur  mmlook-3-water_pool  


> Sources: 
>> articles et photos (scans) personnels
>> photographies collectées sur le web via googleimages
>> Le site officiel jaynemansfield.com / Fan Club Jayne Mansfield Online FanClub 

>> biographie sur wikipedia in english / wikipedia en français
 
>> le blog français de Jéjé La vie en rose de Jayne Mansfield
>> les pages consultées pour la biographie -sites en anglais Bombshells  (petit site avec bio, films, photos), Frank's Reel Reviews
(
petite bio), Glamour Girls of the Silver Screen (dates et faits), find a death (article bio),  The Thought Experiment (article blog),  Jayne Mansfield in Popular Culture
(article de wikipedia) / -sites en français: lenaweb (petite bio),  Les chroniques de Loulou (bio illustrée), AcidPop (divers articles).

2 juillet 2022

16/07/2022, Julien's, "Hollywood Legends": Lots partie 1

 2022-07-16-JULIENS-Hollywood_Legends-catalogueEnchères "Hollywood Legends"
16 juillet 2022
- 115 lots avec Marilyn Monroe -

Partie 1: Photos, Films, Effets personnels & Merchandising
Part 1: Photos, Films, Personal Effects & Merchandising

> 16/07/2022, Julien's, "Hollywood Legends": Catalogue


Photos


Lot 0924: JOSEPH JASGUR PHOTOGRAPH
A black and white image of Marilyn Monroe taken by Joseph Jasgur in 1946, printed later with Jasgur's approval. Monroe is posed smiling with hand on hip beside a tripod. 14 x 11 inches
Estimate: $200 - $400 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0924  


Lot 0925: LASZLO WILLINGER SIGNED LIMITED-EDITION PHOTOGRAPH 
A limited edition black and white 1990 print of a photograph of Marilyn Monroe taken by Laszlo Willinger in the 1940's with the verso signed by Willinger in black marker. Numbered 17/50 in pencil. 20 x 16 inches
Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0925a  2022-07-16-JULIENS-Hollywood_Legends-lot0925b  


Lot 0927: MILTON GREENE CONTACT SHEET
A vintage black and white partial contact sheet featuring candid and posed images of Marilyn Monroe and Milton Greene. The sheet, which consists of two partial contact sheets stapled together, contains 17 images of Monroe. 4.5 x 10 inches
PROVENANCE Lot 890, Property From The Life and Career of Marilyn Monroe, Juliens Auctions, Los Angeles, November 17-19, 2016

Estimate: $200 - $300 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0927 


Lot 0930: BERT STERN COLOR PHOTOGRAPH PRINT
A color high-gloss photograph print of Marilyn Monroe taken by photographer Bert Stern, printed circa the 1980's.
16 x 20 inches

Estimate: $200 - $300 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0930  


Lot 0931: GEORGE BARRIS "LAST PHOTO SHOOT" PHOTOGRAPHS
A group of five black and white photographs of Marilyn Monroe from a series taken by photographer George Barris. These are among the last images captured of Monroe before she died in August 1962.
14.5 x 12 inches (overall).

Estimate: $500 - $700 / Sold:
2022-07-16-JULIENS-Hollywood_Legends-lot0931a  2022-07-16-JULIENS-Hollywood_Legends-lot0931b 
2022-07-16-JULIENS-Hollywood_Legends-lot0931c  2022-07-16-JULIENS-Hollywood_Legends-lot0931d  2022-07-16-JULIENS-Hollywood_Legends-lot0931e  
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Lot 0932: GEORGE BARRIS SIGNED PHOTOGRAPH
A framed color photograph of Marilyn Monroe taken as part of the Marilyn Monroe Weston Editions Ltd. by photographer George Barris, signed by the photographer in black ink.
35.5 x 23.25 inches

Estimate: $1,000 - $2,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0932a 
2022-07-16-JULIENS-Hollywood_Legends-lot0932b  


Lot 0933: GEORGE BARRIS SIGNED PHOTOGRAPH
A framed color photograph of Marilyn Monroe taken as part of the Marilyn Monroe Weston Editions Ltd. by photographer George Barris, signed by the photographer in black ink.
35.5 x 23.25 inches

Estimate: $1,000 - $2,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0933a 
2022-07-16-JULIENS-Hollywood_Legends-lot0933b  


Films


Lot 0521: "GENTLEMEN PREFER BLONDES" PHOTO-SHOOT RENTED BRACELET
A gold-plated sterling silver bracelet, designed by Joseff of Hollywood. The bracelet is composed of series of rectangular wirework links of foliate design, enhanced by brilliant-cut simulated diamonds, joined by fluted triangular shaped links with hinged locking clasp and safety chain, and mounted in gold plated sterling silver.
The bracelet was among a set rented for Marilyn Monroe in a series of Fox publicity photos shot by staff photographer Frank Powolny, used to promote the film Gentlemen Prefer Blondes (Twentieth Century Fox, 1953). The bracelet was ultimately not photographed, but the photoshoot produced legendary images of Monroe wearing the racy gold pleated gown designed by Travilla for Gentlemen Prefer Blondes. Although the gown was deemed to be too revealing because of its plunging neckline and was cut from the film, Monroe liked it and insisted on wearing it to the 1953 Photoplay Awards ceremony. She also wore it during this photoshoot, together with the rest of the jewelry set, producing some of the most iconic images of Monroe ever captured.
Length, 6.75 inches
PROVENANCE From The Joseff Archives

Estimate: $30,000 - $50,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0521a  2022-07-16-JULIENS-Hollywood_Legends-lot0521b  


Lot 0958: MARILYN MONROE: "HOW TO MARRY A MILLIONAIRE" PHOTO-SHOOT WORN EARRINGS (WITH MAGAZINE)
A pair of gold-tone floral basket pendant ear clips with faceted crystal beads, worn by Marilyn Monroe in promotional photos for How To Marry A Millionaire (Twentieth Century Fox, 1953). By Napier, no. MMF889. Each clip back earring is designed as a gold-tone flower basket, with wirework detail and sculpted flowers enhanced by faceted crystal beads, and suspended by a gold-tone floret centering a faceted crystal bead.
In the glamorous 20th Century Fox 1953 promotional photo shoot, Monroe posed in the earrings wearing a burgundy satin evening gown designed by William Travilla.
This set is one of two sets made for the photo shoot. Joan Castle had rented two pairs of earrings and other pieces including an engagement ring. One pair never made it back and the other was slightly damaged. This set was the former, which Marilyn had purportedly taken from the set as she was seen wearing them after the film wrapped.
Accompanied by a notarized letter of provenance from the husband of actress Carmen Miranda, as well as a vintage copy of Movieland magazine featuring Monroe on the cover wearing the earrings.
Length, 3.75 inches

Estimate: $60,000 - $80,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0958a  2022-07-16-JULIENS-Hollywood_Legends-lot0958b  
2022-07-16-JULIENS-Hollywood_Legends-lot0958c  2022-07-16-JULIENS-Hollywood_Legends-lot0958d  2022-07-16-JULIENS-Hollywood_Legends-lot0958e  


Lot 0971: MARILYN MONROE AND JANE RUSSELL: "GENTLEMEN PREFER BLONDES" PHOTO-SHOOT AND FILM WORN COSTUMES (WITH PHOTOS)
A pair of sequin embellished costumes screen-worn by Marilyn Monroe and Jane Russell in the classic film Gentlemen Prefer Blondes (Twentieth Century Fox, 1953).
The first costume is a black sequined dance leotard worn by Marilyn Monroe as Lorelei. The costume consists of a black satin boned leotard embellished with black sequins in a vermicelli pattern and rhinestone trim with dangling teardrop rhinestones and a matching black sequin covered bicorne hat. The leotard has a bias label inscribed "1-25-1-4288 Marilyn Monroe A698-69." The hat has a bias label inscribed "1-25-1-4288 M. Monroe A698-69."
The second costume is a black sequined dance leotard worn by Jane Russell as Dorothy Shaw. The costume consists of a black satin boned leotard embellished with jet-like sequins in a vermicelli pattern and rhinestone trim and a matching sequin bicorne hat. Costume design by Academy Award winner, William "Billy" Travilla.
Monroe and costar Jane Russell wear these costumes during the scene in which the duo are forced to find work as showgirls in Paris, headlining the "Les Chanteuses Americaines," as well as in the official trailer and in several publicity images.
Professional museum restoration and conservation that includes application of missing sequins, replacement of a velvet panel that was not original to the Jane Russell costume but was created by the studio for use in other productions, and the creation and placement of fabric flowers has been performed on these costumes by The Museo de la Moda in Santiago, Chile.
Accompanied by: an original print photograph with glossy finish, depicting Marilyn Monroe with co-star Jane Russell in an image from their classic film Gentlemen Prefer Blondes with a press-snipe glued to the verso, credit stamps, and a red date stamp for "May 4 1953"; an original vintage print photograph of Marilyn and Jane from the film holding top hats from the National Film Archive London; and a National Screen Service Corp. press release photo of Marilyn and Jane depicted from the film; each 8 x 10 inches.

Estimate: $80,000 - $120,000 / Sold: - 
2022-07-16-JULIENS-Hollywood_Legends-lot0971a 
2022-07-16-JULIENS-Hollywood_Legends-lot0971b  2022-07-16-JULIENS-Hollywood_Legends-lot0971c  2022-07-16-JULIENS-Hollywood_Legends-lot0971d 
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Lot 0987: "THERE'S NO BUSINESS LIKE SHOW BUSINESS" FILM-WORN ENSEMBLE (WITH BOOK AND PHOTOS)
A figure-hugging embellished gown worn by Marilyn Monroe while singing "After You Get What You Want You Don't Want It" in the musical There's No Business Like Show Business (Twentieth Century Fox, 1954).
The flesh tone crepe gown has a netting overlay and is generously embellished with silver and pearlized bugle beads in a starburst and foliate motif, scattered rhinestones, bouquets of bugle beads top with sequins and seed beads, with a cluster of monofilament fiber with silver and glittering flowers to the waist-high left leg slit. A sheer pleated vanity panel is present to the slit and was added post production for alternate filming and publicity images for release in countries that forbade such a revealing costume. Hand finishing work and a couture waistband are present to the interior. A 20th Century label with no inscription and a bias label inscribed "1-25-1-4692 M. Monroe A-729-28" are present. Costume design by William "Billy" Travilla.
Also included is a matching headpiece of silver and glitter flowers, accented with a spray of monofilament fibers with a bias label inscribed "1-25-4-4692 A729-29 M.Monroe," and a pair of strappy satin Pacelle Saks Fifth Avenue high heels that are not original to the costume.
Accompanied by a coffee table book titled The Marilyn Album (Gallery Books, 1991) by Nicki Giles, which features photographs of Monroe wearing the ensemble. Also accompanied by an original vintage press photo of Marilyn in the film and a 20th Century Fox press release photo of Marilyn from a scene in the film; each 8 x 10 inches.

Estimate: $80,000 - $100,000 / Sold: -

2022-07-16-JULIENS-Hollywood_Legends-lot0987a  2022-07-16-JULIENS-Hollywood_Legends-lot0987b  2022-07-16-JULIENS-Hollywood_Legends-lot0987k 
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2022-07-16-JULIENS-Hollywood_Legends-lot0987r  2022-07-16-JULIENS-Hollywood_Legends-lot0987s  2022-07-16-JULIENS-Hollywood_Legends-lot0987t 


Lot 0988: "THERE'S NO BUSINESS LIKE SHOW BUSINESS" LOBBY CARD
A #6 lobby card from the Marilyn Monroe film There's No Business Like Show Business (20th Century Fox, 1954).
11 x 14 inches

Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0988  


Lot 0989: "THERE'S NO BUSINESS LIKE SHOW BUSINESS" 3D SLIDES
A pair of three-dimensional stereo viewer slides of Marilyn Monroe as Vicky Parker in There's No Business Like Show Business (20th Century Fox, 1954). The stereo three-dimensional slides come from the collection of Ad Schaumer, an Assistant Director active in Hollywood between 1928 and 1966.
1.75 x 4 inches (each)
PROVENANCE Lot 859, Property From The Life and Career of Marilyn Monroe, Juliens Auctions, Los Angeles, November 17-19, 2016

Estimate: $200 - $300 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0989  


Lot 1006: BUS STOP" HANDWRITTEN NOTE
A note containing dialogue from Marilyn Monroe's classic film Bus Stop (20th Century Fox, 1956), with red ink stains and acting notes handwritten in pencil by Marilyn Monroe. Monroe's character, Cherie, asks Elma for help: "Pardon me I'm sorry to wake you/But I wonder if you could help/me/I'm being abducted/you know-kidnapped-by-him/I thought maybe as soon as/we got some place I'd ask the/driver to stop and let me off/But we been driving for hours, and we still don't seem to be, nowhere at all-not only that/but I'm freezing to death-I/ain't got much on under/my coat."
This note is reproduced in the book Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe. Edited by Stanley Buchthel and Bernard Comment. (Farrar, Straus and Giroux, New York, 2010).
11 x 8.5 inches
PROVENANCE Lot 193, Property From The Life and Career of Marilyn Monroe, Juliens Auctions, Los Angeles, November 17-19, 2016
Estimate: $2,000 - $3,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1006a  2022-07-16-JULIENS-Hollywood_Legends-lot1006b  


Lot 1007: "BUS STOP" LOBBY CARD GROUP WITH EILEEN HECKART SIGNED CARD (x 18)
A group of 18 Lobby cards from the film Bus Stop (20th Century Fox, 1956), starring Marilyn Monroe, one of which is signed in faded red marker by Monroe's co-star, Eileen Heckart. 8 x 10 inches (largest)
PROVENANCE Lot 736, Property From The Life and Career of Marilyn Monroe, Juliens Auctions, Los Angeles, November 17-19, 2016

Estimate: $200 - $300 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1007a  2022-07-16-JULIENS-Hollywood_Legends-lot1007b  2022-07-16-JULIENS-Hollywood_Legends-lot1007c 
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2022-07-16-JULIENS-Hollywood_Legends-lot1007p 


Lot 1008: 1956 PORTRAIT BODICE (WITH DVD)
A 19th Century-style bodice worn by Marilyn Monroe in a 1956 Jack Cardiff photo session. Monroe wore this bodice during a private photo session in which she was depicted with different hats as she purportedly reminded him of works by the great French painter, Renoir, with the series of photographs referred to as "Renoir Girl".
The boned faille bodice is embellished with ivory lace, black silk velvet, and jet-like foliate buttons. Also includes a piece of the original missing button.
Includes a DVD copy of Cameraman: The Life and Work of Jack Cardiff (Modus Operandi Films, 2010).
PROVENANCE Lot 93, Film and Entertainment, Christies, South Kensington, Sale number 9538, December 17, 2002

Estimate: $20,000 - $30,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1008a  2022-07-16-JULIENS-Hollywood_Legends-lot1008b  2022-07-16-JULIENS-Hollywood_Legends-lot1008d 
2022-07-16-JULIENS-Hollywood_Legends-lot1008c 


Lot 1009: "THE FIREBALL" STUDIO EVENING GOWN (WITH DVD AND BOOK)
A black velvet studio evening gown from the Marilyn Monroe production The Fireball (1950, Bert E. Friedlob Productions), with a bias label inscribed "M. Monroe 1 27 3 0396." The floor-length gown features a plunging neckline front zipper and tie, as well as three hook and eye closures. Also included is a matching black velvet belt and a loose shoulder pad.
Monroe has a very small role in the film, which premiered in Los Angeles on October 7, 1950, less than a week before her watershed performance in All About Eve (20th Century Fox, 1950) premiered in New York. She plays Polly, one of several women vying for the attention of roller-skating champion Johnny Casar (Mickey Rooney). As usual, she stands out as a vixen who loves him only for his fame and success.
The gown is seen worn in a publicity photo used to promote the film and also possibly worn in an early photo session with photographer, Ed Clark (photos available upon request).
Includes a DVD of the film and an edition of the book Monroe: Her Life in Pictures by James Spada (New York: Doubleday, 1982).
PROVENANCE Lot 225, Collectors Carrousel, Including Dolls, Toys, Slot Machines, Hollywood and Rock N Roll Memorabilia, Sothebys New York, Sale number 6384, December 17, 1992
Estimate: $20,000 - $30,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1009a  2022-07-16-JULIENS-Hollywood_Legends-lot1009b 
2022-07-16-JULIENS-Hollywood_Legends-lot1009c 
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2022-07-16-JULIENS-Hollywood_Legends-lot1009e  2022-07-16-JULIENS-Hollywood_Legends-lot1009f 


Lot 1010: "SOME LIKE IT HOT" PROMOTIONAL EPHEMERA ( x 16)
A collection of promotional items for the classic Marilyn Monroe comedy Some Like It Hot (Ashton Productions, 1959) starring Monroe, Jack Lemmon, and Tony Curtis. Included is a collection of twelve photographs of Monroe taken by photographer Richard Avedon (in original paper sleeve), two Art studies scrapbook pages, a page from the United Artists Pressbook, and a red postcard.
12.25 x 12.25 inches (largest)
Estimate: $500 - $700 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1010a  2022-07-16-JULIENS-Hollywood_Legends-lot1010b  


Lot 1011: "SOME LIKE IT HOT" AND "MARILYN" PERSONALLY OWNED RECORD ALUMS (x 2)
Two record albums, personally owned by Marilyn Monroe: Some Like It Hot: Original Music from the Motion Picture Soundtrack (United Artists Records, 1959) and Marilyn (20th Fox Records, 1962).
12.25 x 12.25 inches
PROVENANCE From the Estate of Marilyn Monroe

Estimate: $1,000 - $2,000 / Sold: -
 2022-07-16-JULIENS-Hollywood_Legends-lot1011d  2022-07-16-JULIENS-Hollywood_Legends-lot1011b  2022-07-16-JULIENS-Hollywood_Legends-lot1011c 
2022-07-16-JULIENS-Hollywood_Legends-lot1011g   2022-07-16-JULIENS-Hollywood_Legends-lot1011e  2022-07-16-JULIENS-Hollywood_Legends-lot1011f 


Lot 1012: "LET'S MAKE LOVE" FILM-WORN BLOUSE (WITH DVD)
A custom-made pale pink silk blouse worn by Marilyn Monroe as "Amanda Dell" in Let's Make Love (Twentieth Century Fox, 1960). The fitted blouse is tailored with simulated pearl buttons and hand finishing work to the interior. A Twentieth Century Fox label with no inscription is present.
Monroe as Amanda can be seen wearing the blouse while rehearsing the musical number "Incurably Romantic" with Jean-Marc Clement (played by Yves Montand). After a rehearsed stage kiss, Amanda realizes she is falling in love with her co-star.
Includes a DVD of the film.
PROVENANCE Lot 238, Film and Entertainment, Christies, South Kensington, Sale number EPH 3127, December 16, 1988

Estimate: $20,000 - $30,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1012a  2022-07-16-JULIENS-Hollywood_Legends-lot1012b 
2022-07-16-JULIENS-Hollywood_Legends-lot1012c  2022-07-16-JULIENS-Hollywood_Legends-lot1012d 


Lot 1013: "THE MISFITS" EVE ARNOLD PHOTOGRAPH
A large color photograph print of Marilyn Monroe on the set of The Misfits (Seven Arts Productions, 1961) taken by photographer Eve Arnold in 1960.
21.5 x 18.5 inches

Estimate: $600 - $800 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1013  


Lot 1014: "THE MISFITS" RECEIVED TELEGRAM AND PERSONAL PRESS CLIPPINGS (x 8)
From the Personal Files of Marilyn Monroe: A Western Union telegram dated January 12, 1961, from "Nan" who praised Marilyn on her performance in The Misfits (Seven Arts Productions, 1961). The message reads, "Your Roslyn is a gift of Joy and Light and 'The still sad music of Humanity.' Love, Nan." Also included in this lot, eight press clippings from various newspapers across the United States with stories about Marilyn's latest film, The Misfits, from her personal files.
PROVENANCE: From the Archives of Marilyn Monroes Personal Property

Estimate: $150 - $250 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1014 


Effets personnels / Personal Effects


Lot 0955: BRENTWOOD HOUSE BATHROOM TILE
A small ceramic flower bathroom tile from the Brentwood, CA house in which Marilyn Monroe died in August 1962.
5.5 x 1.75 inches
PROVENANCE From The Collection of Lynda Nunez
Estimate: $1,000 - $2,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0955a  2022-07-16-JULIENS-Hollywood_Legends-lot0955b  


Lot 0956: SET OF ROSENTHAL "DONATELLO" PATTERN COFFEE CUPS AND SAUCERS
A set of five Rosenthal "Donatello" pattern cream colored coffee cups and six saucers with gilt rims. These belonged to Marilyn Monroe and passed into the collection of Lee Strasberg, her acting coach and executor of her estate.
2.25 inches
PROVENANCE From the Estate of Lee Strasberg

Estimate: $1,000 - $2,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0956a  2022-07-16-JULIENS-Hollywood_Legends-lot0956b  2022-07-16-JULIENS-Hollywood_Legends-lot0956c 
2022-07-16-JULIENS-Hollywood_Legends-lot0956d  2022-07-16-JULIENS-Hollywood_Legends-lot0956e 
2022-07-16-JULIENS-Hollywood_Legends-lot0956f  2022-07-16-JULIENS-Hollywood_Legends-lot0956g   


Lot 0957: MARILYN MONROE: BEIGE DAL CO. SHOES
A pair of beige heels by Dal Co., worn by Marilyn Monroe. The heels exhibit no-slip heel inserts, worn heels and soles, and very scuffed toes and sides. The shoes are stamped both "38" and "15."
PROVENANCE Lot 399, Marilyn Monroe: Property From the Estate of Lee Strasberg, Juliens Auctions, November 17-20, 2016

Estimate: $6,000 - $8,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0957  


Lot 0999: 1950S-1960S PERSONALLY OWNED PRESS CLIPPINGS (x 35)
A collection of global press articles and newspaper clippings from various years all related to Marilyn Monroe; the articles feature headlines and stories about the star's personal life and career, and many are circled or annotated in colored wax pencil or pen; like most stars of the era, Monroe paid a 'clipping service' to scour national and international publications that wrote about her; lot includes approximately 35 clippings. Various Sizes
PROVENANCE: From the Archives of Marilyn Monroes Personal Property
Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0999  


Lot 1000: 1950S-1960S PERSONALLY OWNED PRESS CLIPPINGS (x 45)
A collection of global press articles and newspaper clippings from various years all related to our gal; the articles feature headlines and stories about the star's personal life and career, and many are circled or annotated in colored wax pencil or pen; l ike most stars of the era, Monroe paid a 'clipping service' to scour national and international publications that wrote about her; lot includes approximately 45 clippings, along with Marilyn's personal copy of LIFE magazine dated August 15, 1960. Various Sizes
PROVENANCE: From the Archives of Marilyn Monroes Personal Property
Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1000  


Lot 1001: 1950S-1960S PERSONALLY OWNED PRESS CLIPPINGS (x 45)
A collection of global press articles and newspaper clippings from various years all related to our gal; the articles feature headlines and stories about the star's personal life and career, and many are circled or annotated in colored wax pencil or pen; like most stars of the era, Monroe paid a 'clipping service' to scour national and international publications that wrote about her; lot includes approximately 45 clippings along with Marilyn's personal copy of McCall's magazine dated April 1960.
Various Sizes
PROVENANCE: From the Archives of Marilyn Monroes Personal Property
Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1001 


Lot 1002: 1950S-1960S PERSONALLY OWNED PRESS CLIPPINGS (x 65)
A collection of global press articles and newspaper clippings from various years all related to our gal; the articles feature headlines and stories about the star's personal life and career, and many are circled or annotated in colored wax pencil or pen; like most stars of the era, Monroe paid a 'clipping service' to scour national and international publications that wrote about her; lot includes approximately 45 clippings along with Marilyn's personal copy of The American Weekly magazine from May 10, 1959.
Various Sizes
PROVENANCE: From the Archives of Marilyn Monroes Personal Property
Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1002  


Lot 1003: 1950S-1960S PERSONALLY OWNED PRESS CLIPPINGS (x 65)
A collection of global press articles and newspaper clippings from various years all related to our gal; the articles feature headlines and stories about the star's personal life and career, and many are circled or annotated in colored wax pencil or pen; like most stars of the era, Monroe paid a 'clipping service' to scour national and international publications that wrote about her; lot includes approximately 65 clippings, along with Marilyn's own copy of a McCall's magazine dated May 1953 which has a handwritten message to her penned in blue ballpoint ink on the cover reading "Pg 28 - The story I told you about."
Various Sizes
PROVENANCE: From the Archives of Marilyn Monroes Personal Property

Estimate: $300 - $500 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1003 


Merchandising & Hommages / Tributes


Lot 0923: MARILYN MONROE AFTER ANDY WARHOL SUNDAY B. MORNING PRINTS PORTFOLIO (x 10)
A portfolio of 10 Sunday B. Morning prints of Andy Warhol's art featuring Marilyn Monroe. The verso of each print features an embossed stamp certifying that it was published by Morning.
Accompanied by 10 Certificates of Authenticities from Sunday B. Morning.
36.25 x 36.25 inches (each)

Estimate: $2,000 - $3,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0923a  2022-07-16-JULIENS-Hollywood_Legends-lot0923b  2022-07-16-JULIENS-Hollywood_Legends-lot0923c 
2022-07-16-JULIENS-Hollywood_Legends-lot0923d  2022-07-16-JULIENS-Hollywood_Legends-lot0923e  2022-07-16-JULIENS-Hollywood_Legends-lot0923f 
2022-07-16-JULIENS-Hollywood_Legends-lot0923g  2022-07-16-JULIENS-Hollywood_Legends-lot0923h  2022-07-16-JULIENS-Hollywood_Legends-lot0923i 
2022-07-16-JULIENS-Hollywood_Legends-lot0923j  2022-07-16-JULIENS-Hollywood_Legends-lot0923k  2022-07-16-JULIENS-Hollywood_Legends-lot0923l 


Lot 0926: MARILYN MONROE AND OTHERS UNCUT ARCADE CARD SHEET 
An uncut arcade card sheet of Marilyn Monroe, Charlotte Austin, Debra Paget, Midge Ware, and other models from the 1930's-1950's.
22.75 x 28.75 inches

Estimate: $500 - $700 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot0926a  2022-07-16-JULIENS-Hollywood_Legends-lot0926b


Lot 0928: MARILYN MONROE: DOUGLAS KIRKLAND POSTER PRINT
A 1987 poster print of Marilyn Monroe taken by photographer Douglas Kirkland in 1961. The poster is rolled.
28 x 20 inches

Estimate: $100 - $200 / Sold:
2022-07-16-JULIENS-Hollywood_Legends-lot0928 


Lot 0929: MARILYN MONROE: DOUGLAS KIRKLAND POSTER PRINT
A 1986 poster print of Marilyn Monroe taken by photographer Douglas Kirkland in 1961. The poster is rolled.
23 x 35 inches

Estimate: $100 - $200 / Sold:
2022-07-16-JULIENS-Hollywood_Legends-lot0929  


Lot 1022: 1990-1992 WALL CALENDARS BY ATHENA INTERNATIONAL, LTD.
A group of 22; all oversized with a spiral-bound top margin; one is from 1990; eight are from 1991; 13 are from 1992; these old calendars with their high-gloss images are great for art projects like decoupage!
The 1991 and 1992 calendars feature images of the star that were shot by Ed Feingersh in New York City for an article that appeared in the July 1955 issue of Redbook magazine. These images were then lost for 33 years until they were rediscovered in 1988, making the cover story of the February 1988 issue of L.A. Style under the tagline: "Marilyn: Lost Images." There was also a 1988 exhibit of these images at the G. Ray Hawkins gallery in Los Angeles, CA.
16 x 12 inches
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1022  


Lot 1023: 1990-2006 UNUSED WALL CALENDARS
A group of 17; ranging in date from 1990 to 2006, most still sealed, issued by various companies throughout the decades, featuring a range of, of course, stunning images of the star; these old calendars are good for art projects like decoupage - that's what I use them for, anyway.
Largest, 12 x 12 inches
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1023  


Lot 1024: 1990S "PRINT PORTFOLIOS"
A group of three; the first issued by Pyramid Books is titled "Marilyn Monroe: The Classic Poster Book" and features 5 separate color images of the star (the 'blue Capri pants' image is now missing); the second issued by Pomegranate Publications in 1990 is titled "Marilyn Monroe: Print Portfolio" and features 8 separate color images of the star (these are actually very pretty 'colorized' ones); the third issued by Classico San Francisco, Inc. is titled "Marilyn Monroe by Sam Shaw" and features 6 separate color images of the star all shot by her good friend, Sam Shaw.
Largest, 17 x 12 inches
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1024a  2022-07-16-JULIENS-Hollywood_Legends-lot1024b  


Lot 1025: 1990S "VINTAGE INSPIRED" TIN ADVERTISING SIGNS
A set of two both featuring beautiful images of the star from different stages of her career; one is for "Lustre-Creme Shampoo" with a vivid blue background, handwritten production information is penned in black felt-tip ink in the lower left corner; one is for "Tru-Glo Liquid Make-Up" with a tomato red background, text in the lower left corner reads "TM & © 1994 The Estate of Marilyn Monroe."
12 x 16 inchess
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1025 


Lot 1026: 1990S RANDOM FLAT COLLECTIBLES
A group of eight pieces all featuring images of Marilyn on them including: 1) a still-sealed tabletop standee with no year indicated; 2) a still-sealed pack of gift wrap paper from 1988; 3) a pack of Hallmark invitations from 1984; 4) another identical pack of invitations from 1984; 5) a checkbook cover from 1988; 6) a different checkbook cover from 1988; 7) a checkbook cover with no year indicated; and 8) a lapel button with no year indicated.
Largest, 19.5 x 7 inches.

Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1026  


Lot 1027: 1990S T-SHIRTS
A group of seven; all cotton, still new and never worn; including two identical 'men's cut' pink ones, size L; one 'women's cut' pink one, size L; two identical 'men's cut' black ones, size L; one 'women's cut' black one, size L; and one 'women's cut' black one, size S.
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1027  


Lot 1028: 1992 COLLECTION OF IDENTICAL SMALL POSTERS RELEASED BY THE ESTATE OF MARILYN MONROE
A group of 18 identical posters all featuring a stunning black and white image of our gal with her red facsimile signature below and additional text noting in part that "The Estate of Marilyn Monroe" and the "Estate of Lee Strasberg" released these in 1992; also, a teeny tiny image of a self-portrait MM did randomly appears in the lower right corner - weird.
14 x 10.5 inches 

Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1028  


Lot 1029: 1995 COLLECTIBLES RELATED TO HER USPS STAMP
A group of two items that were officially released to commemorate the 32-cent stamp of the star that the United States Postal Service issued in 1995 including: an enlarged version of the stamp printed on tin, and a weighty pewter belt buckle; both note the date of "1995" and that they're sanctioned by the "United States Postal Service" and "The Estate of Marilyn Monroe."
Largest, 16.5 x 10.5 inches

Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1029a  2022-07-16-JULIENS-Hollywood_Legends-lot1029b 
2022-07-16-JULIENS-Hollywood_Legends-lot1029c  


Lot 1030: 1995 COLLECTIBLES RELATED TO HER USPS STAMP
A group of three items that were officially released to commemorate the 32-cent stamp of the star that the United States Postal Service issued in 1995 including: an enlarged version of the stamp printed on tin, a weighty pewter belt buckle, and a ceramic mug; all note the date of "1995" and that they're sanctioned by the "United States Postal Service" and "The Estate of Marilyn Monroe."
Largest, 16.5 x 10.5 inches 

Estimate: $50 - $75 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1030a  2022-07-16-JULIENS-Hollywood_Legends-lot1030b  


Lot 1031: 1998 LIMITED EDITION COLLECTOR'S PLATE BY THE BRADFORD EXCHANGE
A brass wall hanging with a raised image depicting a larger version of the 32-cent stamp the United States Postal Service issued of Marilyn Monroe in 1995; back has a sticker reading in part "The Estate of Marilyn Monroe / and United States Postal Service."
12 x 8 x .5 inches 

Estimate: $50 - $100 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1031a  2022-07-16-JULIENS-Hollywood_Legends-lot1031b  


Lot 1032: 1998 LIMITED EDITION COLLECTOR'S PLATE BY THE BRADFORD EXCHANGE
A piece made of ceramic; depicting an alluring color image of the star shot by Milton H. Greene with her facsimile signature printed on the lower right side; verso displays the date of "1998" plus other relevant information; included with a COA noting this is a "limited edition" titled "Satin and Lace."
Diameter, 8 inches 

Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1032a  2022-07-16-JULIENS-Hollywood_Legends-lot1032b  


Lot 1033: 2010 LIMITED EDITION COLLECTIBLE WINE GLASSES BY THE BRADFORD EXCHANGE
A group of four white wine glasses; featuring two different black and white images of the star on the front, all with black-painted stems; included with two COAs noting these are called "Blonde Perfection" and that they're from a "Limited Edition" of the "Marilyn Monroe Signature Wine Glass Collection." 
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1033  


Lot 1034: 1998 SMALL MUSICAL STATUETTE BY THE FRANKLIN MINT
A piece made of hard resin with the star's facsimile signature on the bottom front; featuring a tiny 3D Marilyn inside a glass dome. She wears a costume from Some Like It Hot (Ashton Productions, 1959). A button on the bottom activates a recording of her singing "I Wanna Be Loved By You.". 
Estimate: $25 - $50 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1034  


Lot 1369: HUGH HEFNER: SIGNED FIRST-ISSUE "MARILYN MONROE" "PLAYBOY" MAGAZINE
A December 1953 "Volume I, Number I" issue of Playboy magazine featuring a black and white image of Marilyn Monroe on the cover as well as a three-page spread depicting her nude on pages 17-19, signed in black marker on the cover by magazine founder Hugh Hefner.
Accompanied by a Letter of Authenticity from JSA. 

Estimate: $10,000 - $20,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1369a  


Lot 1494: WILLEM DAFOE: SUPER BOWL COMMERCIAL-WORN "THE SEVEN YEAR ITCH" MARILYN MONROE STYLE DRESS
Dafoe wore the gown in a 2016 Snickers brand Super Bowl commercial, in which he plays a hungry version of Marilyn Monroe on the set of The Seven Year Itch filming the subway grate scene. William Travilla designed the original white halter dress with sunburst pleated skirt that Monroe wore. 
Estimate: $2,000 - $3,000 / Sold: -
2022-07-16-JULIENS-Hollywood_Legends-lot1494a 
2022-07-16-JULIENS-Hollywood_Legends-lot1494b 


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

25 avril 2013

1960 - Interview de Marilyn par Georges Belmont

1960-10-Georges_Belmont-interview-Marie_Claire-1  C'est par l'intermédiaire de Ruppert Allan, chargé de la promotion de Marilyn, qu'eut lieu en 1960 la grande interview entre Marilyn Monroe et Georges Belmont. Ce dernier était alors rédacteur en chef de la revue Marie-Claire, qui publiera l'interview dans le numéro 72 du mois d' octobre 1960. L'interview se déroula pendant le tournage du film Let's Make Love (Le milliardaire) qui connut un succès particulier en France en raison de l'interprétation d'Yves Montand.
Georges Belmont réussit bientôt à gagner la confiance de Marilyn. Il faut dire qu'il lui avait promis de mettre à sa disposition une transcription de l'interview et en outre de s'en tenir rigoureusement dans le texte écrit à la formulation orale de ses propos. La base était donc bonne. Tous ceux qui, par la suite, prirent connaissance de cet entretien, durent reconnaître avec étonnement qu'ils n'avaient jamais entendu Marilyn parler d'elle-même avec tant de naturel.
Voilà comment Georges Belmont dépeint l'ambiance : "Je la laissais parler. La seule pression dont j'usais était le silence. Quand elle s'arrêtait de parler, je ne disais rien et, au bout du silence, quand elle n'en pouvait plus, ce qui venait alors était souvent capital et terriblement émouvant presque toujours."

Marilyn Monroe: J'aimerais mieux répondre à des questions. Je ne sais pas raconter, c'est terrible... par ou commencer? Comment? Il y a tant de ramifications...

Georges Belmont: Tout de même, il y a eu un commencement : votre enfance.

Marilyn Monroe: Même cela, personne n'en saurait rien, sans un pur hasard.
Longtemps, mon passé, ma vie sont restés totalement inconnus. Jamais je n'en parlais. Sans raison particulière. Simplement, je trouvais que c'etait mon affaire et pas celle des autres. Puis un jour, un M. Lester Cowan a voulu me mettre dans un film avec Groucho Marx, 'Love Happy'. J'avais déjà été sous contrat avec la Fox et la Columbia, à l'époque, mais saquée... C'était un petit rôle qu'il m'offrait, ce M. Cowan, mais il tenait à m'avoir sous contrat. Donc, il téléphone. J'etais encore très jeune et il me dit qu'il voulait parler à mon père et à ma mère. Je lui dis : "Impossible." - "Pourquoi?" insiste-t-il. Je lui ai expliqué alors brièvement la chose : "Je n'ai jamais vécu avec eux." C'était la vérité et je ne vois toujours pas ce que cela avait de sensationnel. Mais il téléphona à la chroniqueuse Louella Parsons et lui raconta toute l'histoire. Cela parut dans la "colonne" de Louella. C'est comme ça que tout a commencé. Depuis, on a débité tant de choses fausses que, mon Dieu, oui, pourquoi ne pas dire la vérité maintenant?

Georges Belmont: Quelles sont les premières images de vous, enfant, que vous gardiez?

Marilyn Monroe (long silence) : Mon premier souvenir?... C'est un souvenir de lutte pour la vie. J'etais toute petite... un bébé dans un petit lit, oui, et je luttais pour ma vie. Mais j'aimerais mieux ne pas en parler, si cela vous est égal : c'est une chose cruelle qui ne regarde que moi et personne d'autre, comme je disais. Ensuite, aussi loin que je remonte, je me revois dans une poussette, en longue robe blanche, sur le trottoir de la maison ou je vivais dans une famille qui n'était pas la mienne. C'est un fait que je suis une enfant naturelle. Mais tout ce que l'on a dit de mon père, ou de mes pères, est faux. Le premier mari de ma mère s'appellait Baker. Le second, Mortenson. Mais elle avait depuis longtemps divorcé d'avec les deux quand je suis née. On a raconté que mon père était norvégien, sans doute à cause du nom Mortenson, et qu'il était mort dans un accident de moto, peu après ma naissance. J'ignore si c'est vrai de Mortenson, n'ayant jamais eu de lien de parenté avec lui. Quant à l'indentité de mon vrai père, là encore, si vous le voulez bien, je vous prierai de ne pas m'interroger ; cela n'intéresse que moi. Cependant, il y a deux faits qui peuvent expliquer certaines... confusions. D'abord, on m'a toujours dit dans ma petite enfance que mon père s'était tué dans un accident d'automobile à New York, avant ma naissance. Ensuite, curieusement, mon bulletin de naissance porte, en réponse à une mention "Profession", le mot Baker, qui était le nom du premier mari de ma mère, mais qui veut dire aussi "boulanger". Quand je suis née, enfant naturelle ainsi que je l'ai dit, ma mère devait me donner un nom. Mon sentiment est que, forcée de penser vite, elle donna : "Baker". Pure coincidence, puis confusion de la part de l'officier d'état civil... C'est du moins ce que je pense.

Georges Belmont: Votre mère... J'ai lu quelque part que, pour vous, elle n'était que "la femme aux cheveux roux"?

Marilyn Monroe: Je n'ai jamais vécu avec ma mère. On a dit le contraire, mais cela seul est vrai. Aussi loin que je remonte dans mes souvenirs, j'ai toujours vécu en pension chez des gens. Ma mère avait des... troubles mentaux. Elle est morte maintenant. Mes grands-parents maternels sont morts tous les deux fous, enfermés. Ma mère, aussi, il fallut l'interner. Elle sortait parfois, et puis elle... rechutait. Alors, vous savez comme c'est... toute petite, je disais en montrant la première femme venue : "Oh! une maman!", et le premier homme : "Oh! un papa!". Mais un matin, je devais avoir trois ans, pas plus, on me baignait et je dis "maman" à la femme qui s'occupait de moi à l'époque. Elle me répondit : "Je ne suis pas ta maman. Appelle-moi 'tante'." - "Mais lui est mon papa?" dis-je ne montrant son mari. - "Non", me dit-elle. "Nous ne sommes pas tes parents. Celle qui vient te voir de temps en temps, la femme aux cheveux roux, celle-là est ta maman." Ce fut un choc d'apprendre cela, mais comme elle venait très rarement, c'est vrai que, pour moi, elle resta surtout "la femme aux cheveux roux". Tout de même, j'essayais qu'elle existait. Seulement, plus tard, quand on me mit dans un orphelinat, j'ai eu un autre choc. Je savais lire, alors. Quand j'ai lu "orphelinat" en lettres d'or sur fond noir, il a fallu me traîner, je hurlais : "Je ne suis pas une orpheline! J'ai une maman!" Mais par la suite, j'ai fini par penser : "Il faut croire qu'elle est morte..." Et, plus tard encore, des gens me disaient : "Ta mère, mieux vaut que tu l'oublies." - "Mais ou est-elle?" demandais-je. - "N'y pense plus, elle est morte." Après quoi, tout à coup, j'avais de ses nouvelles... Et il en fut ainsi pendant des annèes. Je la croyais morte et je le disais. Et elle vivait. Ce qui fait qu'on a prétendu que j'avais inventé qu'elle était morte, parce que je ne voulais pas avouer où elle était. Idiot!
En tout cas, j'ai eu... attendez que je compte... dix, non onze "familles". La première vivait dans une petite ville du comté de Los Angeles ; je suis née à Los Angeles. Il y avait avec moi un petit garçon que ces gens adoptèrent ensuite. Je suis restée avec eux jusqu'à l'âge de sept ans environ. Ils étaient affreusement sévères. Sans méchanceté. C'était leur religion. Ils m'élevèrent à leur manière, durement, en me corrigeant souvent comme on ne devrait jamais le faire, à mon avis: à coup de ceinturon de cuir. Finalement, cela se sut ; on me retira pour me confier à un couple anglais, à Hollywood. Ceux-là étaient des acteurs, des figurants plutôt, avec une fille de vingt et un ans qui était la doublure de Madeleine Carroll. Chez eux, c'était la vie sans souci, et assez tumultueuse. Cela me changeait de la première famille ou on ne pouvait même pas parler de cinéma ou d'acteurs, ni de danser ou de chanter, sauf des psaumes. Mes "nouveaux parents" travaillaient dur, quand ils travaillaient et jouissaient de la vie le reste du temps. Ils aimaient danser, chanter, boire, jouer aux cartes et avoir beaucoup d'amis. Avec l'éducation religieuse que j'avais reçue, j'étais terrifiée : je les voyais tous en enfer! Je passais des heures à prier pour eux. Je me rappelle une chose... au bout de quelques mois, je crois, ma mère acheta une petite maison où tout le monde alla vivre. Pas pour longtemps ; trois mois au plus. Cette fois encore, ma mère dut être... emmenée. Et même pendant ces trois mois, je la vis à peine. Bref, ce fut un grand changement. Après son départ, nous regagnâmes Hollywood. Ces anglais me gardèrent tant qu'il y eut de l'argent... l'argent de ma mère, de ses biens et d'une assurance qu'elle avait souscrite. C'est avec eux que j'ai fait la connaissance du cinéma. Je n'avais pas huit ans. Ils me déposaient devant une des grandes salles d'Hollywood, L'Egyptien ou le Grauman's Chinese tôt le matin. Toute seule, je regardais les singes en cage devant l'Egyptien, ou j'essayais de placer mes pieds dans les moulages de ceux des stars, à l'entrèe du Grauman's: mais je n'y arrivais jamais, j'avais de trop grands souliers... C'est drôle de penser que mes empreintes y sont, et que maintenant, d'autres petites filles font peut-être comme moi autrefois.
Ils me conduisaient donc là chaque samedi et dimanche. C'était repos pour eux et j'imagine qu'ils ne voulaient pas s'encombrer d'un enfant à la maison. D'ailleurs, cela valait probablement mieux pour moi.
J'attendais l'ouverture, je donnais mes dix cents et m'installais au premier rang. J'ai vu toutes sortes de films comme cela. Je me souviens de 'Cléôpatre', avec Claudette Colbert.
Je restais là, tard, séance après séance. J'étais censée rentrer avant la nuit. Mais comment pouvais-je savoir quand c'était la nuit?! Et puis, on était bien; et même si je ne pouvais rien acheter quand j'avais faim, je savais qu'on me garderait de quoi manger. Alors, je restais. J'avais mes stars préférées. Jean Harlow!... Mes cheveux étaient platines ;on m'appelait "Tête d'étoupe". Je détestais ça, je rêvais de cheveux blond doré... jusqu'à ce que je l'ai vue : si belle, et platine, comme moi!... Et Clark Gable! J'éspère qu'il ne m'en voudra pas si je dis que je voyais en lui mon père, je n'étais qu'une gamine, et, d'après Freud, il n'y a pas mal à cela, au contraire! Je rêvais que mon père lui ressemblait, ou même qu'il était mon père... ce qui me rappelle que c'est curieux, mais je n'ai jamais rêvé que personne fût ma mère... Ou en étais-je?!

Georges Belmont: Le couple anglais. Quand il n'y a plus eu d'argent...

Marilyn Monroe: Oui. On m'a mise à l'orphelinat. Oh! mais, attendez! Oh!... non! Quand ces anglais n'ont plus pu me garder, je suis allée vivre chez des gens à Hollywood. Des gens de la Nouvelle-Orléans. Je m'en souviens parce qu'ils prononçaient "New Orlinns".
Mais je n'y suis pas restée longtemps. Trois, quatre mois. Je me rappelle seulement que le mari était opérateur de cinéma et que, tout à coup, on m'a conduite à l'orphelinat. Je sais, certains prétendent que ce n'était pas un endroit si affreux. Mais je sais aussi que la maison a beaucoup changé ; peut-être est-ce moins sinistre à présent... bien que l'orphelinat le plus moderne du monde demeure un orphelinat, si l'on voit ce que je veux dire.
La nuit, quand les autres dormaient, je restais à la fenêtre du dortoir et je pleurais parce que, loin et haut par-dessus les toits, je voyais briller les lettres des studios R.K.O. et que ma mère y avait travaillé come monteuse. Des annèes après, en 1951, quand je tournais 'Clash by night' pour R.K.O., je suis montée là-haut pour essayer de voir l'orphelinat; mais il y avait de trop grands buildings. J'ai lu, je ne sais où, que nous n'étions pas plus que trois ou quatre par chambre dans cet orphelinat. C'est faux. J'étais dans un dortoir de vingt-cinq lits, dont on pouvait faire le tour si on le méritait, en remontant du lit n°1 au lit n°27, qu'on appelait le "lit d'honneur". Et du 27, si l'on était très sage, on pouvait espérer passer dans un autre dortoir avec moins de lits. J'y ai réussi une fois. Mais un matin, où j'étais en retard, je pense, et où je laçais mes chaussures, la surveillante me dit : "Descendez!" Je tentai de lui expliquer: "Mais il faut que j'attache mes souliers!" Elle me foudroya : "retour au lit n°27!".
Le lever était à 6 heures et nous devions faire certaines corvées avant d'aller à l'école. Nous avions chacune un lit, une chaise et une armoire. Tout cela devait être très propre, astiqué, à cause des inspections à l'improviste. J'ai nettoyé le dortoir pendant un temps. Tous les jours, bouger les lits, balayer, épousseter. Les salles de bain, c'était plus facile: moins de poussière, à cause du sol en ciment. J'ai travaillé également aux cuisines. Je lavais la vaisselle. Nous étions cent: je lavais donc cent assiettes et autant de cuillères et de fourchettes... pas de couteaux ni de verres; nous buvions dans les quarts. Seulement, à la cuisine, on gagnait des sous: cinq cents par mois et à cela, après qu'on vous retenait un cent pour l'école du dimanche. Bref, on se retrouvait avec un cent au bout du mois, s'il n'y avait que quatre dimanches; de quoi acheter peut-être un petit cadeau pour sa meilleure amie, à Noël, en économisant. Je ne peux pas dire que j'étais très heureuse. Je n'étais pas bien avec les surveillantes. Mais la directrice était très gentille. Je me souviens, qu'un jour, elle me fait appeller dans son bureau et me dit: "Vous avez une très jolie peau, mais un peu luisante. Nous allons y mettre un soupçon de poudre, pour voir." Je me sentais honorée d'être là. Elle avait un petit pékinois qu'on empêchait d'aller avec les enfants parce qu'il les mordrait, mais qui me fit des tas d'amitiés. Comme j'adorais déjà les chiens, imaginez!... J'étais si honorée, vraiment, que je marchais dans les airs.
Un peu plus tard, j'ai voulu m'évader avec d'autres camarades. Pour aller où ? Nous n'en avions pas la moindre idée. Le temps de traverser une grande pelouse, nous étions déjà rattrapées. Quand on me ramena, je suppliais: "Ne le dites pas à la directrice!" - parce que je la voyais encore me sourire en me tapotant le nez avec sa houpette, et parce qu'elle m'avait laissé caresser son petit chien.
Même maintenant, cela revient parfois, quand je suis trop nerveuse ou surexcitée. Une fois, j'avais un petit rôle, avec une scène où je devais gravir un escalier; j'ai oublié ce qui arriva, mais le metteur en scéne assistant se précipita vers moi en me criant des mots et j'en fus si bouleversée que, au moment de la reprise, impossible de dire la réplique! Rien qu'un affreux bafouillis. Sur quoi, le metteur en scène, furieux, se précipite à son tour et crie : "Tout de même, vous ne bégayez pas?" - "V-v-vous croyez ça?" lui ai-je dit. C'était horrible! Et ça l'est encore, quand je parle trop vite ou quand je dois faire un discours. Pénible!...
(Silence) Je voudrais qu'on en ait fini avec cette partie de ma vie...
(Silence)
Je suis restée environ un an et demi dans cet orphelinat. Nous allions à l'école. C'est très mauvais pour les enfants d'une institution comme celle là, d'aller à l'école publique. Les autres nous montraient du doigt et serinaient : "Oh, v'là les orphelins!" Nous avions honte.

A l'école, j'aimais bien le chant et l'anglais. Je détestais le calcul ; je n'avais pas l'esprit à ça ; pendant les leçons, mes rêves s'envolaient par la fenêtre. Mais j'étais bonne en gymnastique et en sport. J'étais très grande. A l'orphelinat, le premier jour, on n'a pas voulu me croire quand j'ai dit mon âge: neuf ans. On m'en donnait quatorze. Je mesurais presque ma taille actuelle: 1m63. Mais j'étais très maigre jusqu'à onze ans, où les choses ont changé. Je n'étais plus à l'orphelinat, à cet âge. Je m'étais tellement plainte à ma tutrice qu'elle me sortit de là. C'était une vieille amie de ma mère. Grace McKee. Elle est morte il y a onze ans. A l'époque où elle était devenue ma tutrice, elle était chef monteuse chez Columbia. Puis on la renvoya et elle a épousé alors un homme de dix ans plus jeune qu'elle et père de trois enfants. Ils étaient très pauvres et, pour cela, ne pouvaient s'occuper de moi. En outre, je pense qu'elle estimait que son premier devoir allait à son mari et aux enfants de celui-ci, ce qui est normal. Néanmoins, elle était merveilleuse pour moi, à bien des égards. Sans elle, j'aurais pu me retrouver Dieu sait où, à l'Assistance Publique jusqu'à 18 ans.
A mon orphelinat, qui était privé, elle venait me voir et me sortait. Pas souvent, mais tout de même... cela me donnait du courage. Je n'avais que neuf ou dix ans, et elle me laissait jouer avec son rouge à lèvres ou me menait chez le coiffeur pour une ondulation... chose inouïe, d'abord parce que c'était interdit, et puis parce que j'avais les cheveux raides: alors vous imaginez ce que cela représentait! De plus, c'est elle qui me retira de l'orphelinat, après mes plaintes, ainsi que je l'ai dit. Naturellement, cela signifia d'autres "familles". Je me souviens d'une où je restais trois ou quatre semaines. Je m'en souviens à cause de la femme qui allait livrer des choses que son mari fabriquait. Elle m'emmenait avec elle, et oh! la voiture me rendait si malade!...
J'ignore si on les payait pour me garder. Je sais seulement que, après eux, j'ai tout le temps changé de maison. Certaines familles me prenaient à la fin d'un trimestre scolaire et en avaient assez, après les vacances; ou peut-être étais-ce l'arrangement. Par la suite, le comté de Los Angeles m'a prise en charge. C'était pire: je détestais ça. Même à l'orphelinat, quand j'allais à l'école, j'essayais toujours de ne pas avoir l'air d'une orpheline. Mais maintenant, une femme arrivait et disait: "Voyons, voyons... lève les pieds" et elle marquait: "Paire de chaussures". Puis: "A-t-elle un chandail ?" Ou encore: "Je crois que la pauvre fille aurait bien besoin de deux robes, une pour l'école, une pour le dimanche." Et les chandails étaient en coton et laids, les robes semblaient taillées dans de la toile de sac... Terrible! Et les chaussures! Je disais: "Je n'en veux pas!" Je m'arrangeais toujours pour me faire donner des robes, des robes de grandes personnes, qu'on recoupait à ma taille. Et la plupart du temps, j'avais des souliers de tennis: on en trouvait pour moins d'un dollar. Je devais être une drôle de fille, à cette époque. Très grande, comme je l'ai dit. Pas grimacière pour la nourriture. Mangeant de tout. Je le sais parce que, dans presque toute les familles, on disait que jamais on avait vu une enfant aussi peu difficile. Je sais aussi que j'étais très tranquille, avec les grandes personnes en tout cas. On m'appelait "la souris". Je parlais peu, sauf quand j'étais avec d'autres gosses. Alors je n'étais plus la même. Ils aimaient jouer avec moi. J'avais de l'invention; je disais: "On joue au divorce, au crime!" et eux me regardaient: "Mais où vas-tu prendre ça?".
J'étais probablement très différente des autres. Alors que les enfants refusent en général d'aller se coucher, jamais je ne rechignais. Au contraire, de moi-même je disais: "Je crois que je vais aller me coucher." J'aimais la solitude de ma chambre, et mon lit. J'aimais surtout me jouer le dernier film que j'avais vu. Debout sur mon lit, plus grande que jamais, je jouais tous les rôles, y compris ceux des hommes, et j'ajoutais des inventions de mon cru. J'adorais cela, tout comme jouer la comédie dans les fêtes scolaires.
Là, toujours à cause de ma taille, j'ai joué le roi une fois, et une autre fois le prince. J'ai eu une période heureuse, dans cette partie de ma jeunesse: celle où j'ai vécu chez "tante" Anna. C'était une vielle femme de soixante ou soixante-cinq ans, parente de Grace McKee. Elle m'aimait beaucoup et j'y étais très sensible. Elle me comprenait. Elle n'oubliait jamais qu'elle avait été jeune et ses merveilleuses histoires, tristes ou gaies, de ce temps passé, me fascinaient. Le soir, quand je faisais la vaisselle, j'étais si heureuse que je chantais ou sifflais par la fenêtre de la cuisine, et qu'elle disait: "Quel pinson! Je n'ai jamais rien entendu de pareil!". C'est vers la fin de cette période qu'on m'a mariée. Il y a peu de choses à dire de ce mariage. Grace McKee et son mari devaient partir pour la Virginie. A Los Angeles, ils touchaient vingt dollars du comté pour moi; si je partais avec eux, nous perdions cet argent. Comme ils n'étaient pas assez riches pour me faire vivre mais qu'ils m'aimaient bien, il fallait trouver un moyen de me "caser". En Californie, une jeune fille peut se marier à seize ans. On m'a donc donné le choix: ou entrer dans un Orphelinat d'Etat jusqu'à dix-huit ans ou me marier. J'avais presque seize ans; j'ai choisi le mariage.
Il s'appelait Dougherty, il avait vingt et un ans et travaillait dans une usine. Peu de temps après, ce fut la guerre. D'abord mobilisé comme moniteur d'éducation physique, il fut versé ensuite dans l'armée active, mais échoua finalement dans la marine marchande. Peu avant la fin de la guerre, j'allais à Las Vegas et obtins le divorce. J'avais vingt ans. Aujourd'hui, il est agent de police. J'ai travaillé en usine pendant la guerre. J'ai commencé par vérifier des parachutes, pour avions-cibles, pas pour hommes. Puis, je suis passée au "collage", comme on appelait ça... un enduit qu'on étalait sur ce qui servait à fabriquer les avions-cibles. C'était fastidieux et il y avait une mauvaise ambiance humaine. Les femmes parlaient surtout de l'emploi de leurs soirées et du prochain week-end. Je travaillais tout près de l'atelier de peinture au pistolet... rien que des hommes. Ils m'écrivaient des mots et s'arrêtaient de peindre, etc.
C'était si monotone que je travaillais vite, pour me débarrasser. Le résultat fut inattendu. On a dû trouver que j'abattais un travail formidable. Il y a eu une assemblée générale du personnel et le directeur m'a citée pour "bonne volonté exemplaire" et m'a remis une insigne en or et un bon du Trésor de vingt-cinq dollars. Les autres filles ont été folles de jalousie et m'ont mené la vie dure, après cela. Elles ricanaient et faisaient exprès de me bousculer quand j'allais remplir mon pot d'enduit; pour le renverser sur moi. Oh, j'ai souffert! Et puis, un jour, l'Armée de l'Air a voulu des photos de notre usine. Je revenais d'un congé, on m'appelle au bureau: "Où vous cachiez-vous?" Morte de peur, je réponds: "J'étais en permission régulière!"- ce qui était vrai. On me dit: "Là n'est pas la question. Voulez-vous poser pour des photos?" Bref, les photographes arrivèrent et prirent des photos. Ils en réclamèrent d'autres, hors de l'atelier. Moi, j'avais peur de m'attirer des ennuis si je quittais mon travail. J'ai refusé, j'ai dit: "Demandez la permission." Ils l'ont obtenue et j'ai passée plusieurs journées à poser ici, là, et à tenir des trucs, pousser des trucs, tirer des trucs...
Les photos étaient développées dans les laboratoires Eastman-Kodak. Et là, les gens ont demandé qui était le modèle et en ont parlé aux photographes; si bien que l'un d'eux - David Conover - est revenu me dire: "Vous devriez faire le modèle. Vous gagneriez facilement cinq dollars de l'heure." Cinq dollars de l'heure, alors que j'en gagnais vingt par semaine, pour dix heures de travail par jour, les pieds sur le ciment! Il y avait de quoi tenter la moins folle des filles.
Je m'y suis mise peu à peu. C'était la fin de la guerre. J'ai quitté l'usine. Je me suis présentée à une agence. J'ai eu du travail. Photos publicitaires. Calendriers... Pas celui qui a fait tant de bruit; nous y viendrons. D'autres, où j'étais brune, rousse, blonde. Et je gagnais vraiment cinq dollars de l'heure! De temps à autres, je pouvais réaliser un de mes rêves: me payer des leçons d'art dramatique... quand j'avais assez d'argent, car ça coûtait cher, dix dollars de l'heure! Je faisais la connaissance de gens très différents de ce que j'avais connus jusqu'alors. Des bons et des mauvais. Souvent, quand j'attendais un bus à un coin de rue, une voiture s'arrêtait et l'homme au volant me débitait une histoire: "Qu'est-ce que vous fabriquez là? Vous devriez être dans les films." Ensuite, il proposait de me ramener. Moi, je répondais toujours: "Non merci. J'aime mieux le bus." Mais tout de même, l'idée du cinéma cheminait dans ma tête. Une fois, je me souviens, j'ai accepté un rendez-vous dans un studio avec un homme rencontré de cette façon. Il devait être très persuasif. J'y suis allée. C'était un samedi et il n'y avait pas un chat dans ces studios. J'aurais dû me méfier, mais j'étais naïve à bien des points de vue. Bref, je trouve mon homme qui me conduit dans un bureau. Nous étions seuls. Il me tend un scénario en disant que je devrais faire l'affaire pour un rôle, mais qu'il faut voir. Sur quoi, il me demande de lire le rôle, tout en insistant pour que je relève ma robe et que je la garde comme ça. C'était en été et j'avais un maillot de bain sous ma robe. Mais comme il répétait: "Plus haut!" j'ai pris peur et, toute rouge, je me suis entêtée de mon côté: "Seulement si je garde mon chapeau!" C'était idiot, mais j'avais vraiment peur et j'étais déséspérée. Je devais être ridicule, assise là et cramponnée à mon chapeau. A la fin, il s'est mis en fureur, ce qui a achevé de me terrifier, je me suis sauvée et j'ai signalé l'affaire à l'agence. On a téléphoné aux studios, et ailleurs, pour essayer de le retrouver. Impossible. Il devait avoir un ami dans la place qui lui avait permis d'utiliser son bureau. L'incident me bouleversa à tel point que, pendant assez longtemps, je résolus de ne jamais être actrice. C'est une dure époque de ma vie. Je déménageais tout le temps, d'un meublé à l'autre. L'hôtel était trop cher.
Et puis le hasard a fait qu'on m'a vue sur la couverture de cinq magasines différents le même mois et la Fox a téléphoné. Je me suis retrouvée sur un banc de bois avec des gens de tout âge et de toutes dimensions qui attendaient comme moi. On a attendu lontemps avant que Ben Lyon, qui dirigeait le recrutement, sorte de son bureau. A peine sorti, il a dit en me montrant du doigt : "Qui est-ce?" Je portais une petite robe blanche en piqué que "Tante" Anna - j'étais revenue vivre chez elle quelque temps - avait lavée et repassée à toute vitesse; tout cela était arrivé si rapidement que je n'aurais jamais pu préparer la robe et me préparer en même temps; "Tante" Anna m'avait dit: "Je m'occupe de la robe. Occupe-toi de tes cheveux et de ton maquillage."
Je me sentais plutôt défaite aprés cette longue attente. Mais Lyon fut très gentil. Il me dit qu'il me trouvait si fraîche, si jeune, etc... Il dit même : "vous êtes la première que je découvre depuis Jean Harlow." Jean Harlow, entre nous, est ma préférée d'autrefois!
Le lendemain, bien qu'il eût fallu normalement le consentement du Président directeur général ou de je ne sais qui, Lyon me glissa dans une série de bouts d'essais en technicolor et, presque aussitôt, la Fox me signa un contrat. Un contrat de star, pour un an!
En pure perte d'ailleurs. Je n'ai jamais su pourquoi, jamais compris. Ils engageaient des tas de filles et de garçons et les laissaient tomber sans leur accorder une seule chance. Ce fut mon cas. Mise à la porte, j'essayai de voir M. Zanuck. Impossible. Chaque fois, on me répondait qu'il était à Sun Valley. Semaine après semaine je revins à l'assaut : "Navré", me disait-on. "Il est occupé, il est à Sun Valley." J'imagine, il y est encore... bien que je l'ai revu, quand la Fox me reprit sous contrat, après 'Asphalt Jungle'. Il me dit: "Vous avez déjà été ici apparemment ?" - "C'est vrai." - "Que voulez vous, la roue tourne!" et il enchaîna en déclarant que j'avais "quelque-chose", une qualité à trois dimensions qui lui rappelait Jean Harlow; ce qui fut très intéressant puisque ça avait été l'avis de Ben Lyon. Je dois beaucoup à Ben Lyon, il fut le premier à me donner confiance. Je lui doit aussi mon nom actuel. Un jour où nous cherchions pour moi un nom de cinéma, car je ne voulais pas garder celui d'un homme qui n'était pas mon père, j'insistai pour prendre celui du nom de jeune fille de ma mère: Monroe. Je tenais à conserver du moins une forme de lien avec mes parents. Il accepta Monroe, mais ce fut lui qui trouva Marilyn, parce que, dit-il, après Jean Harlow, l'actrice à laquelle je ressemblais le plus était Marilyn Miller, la fameuse vedette des comédies musicales de Broadway. Etrange, quand on y pense que me voilà devenue Marilyn Miller pour l'état civil!
Mais enfin, pour en revenir à notre histoire, j'étais donc sans rien. Saquée par la Fox, saquée par la Columbia un peu plus tard, quoique différemment. La Columbia m'avait du moins donné un rôle dans 'Ladies of the Chorus'. Un film affreux! Je jouais une danseuse de burlesque dont un type de Boston tombe amoureux. Horrible! Mais ce n'était pas la raison de mon départ. Le vrai motif tient à des circonstances plutôt étranges et, mettons, déplaisantes. Je n'en dirai pas plus, si ce n'est que... la vie est pleine de leçons. Je ne voyais pas d'issue. J'étais revenue aux jours les plus durs. J'habitais au Hollywood Studio Club. J'y étais très malheureuse: cela me rappelait l'orphelinat. J'avais des dettes et j'étais très en retard pour mon loyer. Au Club, on vous accorde une semaine de retard et, après, vous recevez un petit mot: "Vous êtes la seule à ne pas apporter votre soutien à notre merveilleuse institution.", etc. Et vous comprenez! Tant que vous vivez là, vous mangez deux fois par jour, petit déjeuner et dîner. Ce n'est pas toujours très bon, mais cela nourrit. Et vous avez un toit et un lit. Sans cela, où aller? Pas de famille. Rien. Personne. Et j'avais faim. Je sais, des gens me disaient: "Pourquoi ne pas chercher un job de vendeuse, quelque part ?" Oui, pourquoi pas ? Une fois j'ai essayé, dans un drugstore: on n'a pas voulu de moi parce que je n'avais pas terminé mes etudes de lycée. Et puis, comment dire ?... ce n'était pas la même chose. J'avais été modèle et surtout je voulais devenir une actrice et il me semblait que, si je retombais, ce serait sans retour. On a raconté beaucoup de fables à propos du fameux calendrier. A l'époque où l'on a découvert la chose, j'avais déjà fait 'Asphalt Jungle' et j'étais de nouveau sous contrat avec la Fox, pour sept ans cette fois. J'entends encore la voix de celui qui m'appela au téléphone, des bureaux de la Publicité: "C'est vrai que vous avez posé pour un calendrier?" - "Bien sûr", dis-je. "Cela vous ennuie?" puis j'ai compris à quel point ils étaient bouleversés, car la voix reprit : "Eh bien, même si c'est vrai, dites que non." - "Mais j'ai signé l'autorisation de vente! Comment voulez-vous que je mente?" Et, si contrariés qu'ils fussent, je dis la vérité. Mais quand les journalistes me demandèrent pourquoi et que je repondi: "J'avais faim", on crut à un bon mot.
Ceux qui me connaissent bien savent que j'ai beaucoup de mal à mentir. Cela m'a coûté assez cher dans la vie. Il m'arrive de passer délibérement des choses sous silence, pour me protéger ou protéger les autres - qui n'a pas envie ou besoin de se protéger? - mais je ne mens jamais. J'avais faim et j'avais quatre semaines de loyer en retard; je cherchais déséspérémment de l'argent. Telle est la vérité. Je me suis rappelée que j'avais posé pour les publicités de bière avec le photographe Tom Kelley, et que sa femme, Nathalie, avait suggéré que je devrais poser sans vêtements, en ajoutant qu'il n'y avait rien de mal à cela et que c'était bien payé: cinquante dollars, la somme dont j'avais besoin. Alors, comme ils avaient toujours été très gentils pour moi, j'ai téléphoné. J'ai commencé par dire à Tom: "Etes-vous sûr qu'on ne me reconnaîtra pas ?" Il l'a promis. Puis j'ai demandé si Nathalie serait là. "Oui." - Mais ça devra être de nuit", ai-je insisté. "Après que vos assistants seront partis. Vous devrez vous debrouillez tout seul avec Nathalie pour les éclairages." Il a dit oui. Je suis venue. Ils se montrèrent d'une compréhension extrêmes; ils me sentaient suffisamment bouleversée. Ils ont étalé un velour rouge. Ce fut vite fait, très simple, et plein de courants d'air. Mais je pus payer le loyer et manger.
Les gens sont drôles. Ils vous posent de ces questions ! Et si vous êtes franches, ils sont choqués ! On me demande: "Qu'est-ce que vous mettez pour vous coucher ? Un haut de pijama ? Le bas ? Une chemise de nuit ?" Je reponds: "Une goutte de Chanel n°5", et l'on croit que c'est encore un bon mot, alors que j'essaie de répondre avec tact à une question grossière et indiscrète. Et puis, c'est vrai ! Mais on ne le croit pas !
Il fut un moment où je commençais à être... reconnue, disons, et où les gens n'arrivaient pas à imaginer ce que je faisais quand je n'étais pas sur le plateau, parce qu'on ne me voyait à aucune première, aucune représentation de presse, aucune réception. C'est simple: j'allais à l'école ! Je n'avais jamais pu finir mes études, alors j'allais à l'Université de Los Angeles. Le soir. Dans la journée, je gagnais ma vie avec des petits rôles dans les films. Je suivais des cours d'histoire de littérature et d'histoire de ce pays; je lisais beaucoup, de grands écrivains. C'était dur d'être à l'heure pour les cours. Je devais me dépêcher. Je quittais le studio à 6h30 et j'avais dû me lever très tôt pour être sur le plateau, prête, à 9 heures du matin. Souvent j'étais morte de fatigue; il m'arrivait même de m'endormir en classe. Mais je me forçais à rester droite et à écouter. J'avais pour voisin un jeune noir, studieux et brillant: il me donnait l'exemple et cela m'aidait à rester éveillée. Entre parenthéses, c'était un humble postier à l'époque; il est aujourd'hui directeur des postes à Los Angeles. Le professeur, Mme Seay, ne savait pas qui j'étais, bien qu'elle trouvât bizzare que des garçons des autres classes passaient parfois la tête à la porte, pendant les cours, pour me regarder en chuchotant. Un jour, elle se décida à interroger mes camarades, qui dirent: "Elle joue dans les films". Surprise, elle déclara: "Et moi qui la prenais pour une jeune fille fraîche émoulue du couvent!" C'est l'un des plus grands compliments qu'on m'ait jamais faits.
Mais les gens dont je parlais tout à l'heure, eux, préféraient voir en moi une starlette frivole, "sexy" et stupide. C'est comme ma réputation d'être toujours en retard. D'abord, tout le temps, non ! On se rappele seulement quand je le suis. Cela dit, je crois en effet que je ne peux pas aller aussi vite que les autres. Ils sautent en voiture, se rentrent dedans, sans répit... Je ne crois pas que nous soyons faits pour vivre comme des machines. D'ailleurs, c'est tellement inutile ! On travaille tellement mieux avec un peu plus de bon sens et de loisirs ! Au studio, si je dois me presser pour répéter ou pour me faire coiffer, maquiller, habiller, j'arrive épuisée sur le plateau. Pendant que nous tournions 'Let's make love', George Cukor, le metteur en scéne, a trouvé plus intelligent de me laisser un peu en retard mais plus fraîche. En tout ce que je fais, j'aime prendre mon temps. On se bouscule trop, de nos jours. C'est pourquoi les gens sont si nerveux et si malheureux en face de la vie et d'eux-mêmes. Comment peut-on faire parfaitement quoi que ce soit, dans ces conditions ? La perfection demande du temps.
J'aimerais devenir une grande actrice, une vraie, et être heureuse aussi parfaitement que possible. Mais qui est heureux ? Le bonheur ! Vouloir devenir une vraie actrice, tout cela demande beaucoup d'effort et de temps.

Georges Belmont: J'imagine que ce portrait de la Duse, au mur, n'est pas ici pour rien ?

Marilyn Monroe: Non. J'ai une grande tendresse pour elle. A cause de sa vie, comme femme et comme actrice. Comment dire ?... Elle n'a jamais fait de concession, dans un cas comme dans l'autre.
Personnellement, quand il m'arrive de réussir quelque chose dans mon métier, j'ai le sentiment de toucher à ce qu'on appelle le sommet du bonheur. Mais ce ne sont que des moments ! Je ne suis pas heureuse, comme ça, en général. Si je suis quelque chose, en général, ce serait plutôt misérable comme un chien ! Mes deux vies, professionelle et privée, me sont si personnelles, sont si étroitement liées, que je ne peux les séparer: l'une réagit constamment sur l'autre.
L'ennui dans mon cas, je pense, c'est que je voudrais tant être merveilleuse ! Je sais que cela fera rire certains, mais c'est vrai. Une fois, à New York, mon avocat me parlait d'histoires d'argent, en déployant une patience d'ange pour m'expliquer ça. A la fin je lui ai dit: "Je n'y comprend rien et je m'en moque. Je sais seulement que je voudrais être merveilleuse!". Dites cela à un homme de loi, il vous croira folle.
Il y a un livre du poète Rainer Maria Rilke qui m'a beaucoup aidée: 'Lettres à un jeune poète'. Sans lui, peut-être croirais-je par moments que je suis folle. Quand un artiste... je m'excuse, mais je considère que je suis presque une artiste, et là encore, on rira sans doute; c'est pourquoi je m'excuse... quand un artiste recherche à tout prix la vérité, il a parfois la sensation de frôler la folie. Mais ce n'est pas vraiment la folie. C'est seulement qu'on s'efforce de faire sortir ce qu'on a de plus vrai en soi-même; et croyez-moi, c'est dur. Il y a des jours où l'on se dit: "Sois vraie, c'est tout !", et ça ne sort pas. Et d'autres jours, c'est si simple !
J'ai toujours eu le sentiment secret de ne pas être absolument sincère. Tout le monde sent cela, de temps à autre, je suppose. Mais dans mon cas, cela va loin parfois... jusqu'à penser que, foncièrement, je ne suis qu'un monstre de fabrication. Lee Strasberg, le directeur de l'Actors Studio me répète souvent: "...Pourquoi es-tu si mécontente de toi-même ?" Et il ajoute: "Après tout, tu es un être humain !" Et moi je lui réponds: "Oui, mais j'ai l'impression que je dois être plus que cela." - "Non!" me dit-il alors. "C'est cela que tu essaies de faire en ce moment ?" - "Il faut bien que j'entre dans la peau du personnage, non ?!" Et il répète encore : "Non ! Tu es un être humain. Pars de toi-même !" La première fois qu'il m'a sorti cela, j'ai crié : "De MOI?" Et il a répondu : "Oui! De TOI !!".
Après Arthur, Lee est probablement celui qui a le plus changé ma vie. C'est pourquoi j'aime tant aller à l'Actors Studio. A New York, j'y vais régulièrement. Je n'ai qu'une envie: faire de mon mieux, toujours, à tout instant. Sur le plateau, dès que la caméra se déclenche, je veux être parfaite, aussi parfaite que possible, jusqu'au bout. Quand j'étais à l'usine, le samedi soir, j'allais au cinéma. C'était le seul moment où je pouvais me distraire, rire, être moi-même. Alors, si le film était mauvais, quelle déception ! Toute la semaine, j'avais attendu et travaillé dur pour me payer cela. Si les acteurs me paraissaient jouer par-dessous la jambe, je sortais déçue comme si l'on m'avait trahie. Que me resterait-il pendant toute une semaine ? C'est pourquoi, aujourd'hui, quand je travaille, je songe toujours à ceux qui travaillent aussi pour pouvoir aligner leur argent au guichet dans l'espoir de s'amuser. Ce que pensent les producteurs et le metteur en scéne, cela m'est assez égal: mais pas ce que penseront les gens en voyant le film. Un jour, j'ai essayé d'expliquer ça à M. Zanuck...
L'amour et le travail sont les seules choses vraies qui nous arrivent dans la vie. Ils font la paire; sinon, c'est boiteux. D'ailleurs, le travail même est une forme d'amour. A l'usine j'ai dit que je me dépêchais d'expédier mon travail parce que c'était fastidieux; mais je me rappelle que, malgré tout, je mettais un point d'honneur à le faire exactement, aussi parfaitement que possible. Et si je rêvais de l'amour, c'était aussi comme d'une chose qui doit être la plus parfaite possible. Quand j'ai épousé Joe DiMaggio, en 1954, il ne jouait déjà plus au base-ball, mais c'était un merveilleux athlète et un être d'une grande sensiblité. Fils d'immigrants italiens, il avait eu une jeunesse difficile. Nous nous comprenions donc assez bien. Ce fut la base de notre mariage. Mais je dis assez bien. Et pour cela ce fut un échec. C'était fini au bout de neuf mois, malheureusement. Je mets le même point d'honneur à mes sentiments qu'à mon travail. Peut-être est-ce pourquoi je suis impétueuse et exclusive. J'aime bien les gens. Et quand j'aime, je pousse l'exclusivité jusqu'à ne plus avoir qu'une seule idée en tête ! Surtout, j'ai envi d'être traitée humainement.
La première fois que j'ai vu Arthur Miller, c'était sur un plateau et je pleurais. Je jouais dans un film 'As young as you feel', et il passait dans les studios avec Elia Kazan. Je pleurais à cause d'une amie dont je venais d'apprendre la mort. On nous présenta. Je voyais tout dans un brouillard. C'était en 1951. Je restai quatre ans sans le revoir, après cela. Nous nous écrivions et il m'envoya une liste de livres à lire. Mais je me rappelle que, constamment, je songeais qu'il me verrait peut-être dans un film... on passerait deux films, ce soir là, et peut-être serais-je dans un et me verrait-il. Alors, quand je travaillais, je faisais encore plus de mon mieux... Je ne sais comment décrire cela. Je l'aimais, depuis le premier jour. Voilà, c'est tout. Jamais je n'oublierai qu'il dit, ce jour là, qu'à son avis, je devrais faire du théâtre et que les gens autour de nous, sur le plateau, rirent en l'entendant. Mais il répéta: "Non, non, c'est très sérieux." Et le ton, son attitude, les circonstances, firent que je sentis en lui un être profondément humain et sensible, et qui m'avait traitée comme une personne humaine et sensible, moi aussi. C'est le mieux que je puisse dire. Mais c'est le plus important. Depuis notre mariage, quand je ne tourne pas, nous menons une vie tranquille et heureuse à New York, et plus encore dans notre maison du Connecticut pendant les week-ends. Mon mari aime travailler tôt le matin. Il se lève en général à 6 heures. Il se repose ensuite dans la journée en faisant la sieste. Comme l'appartement n'est pas grand, j'ai fait insonoriser son bureau. Il a besoin de solitude totale quand il travaille. Moi, je me lève à 8h30 et quelques. Nous avons une excellente cuisinière. Parfois, en attendant mon petit-déjeuner, je vais promener mon chien Hugo. mais quand la cuisinière est de sortie, je me lève plus tôt et je prépare le petit déjeuner pour mon mari; car je trouve qu'un homme ne doit pas s'occuper de ses repas. Je suis très vieux jeu à bien des égards. Je trouve aussi qu'un homme ne doit jamais porter à la main ce qui appartient en propre à la femme, souliers à hauts talons, sac, etc. Il m'arrive de cacher un peigne dans la poche de mon mari, mais c'est tout.
Après le petit déjeuner, je prends un bain, pour changer des jours de travail où je me lève si tôt, parfois à 6h ou 5h du matin, que je dois prendre deux douches, une chaude et une froide pour me secouer. A New York, j'aime à me tremper dans mon bain en lisant les journaux et écoutant des disques. Après, j'enfile une jupe, une blouse, des souliers plats et une veste de polo et, le mardi et le vendredi, je vais à l'Actors Studios, à 11h, ou les autres jours aux cours privés de Lee Strasberg. Je rentre pour le déjeuner, que nous prenons d'habitude ensemble, comme le dîner. Nous écoutons des disques en mangeant. Mon mari aime comme moi la musique classique. Ou le jazz s'il est excellent, bien que nous réservions plutôt cela aux soirées où nous avons des amis qui aiment danser. Souvent, Arthur se remet au travail après sa sieste. Je trouve toujours à m'occuper pendant ce temps. Il a deux enfants de son premier mariage et je m'efforce d'être une bonne belle-mère. Et il y a à faire dans l'appartement. J'aime faire la cuisine, pas tellement à la ville où l'on est trop bousculé, mais à la campagne pour le week-end. Je fais du très bon pain, et les nouilles aussi très bien. Rouler, sécher, la cuisson et la sauce. Ce sont mes deux spécialités. Mais j'aime également inventer... J'adore les assaisonnements ! L'ail ! Souvent, j'en mets de trop pour le goût des autres.
Il arrive que les acteurs avec qui j'étudie une scène pour les cours de Strasberg viennent à la maison, le matin ou l'après-midi et je leur prépare un petit-déjeuner ou le thé... Bref, les journées sont assez remplies. Mais toujours, j'ai soin d'être libre avant le dîner, pour mon mari. Aprés le dîner, parfois nous allons au théâtre ou au cinéma, ou des amis viennent, ou nous allons chez des amis. Mais très souvent, nous restons tout simplement à la maison, tous les deux, à écouter de la musique, parler ou lire. Ou encore, nous marchons dans les rues ou dans Central Park. Nous adorons marcher. Il n'y a pas de routine fixe dans notre vie. Il y a bien des moments où j'aimerai être plus organisée, faire certaines choses à certaines heures etc. Mais mon mari dit que comme ça, au moins, on ne s'ennuie pas ! Alors, tout va bien. Et puis, personellement, les choses ne m'ennuient jamais. Ce qui m'ennuient, ce sont les gens qui s'ennuient. J'aime beaucoup les gens; pourtant, parfois, je me demande si je suis vraiment sociable. La solitude ne me pèse pas. Cela m'est égal d'être seule. Même, j'aime cela. C'est un repos. Cela permet de prendre plus possession de soi-même, de se rafraîchir. Je crois qu'il y a deux aspects dans tout être humain; du moins, c'est ce que je sens dans mon cas. On a envie d'être seul, et en même temps, envie d'être ensemble. C'est un vrai conflit. J'y suis sensible à un point suraigu. C'est pourquoi, j'aime tant mon travail. Quand j'en suis contente, naturellement je me sens plus gaie, plus sociable. Quand ça ne va pas, j'ai envie d'être seule. Et c'est la même chose dans ma vie...

Georges Belmont: En sorte que, pour résumer, si je vous demande quelle impression cela fait d'être Marilyn Monroe, à ce stade de votre vie, que direz-vous?

Marilyn Monroe: Quelle impression cela vous fait-il d'être vous?

Georges Belmont: Parfois je suis content du monde et de moi-même. Parfois, non.

Marilyn Monroe: Et vous êtes heureux comme ça?

Georges Belmont: Ma foi, oui.

Marilyn Monroe: Eh bien, moi aussi. Et comme j'ai trente quatre ans et encore quelques années devant moi, j'éspère, cela me laisse le temps de travailler à devenir meilleure et plus heureuse dans mon métier comme dans ma vie privée. C'est ma seule ambition. Peut-être y mettrais-je le temps, car je suis lente; et je ne veux pas dire par là que ce soit le plus sûr moyen. Mais c'est le seul que je connaisse et qui me donne le sentiment que la vie, après tout, n'est pas sans espoir. 


- enregistrement audio -


1960-10-Georges_Belmont-interview-1  It was through Ruppert Allan, in charge of Marilyn's promotion, that the big interview between Marilyn Monroe and Georges Belmont took place in 1960. The latter was then editor of the french magazine Marie-Claire, which will publish the interview in number 72 of October 1960. The interview took place during the filming of the movie Let's Make Love which was a particular success in France because of Yves Montand's interpretation.
Georges Belmont soon succeeds in gaining Marilyn's trust. He had promised to provide her with a transcription of the interview and, moreover, to stick strictly in the written text to the oral formulation of her remarks. The basis was therefore good. All those who, afterward, read this interview, had to admit with astonishment that they had never heard Marilyn talk about herself so naturally.
This is how Georges Belmont depicts the atmosphere: "I just let her go ahead and speak. The only pressure I exerted was silence. When she was silent, I didn 't say anything either, and when she couldn 't stand it any longer and then continued talking she usually said something very important, something very moving."

MM: I'd much rather answer questions. I simply can't tell the whole story, that's terrible.... Where to begin? How? There are so many twists and turns.

GB: Still, it began somewhere. Your childhood?

MM: Well, that ... no one knew anything about it, except through pure coincidence.
For a long
time my past, my life, remained completely unknown. I never spoke about it. No particular reason, but simply because I felt it was my affair and not something for other people. Then one day a Mr. Lester Cowan wanted to put me in a film with Groucho Marx, called Love Happy. At that time I was under contract to Fox and Columbia, although they wanted to drop me....  He offered me a small part, this Mr. Cowan; but he was interested in putting me under contract. So he called. I was still very young, and he said he wanted to speak to my father and mother. I told him, "Impossible. ""Why?" he insisted. So I briefly explained the situation: "I
never lived with them." That was the truth, and I still don't see what was so unusual about it. But then he called Louella Parsons and told her the whole story, and it all appeared in Louella's column. That's the way it all began. Since then so many lies have been spread around. . . . My goodness, why shouldn't I simply tell the truth now?

GB: What are your earliest childhood memories?

MM: [long silence] My earliest memories? ... It's the memory of a struggle for survival. I was still very small - a baby in a little bed, yes, and I was struggling for life. But I'd rather not talk about it, if it's all the same to you. It's a cruel story, and it's no one's business but my own, as I said. 
Anyway, as far back as I can remember, I can see myself in a baby carriage, in a long white dress, on the sidewalk of a house where I lived with a family that wasn't my own.  It's true that I was illegitimate. But everything that's been said about my father - or my fathers - is wrong. My mother's first husband was named Baker. Her second was Mortensen. But she'd been divorced from both of them by the time I was born. Some people say my father was Norwegian, probably because of the name Mortensen, and that he was killed in a motorcycle accident right after my birth. I don't know if that's true, because he wasn't related to me. As far as my real father is concerned, I wish you wouldn't ask ... but there are a couple of things that could clear up some of the confusion. When I was very young, I was always told that my father was killed in a car crash in New York before I was born. Strangely enough, on my birth certificate under father's profession there's the word "baker," which was the name of my mother's first husband. When I was born - illegitimate, as I said - my mother had to give me a name. She was just trying to think quickly, I guess, and said "Baker." Pure coincidence, and then the official's confusion.... At least, I think that's the way it was.
Anyway, my name was Norma Jeane Baker. It was in all my school records. Everything else that's been said is crazy.

GB: Your mother. I read somewhere that to you she was just "the woman with the red hair"?

MM: I never lived with my mother. That's the truth, no matter what some people have said. As far back as I can remember I always lived with other people. My mother was mentally ill. She's dead now. And both of her parents died in mental institutions. My mother was also committed. Sometimes she got out, but she always had to go back. Well, you know how it is.... When I was real little, I'd say to every woman I'd see, "Oh, there's a mommy !" And if I saw a man, I'd say, "Oh, there's a daddy." But one morning - I was only about three -I was taking a bath and I said, "Mommy" to the woman who was taking care of me. And she said, "I'm not your mommy. Call me 'Aunt.'"" But he's my daddy !" I said and I pointed to her husband. "No," she
said, "we're not your parents. The one who comes here with the red hair, she's your mother." It was quite a shock to hear that. But since she didn't come very much, it's true that to me she was always "the woman with the red hair." Anyway, I knew that she existed. Then later on, when I was in an orphanage, I had another shock. I could read then, and when I saw the word "orphanage" in gold letters on a black background, they had to drag me in. I screamed, "I'm not an orphan! I have a mother!" But then I thought, "I'd better believe she's dead." And later people said, "It is better that you forget about your mother." "But where is she?" I asked. "Don't think about it," they said. "She's dead." And then a little bit later I suddenly heard
from her.... And that's the way it went for years. I thought she was dead, and I said so, too. But she was alive. So some people accused me of making it up that she was dead because I didn't want to admit where she was. It's crazy.
Anyway, I had - let's see - ten, no, eleven families. The first one lived in a small town near Los Angeles - I was born in Los Angeles. Along with me they had a little boy they later adopted. I stayed with them until I was around seven. They were terribly strict. They didn't mean any harm - it was their religion. They brought me up harshly, and correctedme in a way I think they never should have - with a leather strap. That finally came out, and so I was taken away and given to an English couple in Hollywood. They were actors, or I guess I should say extras, with a twenty-year-old daughter who was the spitting image of Madeleine Carroll. Life with them was pretty casual and tumultuous. That was quite a change from the first family, where we weren't allowed to talk about movies and actors or dance or sing, except maybe for psalms. My new "parents" worked hard, when they
worked, and they enjoyed life the rest of the time. They liked to dance and sing, they drank and played cards, and they had a lot of friends. Because of that religious upbringing I'd had, I was kind of shocked - I thought they were all going to hell. I spent hours praying for them. I remember something . . . after a few months my mother bought a small house where we were supposed to live. Not for very long - maybe three months. Then my mother had to be committed again. And that was a big change. After she left, we moved back to Hollywood. The English family kept me as long as there
was money - my mother's money from her savings and from an insurance policy she had. Through them I learned a lot about the movies. I wasn't even eight. They used to take me to one of the big movie theaters in Hollywood, the Egyptian or Grauman's Chinese. I used to watch the monkeys in the cages outside the Egyptian, all alone, and I tried to fit my feet into the footprints in front of Grau-man's, and I could never get my feet in because my shoes were too big.... It's funny to think that my footprints are there now, and that other little girls are trying to do the same thing I did.
They took me there every Saturday and Sunday. That was a break for them, I think; they worked very hard and they didn't want to be bothered with this child around the house all the time. It was probably better for me, too. I'd wait till the movie opened and then for ten cents I'd get in and sit in the front row. I watched all kinds of movies there - like Cleopatra with Claudette Colbert; I remember that so well. I'd sit there and watch the movie over and over. I had to be home before it got dark, hut how was I supposed to know when it was dark? The folks were good to me: even if I didn't get anything to eat when I was hungry I knew they'd save something for me at home. So I stayed at the movies. I had favorite stars. Jean Harlow ! I had
platinum blonde hair and people used to call me "tow-head." I hated that and I dreamed of having golden hair .. • until I saw her, so beautiful and with platinum blonde hair like mine. And Clark Gable. I'm sure he wouldn't mind if I say it, because in a Freudian sense it's supposed to be very good ... I used to think of him as my father. I'd pretend he was my father - I never pretended anyone was my mother, I don't know why- but I always pretended he was my father.... Where was I?

GB: The English couple. And when the money ran out.. .

MM: Oh, yes. They put me in an orphanage. No, wait a minute. When the English couple couldn't keep me anymore, I went to stay with some people in North Hollywood, people from New Orleans.
I remember that because they always called it "New Orleeens." I didn't stay there long, two or three months. I only remember that he was a cameraman and that one day he suddenly took me to the orphanage. I know a lot of people say that the orphanage wasn't so bad. But I do know that it's changed in the meantime. Perhaps it's not as gloomy.... But of course even the most modern orphanage is still an orphanage - if you know what I mean. At night, when the others were sleeping, I'd sit up in the window and cry because I'd look over and see the RKO studio sign above the roofs in the distance, where my mother had worked as a cutter. When I went there to work, years later, in 1951, doing Clash by Night, I went up to see if I could see the orphanage. But there were too many tall buildings in the way. I once read, I don't know where, that there were only three or four of us in a room in the orphanage. That's not true. I slept in a room with twenty-seven beds, where you could work your way to the "honor" bed, if you behaved. And then you could work your- self into the other dormitory, which had only a few beds. I got to the honor bed once. But one morning I was late and was putting on my shoes when the matron said, "Come downstairs!" I tried to tell her I was tying my shoes, but she said, "Back to the twenty- seventh bed."
We'd get up at six in the morning, and we did our work before we went to the public school. We each had a bed, a chair, and a locker. Everything had to be very clean, perfect, because of inspection. For a while I cleaned the dormitory where I slept. Every day you moved the beds and you swept and then you dusted. The bathrooms were easier; there was less dust because of the cement floors. And I worked in the kitchen, washing dishes. There were a hundred of us, so I washed a hundred plates and all those spoons and forks.... We didn't have knives or glasses and we drank out of mugs. But in the kitchen you could earn money. We made five cents a month. They took apenny out for Sunday school, so that you had one penny left at the end of the month if there were four Sundays. We'd save that to buy a friend a little thing for Christmas. I can't say I was very happy there. I didn't get along very well with the matrons. But the superintendent was very nice. I remember one day she called me into her office and said, "You have
very fine skin, but it's always so shiny. Let me put a little powder on to see if it helps." I felt honored. She had a little dog, a Pekinese, who wasn't allowed to be around the children because he would bite them. But the dog was very friendly to me and I really loved dogs.... I was really very honored; I mean, I was walking on air. Later, I tried to run away with some of the other girls. But where to? We couldn't decide, we hadn't the slightest idea. We only got as far as the bump in the front lawn when we were caught. The only thing I said was, "Please don't tell the superintendent! "- because she'd made me smile and put powder on my nose and let me pet her dog. In the orphanage I began to stutter. The day they brought me there, after they pulled me in, crying and screaming, suddenly there I was in the large dining room with a hundred kids sitting there eating, at five o'clock, and they were all staring at me. So I stopped crying right away. Maybe that's a reason along with the rest: my mother and the idea of being an orphan. Anjway, I stuttered. That was the first time. Later on, in my teens, when I was at Van Knight High School, they elected me secretary of the English class, and every time I had to read the minutes I'd say, "Minutes of the last m-m-m- meeting." It was terrible. That went on for two years, I guess, until I was fifteen. Sometimes it even happens to me today if I'm very nervous or excited. Once when I had a small part in a movie, in a scene where I was supposed to go up the stairs, I forgot what was happening and the assistant director came and yelled at me, and I was so confused that when I got into the scene I stuttered. Then the director himself came up to me and said, "You don't stutter." And I said, "That's what you think." It was painful. And it still is if I speak very fast or have to make a speech. Terrible ...
[ silence ].
I stayed about a year and a half in the orphanage. We went to the public school. It's very had to have children from an institution like that go to a public school because the other kids point their fingers: "Oh, they're from the home, they're from the home." We were all ashamed to be from the orphans' home. In school I liked singing and English. I hated arithmetic. I never had my mind on it, you know? I was always dreaming in a window.
But I was good at sports. I was pretty tall. At the orphanage, the first day, they didn't believe me when I said I was nine years old. They thought I was fourteen. I was almost as tall as I am now - five feet six inches. But I was very, very thin until I was eleven. Then things changed. Suddenly, I wasn't in the orphanage anymore. I complained so bitterly to my guardian that she got me out. My guardian - Grace McKee. She'd been my mother's best
friend. She died eleven years ago. While she was my legal guardian she worked as a film editor at Columbia. But she was fired, and she married a man ten years younger than herself and he had three children. They were very poor, so they couldn't care for me. And I think she felt that her responsibility was to her husband, naturally, and to his kids. But she was always wonderful to me. Without her, who knows where I would have landed! I could have been put in a state orphanage and kept there till I was eighteen.
My orphanage was private, and Grace used to visit me and take me out. Not as often as they say, but she used to come and take me out sometimes and I could put on her lipstick. I was only nine then. She'd take me someplace to get my hair curled, which was unheard of because it wasn't allowed and because I had straight hair. Things like that meant a great deal to me. Besides, she was the one who got me out of that orphanage after I complained so much, as I said. Of course that meant a new "family." I remember one where I stayed for just three or four weeks. I remember them because the woman delivered things her husband made. She'd take me along and I'd get so carsick!
I don't know if they were paid for taking me in. I only know that after them I kept changing families. Some took me at the end of the school year and then they had enough after the vacation. But maybe that's what had been arranged. Then Los Angeles County took over my support. It was awful. I hated it. Even in the orphanage when I went to school, I tried not to look like an orphan. But now this woman would come around and say, "Now let's see, I think you need some shoes." And she would write it down: one pair of shoes. Then, "And does she have a sweater?" Or, "I think the poor girl needs two dresses, one for school and one for Sunday." Well, the sweaters were ugly, they were made of cotton, and the clothes all looked like they
were made of flour sacks ... terrible. And the shoes! I'd say,"I don't want them." I always tried to get clothes from grown-ups that would be altered for me. And I wore tennis shoes a lot. You could get them for ninety-eight cents. I must have looked pretty funny then - I was so tall, as I said, and I ate everything. I know because the families I lived with said they'd never seen a child who ate everything. I'd eat anything. I also know that I was very quiet, at least in front of adults. They used to call me "the mouse." I didn't say very much except to other children, and I had a lot of imagination. The
other kids liked to play with me because I could think of things. I'd say, "Now we're going to play murder ... or divorce." And they'd say, "How do you think of things like that?"
I was probably a lot different than the others. Kids usually refuse to go to bed, but I never did. Instead, I'd say,"I think 111 go to bed now." I loved the privacy of my room, my bed. I especially loved to act out every part of the last movie I'd seen. You know, standing on my bed, being even taller, I'd act out all the parts, the men as well as the women, and I'd work out what happened before or after. It was wonderful.... So was acting in school plays.
Once I played the part of a king and once the part of a prince- that's because I was so tall. I had a real happy time while I was growing up when I went to live with a woman I called "Aunt Anna." She was Grace McKee's mother. She was a lot older, she was sixty, I guess, or somewhere around there, but she always talked about when she was a girl of twenty. There was real contact between us because she understood me somehow. She knew what it
was like to be young. And I loved her dearly. I used to do the dishes in the evening and I'd always be singing and whistling, and she'd say, "I never heard a child sing so much." So I did it during that time. Aunt Anna ... I adored her. When I was fifteen, turning sixteen, Grace McKee arranged a marriage for me. There's not much to say about it. She and her husband wanted to move to West Virginia. In Los Angeles the county paid them twenty dollars a month for me. If I'd gone with them to West Virginia, they wouldn't have gotten that money, and since they couldn't support me they had to
work out something. In the state of California a girl can marry at sixteen. So I had the choice: go to a home till I was eighteen or get married. And so I got married.
His name was Dougherty. He was twenty-one at that time and worked in a factory. Then the war came and he was going to be drafted, but he went into the Merchant Marine, and I stayed with him for a while at Catalina, where he was a physical training instructor. Around the end of the war I went to Las Vegas to divorce him. I was twenty. He's a policeman now. During the war I worked in a factory. I was in what they called the "dope room"- I had to paint "dope" on the fabric used in making target planes. The work was very boring and life was pretty awful there. The other girls would talk about what they'd done the night before and what they were going to do the next weekend. I worked near where the paint sprayers were - nothing but men. They used to stop their work to write me notes. The work was so boring I worked very fast just to get it over with. They thought was doing
something wonderful. There was an assembly for the whole plant and the president of the plant called my name and gave me a gold medal and a twenty-five-dollar war bond for" exemplary willingness," as he put it. The other girls were furious when I got it and they'd bump into me and make me spill my can of dope when I'd go for a refill. Oh my goodness, they made life miserable. And then one day the Air Force wanted to take pictures of our factory. I'd just come back from my vacation when the office called me in. "Where have you been?" I nearly died and I said, "But I had permission for a vacation !"- which was true. They said, "It's not that. Do you want to pose for some pictures?" Well, the photographers came and took the pictures. They wanted to take more, outside the factory, but I didn't want to get in trouble - because I would have missed work - so I said, "Youll have to get permission." Which they got, so I worked as a model here and there for several days, holding things in my hand, pushing things around, pulling them ...
The pictures were developed at Eastman Kodak and the people there asked who the model was and one of the photographers - David Conover - came back and said to me, "You should become a model. You'd easily earn five dollars an hour." Five dollars an hour ! I was earning twenty dollars a week for ten hours a day and I had to stand all day on a concrete floor. Reason enough to give it a try. I started off slowly. The war was over, so I left
the factory and went to an agency. They took me on, for ads and calenders - not the one that caused so much trouble; well come to that - but others, where I was a brunette, then a redhead, then a blonde. And I really did earn five dollars an hour! And I was able to pursue one of my dreams. From time to time I took drama lessons, when I had enough money. They were expensive; I paid ten dollars an hour. I got to know a lot of people, people different from those I'd known, both good and bad. Sometimes when I was waiting for a bus a car would stop and the man at the wheel would roll down the window and say, "What are you doing here? You should be in pictures. "Then he'd ask me to drive home with him. I'd always say, "No, thank you. I'd rather take the bus." But all the same, the idea of the movies kept going through my mind. Once, I remember, I did accept an offer from a man I met like that - an offer to audition in a moviestudio. He must have been pretty persuasive. Anyhow, I went. It was on a Saturday and the place was deserted. I should have been suspicious, but I was still awfully naive. Well, the man led me into an office. We were alone. He held up a script and said there was a part in it, but he'd have to see. Then he told me to read the part and to pull up my dress. It was summer and I was wearing a bathing suit under my dress. But when he said, "Higher," I got scared and turned red and blurted out, "Only if I can keep my hat on!" That was stupid, of course, but I was really scared and desperate. I must have looked ridiculous, standing there holding on to my hat. Finally he got very mad. I was terribly frightened and ran away. I told the agency about this and they called the studio and other places to try to find this guy, but they didn't.
He must have had a friend or somebody who let him use his office. This incident frightened me so much that for a long time I was determined never to become an actress, after all. It was a difficult time in my life. I was living in rooms here and there - not in hotels, because they cost too much.
And then, as luck would have it, I was on the covers of five magazines in one month, and Fox called me up. And so I was waiting on those hard benches with lots of other people, all ages and sizes and everything. There was a long wait until Ben Lyon, the head of casting, came out of his office. He was hardly out when he pointed at me and said, "Who's this girl?" I was wearing a white cotton dress that Aunt Anna-I was living with her then for a little while - had washed and ironed for me. Everything had come up so suddenly that I couldn't do both - iron the dress and get myself ready- so she said, "111 do the dress, you just put on your makeup."
After that long wait, I felt beat, but Lyon was so nice. He said I looked so fresh and young and I don't know what all. He even said, "I've only discovered one other person - and that was Jean Harlow." Imagine that, my favorite actress!
They made a Technicolor test the next day, which was unusual because they should have had the director's permission. And then Fox put me under contract - a stock contract for a year.
But nothing came of it, and I never understood why. They hired a lot of girls and some boys, but they dropped them without ever giving them any chances. After they dropped me, I tried to see Mr. Zanuck, but that was impossible. They always told me he was in Sun Valley. I'd come back a week later and they'd say, "He's in Sun Valley, we're very sorry, he's very busy." After a while you just give up. And then, when I was hired back, after Asphalt Jungle, he said to me, "I understand you used to be here?" I said,"That's right." Well, things are a lot different now. And he said I had a three-dimensional quality, reminiscent of Harlow, which was interesting since Ben Lyon had been saying that. I owe a lot to Ben Lyon. He was the first to believe in me. He even gave me my name. One day we were looking for a stage name for me. I couldn't very well take my father's name, but I wanted at least some- thing that was related, so I said, "I want the name 'Monroe,'" which was my mother's maiden name. And so, since he always said I reminded him of Jean Harlow and Marilyn Miller, the great Broadway musical star, he said, "Well, Marilyn goes better with Monroe, so - Marilyn Monroe." And now I end up being Mariljai Monroe even on my marriage license!
But to get back to where I was ... I was pretty desperate. Fox dropped me and the same thing happened later at Columbia, even though it was a little different. They at least put me in a movie called Ladies of the Chorus. It was really dreadful. I was supposed to be the daughter of a burlesque dancer some guy from Boston falls in love with. It was a terrible story and terribly badly photographed - everything was awful about it. So they dropped me. But you learn from everything. saw no way out. It was the worst time for me. I lived in the Hollywood Studio Club and I couldn't stand it there. It reminded me of the orphanage. I was broke and behind in the rent. In the Studio Club they'd let you get about a week behind in the rent and then they'd write you, "You're the only one who doesn't support this wonderful institution." When you lived there, you'd get two meals a day-breakfast and dinner- and you had a roof over your head. Where else could I have gone? I had no family and I was really hungry. Of course, a lot of people said, "Why don't you go and get a job in a dimestore?" But I don't know; once I tried to get a job at Thrifty's and because I didn't have a high school education they wouldn't hire me. And it was different, really- being a model, trying to become an actress, and I should go into a dimestore? There are a lot of stories told about those calendar pictures. When the story came out, I'd already done Asphalt Jungle and was rehired at Fox with a seven-year contract. I still remember the publicity department calling me on the set and asking, "Did you pose for a calendar?" And I said, "Yes, anything wrong?" Well, they were real anxious and they said, "Don't say you did, say you didn't." I said, "But I did, and I signed the release, so I feel I should say so." They were very unhappy about that. And then the cameraman who was working on the film then got hold of one of the calendars and asked me if I'd sign it, and so I said yes, I would. I signed it and wrote " To ..."and then his name, and I said, "This isn't my best angle, you know." And of course the studio got even madder. Anyone who knows me knows that I can't lie. Sometimes I leave things out or I don't elaborate, to protect myself or other people - who probably don't even want to be protected - but I can never tell a lie. I was very hungry, four weeks behind in my rent, and needed money desperately. I remembered that I'd done some beer ads for Tom Kelley and his wife, Natalie, and that they had asked me to pose nude. They told me there was nothing to it and that I would earn a lot - fifty dollars, the amount I needed. Because they were both very nice to me I called them up and
asked Tom, "Are you sure they won't recognize me?" He said, "I promise." Then I said, "Well, if it's at night and you don't have any helpers ... you know how to put up the lights ... I don't want to expose myself to all the people you have." He said, "All right, just Natalie and me." So we did it. I felt shy about it, but they were real delicate, you know, about the whole situation. They just spread out some red velvet and had me lie down on it. And it was all very simple - and drafty! - and I was able to pay the rent and buy myself something to eat.
People are funny. They ask you a question and when you're honest, they're shocked. Someone once asked me, "What do you wear in bed? Pajama tops? Bottoms? Or a nightgown?" So I said, "Chanel Number Five." Because it's the truth. You know, I don't want to say"nude," but ... it's the truth.
There came the time when I began to - let's say, be known, and nobody could imagine what I did when I wasn't shooting, because they didn't see me at previews or premieres or parties. It's simple. I was going to school. I'd never finished high school, so I started going to UCLA at night, because during the day I had small parts in pictures. I took courses in the history of literature and the history of this country, and I started to read a lot, stories by wonderful writers. It was hard to get to the classes on time because I worked in the studio till six-thirty. And since I had to get up early to be ready for
shooting at nine o'clock, I was tired in the evening and sometimes I would fall asleep in the classroom. But I forced myself to sit up and listen. And I was really lucky to sit next to a Negro boy who was absolutely brilliant. He worked for the post office - now he's head of the Los Angeles Post Office. The professor, Mrs. Seay, didn't know who I was and found it odd that the boys from other classes often looked through the window during our class and whispered to one another. One day she asked about me and they said, "She's a movie actress." And she said, "Well, I'm very surprised. I thought she was a young girl just out of a convent." That was one of the nicest compliments I ever got.
But the people I just talked about- you know, they liked to see me as a starlet: sexy, frivolous, and dumb. I have a reputation of always being late. Well,
I don't think I'm late all the time. People just remember the times I come too late. Besides, I really don't think I can go as fast as other people. They get in their cars, they run into each other, they never stop. I don't think mankind was intended to be like machines. Besides, it's a great waste of time - you get more done doing it more sensibly, more leisurely. If I have to get to the studio to rush through the hairdo and the makeup and the clothes, I'm all worn out by the time I have to do a scene. When we did Let's Make Love, George Cukor thought it would be better to let me come in an hour late, so I'd
be fresher at the end of the day. I think actors in movies work too long hours anyway. I like to have time for the things I do. I think that we're rushing too much nowadays. That's why people are nervous and unhappy- with their lives and with themselves. How can you do anything perfect under such conditions? Perfection takes time.
I'd like very much to be a fine actress, a true actress. And I'd like to be happy, but who's happy? I think trying to be happy is almost as difficult as trying to be a good actress. You have to work at both of them.

GB: I suppose the portrait of Eleonora Duse on the wall is therefor some reason.

MM: Yes. I feel a lot for her because of her life and also because of her work. How shall I put it? She never settled for less, in either.
Personally, if I can realize certain things in my work, I come the closest to being happy. But it only happens in moments. I'm not just generally happy. If I'm generally anything, I guess I'm generally miserable. I don't separate my personal life from my professional one. I find that in working, the more personally I work the better I am professionally. My problem is that I drive myself, but I do want to be wonderful, you know? I know some people may laugh about that, but it's true. Once in New York my lawyer was telling me about my tax deductions and stuff and having the patience of an angel with me. I said to him, "I don't want to know about all this. I only want to be wonderful." But if you say that sort of thing to a lawyer, he thinks you're crazy.
There's a book by Rainer Maria Rilke that's helped me a lot: Letters to a Young Poet. Without it I'd probably think I was crazy sometimes. I think that when an artist - forgive me, but I do think I'm becoming an artist, even though some people willlaugh; that's why I apologize - when an artist tries to be true, you sometimes feel you're on the verge of some kind of craziness. But it isn't really craziness. You're just trying to get the truest part of your-
self out, and it's very hard, you know. There are times when you think, "All I have to be is true." But sometimes it doesn't come so easily. And sometimes it's very easy.
I always have this secret feeling that I'm really a fake or something, a phony. Everyone feels that way now and then, I guess. My teacher, Lee Strasberg, at the Actors Studio, often asks me, "Why do you feel that way about yourself? You're a human being." I answer, "Yes, I am, but I feel like I have to be more." "No," he says, "you have to start with yourself. What are you doing?" I said, "Well, I have to get into the part." He says, "No, you're
a human being so you start with yourself." "With me?" I shouted the first time he said that. "Yes, with you!"
I think Lee probably changed my life more than any other human being. That's why I love to go to the Actors Studio whenever I'm in New York. My one desire is to do my best, the best that I can from the moment the camera starts until it stops. That moment I want to be perfect, as perfect as I can make it. When I worked at the factory, I used to go to the movies on Saturday nights. That was the only time I could really enjoy myself, really relax, laugh, be myself. If the movie was bad, what a disappoiment ! The whole week I waited to go to the movies and I worked hard for the money it cost. If I thought that the people in the movie didn't do their best or were sloppy, I was really angry when I left because I didn't have much money to go on for the next week. So I always feel that I work for those people who work hard, who go to the box office and put down their money and want to be en-
tertained. I always feel I do it for them. I don't care so much about what the director thinks. I used to try to explain this to Mr. Zanuck... .
Love and work are the only things that really happen to us. Everything else doesn't really matter. I think that one without the other isn't so good - you need both. In the factory, though I worked so fast because it was boring, I used to take pride in doing my work really perfectly, as perfectly as I could.
And when I dreamed of love, then that was also something that had to be as perfect as possible. When I married Joe DiMaggio in 1954, he had already retired from baseball, but he was a wonderful athlete and had a very sensitive nature in many respects. His family were immigrants and he'd had a very difficult time when he was young. So he understood something about me, and I understood something about him, and we based our marriage on this. But jusf'something" isn't enough. Our marriage wasn't very happy, and it ended in nine months. My feelings are as important to me as my work. Probably that's why I'm so impetuous and exclusive. I like people, but when it comes to friends, I only like a few. And when I love, I'm so exclusive that I really have only one idea in my mind. Above all, I want to be treated as a human being.
When I met Arthur Miller the first time, it was on a set, and I was crying. I was playing in a picture called As Young As You Feel, and he and Elia Kazan came over to me. I was crying because a friend of mine had died. I was introduced to Arthur. That was in 1951. Everything was pretty bleary for me at that time. Then I didn't see him for about four years. We would correspond, and he sent me a list of books to read. I used to think that maybe he might see me in a movie - there often used to be two pictures playing at a time, and I thought I might be in the other movie and he'd see me. So I wanted to do my best. I don't know how to say it, but I was in love with him from the first moment. I'll never forget that one day he said I should act on the stage and how the people standing around laughed. But he said, "No, I'm very serious." And the way he said that, I could see he was a sensitive human being and treated me as a sensitive person, too. It's difficult to describe, but it's the most important thing. Since we've been married we lead - when I'm
not in Hollywood - a quiet and happy life in New York, and even more so on the weekends in our country house in Connecticut. My husband likes to start work very early in the morning. Usually he gets up at six o'clock. Then he stops and takes a nap later on in the day. Our apartment isn't very large, so I had his study soundproofed. He has to have complete quiet when he works. I get up about eight-thirty or so, and sometimes when I'm waiting for our breakfast to be ready- we have an excellent cook - I take my dog, Hugo, for a walk. But when the cook is out, I get up early and fix Arthur's breakfast because I think a man should never have to fix his own meals. I'm very old-fashioned that way. I also don't think a man should carry a woman's belongings, like her high-heeled shoes or her purse or whatever. I might hide something in his pocket, like a comb, but I don't think anything should be visible.
After breakfast. 111 take a bath, to make my days off different from my working days, when I get up at five or six in the morning and take a cold shower to wake me up. In New York I like to soak in the tub, read the New York Times, and listen to music. Then 111 get dressed in a skirt and a shirt and flat shoes and apolo coat and go to the Actors Studio - on Tuesdays and Fridays at eleven o'clock. On other days I go to Lee Strasberg's private
classes. Sometimes I come home for lunch, and I'm always free just before and during dinner for my husband. There's always music during dinner. We both like classical music. Or jazz, if it's good, but mostly we put it on when we have a party in the evening, and we dance. Arthur often goes back to work after his nap, and I always find things to do. He has two children from his first marriage, and I try to be a good stepmother. And there's a lot to do in the apartment. I like to cook - not in the city, where it's too busy, but in the country. I can make bread and noodles - you know, roll them up and dry them, and prepare a sauce. Those are my specialties. Sometimes I invent recipes. I love lots of seasonings. I love garlic, but sometimes it's too much for other people. Now and then the actors from the studio will come over and 111 give them breakfast or tea, and well study while we eat. So my days are pretty full. But the evenings are always free for my husband. After dinner we often go to the theater or to a movie, or we have friends in, or we visit friends. Often we just stay home, listen to music, talk, read. Or we go for a walk after dinner in Central Park, sometimes; we love to walk. We
don't have a set way of doing things. There are times when I would like to be more organized than I am, to do certain things at certain times. But my husband says at least it never gets dull. So it's all right. I'm not bored by things; I'm just bored by people who are bored. I like people, but sometimes I wonder how sociable I am. I can easily be alone and it doesn't bother me. I don't mind it - it's like a rest, it kind of refreshes my self. I think there are two things about human beings - at least, I think there are about me: they want to be alone and they also want to be together. I have a gay side to me and also a sad side. That's a real problem. I'm very sensitive to that. That's why I love my work. When I'm happy with it, I feel more sociable. If not, I like to be alone. And in my private life, it's the same way.

GB: If I asked you what does it feel like being Marilyn Monroe, at this stage in your life, what would you answer?

MM: Well, how does it feel being yourself?

GB: Sometimes I'm content with myself, at other times I'm dissatisfied.

MM: That's exactly how I feel. And are you happy?

GB: I think so.

MM: Well, I am too, and since I'm only thirty-four and have a few years to go yet, I hope to have time to become better and happier, professionally and in my personal life. That's my one ambition. Maybe I'll need a long time, because I'm slow. I don't want to say that it's the best method, but it's the only one I know and it gives me the feeling that in spite of everything life is not without hope.


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

15 juin 2007

27 & 28/10/1999, Christie's, "The Personal Property of Marilyn Monroe": Lots Partie 4

Enchères "The Personal Property Of Marilyn Monroe"
27 & 28 octobre 1999
- Partie 4 : Lots 311 à 364 : Vie publique  -
Photos, récompenses, souvenirs

02-christies-banner 

> 27 & 28/10/1999, Christie's: Catalogue "The Personal Property of Marilyn Monroe"


Vie publique: photos, prix reçus & autres - "Souvenirs"
Public life: photos, awards received & others - "Memorabilia"


Lot 311: A MANFRED KREINER BLACK AND WHITE PHOTOGRAPH OF MARILYN MONROE
Estimate: $1,000 - $1,500 / Sold: $20,700
1999-Christies_AUCTION-Lot311 


Lot 312: A DETROIT FREE PRESS NEW FACES AWARD
Designed as a wall mirror of birchwood surrounded by fourteen electric light sockets and with leather grip, the plaque engraved Marilyn Monroe Winner-First Place Detroit Free Press New Faces Award 1952.
Estimate: $2,000 - $4,000 / Sold: $25,300
1999-Christies_AUCTION-Lot312  


Lot 313: A PLAQUE Photoplay Magazine
Presents The New Star Award to Marilyn Monroe
For Her Rapid Rise to Stardom In 1952

Estimate: $2,000 - $4,000 / Sold: $40,250
1999-Christies_AUCTION-Lot313  


Lot 314: A PLAQUE Look Award
Marilyn Look Award / 1952 Film Achievement Award
Estimate: $2,000 - $4,000 / Sold: $17,250
1999-Christies_AUCTION-Lot314  


Lot 315: A TESTIMONIAL OF APPRECIATION 
Presented by the American Legion
Estimate: $600 - $800 / Sold: $6,900
1999-Christies_AUCTION-Lot318b 


Lot 316: MOTION PICTURE HERALD AWARDS 
Two "Motion Picture Herald in Association with Fame" awards, New York, January 1, 1954 and January 1, 1957. Together 2 pages, folio (9x12 in.), on cream card, with gold seal. Won by Marilyn in 1954 and 1957, this "Award of Achievement" was presented to "Marilyn Monroe...as on of the top ten Money-Making Stars." In 1954 Marilyn was selected to receive this award by "the Exhibitors of the United States and Canada," and in 1957 by "the American Theatre Box Office Returns". 
Estimate: $1,000 - $1,500 / Sold: $13,800
1999-Christies_AUCTION-Lot316  


Lot 317: A STERLING SILVER COMPACT
Engraved To Marilyn Monroe the best friend a diamond ever had, THE JEWELRY ACADEMY, Sidney M. Brownstein, President.
Estimate: $4,000 - $6,000 / Sold: $23,000
1999-Christies_AUCTION-Lot317  


Lot 318: A GROUP OF THREE PLAQUES (3)
(1) Exhibitor Laurel Awards
Voted by the Film Buyers of the Motion Picture Association: 1953-54
Marilyn Monroe / Number One Screen Star
(2) Independent Theatre Owners of Arkansas Award
Presented bo the State's Most Popular Movie Actress
Marilyn Monroe / Selected by a poll of 109,248 Arkansas Theatre Patrons: January 26, 1953
(3) A Halo for a Saintly Sinner is herewith bestowed by the Saints & Sinners of Los Angeles To Marilyn Monroe: April 16, 1953

Estimate: $3,000 - $5,000 / Sold: $19,550
1999-Christies_AUCTION-Lot318 


Lot 319: A TROPHY
National Movie Poll Award Marilyn Monroe Favorite Actress 1953 / Canton, Ohio
Estimate: $1,000 - $1,500 / Sold: $13,800

 

1999-Christies_AUCTION-Lot319-320-321 

Lot 320: A TROPHY
Non présenté / Not presented

Lot 321: A TROPHY BASE
Presented to Marilyn Monroe in Commemoration of her Unselfish Service Rendered tot he Armed Forces in Korea June 19, 1954
Morningside Park ; Post No. 398 / Inglewood, Calif.

Estimate: $2,000 - $4,000 / Sold: $36,800


Lot 322: A PLAQUE
"To the Sweetest Girl in Motion Pictures" Marilyn Monroe
20th Century Fox Films Star / 1953 Presented by Yolo County Fair Sugar Queen 

Estimate: $1,000 - $1,500 / Sold: $25,300

1999-Christies_AUCTION-Lot322-324-325  

Lot 324: CRYSTAL AWARD
Non présenté / Not presented

Lot 325: A TROPHY (CHILE)
Laurel De Oro 1959 ; Coktail De Estrellas
Estimulo Establecimientos ; DUCAL Actiz de Cine
Estimate: $1,000 - $1,500 / Sold: $27,600


Lot 323: A BRASS PLAQUE (ITALY BULGARI) - Donatello Award
Presidente Della Republica; A Marilyn Monroe 1957-58
Club Internazionale Del Cinema Roma 

Estimate: $1,000 - $1,500 / Sold: $27,600
1999-Christies_AUCTION-Lot323 


Lot 326: CECIL BEATON Photo, 1956
Estimate: $4,000 - $6,000 / Sold: $36,800
1999-Christies_AUCTION-Lot326  


Lot 327: A RECORD COLLECTION
Of approximately 48 assorted classical music records including vocalists and instrumentals in a russet case with small lock handle, together with three other records, ROBINSON, EARL and MILLARD LAMPELL. The Lonesome Train. 33 1/3 rpm. Original carboard cover. Inscribed on cover to MarilynCOOPER, CLARENCE. Goin' Down the Road. American Folksongs sung by Clarence Cooper. 33 1/3 rpm. Original cardboard cover. Inscribed on reverse of cover to Marilyn by CooperSPINA, HAROLD and JIM AMECHE. Rubaiyat of Omar Khayyam. 33 1/3 rpm. Original cardboard cover. Inscribed on reverse of cover to Marilyn.
Estimate: $2,000 - $4,000 / Sold: $14,950
1999-Christies_AUCTION-Lot327  


Lot 328: PERSON TO PERSON, 1955
A painted wooden hanger from the television show Person to Person.
Marilyn appeared on the show in April 1955.

Estimate: $600 - $800 / Sold: $4,370
1999-Christies_AUCTION-Lot328  


Lot 329: THERE'S NO BUSINESS LIKE SHOW BUSINESS, 1954, Color lobby card
Estimate: $600 - $800 / Sold: $7,475
1999-Christies_AUCTION-Lot329  


Lot 330: A COLOR MAGAZINE TEAR SHEET
Depicting Joe DiMaggio in Yankee uniform at home plate with bold letters "A Great and Graceful Joe", in silvered wood frame.
Estimate: $600 - $800 / Sold: $9,775
1999-Christies_AUCTION-Lot330  


Lot 331: TWO BASEBALLS (2)
Signed by Joe DiMaggio and other Yankee players
One circa late-1940s/early-1950s factory stamped souvenir ball sold a Yankee Stadium.

Estimate: $2,000 - $2,500 / Sold: $16,100
1999-Christies_AUCTION-Lot331  


Lot 332: DRIVER'S LICENSE
Temporary driver's license, signed "Marilyn Monroe". State of California temporary driver's license, issued 29 February 1956.  
Estimate: $3,000 - $5,000 / Sold: $145,500
1999-Christies_AUCTION-Lot332  


Lot 333: THE PRINCE AND THE SHOWGIRL, 1957 - color lobby card 
Estimate: $600 - $800 / Sold: $13,800
1999-Christies_AUCTION-Lot333  


Lot 334: MILTON GREENE PHOTOS (2)
Two Framed Photographs of Marilyn in a black feather boa and top hat from her famous 1956 "Black Sting" with photographer Milton Greene.
Please note: It is possible that these are the two vintage prints that were printed in 1956, one set of three sets ever made. They were printed by Milton Greene and given to Marilyn Monroe. They are extremely rare and the original negative has been damaged and these prints are all that remain.  

Estimate: $1,000 - $1,500 / Sold: $43,700
1999-Christies_AUCTION-Lot334  


Lot 335: AMERICAN FEDERATION OF TELEVISION AND RADIO ARTISTS (AFTRA)
Television and Radio Artists Three Membership cards for AFTRA, January 1, 1960-January 11, 1961
Estimate: $1,000 - $1,500 / Sold: $5,520
1999-Christies_AUCTION-Lot335  


Lot 336: ACADEMY OF MOTION PICTURE ARTS AND SCIENCES (AMPAS)
Two membership cards issued for the years 1960 and 1961. Together 2 pages, small oblong, decorated with AMPAS logo and embossed gold Oscar statue, with "Marilyn Monroe" listed as the "Active Member." 
Estimate: $1,000 - $1,500 / Sold: $23,000
1999-Christies_AUCTION-Lot336  


Lot 337: SCREEN ACTORS GUILD
Screen Actors Guild membership card, 23 May 1960 and receipt fo r$80.  
Estimate: $1,000 - $1,500 / Sold: $25,300
1999-Christies_AUCTION-Lot337  


Lot 338: WARNER BROS. STUDIOS KEY
A commemorative brass key circa 1956, cast with W.B. emblem on one side and on the other marked Welcome to Warner Bros. Studio, the Largest in the World.  
Estimate: $2,000 - $4,000 / Sold: $32,200
1999-Christies_AUCTION-Lot338  


Lot 339: PHILIPPE HALSMAN Portrait of Dame Edith Sitwell 1958
Signed lower right For Marilyn, P. Halsman. Vintage print, gifted to Marilyn in 1959. Ebonized in gilt wood frame. 
Estimate: $1,000 - $1,500 / Sold: $4,830
1999-Christies_AUCTION-Lot339  


Lot 340: JOHN BRYSON PHOTO
A Photograph of Marilyn Monroe and Arthur Miller in Los Angeles 1960 framed. 
Estimate: $600 - $800 / Sold: $27,600
1999-Christies_AUCTION-Lot340  


Lot 341: ARTIST UNKNOWN
A Study for Dress Design. Marked Oyster white cavier-bead on jersey-oyster chiffon coat effect-diamond pin-pleated skirt on oyster white tulle, in silver-painted frame.
Estimate: $2,000 - $4,000 / Sold: $6,325
1999-Christies_AUCTION-Lot341  


Lot 342: ARTIST UNKNOWN
A Study for Dress Design. Marked White crepe satin with silver bangle bead bands. White Chiffon over shoulders and front yoke. Bands meet in back to form panels of white satin.
Estimate: $2,000 - $4,000 / Sold: $6,325
1999-Christies_AUCTION-Lot342  


Lot 343: FOUR PORTRAITS OF MARILYN MONROE (4)
(1) V. KRIAL: Portrait of Marilyn Monroe. Oil on artistboard.
Signed lower left V. Krial and dated 1954.
(2) VEPA: Portrait of Marilyn Monroe. pastel crayon paper, torn edges, in chrome-plated frame.
Signed lower right Ve.Pa.
(3): D.E.BARLOW: Portrait of Marilyn Monroe. Pastel and crayon on paper.
(4): C. FASO: Portrait of Marilyn Monroe.
Signed lower right C. Faso and ated 60 oil canvas 

Estimate: $1,500 - $2,000 / Sold: $9,775
1999-Christies_AUCTION-Lot343  


Lot 345: TWO PAINTINGS OF MARILYN - J. GRAY (2) 
Estimate: $800 - $1,200 / Sold: $8,625
1999-Christies_AUCTION-Lot346  


Lot 347: JACK CARDIFF PHOTOS (3)
Three framed photographs of Marylin Monroe taken in London during the film of The Prince and the Showgirl, 1957. Jack Cardiff was the cinematographer on the film. 
Estimate: $1,500 - $2,000 / Sold: $34,500
1999-Christies_AUCTION-Lot347  


Lot 348: A TYPEWRITER
A Royal portable typewriter circa 1950, with original certificate of guarantee and carrying case. 
Estimate: $2,000 - $3,000 / Sold: $8,625
Non illustré / Not illustrated


Lot 349: THE MISFITS PHOTOS, 1961 (7)
A group of seven black and white photos of Marilyn on the set of The Misfits with director John Huston, Arthur Miller, and co-stars including Clark Gable and Montgomery Clift. 
Estimate: $800 - $1,200 / Sold: $34,500
1999-Christies_AUCTION-Lot349  


Lot 350: THE MISFITS WIG, 1961 
A blonde wig and hairpiece for The Misfits in a box marked United Artists Corp., The Misfits, and Hold at airport for pickup, c/o Gilboy Co. of LA.
Estimate: $1,000 - $1,500 / Sold: $29,900
1999-Christies_AUCTION-Lot350  


Lot 351: WRITING CASE
An oversized red leather writing case by Smythson of New Bond Street, with gilt border on front and gilt initials M.M.M. in front upper right corner. Red watered silk interior, with 4 large sheets of blotting paper, 18 sheets of cream-colored notepaper, embossed Marilyn Monroe, and 6 matching envelopes, embossed on flap Marilyn Monroe.
Estimate: $2,000 - $2,500 / Sold: $27,600
1999-Christies_AUCTION-Lot351  


Lot 352: CROUCH & FITZGERALD 
A Tan leather suitcase with two travel tags on inside and monogramed A.M., with a tag from the Beverly Hills Hotel (includes numbers 238-240 inside suitcase).
Estimate: $3,000 - $5,000 / Sold: $6,325
1999-Christies_AUCTION-Lot352    


Lot 353: A TWO-HANDLED STERLING SILVER LOVING CUP 
Circa early-1950s, maker's mark of Black, Starr $ Gorham. Campana form, with ringed band flanked by double-spurred scrolled handles engraved Red Book Magazine Award For Distinguished Contribution to the Art of the Motion Picture, the reverse 1952 Best Young Box Office Personality Marilyn Monroe.
Estimate: $3,000 - $5,000 / Sold: $29,900
1999-Christies_AUCTION-Lot353  


Lot 354: A BRASS PLATED METAL MUSICAL GOLD MENORAH 
Circa 1950 / The cylindrical trumpet-form base supporting a baluster stem and continuing to ringed curved arms ending in small candle nozzles centering the Star of David, the base playing the Israeli National Anthem.
Estimate: $2,000 - $4,000 / Sold: $19,550
1999-Christies_AUCTION-Lot354 


Lot 355: CERTIFICATE OF CONVERSION 
Printed certificate of conversion to the Jewish Faith, signed by her (Marilyn Monroe) and by Arthur Miller, Rabbi Robert E. Goldburg and two witnesses. Dated Lewisboro, New York, July 1, 1956.
Estimate: $8,000 - $10,000 / Sold: $90,500
1999-Christies_AUCTION-Lot355  


Lot 356: A CERTIFICATE 
The Women's Division of the Federation of Jewish Philanthropies of New York
Citation January 26, 1956

Estimate: $600 - $800 / Sold: $6,900
1999-Christies_AUCTION-Lot356  


 Lot 357: A PHOTOGRAPH OF MARILYN MONROE AND ELI WALLACH
Estimate: $600 - $800 / Sold: $13,800
1999-Christies_AUCTION-Lot357  


Lot 358: DRIVER'S LICENSE 
State of Connecticut issued July 11, 1962, expiring June 30, 1964. Printed on front and back, on green card accomplished in type with Dept. of Motor Vehicles, Connecticut envelope dated July 13, 1962. Marilyn's Driver's License with the address of her final residence, 12305 - 5th Helena Dr., Los Angeles 49, Calif.. The license issued from Hartford, Conn. details: Fee $6; Operator Number 181034533; Height 5ft. 05in. and Date of Birth 6/01/26.
Estimate: $3,000 - $5,000 / Sold: $29,900
1999-Christies_AUCTION-Lot358 


Lot 359: CLIFFORD ODETS 
Portrait of Marilyn Monroe 1958
Signed lower left Odets, on the reverse with hand-written index card.

Estimate: $4,000 - $6,000 / Sold: $9,200
1999-Christies_AUCTION-Lot359  


Lot 360: AN ORIGINAL PENCIL AND INK CARTOON DRAWING OF TWO GIRLS ON SUBWAY 
The typed cut-out slogan "I Wonder: Did Marilyn Monroe every flunk History?", mounted and framed, circa 1960.
Estimate: $400 - $600 / Sold: $3,680
1999-Christies_AUCTION-Lot360  


Lot 361: SIX PAPER COASTERS (6)
Each marked respectively George Cukor, 1960 and Happy Christmas in red crayon; the others printed with eyeglasses or dogs.
Estimate: $600 - $800 / Sold: $2,530
Non illustré / Not illustrated 


Lot 362: A DRAWN AND PAINTED HAPPY BIRTHDAY CARD
Signed Joseph Krutak and dated '60. Depicting Marilyn as a student in bikini with various cartoon balloons and orginal signatures of cast and crew of Let's Make Love, including Yves Montand and George Cukor.
Estimate: $2,000 - $4,000 / Sold: $13,800
1999-Christies_AUCTION-Lot362  


Lot 363: A HAPPY BIRTHDAY CARD
Featuring an image of Marilyn in a short garment, on the hem written Ladies Wardrobe, hand-lettered Something's Got to Give, 1962 bottom right artist signature Joseph Krutak and featuring original signatures.
Estimate: $2,000 - $4,000 / Sold: $14,950
1999-Christies_AUCTION-Lot363  


Lot 364: SOMETHING'S GOT TO GIVE (5)
A group of photographs taken during a shoot where Marilyn modeled costumes from the film.
Estimate: $2,000 - $4,000 / Sold: $29,900
1999-Christies_AUCTION-Lot364 


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

23 octobre 2022

Autour du film "Ladies of the Chorus"

Les reines du music-hall

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


Genèse
Genesis

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

01-blog-secretstournage-joe_schenck_harry_cohn-1 
Joseph Schenck & Marilyn / Harry Cohn & Rita Hayworth

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

01-blog-secretstournage-natasha_karger 

  • Bien que sous contrat avec la Columbia, aucune proposition de tournage ne se fait dans l'immédiat pour Marilyn. C'est Natasha Lytess qui contacte un jour l'un de ses amis, le producteur Harry Romm, qui lui confirme qu'un film est en préparation et pour lequel l'un des premiers rôles n'a pas encore été distribué: il s'agit du film "Les Reines du Music-Hall".
    Quand elle apprend qu'elle est retenue pour le film, Marilyn aurait contacté la chroniqueuse Louella Parsons pour lui annoncer la bonne nouvelle, espérant ainsi que son nom soit cité dans sa chronique.
    Ce sera le seul et unique film que Marilyn tourne pour la Columbia car à l'issu des 6 mois d'échéance de son contrat, il n'est pas renouvellé pour la simple raison que Marilyn a refusé les avances d'Harry Cohn, ce qu'elle révélera à demi-mots dans l'interview qu'elle donnera en 1960 à Georges Belmont: "Le vrai motif (de son départ à la Columbia) tient à des circonstances plutôt étranges et, mettons, déplaisantes. Je n'en dirai pas plus, si ce n'est que... la vie est pleine de leçons."
    Although under contract with Columbia, no filming proposal is made immediately for Marilyn. It is Natasha Lytess who one day contacts one of her friends, the producer Harry Romm, who confirms to her that a film is in preparation and for which one of the first roles has not yet been distributed: that's the movie "Ladies of the Chorus".
    When she learns that she has been selected for the film, Marilyn would have contacted the columnist Louella Parsons to announce the good news, thus hoping that her name would be mentioned in her column.
    It will be the one and only film that Marilyn shoots for Columbia because at the end of the 6-month expiry of her contract, it is not renewed for the simple reason that Marilyn refused Harry Cohn's advances, which that she will reveal in half-words in the interview that she will give in 1960 to Georges Belmont: "The real reason (for her departure to Columbia) is due to rather strange and, let's say, unpleasant circumstances. I will say no more, except that... life is full of lessons."

  • La coach d'art dramatique Natasha Lytess se montre au départ désemparée face au manque de talent de Marilyn, la considérant même comme un cas désépéré; elle lui fait travailler par dessous tout sa voix car son timbre de voix irritait Lytess, tout comme sa diction; Lytess dira que Marilyn avait "la manie de parler sans bouger les lèvres rendant son élocution artificielle". Marilyn suit les cours de Lytess d'une manière très assidue et travaille d'arrache pied en appliquant tout les conseils que la professeure lui prodigue.
    Natasha Lytess a par ailleurs aussi vite repéré que les principaux atouts de Marilyn étaient son corps et l'attrait sexuel qu'elle exerçait. C'est en travaillant les scènes de chorégraphies du film et souhaitant améliorer sa gestuelle pour incarner son personnage de chanteuse et danseuse de cabaret, que des amis de Marilyn lui conseillent d'aller voir un spectacle d'effeuillage de la danseuse de strip tease Lili St-Cyr. Elle s'y rend avec le photographe Bruno Bernard, pour qui a posé Marilyn dès 1946, et qui a aussi photographié Lili St-Cyr. Marilyn ressort du spectacle totalement époustouflée par la façon dont Lili pouvait être sexy sans être vulgaire. Elle était capable d'utiliser son corps en suggérant l'acte sexuel, en restant incroyablement sensuelle, sans être licensieuse ni trop charnelle. Elle savait y mêler virginité, pureté, sensualité et romantisme.
    The drama coach Natasha Lytess is initially distraught at Marilyn's lack of talent, even considering her a hopeless case; she makes her work above all on her voice because her tone of voice irritated Lytess, just like her diction; Lytess will say that Marilyn had "a mania for speaking without moving her lips, making her speech artificial". Marilyn follows Lytess's classes in a very diligent way and works tirelessly by applying all the advices that the teacher gives her.
    Natasha Lytess also quickly spotted that Marilyn's main assets were her body and the sexual attraction she exerted. It was while working on the film's choreography scenes and wishing to improve her gestures to embody her character as a singer and cabaret dancer, that Marilyn's friends advised her to go see a strip show by the stripteaser dancer Lili St-Cyr. She goes there with the photographer Bruno Bernard, for whom Marilyn posed in 1946, and who also photographed Lili St-Cyr. Marilyn comes out of the show totally amazed by how sexy Lili could be sexy without being vulgar. She was able to use her body in suggesting the sexual act, remaining incredibly sensual, without being licentious or overly carnal. She knew how to mix virginity, purity, sensuality and romanticism.

01-blog-secretstournage-bruno_bernard_lilisaintcyr 
Bruno Bernard alias Bernard of Hollywood / Lili St-Cyr (photos de Bruno Bernard)

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


Rôle de Marilyn
Role of Marilyn

  • Marilyn a 22 ans quand elle joue le rôle de Peggy Martin, une chanteuse de cabaret. C'est le premier grand rôle qu'elle tient à l'écran, son nom est placé en 2ème position au générique (après celui d'Adele Jergens) et il s'agit de sa première comédie musicale où elle chante et danse et elle porte 15 tenues différentes dans le film.
    Il s'agit aussi de l'un des rares films où elle a une mère, en l'occurrence jouée par Adele Jergens.
    Marilyn is 22 when she plays the role of Peggy Martin, a cabaret singer. This is the first big role she has on screen, her name is placed in 2nd position in the credits (after that of Adele Jergens) and it is her first musical where she sings and dances and she wears 15 different outfits in the film.
    It is also one of the rare films where she has a mother, in this case played by Adele Jergens.

  • Dans le film est abordé le thème de la différence de classes sociales entre son personnage Peggy Martin, de condition modeste, qui tombe amoureuse de Randy Carroll (joué par Rand Brooks), un jeune homme riche de la haute société.
    Dans la vie et au moment du tournage, Marilyn tombe amoureuse et vit une passion avec Fred Karger, qui lui fait répéter les chansons. Marilyn tombe follement amoureuse de Karger, qui a 10 ans de plus qu'elle, est séparé de sa femme, et vit dans un contexte social aisé avec sa fille, sa mère et ses soeurs.
    Contrairement au personnage de Peggy Martin qui a fait des études secondaires avant de se lancer dans le métier de chanteuse et danseuse du burlesque en rejoignant la troupe de sa mère, Marilyn a stoppé ses études à 16 ans pour se marier et ressentira un profond sentiment d'infériorité face à Karger qui n'aura de cesse de la rabaisser sur son manque de culture. Comme son personnage, Marilyn est alors confronté à cette différence de classe sociale et culturelle.
    The film tackles the theme of the social class difference between its character Peggy Martin, of modest means, who falls in love with Randy Carroll (played by Rand Brooks), a young rich man from high society.
    In life and at the time of filming, Marilyn falls in love and lives a passion with Fred Karger, who makes her rehearse the songs. Marilyn falls madly in love with Karger, who is 10 years older than her, is separated from his wife, and lives in an affluent social context with his daughter, his mother and his sisters.
    Contrary to the character of Peggy Martin who went to secondary school before embarking on the profession of singer and burlesque dancer by joining her mother's troupe, Marilyn stopped her studies at 16 to get married and will feel a deep sense of inferiority to Karger who will constantly belittle her for her lack of culture. Like her character, Marilyn is then confronted with this difference of social and cultural class.
  • Bien qu'elle était pour la première fois l'une des têtes d'affiche et que la préparation du film lui a permi de rencontrer des personnes qui joueront un rôle important dans sa vie (Natasha Lytess et Fred Karger), Marilyn ne gardera pas un très bon souvenir de sa période à la Columbia, ni même du film. Elle racontera dans l'interview qu'elle donnera en 1960 au français Georges Belmont: "La Columbia m'avait du moins donné un rôle dans 'Ladies of the Chorus'. Un film affreux ! Je jouais une danseuse de burlesque dont un type de Boston tombe amoureux. C'était une histoire horrible et horriblement photographiée; tout était horrible !"
    Although she was one of the headliners for the first time and the preparation of the film allowed her to meet people who will play an important place in her life (Natasha Lytess and Fred Karger), Marilyn will not keep a very good memories of her time at Columbia, or even of the film. She recounted in the interview she gave to French Georges Belmont in 1960: "Columbia had at least given me a role in 'Ladies of the Chorus'. It was really dreadful ! I played a burlesque dancer on whom some guy from Boston falls in love with. It was a terrible story and terribly, badly photographed; everything was awful about it !"

 Ses partenaires à l'écran
Her on-screen partners

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

1948-columbia-LOTC-publicity-Adele_Jergens-1 
Adele Jergens, portraits publicitaires pour "Ladies of the Chorus"

  • Rand Brooks, qui joue Randy Carroll, le prétendant de Marilyn dans le film, est né le 21 septembre 1918. Il signe avec les studios de la MGM en 1938 et il est prêté aux productions de Selznik en 1939 pour tenir le rôle du premier mari de Scarlett O'Hara (interprétée par Vivien Leigh) dans "Autant en emporte le vent". Marilyn avait 13 ans quand elle a vu le film au cinéma, avec son idole Clark Gable. On ne peut qu'imaginer son excitation de donner la réplique à Rand Brooks, qui reste aussi son premier partenaire à qui elle offre son premier baiser à l'écran.
    Rand Brooks racontera plus tard ses souvenirs de Marilyn: "Marilyn était terriblement gentille et je pense qu'elle a fait du bon travail. Elle arrivait toujours à l'heure, elle travaillait dur, elle connaissait ses répliques et son chant était plus que suffisant. Cependant, elle n'avait pas beaucoup de formation cinématographique, je me suis reculé et je lui ai dit où étaient les lumières, car des choses comme frapper ses marques peuvent déranger les jeunes acteurs et actrices. À l'époque, j'avais eu pas mal d'expérience dans la réalisation de films, mais je n'étais pas sur le point d'éclipser Marilyn. Mon agent m'a dit: "J'espère que vous ne faites rien de stupide."
    Brooks travaillera pour pratiquement tous les studios: la Fox, la Paramount, United Artists, Universal, la RKO et pour ce film, la Columbia. Il tient un petit rôle dans le téléfilm "The Sex Symbol" en 1974, ce qui est considéré comme le premier biopic sur Marilyn.
    Rand Brooks, who plays Randy Carroll, Marilyn's suitor in the film, was born on September 21, 1918. He signed with MGM studios in 1938 and was loaned to Selznik productions in 1939 to play the role of the first husband by Scarlett O'Hara (played by Vivien Leigh) in "Gone with the Wind". Marilyn was 13 when she saw the movie at the theatre, with her idol Clark Gable. We can imagine her excitement to give the reply to Rand Brooks, who also remains her first partner to whom she offers her first kiss on the screen.
    Rand Brooks will later recount his memories of Marilyn: “Marilyn was awfully sweet and I think she did a good job. She always turned up on time, she worked hard, she knew her lines, and her singing was more than adequate. However, she hadn’t much film training, I moved back and tell her where the lights were, because things like hitting your marks can be disturbing to young actors and actresses. By the time had had quite a lot of experience making movies, but I wasn’t about to upstage Marilyn. My agent told me, ‘I hope you’re not doing anything foolish.”
    Brooks will work for practically all the studios: Fox, Paramount, United Artists, Universal, RKO and for this film, Columbia. He has a small role in the 1974 TV movie "The Sex Symbol", which is considered the first Marilyn biopic.
    (- blog: Film Biopic - The Sex Symbol (1974) -)

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


 Les chansons du film
The songs of the movie

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

01-blog-secretstournage-thebobbytruetrio 
The Bobby True Trio

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

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

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

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

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

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

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


Itinéraire d'un film
Film itinerary

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

1948-04-07-LOTC_script_jergens-92pages-1  1948-04-07-LOTC_script_jergens-92pages-3 
1948-04-07-LOTC_script_jergens-92pages-2  
Le script du film d'Adele Jergens de 92 pages daté du 07 avril 1948
The Adele Jergens Screenplay of 92 pages dated from 1948, April, 07
vendu sur ebay en 2019 - archive sur worthpoint 

Mi-mai à mi-juin 1948 - Tournage du film à petit budget dans les studios de la Columbia. Bien que dans la plupart des biographies il est indiqué que le tournage a lieu en une dizaine de jours, il semble néanmoins qu'il ait duré un peu plus longtemps (peut être deux à trois semaines).
Le 17 mai 1948  , Marilyn tourne la scène de la chanson 'Every Baby Needs a Da-Da-Daddy' ;
Le 19 mai 1948  , Marilyn pose pour des portraits promotionnels du film ;
Le 14 juin 1948 , Marilyn pose avec Rand Brooks pour des portraits publicitaires du film.
Mid-May to mid-June 1948 - Filming of the low-budget film at Columbia studios. Although in most biographies it is stated that the filming takes place in about ten days, it nevertheless seems that it lasted a little longer (maybe two to three weeks).
On May 17, 1948, Marilyn shoots the scene of the song 'Every Baby Needs a Da-Da-Daddy';
On May 19, 1948, Marilyn poses for movie's promotionnal portraits;
On June 14, 1948, Marilyn poses with Rand Brooks for publicity portraits for the film.

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

01-blog-secretstournagetheatre_lights 

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

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

In 1952, the film's publicity slogans were: "The Year's Sizzling Sensation, Marilyn Monroe, As A Burlesque Queen"; "That Hot Hollywood Sensation In A Musical With A Burlesque Background;" "Marilyn Monroe Bares Love Secrets Of Burlesque's 'Ladies Of The Chorus'".


Retrouvailles
Reunion

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

01-blog-secretstournage-nana_bryant-dangerous_years 
Nana Bryant dans "Dangerous Years"

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

01-blog-secretstournage-dave_barry_son-1 
Dave Barry et son fils Alan dans "Ladies of the Chorus" / avec Marilyn dans "Some like it Hot"


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


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

26 décembre 2013

'Hollywood Auction 62' 12/2013


Photographies


lot 47: Oversized Photograph of Marilyn Monroe in The Seven Year Itch
(TCF, 1955) Vintage original 9.75 x 12 in. gelatin silver glossy borderless photo print of Marilyn Monroe and Tom Ewell from The Seven Year Itch. The production photo exhibits some minor flaws from the negative and very minor corner bumping. In vintage very good condition.
Sold: $300
lot47


 lot 48: Collection of (7) Photos of Marilyn Monroe
(Various studios, 1957-1961)
Gelatin-silver glossy approx. 8 x 10 in. prints (7) all featuring Marilyn Monroe in (3) films:
The Prince and the Showgirl (Warner Bros., 1957) (1), Let’s Make Love (TCF, 1960) (5),
and The Misfits (United Artists, 1961) (1).
All are in very fine condition and (1) has descriptive studio snipes on verso
Sold: $350
lot48a  lot48b 
lot48c  lot48d  


lot 128: Collection of (32) contact sheet Prints of Marilyn Monroe with Milton Berle  and Maurice Chevalier and Marlene Dietrich by Milton h. Greene
(32) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe with Marlene Dietrich at
cocktail party announcing formation of MM Productions, Milton Berle for Mike Todd Circus at Madison Sq. Garden and at Friars’ Club Roast, and Maurice Chevalier for Look, dated 1/7/55, 3/15/55 and 9/30/55. Very good.
Estimate: $200 - $300
Sold: $3 250 
lot128 
lot128a  lot128b 
lot128c  lot128d 


lot 129: Collection of (10) contact sheet Prints of Marilyn Monroe from Seven Year Itch  and other sittings by Milton H Greene.
(10) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe from Seven Year Itch (20th Century-Fox, 1955), “Nude,” “Nightgown and Mink Stole,” “White Robe” and “Gypsy” sittings by Milton H. Greene, dated 9/2/53, 10/7/53, 9/13/54, 3/8/55 and 4/15/56. Very good.
Estimate: $200 - $300
Sold: $ 1 000
lot129 
lot129a  lot129b 
lot129c  lot129d 


  lot 130: Collection of (8) contact sheet Prints of Marilyn Monroe from “balalaika” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (2 double-weight) from 2.25
x 2.25 in. and 35mm negatives of Marilyn Monroe from “Balalaika” sitting by Milton
H. Greene, dated 9/2/53. Very good to Fine.
Estimate: $300 - $500
Sold: $ 1 200
lot130 
lot130a  lot130b 
lot130c  lot130d


lot 131: Collection of (8) contact sheet Prints of Marilyn Monroe from “ballerina” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (1 double-weight) from 2.25 x 2.25 in. negatives of Marilyn Monroe from “Nightgown and Mink Stole” “Ballerina” and “White Robe” sittings by Milton H. Greene, dated 10/7/53, 10/6/54 and 3/8/55. Very good.
Estimate: $300 - $500
Sold: $ 1 600 
lot131 
lot131a  lot131b 
lot131c  lot131d  


lot 132: Collection of (14) contact sheet Prints of Marilyn Monroe with Marlon Brando Edward R. Murrow by Milton H Greene
(14) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. and 35mm negatives of Marilyn Monroe
with Marlon Brando for Actor’s Studio Benefit for Muscular Dystrophy and Edward R. Murrow for Person to Person by Milton H. Greene, dated 4/1/55 and 12/12/55. Very good.
Estimate: $200 - $300
Sold: $ 1 600 
lot132a  lot132b
lot132c1  lot132c2 
lot132c3  lot132c4 


lot 133: Collection of (17) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(17) Silver gelatin glossy 8 x 10 in. proof prints (1 double-weight) of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 1/1/56. Fine.
Estimate: $200 - $30
Sold: $ 2 750
lot133a  lot133b 
lot133c  lot133d  


  lot 134: Collection of (98) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(98) Silver gelatin glossy 4 x 5 in. proof prints of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Good to Fine; with missing corners to some.
Estimate: $300 - $500
Sold: $ 1 900
lot134a  lot134b  lot134c 
lot134d  lot134e 
lot134f  lot134g  lot134h  


  lot 135: Collection of (33) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(33) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. (4) and 35mm negatives of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Very good.
Estimate: $200 - $300
Sold: $ 900 
lot135  lot135c  lot135d 
lot135a  lot135b 


 lot 136: Collection of (9) contact sheet Prints of Marilyn Monroe  from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(9) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 6/26/56. Very good.
Estimate: $200 - $300
Sold: $ 700 
lot136 
lot136a  lot136b  lot136c 
lot136d  lot136e 


lot 137: Collection of (33) contact sheet Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(33) Silver gelatin glossy 4 x 5 in.
contact sheet prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller at press reception at Heathrow for
The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very good to Fine.
Estimate: $200 - $300
Sold: $ 1 400  
lot137a  lot137b 
lot137c  lot137d 


lot 138: Collection of (170) contact Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(170) Silver gelatin glossy 2.25 x 2.25 in. contact prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and
Arthur Miller at press reception at Heathrow for The Prince and the Showgirl
by Milton H. Greene, dated 7/56. Very good.
Estimate: $200 - $300
Sold: $ 1 100 
lot138a  lot138b  
lot138c1  lot138c2 
lot138c3  lot138c4 


 lot 139: Collection of (17) contact sheet Prints of Marilyn Monroe with Lawrence Olivier from The Prince and the Showgirl by Milton H. Greene (Warner Bros., 1957)
(17) Silver gelatin glossy 8 x 10 in. proof prints (5) and contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe with Lawrence Olivier at press reception for The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very
good.
Estimate: $200 - $300
Sold: $ 1 500 
lot139a  lot139b  lot139c3 
lot139c1  lot139c2  lot139c4


Lot 140: Collection of (15) contact sheet Prints of Marilyn Monroe and Lawrence Olivier with Terence Rattigan from The Prince and the Showgirl by Milton H. Greene (Warner Bros.,1957)
(15) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn Monroe and Lawrence Olivier with
Terence Rattigan in publicity sitting for The Prince and the Showgirl by Milton H. Greene, dated 7/56; with
photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 2 750 
lot140a  lot140b 
lot140c1  lot140c2 
lot140c3  lot140c4  


 Lot 141: Collection of (496) contact Prints of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(496) Silver gelatin glossy contact prints including (164) 2.25 x 2.25 in. and (332) 35mm negatives of Marilyn Monroe for The Prince and the Showgirl by Milton H. Greene, dated 6/28/56; with photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 3 750  
lot141  lot141a  lot141b 
lot141c  lot141d 


Lot 142: Collection of (14) camera negatives of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(14) Black-and-white 2.25 x 2.25 in. camera negatives (3 with contact print) of Marilyn Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 11/29/73. Very fine.
Estimate: $200 - $300
Sold: $ 1 100  
lot142  lot142b 
lot142a  lot142c  lot142d 


Lot 161: Travilla “subway dress” costume design for The Seven Year Itch. (TCF, 1955)
In this landmark film from the mid-1950s, Tom Ewell reprises his Broadway role as a husband whose wife goes on a brief vacation with their children. He remains behind in New York on business, alone for the first time in seven years of marriage, and begins fantasizing about a model who has sublet the apartment above. Marilyn Monroe plays The Girl with her characteristic mix of innocence and sexual allure. The Seven Year Itch storyline, unlike some of Monroe’s earlier films, held forth no promise as a costume showcase. It was not a period piece and she had no dance routines. Still, this was to become the vehicle for Travilla’s most famous dress design. It was a deceptively simple dress, classic but sexy, and it was meant to make Monroe look cool on the hot, sticky sidewalks of New York. “I’m going to have my precious baby standing over a grate,” Travilla remembered. “I wanted her to look fresh
and clean. So I wondered what could I do with this most beautiful girl that Marilyn was to play to make her look clean, talcum-powdered and adorable,” Travilla mused. “What would I give her to wear that would blow in the breeze and be fun and pretty? I knew there would be a wind blowing so that would require a skirt.” In his trademark painterly style, Travilla then drew his visualization of what would become the most famous garment in Hollywood history – a white crepe bias-cut dress with a halter-top and sunburst pleated skirt. Accomplished in gouache and ink on a 15 in. x 20 in. sheet of artist’s illustration board, the sketch features the now-famous skirt billowing around her waist, in the scene that would electrify audiences all over the world and reportedly bring an abrupt end to Marilyn’s celebrated marriage to slugger Joe Dimaggio.
Giving the actress a broad smile, Travilla positioned her left arm delicately across her body, while her hand holds up the skirt in a playful tease. The sketch is signed boldly at the lower right of the image in black ink, “Travilla”, with notation at the upper right corner in dark graphite, “7 Year Itch – Wind Scene at Subway”. When she stood over the subway grate and a blast of air caused her pleated skirt to swirl above her waist, Monroe made Hollywood history. Travilla’s contribution was almost forgotten, although he often mused in private about the fame of The Dress. “Here’s how famous it was,” he said. “We were traveling in London to promote the Littlewoods catalog in the 1970s, and my copy of the dress was on display along with millions of dollars in jewelry.” There was a break-in at the show, but the only item stolen was The Dress (which was later anonymously returned). This sketch perfectly embodies the many competing themes of American life during the conservative 1950s, all of which seemed to converge in this film and in this dress at the very moment Marilyn paused over the Subway grate: the responsibilities of modern life as represented by Tom Ewell’s character, the growing independence of American women, and the changing attitude of the country towards
sex and desire, which would culminate in the sexual revolution of the 1960s just a few years away. The crown jewel of Travilla’s Lost Collection, this sketch is not only a wonderful piece of Hollywood history, but an important snapshot of American popular culture from the apex of Marilyn Monroe’s meteoric film career. Provenance: Profiles in History Auction 20, Lot 114.
Estimate: $60,000 - $80,000
Sold: $ 80 000
lot161c 
lot161a  lot161b   


Lot 226: Marilyn Monroe hand–signed and inscribed photograph.
Vintage 8 in. x 10 in., black & white, gelatin silver photo of the sex symbol in a low-cut, clinging blouse. Inscribed in blue ink on the image, “To Lou, When you come back – come around, Marilyn Monroe”. With chipped, upper right hand corner. Pinholes in corners and minor creasing not affecting image or signature. In good condition.
Estimate: $15,000 - $20,000
Sold: $19 000
lot226 


Lot 227: Original Marilyn Monroe anniversary Playboy cover artwork by Victoria Fuller, signed by Hugh Hefner.
Original commemorative Marilyn Monroe Playboy magazine cover painting accomplished in oil paints and silkscreen on a 30 x 40 in. stretched canvas. A one of a kind collection of 11 paintings were created by artist Victoria Fuller in celebration of the 60th anniversary of Marilyn Monroe’s appearance in the first issue of Playboy in December, 1953. The art depicts the iconic cover of the first issue of Playboy. In addition to being a fine art painter, Fuller was one of Playboy’s most popular Playmates, and the most photographed ‘Bunnies’ in the magazine’s last 50. She is also the first and only artist to ever receive a licensing contract from Playboy allowing her to use the famous trademark Rabbit Head Playboy, and Bunny Costume as subjects of her paintings and limited addition prints. The piece is hand-signed by the artist and Playboy Magazine founder and American icon Hugh Hefner. In fine condition.
Estimate: $6,000 - $8,000
Sold: $ Pass
lot227 


 Documents papiers


Lot 224: Marilyn Monroe contract for The Asphalt Jungle. (MGM, 1950)
1-page, printed, typed contract on approx. 21 x 8.5 paper, signed, “Marilyn Monroe” dated 29 November 1949. In John Huston’s The Asphalt Jungle, an unknown actress named Marilyn Monroe in her early breakthrough roll as “Angela Finlay”, a small but important roll in this film noir classic. This oversize “Screen Actors Guild Minimum Contract for Freelance Players” outlines the terms of Monroe’s employment on the film. The contract states that Monroe will play the role of “Angela” in the “photoplay” The Asphalt Jungle and be paid the sum of $300 for 1 week of work beginning on November 9th, 1949. The contract lists Monroe’s’ current address as, “1301 N. Harper Ave. Los Angeles, California” and her phone number, “Hampstead 9943”. The contract verso exhibits an additional amendment typed on 8 x 4 in. paper, tipped to the contract. Signed at the bottom of the page by MGM casting director “Fred A Datig” and below that, in black pen, “Marilyn Monroe”. Retaining original folds. In very good condition.
Estimate: $2,500 - $3,500
Sold: $ 4 750
lot224a  lot224b 


Lot 225: Marilyn Monroe’s personal title and service agreement to her 1950 Pontiac
Marilyn Monroe Pontiac sedan paperwork consisting of (3) documents, including: (1) 8.5 x 3.75 in. Beverly Motor Company, tri-folded, printed Pontiac Service Policy. With typed “Miss Marilyn Monroe / 1301 N. Harper Ave. / Los Angeles, CA”. Inside there are terms of ownership and two attached, perforated 1000 and 2000 mile service coupons also type to “Miss Marilyn Monroe” with other information filled in, dated July 1, 1950, (1) 7.25 x 3.25 in folded printed warranty for the car’s Delco Battery. Type written to Miss Marilyn Monroe and with other technical information, dated July 1, 1950 and (1) State of California DMV “pink slip” certificate of ownership printed to “Monroe Marilyn / 1301 N Harper AV / Los Angeles” including vehicle engine number, make, model, total fees ($24.00) and Monroe’s license number, “19B29921”. All documents in fine condition.
Estimate: $1,000 - $1,500 
sold: $ 1 400
lot225a  
lot225d  
lot225b  lot225c  


 Objets Divers


Lot 231: Warner Bros. commemorative key. (c. 1950s)
10 x 3.75 in. brass key to Warner Brothers Studios. The key’s bow is shield-shaped and features the raised “WB” letters synonymous with the studio. One side of the key blade reads, in raised letters, “Welcome to Warner Bros. Studios” and the reverse side, “The Largest in the World”. In vintage very fine condition.
Estimate: $1,000 - $1,500
Sold: $2 500
lot231a  lot231b 
lot231c 


Lot 764: Jane Russell extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Jane Russell created from the original concrete impression at the Chinese Theatre when she placed her hand and footprints in the cement along with Marilyn Monroe for the west coast premiere of Gentlemen Prefer Blondes.  Rumor has it that Both Jane and Marilyn wanted to make more than just hand and foot print impressions in the forecourt and that they actually wanted to imprint the physical attributes that they were both known for. Theatre management turned down this request though as it would have been considered too risqué. Measuring 37.25 x 41 in. Inscribed, “Jane Russell 6 26 53” and then “Gentleman” as the beginning of the Gentlemen Prefer Blondes title which begins on her square and ends on Monroe’s. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Jane Russell name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $4,000
lot764 


Lot 765: Marilyn Monroe extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Marilyn Monroe created from the original concrete impression at the Chinese Theatre which is, by far, the most photographed imprint square in the TCL Chinese Theatre forecourt, honored with the opening of her film Gentlemen Prefer Blondes. She originally wanted them to dot the “I” in her name with a diamond, but theatre management suggested that someone would steal the diamond and suggested an earring be placed instead. A short time later someone over night came along and attempted to steal the earring. The top broke off, but the back remains firmly implanted in the cement to this day. 42.5 x 42.25 in. Inscribed, “Marilyn Monroe” and then “Prefer Blondes” as half of the Gentlemen Prefer Blondes title started on Jane Russell’s square and finished on Monroe’s. Marilyn’s “I” is dotted by a faux diamond imbedded in the square. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Marilyn Monroe name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $7 500
lot765  


Vêtements


lot 701: Marilyn Monroe “Pola Debevoise” black felt hat from How to Marry a Millionaire. (TCF, 1953)
 Black felt hat with soft ruffle brim and simple bow. Bodies by Lee yellow stamp. Internal bias label handwritten “1-39-1-4691 A-705-54 M. MONROE”. Created by Travilla for Marilyn Monroe as “Pola Debevoise” in How to Marry a Millionaire but not in the final version of the film. Lot includes a wardrobe test photo showing Monroe wearing the hat. This hat was originally created for the scene with David Wayne on the plane but was replaced with a simple beret.
Estimate: $15,000 - $20,000
Sold: $15, 000 
lot701a  lot701b  lot701c 
lot701d 

3 juin 2010

07/1941, Santa Monica - Norma Jeane et les Howell à la plage (Film Footage)

Norma Jeane âgée de 15 ans, à la plage de Santa Monica en Californie en juillet 1941: il s'agit des première images filmées de la future Marilyn Monroe, un film de famille filmé ici par la famille Howell, des amis et voisins de Grace Goddard.
Chester et Doris Howell ont trois filles: l'aîné et deux jumelles (Loralee et Doralee). Les films de famille montrent Norma Jeane avec la famille Howell, s'amusant à faire la roue sur le sable; à jouer dans les vagues de l'océan; à faire la ronde en marchant sur le sable.
Des années plus tard, Mme Howell témoignera dans un documentaire de cette période: "C'était une fille adorable et nous l'aimions. (..) C'était merveilleux de l'avoir à la plage avec nous. Elle était simplement une adolescente joyeuse, jouant dans l'eau, faisant juste des roues sur le sable, s'amusant vraiment. Nous avons acheté son premier maillot de bain, elle était vraiment douce."
Quand à Marilyn, elle racontera plus tard en interview: "J'adorais jouer avec les enfants du quartier".

GIF-1941-07-LA-beach-3 

Norma Jeane aged 15, at Santa Monica beach in California in July 1941: these are the first films footage of the future Marilyn Monroe, a home movie filmed by the Howell family, friends and neighbors of Grace Goddard.
Chester and Doris Howell have three daughters: the oldest and two twins (Loralee and Doralee). The Family home movies show Norma Jeane with the Howells, having fun cartwheeling on the sand; to play in the ocean waves; to go around walking on the sand.

Years later, Ms Howell will tell in a documentary, talking about this period: "She was a lovely girl and we loved to her. (..) It was wonderful to have her at the beach with us. She was just a happy tennager, playing in the water, just doing cartwheels on sand, really enjoyng herself. We bought her first bathing suit, she was soft real."
As for Marilyn, she will tell later in an interview: "I loved playing with children of the neighborhood".


HOME MOVIE 1

Norma Jeane avec les jumelles Howell et leur soeur aînée.
Dans le sable, elle s'amuse à faire la roue.

Norma Jeane with twin Howell's girls and their older sister.
In the sand, she has fun doing cartwheels.

- Sequence 1 captures -
1941-07-LA-beach-private_movie01-cap-01-1 
1941-07-LA-beach-private_movie01-getty-cap-01-1  1941-07-LA-beach-private_movie01-getty-cap-01-2  1941-07-LA-beach-private_movie01-getty-cap-01-3 
1941-07-LA-beach-private_movie01-getty-cap-01-4  1941-07-LA-beach-private_movie01-getty-cap-01-5  1941-07-LA-beach-private_movie01-getty-cap-01-6 
1941-07-LA-beach-home_movie01-getty-cap-01-7 

- Sequence 2 captures -
1941-07-LA-beach-private_movie01-getty-cap-02-1  1941-07-LA-beach-private_movie01-getty-cap-02-2  1941-07-LA-beach-private_movie01-getty-cap-02-3  

- Sequence 3 captures -
1941-07-LA-beach-private_movie01-getty-cap-03-1  1941-07-LA-beach-private_movie01-getty-cap-03-2  1941-07-LA-beach-private_movie01-getty-cap-03-3 
1941-07-LA-beach-private_movie01-getty-cap-03-4  1941-07-LA-beach-private_movie01-getty-cap-03-5  1941-07-LA-beach-private_movie01-getty-cap-03-6 
1941-07-LA-beach-private_movie01-cap-02-4 
1941-07-LA-beach-private_movie01-getty-cap-03-7  1941-07-LA-beach-private_movie01-getty-cap-03-8  1941-07-LA-beach-private_movie01-getty-cap-03-9 

- Sequence 4 captures -
1941-07-LA-beach-private_movie01-cap-03-1 
1941-07-LA-beach-private_movie01-getty-cap-04-1  1941-07-LA-beach-private_movie01-getty-cap-04-2  1941-07-LA-beach-private_movie01-getty-cap-04-3 
1941-07-LA-beach-private_movie01-getty-cap-04-4  1941-07-LA-beach-private_movie01-getty-cap-04-5  1941-07-LA-beach-private_movie01-getty-cap-04-6 
1941-07-LA-beach-private_movie01-getty-cap-04-7  1941-07-LA-beach-private_movie01-getty-cap-04-8  1941-07-LA-beach-private_movie01-getty-cap-04-9 
1941-07-LA-beach-private_movie01-cap-03-4 
1941-07-LA-beach-private_movie01-getty-cap-04-10  1941-07-LA-beach-private_movie01-getty-cap-04-11  1941-07-LA-beach-private_movie01-getty-cap-04-12 
1941-07-LA-beach-private_movie01-getty-cap-04-13 
1941-07-LA-beach-private_movie01-getty-cap-04-14  1941-07-LA-beach-private_movie01-getty-cap-04-15  1941-07-LA-beach-private_movie01-getty-cap-04-16 

- source: video sur Getty -

 - video "home movie"-


HOME MOVIE 2

Norma Jeane en maillot deux pièces rouge avec des amis (famille Howell)
Elles surfent sur un matelas gonflable dans les vagues.

Norma Jeane in a two-piece red bathing suit with friends (Howell family)
They surf on an inflatable mattress in the waves
.

- Sequence 1 captures -
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-01-1  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-01-2  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-01-3 

- Sequence 2 captures -
1941-07-LA-beach-home_movie02-with_Howells-cap-02-1  1941-07-LA-beach-home_movie02-with_Howells-cap-02-2  1941-07-LA-beach-home_movie02-with_Howells-cap-02-3 
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-02-3  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-02-4  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-02-5 
1941-07-LA-beach-home_movie02-with_Howells-cap-02-6 

- Sequence 3 captures -
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-03-1 
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-03-2  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-03-3  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-03-4  

- Sequences autres captures -
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-04-1  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-05-1  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-06-1 
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-07-1 
1941-07-LA-beach-home_movie02-with_Howells-getty-cap-08-1  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-08-2  1941-07-LA-beach-home_movie02-with_Howells-getty-cap-08-3 

- source: video sur Getty -

 - video "home movie" -
 


 HOME MOVIE 3

Norma Jeane fait la ronde sur la plage avec des amis (la famille Howell).
Elle tient la main aux jumelles Howell.

Norma Jeane walks around the beach with friends (the Howell family).
She holds the hands to the twins daughter of the Howells.

- captures -
1941_beach_with_goddardschildren_09
  1941_beach_with_goddardschildren_10  1941_beach_with_goddardschildren_11 
1941-07-LA-beach-home_movie03-with_Howells-cap-01-4 
1941_beach_with_goddardschildren_13  1941_beach_with_goddardschildren_14  1941_beach_with_goddardschildren_15 

 - video témoignage de Mme Howell -
 


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

25 juillet 2012

Heritage Auction 07/2012

lot n°46001: A Marilyn Monroe Signed Black and White Photograph, Circa 1956
A Marilyn Monroe Signed Black and White Photograph, Circa 1956. An original print with a matte finish, depicting the star in one of her legendary glamour poses, her blue fountain pen ink inscription on the right side reads "To Roy, / Love & Kisses and - / thanks for keeping me / out of the clink! / Marilyn Monroe." (Please note there are slight creases in all four corners, especially the lower left one, plus a few minor chips to the surface, but the overall image and signature are not affected.) 14" x 11"
PROVENANCE: The "Roy" noted above was Beverly Hills police officer, Roy Garrett, who joined the force in 1946, and who had a habit of asking movie stars to send him an autographed photograph (which most did - see various lots throughout this auction). He evidently let Marilyn go without a ticket as he received this from her in the mail a few days later.
Sold: $31,250.00

heritage-lot46001


Lot 46002: A Marilyn Monroe Signed Black and White Photograph, Circa 1955
A Marilyn Monroe Signed Black and White Photograph, Circa 1955. An original print with a matte finish, depicting the star in her most famous headshot, her white fountain pen ink inscription in the lower right corner reading "To Vern / It was a pleasure / to work with you / Love and Kisses / Marilyn Monroe;" "Vern" being Vernon Rickard, a bit player and "gofer" in the early days of Hollywood. (Please note there are many creases and wrinkles on lower margin that somewhat affect the autograph and there is a slight dent in the upper right corner.) 10" x 8"
Sold: $11,250.00
heritage-lot46002  heritage-lot46002a 


Lot 46003: A Marilyn Monroe Likely Final Signed Check, August 4, 1962
A Marilyn Monroe Likely Final Signed Check, August 4, 1962. From the star's personal checking account at City National Bank of Beverly Hills, check 281, penned in blue ballpoint ink (in another hand, possibly Eunice Murray's, MM's caretaker) reading "Aug 4 62 / Pilgrim / $228.80 / Two hundred twenty-eight and 80," signed in same ink in Marilyn's own hand "Marilyn Monroe," a red stamp on front reads "Paid / Aug 6 1962 / 901-1606," further stamps on back read in part "For Deposit Only / Pilgrim Modern Furniture" and "Santa Monica Bank.../ Aug 6 62;" included is a photocopy (not the original) of an invoice that Pilgrim's Furniture gave to MM (see below footnote). 3" x 6"
Coincidentally, two years ago, Heritage Auctions sold the original invoice that was given to Marilyn by this company [Pilgrim's Furniture then at 12217 Wilshire Boulevard in West Los Angeles] in Sale 7018, Lot 50225. That invoice was also dated August 4, 1962, so it appears that Pilgrim's made a delivery to MM's house and that she paid for her "Chest Roman white" on the spot with the above check from her personal checkbook. Interestingly, on that invoice, the evident delivery man wrote "Rec'd Check #281 in amount $228.80 / Payment in full / Earl Shero." At this point in time, this seems to be the last check Marilyn ever signed as she died that night, August 4, 1962. This check can be used to argue the point that Marilyn did not commit suicide -- would one be concerned with new furniture on the last day of one's life? Probably not!
Sold: $15,000.00
heritage-lot46003a  heritage-lot46003b  heritage-lot46003c 


Lot 46005: A Marilyn Monroe Signed Note, 1952
A Marilyn Monroe Signed Note, 1952. Typed on one page, dated "October 27th, 1952," to the "Wm. Morris Agency, Inc.," reading in part "...you are no longer authorized to represent me," signed in blue fountain pen ink on the lower right side "Marilyn Monroe;" two-hole punch marks on top margin. 11" x 8 1/2"
Sold: $5,312.50 
heritage-lot46005  


Lot 46006: A Marilyn Monroe Signed Menu, 1953
A Marilyn Monroe Signed Menu, 1953. From the famous Cocoanut Grove nightclub inside the Ambassador Hotel in Los Angeles (infamous for being the place where RFK got assassinated in June, 1968), menu is dated "Sat., June 27, 1953," signed in blue ballpoint ink on the inside left side "Marilyn Monroe." 13 1/2" x 11"
Sold: $2,375.00 
heritage-lot46006a  heritage-lot46006b  heritage-lot46006c  


Lot 46007: A Marilyn Monroe Group of Mostly Never-Before-Seen Black and White Negatives, 1950.
A Marilyn Monroe Group of Mostly Never-Before-Seen Black and White Negatives, 1950. Thirty-three total, all originals, each depicting Marilyn at age 24 posing in a fancy backyard during one photo session; 14 show MM wearing a black turtleneck, white shorts, and black strappy sandals as she sits on a chaise lounge chair; 18 show MM wearing a light-colored bikini and same sandals as she poses by a swimming pool; and one shows MM wearing a dark-colored bikini by the same pool; two depict other people in the shot with MM, evidently the photographer's assistants. (Please note some of these negatives are somewhat dirtied and scratched, but they still print up beautifully and MM is quite clear and vibrant-looking in all the shots.)
Each Negative: 2 1/2" x 2 1/2"
These photographs of Monroe were taken on October 10, 1950 by Bob Beerman, a staff photographer at 'Modern Screen' magazine. A few of the images did appear in a 1951 issue of the magazine, though not all of them. Additionally, the current owner published seven of them online, but the majority of these photographs have never before been seen.
Sold: $11,875.00  
heritage-lot46007a  heritage-lot46007b 


Lot 46008: A Marilyn Monroe Pucci Blouse, Circa 1962
A Marilyn Monroe Pucci Blouse, Circa 1962. Made of hot pink silk jersey, boatneck, long sleeves, inside labels read "Emilio Pucci / Florence, Italy / 12" (though seeming to be a modern-day Size 6) and "Made in Italy Exclusively for / Saks Fifth Avenue;" included with a typed signed letter reading in part "This blouse by the Italian designer... / was given to me by Marilyn Monroe. It had become too / large for her. / Joan Greenson Aebi," "Joan" being the daughter of Dr. Ralph Greenson, MM's longtime psychiatrist. (Please note there are sweat marks and other minor staining evident due to age, but overall condition is still good.)
Sold: $12,500.00 

heritage-lot46008a  heritage-lot46008b  heritage-lot46008d 
heritage-lot46008c 


Lot 46009: A Marilyn Monroe Pair of Jax Pants, Circa 1962
A Marilyn Monroe Pair of Jax Pants, Circa 1962. Made of black silk, in the cigarette style, inside label reads "Designed by Jax," no size evident but seeming to be a modern-day size 4; included with a typed signed letter reading in part "These black pants were given to me by / Marilyn Monroe. They had become too / large for her... / Joan Greenson Aebi," "Joan" being the daughter of Dr. Ralph Greenson, MM's longtime psychiatrist.
Sold: $6,875.00  

heritage-lot46009a  heritage-lot46009b  heritage-lot46009c  


Lot 46010: A Marilyn Monroe-Received Letter from an Associate, Circa 1960
A Marilyn Monroe-Received Letter from an Associate, Circa 1960. Two pages, handwritten in blue ballpoint ink on 'American Airlines' in flight stationery, a general newsy letter with some highlights reading in part "darling Marilyn / ...I read Lillian Hellman's / new play and I saw Clifford's [Odets] / movie. I was shattered by the play... / I think Ralph Roberts would be of / great help to you. He is at Beverly / Wilshire.../ I do wish I had a script of 'Misfits;' interestingly, MM took the advice of this friend and ended up hiring Roberts to be her personal masseur. 10" x 7"
Sold: $750.00 

heritage-lot46010 


Lot 46011: A Marilyn Monroe-Received Letter from Eunice Murray, 1962
A Marilyn Monroe-Received Letter from Eunice Murray, 1962. One page of lined notebook paper, handwritten on both sides in green ballpoint ink, dated "Monday nite / Feb. 5," outlining various ideas for home renovations that Murray was evidently researching for the star such as a "wardrobe dressing / room on the front of the house - using the front / window of (MM's) bedroom as the doorway," among others, Murray ends the note with "I would suggest / concentrating on the interior in the way we originally planned...E.M," additionally, two business cards of contractors are stapled to the front of note. 11" x 8 1/2"
Sold: $1,750.00 
heritage-lot46011a  heritage-lot46011b    


Lot 46012: A Marilyn Monroe-Received Note from William Inge, 1959
A Marilyn Monroe-Received Note from William Inge, 1959. One page, typed on personalized notepaper, dated "April 6, 1959," from the famous playwright [who wrote "Bus Stop"] who was evidently a big Marilyn Monroe fan, signed in black fountain pen ink in the lower right corner "Bill Inge." 8" x 6"
Sold: $391.25  

heritage-lot46012 


Lot 46013: A Marilyn Monroe-Received Group of Business Letters, 1950s-1960s
A Marilyn Monroe-Received Group of Business Letters, 1950s-1960s. Five total, all sent to the star by various professional associates including ones from: 1) Harry McIntyre, on Twentieth Century-Fox letterhead, dated "December 22, 1958," regarding rights to a novel the studio bought from MM; 2) Hugh French, on Hugh French Agency letterhead, dated "11 January 1961," regarding a television show he wanted MM to star in; 3) Matthew Fox, on his personal letterhead, dated "June 23, 1961," regarding a production he thought would be good for MM and Elizabeth Taylor (!); 4) Milton A. Rudin [MM's lawyer], on Gang, Type, Rudin & Brown letterhead, dated "December 19, 1961," regarding a special screening of the Bette Davis film, "Of Human Bondage;" and 5) Richard S. Meryman, Jr., on Life letterhead, dated "February 10, 1962," regarding an interview for the magazine and how MM would be able to "destroy negatives" (of photos she didn't like); months later, Meryman finally did get his interview, but sadly, it would be Marilyn's last one. 11" x 8 1/2"
Sold: $937.50
heritage-lot46013


Lot 46014: A Marilyn Monroe Group of Documents, 1962
A Marilyn Monroe Group of Documents, 1962. Including: 1) six typed letters between Cherie Redmond [MM's Los Angeles secretary] and a travel agent, dated from February to April 1962, regarding an ongoing issue about a refund MM needed for unused airline tickets; 2) a pale yellow 'Inter-Office Correspondence' memo to MM from Redmond, dated "7/25/62," regarding funds in the star's various banking accounts; and 3) a similar memo, dated "8/1/62," regarding overdraft protection MM needed in order to pay August's bills. 11" x 8 1/2" and smaller
Sold: $1,062.50 
heritage-lot46014  


Lot 46015: A Marilyn Monroe Group of Documents, 1950s
A Marilyn Monroe Group of Documents, 1950s. Three items including: 1) a receipt from the 76 Union gas station at 14478 Ventura Boulevard in Sherman Oaks, dated "5/1/54," in the amount of "$7.07," signed off by a "Vic Masi for Mrs. M. DiMaggio;" 2) a single page typed with Monroe's dictations for a telegram to Inez Melson [her business manager], dated "June 10, 1959," regarding "Clyde," a pet bird; and 3) a newspaper clipping of a short article about MM's fashion sense (likely from The Los Angeles Times, April 29, 1958). 11" x 8 1/2" and smaller
Sold: $437.50 

heritage-lot46015 


Lot 46016: A Marilyn Monroe Legal Form, 1953
A Marilyn Monroe Legal Form, 1953. A pale yellow quadruplicate copy titled "Notice of Attachment," reading in part "Matter of Shaeffer [sic?] Plaintiff / Marilyn Monroe Defendant / on Monday, 2-2-53 12:01 PM;" two hole punch marks on top margin. 9" x 4"
This is an odd document, possibly relating to MM's voice and musical coach, Hal Schaeffer, though the last name is spelled differently on this form. Schaeffer, who was having an affair with MM as she was divorcing Joe DiMaggio, unwittingly became part of the infamous 'Wrong Door Raid,' but this piece pre-dates that event by almost two years -- perhaps it relates to a different person altogether.
Sold: $212.50 
heritage-lot46016 


 Lot 46017: Two Marilyn Monroe-Received Fan Letters, 1950s-1960s
Two Marilyn Monroe-Received Fan Letters, 1950s-1960s. The first typed on a single page, dated "May 5, 1959," reading in part "I am a clergyman who is enthusiastic about all / your performances... / and would / like very much to have an autographed photograph...;" a penciled annotation (not in MM's hand) on the lower margin reads "Mae - I sent him one - But I / thought Marilyn would get / a kick out of the idea;" the second typed on a single page, dated "Janury [sic] 18, 1962," reading in part "I have written a novel which I think would make a / very good movie for you to star in;" a red penciled annotation (not in MM's hand) on the lower margin reads in part "To Cherie / Just reply not..." 11" x 8 1/2" and smaller
Sold: $375.00 
heritage-lot46017 


Lot 46018: A Marilyn Monroe Group of Never-Before-Seen Black and White Snapshots from Korea, 1954
A Marilyn Monroe Group of Never-Before-Seen Black and White Snapshots from Korea, 1954. Nine total, all vintage prints with a glossy finish; three depicting the star wearing military coveralls (though just the top of her blonde head can be seen in one); three depicting her posing for soldiers before she goes onstage; and three depicting her onstage at the microphone; consigned directly by the soldier who shot these photographs 58 years ago when Marilyn famously entertained the troops while she was on her ill-fated honeymoon with Joe DiMaggio. (Please note the snapshots are in poor condition now with tape residue, bends, slight tears, and fold marks, but one can still see MM in each image.) 5" x 4"
Sold: $1,875.00 
heritage-lot46018  


Lot 46019: A Marilyn Monroe Never-Before-Seen Black and White Snapshot, 1955
A Marilyn Monroe Never-Before-Seen Black and White Snapshot, 1955. An original print, depicting the star standing next to a woman (likely Amy Greene) at the premiere of "East of Eden" which took place on March 9, 1955 at the Astor Theatre in New York City. (Please note there are a few light creases but overall image is not affected.) 3 3/4" x 2 3/4"
Sold: $375.00 
heritage-lot46019a  heritage-lot46019b  


Lot 46020: Two Marilyn Monroe Black and White Publicity Photographs, Circa 1953
Two Marilyn Monroe Black and White Publicity Photographs, Circa 1953. Both original prints with a glossy finish, each depicting the star in classic cheesecake poses taken at the height of her career. 10" x 8"
Sold: $312.50 
heritage-lot46020 


Lot 46021: A Marilyn Monroe Acetate Record of 'My Heart Belongs to Daddy' from "Let's Make Love."
A Marilyn Monroe Acetate Record of 'My Heart Belongs to Daddy' from "Let's Make Love." 20th Century Fox, 1960. With a 20th Century Fox Film Corp. label typed with "F13 - Let's Make Love / 'My Heart Belongs to Daddy' / DS 25 / Monroe-Group-Orch. / 33 1/3;" Marilyn's version of the Cole Porter classic, this one being slightly different than the one she sings as "Amanda Dell" in the film co-starring Yves Montand and Tony Randall; condition is very good. Diameter: 12"
Sold: $3,125.00 

heritage-lot46021  


Lot 46022: A Marilyn Monroe-Related Vintage Lapel Button, 1956
A Marilyn Monroe-Related Vintage Lapel Button, 1956. Made of tin, featuring an image of the star surrounded by text reading "Gentlemen Prefer Marilyn Monroe," copyright information on bottom reads "MMNM 1956." (Please note there is some discoloration due to age.) Diameter: 1 3/8"
Sold: $325.00 

heritage-lot46022 

10 juillet 2010

Kate Moss a le look Marilyn

La mannequin britannique Kate Moss, surnommée "la brindille" s'est inspirée de Marilyn Monroe pour certaines séances photos au cours de ces dernières années.

ph_stern_Marilyn_bed_1 ph_stern_Marilyn_scarf_1 ph_stern_Marilyn_drink_1


Tout d'abord comme ici pour W magazine d'avril 2006 où, sous l'objectif du duo Mert & Marcus, Kate apparaissait blonde platine, coiffure brushing surélevée, un verre à la main puis allongée sur un lit, ce qui n'est pas sans rappeler la dernière séance de Marilyn par Bert Stern.
mmlooklike_kate_moss_by_mert_marcus_2006_april_Wmag_p1 mmlooklike_kate_moss_by_mert_marcus_2006_april_Wmag_p2


Pour la campagne de publicité pour Longchamp d'hiver 2007, Kate est photographiée par Mario Sorrenti et arbore une chevelure coupée au carré, gonflé au brushing et blond blanc, la couleur que Marilyn arborait les dernières années de sa vie; de plus le maquillage de Kate -trait épais d'eye liner- et l'expression de son regard -tête penchée en arrière et yeux mi-clos- sont inspirés de Marilyn.
mmlooklike_kate_moss_by_Mario_Sorrenti_2007_longchamp_1 mmlooklike_kate_moss_by_Mario_Sorrenti_2007_longchamp_2 


En 2008, la campagne d'Yves Saint Laurent choisit Kate pour représenter le rouge à lèvres: la photographie de cette campagne publicitaire s'inspire directement des photos que Marilyn avait barrée avec un marqueur lors de sa dernière séance d'avec Bert Stern.
mmlooklike_kate_moss_yves_saint_laurent_2008 ph_stern_Marilyn_cross_1 


Pour l'édition britannique de Vogue en décembre 2008, Kate Moss, photographiée par Nick Knight, est en couverture dépliante: cheveux courts et blonds, regard de séductrice, nue dans un drap blanc, le bras étiré vers l'objectif: cette pose lascive, langoureuse et sensuelle n'est pas sans évoquer les poses de Marilyn dans des lits de draps blancs (de Kirkland ou de Stern).
mmlooklike_kate_moss_by_Nick_Knight_2008_12_vogueUK_cover_1 mmlooklike_kate_moss_by_Nick_Knight_2008_12_vogueUK_cover_2 mmlooklike_kate_moss_by_Nick_Knight_2008_12_vogueUK_cover_3


mmlooklike_kate_moss_by_bert_stern_2009_ny_coverDans le New York magazine de février 2009, c'est le photographe Bert Stern, auteur de la fameuse dernière séance de Marilyn, qui photographie Kate; et il semblerait qu'encore une fois, il se soit inspiré de sa séance d'avec Marilyn: studio au fond neutre, le modèle est seul face à l'objectif et joue avec l'objectif: jeu de regard et jeu de vêtement, poses à demies-nues, et différentes expressions du regard. Kate y apparaît encore blonde (mais désormais un blond plus naturel, finit le blond platine) et cheveux ondulés au rouleau. (>> voir les photos sur le site nymag )

mmlooklike_kate_moss_by_bert_stern_2009_ny_p1_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p1_2
mmlooklike_kate_moss_by_bert_stern_2009_ny_p3_2 mmlooklike_kate_moss_by_bert_stern_2009_ny_p2_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p2_2
mmlooklike_kate_moss_by_bert_stern_2009_ny_p3_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p4_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p4_2
mmlooklike_kate_moss_by_bert_stern_2009_ny_p5_2 mmlooklike_kate_moss_by_bert_stern_2009_ny_p5_3
mmlooklike_kate_moss_by_bert_stern_2009_ny_p5_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p6_1 mmlooklike_kate_moss_by_bert_stern_2009_ny_p7_1
 


Pour finir, même dans l'art Kate copie Marilyn: l'artiste Banksy a reprit les célèbres portrait de Marilyn par Andy Warhol pour les adapter sur Kate Moss !
mmlooklike_kate_moss_by_banksy marilyn_warhol

26 février 2011

4/11/1953 Première How to marry a millionaire

1953_11_04_htmam_premiere_001Le 4 novembre 1953, a lieu la première du film How to marry a millionaire (Comment épouser un milionnaire?) au Fox-Wilshire Theater à Hollywood. Le film est tourné en cinémascope couleur et l'événement est fortement médiatisé par la présence de nombreux journalistes, reporters et photographes; ainsi qu'une foule de badaux qui sont sur place. De nombreuses personnalités assistent à la première: Debbie Reynolds, Mitzi Gaynor, Rock Hudson, Shelley Winters. Les participants au film arrivent en voiture seul ou par deux: le réalisateur Jean Negulesco est accompagné de sa femme; Lauren Bacall est aux bras d'Humphrey Boggart; puis le scénariste Nunnally Johnson avec Marilyn Monroe. Ils posent avec plaisir pour les photographes et Marilyn se montre plus que jamais disponible autant envers les journalistes, répondant aux micros des reporters, mais aussi des photographes en posant longuement, que du public composé d'anonymes, en signant des autographes. Très en beauté, Marilyn porte la même robe en dentelle blanche que lors de son show tv en septembre au Jack Benny Show.
Nunnally Johnson se souvient d'une soirée plutôt désopilante: "Dès son arrivée chez nous (chez Johnson et sa femme), Marilyn demande un bourbon-soda. Puis, alors que pourtant nous devions dîner tôt et légèrement, elle en demande un autre. Elle était à la fois surexcitée et très angoissée à la perspective de cette soirée. Je ne la savais pas à ce point naïve et spontanée; et je fus stupéfait de voir l'importance qu'elle accordait à cette première: pour elle, c'en était presque insupportable. Nous nous préparons à monter dans la voiture -une limousine louée, avec chauffeur- et elle demande un troisième verre, sans soda cette fois. Gentlemen jusqu'au bout, Boggart et moi bûmes avec elle pendant le trajet. Il n'y avait pas trio plus aimable que nous dans tout l'Etat de Californie quand nous fîmes notre entrée dans le théâtre (...). Pour tout dire, elle était complètement paf. Au moment même où le film commençait, il a fallu qu'elle aille aux toilettes. Ma femme l'a accompagnée car il était clair que Marilyn avait besoin d'aide. Ronde comme elle était dans une robe ultra étroite, qu'elle s'était faite coudre sur elle. Ce n'a pas été rien, je vous assure (ma femme m'a raconté la scène après), de lui faire faire pipi, puis de la remettre dans un état convenable pour qu'elle retourne à sa place. Quand on se fait coudre dans sa robe, on ne devrait jamais trop boire."

 >> Marilyn se prépare,
avec sa coiffeuse
Gladys Rasmussen
et son maquilleur Whitey Snyder
1953_htm_coiffure 
1953_11_04_htmam_premiere_backstage_01_1 1953_11_04_htmam_premiere_backstage_02_1 
1953_11_04_htmam_premiere_backstage_03_1   1953_HTMprem 

1953_htm_whiney_2 1953-54 Scandal 1953_htm_whiney_1 
1953_11_04_htmam_premiere_backstage_04_1 1953_11_04_htmam_premiere_backstage_04_2 1953_11_04_htmam_premiere_backstage_05_1

1953  

>> L'arrivée de Marilyn
1953_11_04_htmam_premiere_010_01 1953_11_04_htmam_premiere_010_01a 1953_11_04_htmam_premiere_010_02
1953_11_04_htmam_premiere_010_03 1953_11_04_htmam_premiere_010_04 1953_11_04_htmam_premiere_010_05

1953-htm-0689609_779869215419087_6279574406330001393_n 1953-htm-2-1 1953-htm-2 
1953-htm_prem 

>> Marilyn et Lauren Bacall
1953_11_04_htmam_premiere_011_01 1953_11_04_htmam_premiere_011_02 1953_11_04_htmam_premiere_011_03
1953_htm_by_murray_garrett_1 1953_htm_by_murray_garrett_1b 1953_htm_by_murray_garrett_2
1953_11_04_htmam_premiere_011_05 1953_11_04_htmam_premiere_011_06
1953_11_04_htmam_premiere_011_04 1953_11_04_htmam_premiere_011_06a

>> Marilyn avec Nunnally Johnson et Lauren Bacall
1953_11_04_htmam_premiere_012_01 1953_11_04_htmam_premiere_012_04a 1953_11_04_htmam_premiere_012_05a
1953_11_04_htmam_premiere_012_02 1953_11_04_htmam_premiere_012_03_1 1953_11_04_htmam_premiere_012_03_2
1953_11_04_htmam_premiere_012_04 
1953_11_04_htmam_premiere_012_05
 1953_11_04_htmam_premiere_012_06 1953_11_04_htmam_premiere_012_06a
 1953_htm_prem1 1953_htm_prem2
1953_11_04_htmam_premiere_012_08 1953_11_04_htmam_premiere_012_09

1953_11_04_htmam_premiere_012_07_1 1953_11_04_htmam_premiere_012_07_2 1953_11_04_htmam_premiere_012_07_3

>> Marilyn avec NunnallyJohson, Lauren Bacall et Humphrey Bogart
1953_11_04_htmam_premiere_013_01 1953_11_04_htmam_premiere_013_02_1
1953_11_04_htmam_premiere_013_02_2 1953_11_04_htmam_premiere_013_02_3
1953_11_04_htmam_premiere_013_02_4 1953_11_04_htmam_premiere_013_03 1953_11_04_htmam_premiere_013_04
1953_11_04_htmam_premiere_014_01 1953_11_04_htmam_premiere_014_02 1953_11_04_htmam_premiere_014_03_2
1953_11_04_htmam_premiere_014_03_1   1953_Gala010_BlackDress_00200  
1953_11_04_htmam_premiere_014_04 1953_11_04_htmam_premiere_014_05
1953_11_04_htmam_premiere_014_06
1953-htm-f647f9c8d11f6f8b422da71229305427 1953_11_04_htmam_premiere_014_05a

>> videos


>> Captures
1953_11_04_htmam__prem_cap_02_01 1953_11_04_htmam__prem_cap_02_02 1953_11_04_htmam__prem_cap_02_03_debbie_reynolds
1953_11_04_htmam__prem_cap_02_04 1953_11_04_htmam__prem_cap_02_05_mitzi_gaynor 1953_11_04_htmam__prem_cap_02_06
1953_11_04_htmam__prem_cap_02_07_jean_negulesco 1953_11_04_htmam__prem_cap_02_08 1953_11_04_htmam__prem_cap_02_09
1953_11_04_htmam__prem_cap_02_10_rock_hudson 1953_11_04_htmam__prem_cap_02_11 1953_11_04_htmam__prem_cap_02_12_shelley_winters_1
1953_11_04_htmam__prem_cap_02_13 1953_11_04_htmam__prem_cap_02_14 1953_11_04_htmam__prem_cap_02_15
1953_11_04_htmam__prem_cap_01_01 1953_11_04_htmam__prem_cap_01_02 1953_11_04_htmam__prem_cap_01_03
1953_11_04_htmam__prem_cap_01_04 1953_11_04_htmam__prem_cap_01_05 1953_11_04_htmam__prem_cap_01_06
1953_11_04_htmam__prem_cap_01_07 1953_11_04_htmam__prem_cap_01_08 1953_11_04_htmam__prem_cap_01_09
1953_11_04_htmam__prem_cap_01_10 1953_11_04_htmam__prem_cap_01_11 1953_11_04_htmam__prem_cap_01_12
1953_11_04_htmam__prem_cap_01_13 1953_11_04_htmam__prem_cap_01_14 1953_11_04_htmam__prem_cap_01_15
1953_11_04_htmam__prem_cap_01_16 1953_11_04_htmam__prem_cap_01_17 1953_11_04_htmam__prem_cap_01_18

>> Marilyn et Shelley Winters
1953-prem_htm  

>> Marilyn et les reporters
1953_11_04_htmam_premiere_016_01 1953_htm_by_murray_garrett_5
1953_11_04_htmam_premiere_017_01 1953_11_04_htmam_premiere_017_01a 1953_11_04_htmam_premiere_018_02a
1953_11_04_htmam_premiere_018_01b 1953_11_04_htmam_premiere_018_02b
1953_11_04_htmam_premiere_018_01 1953_11_04_htmam_premiere_018_01a 1953_11_04_htmam_premiere_018_02
 

 >> Marilyn et ses fans 
1953_11_04_htmam_premiere_autograph_01_1 1953_11_04_htmam_premiere_autograph_01_2 1953_11_04_htmam_premiere_autograph_02_3
1953_11_04_htmam_premiere_autograph_02_1  1953_htm_autograph 
1953-htm_prem-76 What Marilyn Wants copy 1a
1953_11_04_htmam_premiere_autograph_02_2 1953_htm_2
1953_11_04_htmam_premiere_autograph_03_1 1953_htm_fans 1953_11_04_htmam_premiere_autograph_03_2

>> Photocall et interview de Marilyn et Lauren Bacall
1953_11_04_htmam_premiere_photocall_01 1953_11_04_htmam_premiere_photocall_02 1953_11_04_htmam_premiere_photocall_03
1953_11_04_htmam_premiere_photocall_06 1953-htmprem 1953_htmprem1 
1953-11-04-htm_prem-6  1953-11-04-htm_prem-7 
  ... rejointes par Humphrey Bogart
1953_11_04_htmam_premiere_photocall_04
1953-11-04-htm_prem-14 1953_11_04_htmam_premiere_photocall_05 
1953_11_04_htmam_premiere_photocall_04a 1953_11_04_htmam_premiere_photocall_04b 1953_11_04_htmam_premiere_theater_01_2

>> Marilyn dans le théâtre
avec Nunnally Johnson
1953_11_04_htmam_premiere_theater_01_1 1953_11_04_htmam_premiere_theater_01_3
1953_11_04_htmam_premiere_theater_01_4 1953_htm_1
1953_11_04_htmam_premiere_theater_03_3 1953_11_04_htmam_premiere_theater_03_1 1953_11_04_htmam_premiere_theater_03_2
1953_11_04_htmam_premiere_theater_03_4 1953_11_04_htmam_premiere_theater_03_7 1953_11_04_htmam_premiere_theater_03_4b
1953_11_04_htmam_premiere_theater_02 1953_11_04_htmam_premiere_theater_03_8
1953_11_04_htmam_premiere_theater_03_5 1953_11_04_htmam_premiere_theater_03_6 1953_htm_dos
1953_11_04_htmam_premiere_theater_04_1 1953_htm_by_darlene_hammond_1

 >> Le départ de  Marilyn
1953_11_04_htmam_premiere_theater_05_1 
1953_11_04_htmam_premiere_theater_05_2 1953_11_04_htmam_premiere_theater_05_3
1953_11_04_htmam_premiere_theater_05_4 1953_11_04_htmam_premiere_theater_05_5


 >> Photos de Earl Leaf
1953_htm_by_earl_leaf_1
1953_Earl_Leaf_shooting_MM_00 1953_Earl_Leaf_shooting_MM_01

>> Photos de Darlene Hammond
1953_htm_by_darlene_hammond_1 1953_htm_by_darlene_hammond_1a
1953_htm_by_darlene_hammond_4 1953_htm_by_darlene_hammond_3 1953_htm_by_darlene_hammond_2

 >> Photos de Murray Garrett
1953_htm_by_murray_garrett_1 1953_htm_by_murray_garrett_1a 1953_htm_by_murray_garrett_2
  1953_htm_by_murray_garrett_3 murray_garrett_05
 
1953_htm_by_murray_garrett_4 1953_htm_by_murray_garrett_5 

 >> Photos de Frank Worth
logo-frank_worth-1953-prem_htm2 logo-frank_worth-1953-prem_htm1 logo-frank_worth-1953-prem_htm3 


Après la première au théâtre, une grande soirée est organisée chez le réalisateur Jean Negulesco, où participent entre autres, Mitzi Gaynor et Robert Mitchum. Marilyn confiera alors que "c'est la plus belle soirée de ma vie. C'est comme lorsque j'étais petite et que je rêvais qu'il m'arrivait des choses merveilleuses. Maintenant, elles sont arrivées."

1953_jean_negulesco_party_01 1953_jean_negulesco_party_03 1953_jean_negulesco_party_bacall_clifton_web_1a
 
1953_htm_by_darlene_hammond_4 1953_htm_by_darlene_hammond_3 1953_htm_by_darlene_hammond_2
1953_jean_negulesco_party_face1 1953_jean_negulesco_party_face2 1953_jean_negulesco_party_face3
1953_jean_negulesco_party_face4 1953_jean_negulesco_party_face5 1953_jean_negulesco_party_face6 

 >> Rock Hudson, Terry Moore, Robert Mitchum et Marilyn
1953_09_Party01_withMitchum_0010 1953 1953_Htmam152
1953_htm_party
1953_htm_1b 1953_09_Party01_withMitchum_0011a 1953_htm_1c 

>> Marilyn avec Rock Hudson et Robert Mitchum
  1953_htm_1a

>> Marilyn et Jean Negulesco
1953_jean_negulesco_party_negulesco_1 1953_jean_negulesco_party_negulesco_1a 

- Photo de Jean Howard -
1953-11-04-hollywood-premiere_HTMAM-party-at_Negulesco_home-by_jean_howard-1

 >> Marilyn avec Clifton Webb et Lauren Bacall
1953_jean_negulesco_party_bacall_clifton_web_1
1953 1953_jean_negulesco_party_bacall_clifton_web_2 


>> dans la presse
1953_nov_jeannegulesco_party 

 


> Sur le web: 
> voir l'article sur wiki


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

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4 novembre 2011

Docu TV - Un Jour Un Destin Marilyn Les Derniers Tourments

Un Jour Un Destin
Marilyn Les Derniers Tourments

unjourundestin_mm_cap_001 unjourundestin_mm_cap_002

Année: 2011
Raconté et présenté par Laurent Delahousse
Réalisation: Dominique Fargues
Production Magneto Presse
Pays: France
Durée: 79 min
Diffusé en France le 28 octobre 2011

Près de cinquante après sa disparition, Marilyn Monroe reste aujourd’hui encore une icône absolue, l’image d’une blonde superficielle et sensuelle fixée à jamais dans l’imaginaire collectif. Mais derrière la légende se cache en fait une réalité plus complexe, celle de Norma Jeane Baker, une jeune femme abandonnée de tous qui passera sans cesse de l’euphorie à des abîmes de désespoir.
Intervenants: Douglas Kirkland (photographe), Michel Schneider (écrivain et psychanaliste), Bernard Comment (éditeur), Lena Pepitone (sa gouvernante à New York), Adrien Gombeaud (journaliste), John Gilmore (acteur et écrivain), Lois Banner (historienne), Anne Plantagenet (écrivain), John Strasberg (fils de Lee Strasberg), F.X. Feeney (écrivain et réalisateur), Philippe Labro (journaliste et écrivain), Georges Barris (photographe), Elliott Erwitt (photographe), Lawrence Schiller (photographe), Christelle Montagner (admiratrice de Marilyn), Vincent Meylan (journaliste), Murray Garrett (photographe), Bill Ray (photographe), André Kaspi (historien).

 >> Captures
unjourundestin_mm_cap01 unjourundestin_mm_cap02 unjourundestin_mm_cap03
unjourundestin_mm_cap04 unjourundestin_mm_cap05 unjourundestin_mm_cap06
unjourundestin_mm_cap07 unjourundestin_mm_cap08 unjourundestin_mm_cap09
unjourundestin_mm_cap10 unjourundestin_mm_cap11 unjourundestin_mm_cap12
unjourundestin_mm_cap13 unjourundestin_mm_cap14 unjourundestin_mm_cap15
unjourundestin_mm_cap16 unjourundestin_mm_cap17 unjourundestin_mm_cap18
unjourundestin_mm_cap19 unjourundestin_mm_cap20 unjourundestin_mm_cap21
unjourundestin_mm_cap22 unjourundestin_mm_cap23 unjourundestin_mm_cap24
unjourundestin_mm_cap25 unjourundestin_mm_cap26 unjourundestin_mm_cap27
unjourundestin_mm_cap28 unjourundestin_mm_cap29 unjourundestin_mm_cap30
unjourundestin_mm_cap31 unjourundestin_mm_cap32 unjourundestin_mm_cap33
unjourundestin_mm_cap34 unjourundestin_mm_cap35 unjourundestin_mm_cap36
unjourundestin_mm_cap37 unjourundestin_mm_cap38 unjourundestin_mm_cap39
unjourundestin_mm_cap40 unjourundestin_mm_cap41 unjourundestin_mm_cap42
unjourundestin_mm_cap43 unjourundestin_mm_cap44 unjourundestin_mm_cap45
unjourundestin_mm_cap46 unjourundestin_mm_cap47 unjourundestin_mm_cap48
unjourundestin_mm_cap49 unjourundestin_mm_cap50 unjourundestin_mm_cap51
unjourundestin_mm_cap52 unjourundestin_mm_cap53 unjourundestin_mm_cap54
unjourundestin_mm_cap55 unjourundestin_mm_cap57 unjourundestin_mm_cap58
unjourundestin_mm_cap59 unjourundestin_mm_cap60 unjourundestin_mm_cap61
unjourundestin_mm_cap62 unjourundestin_mm_cap63 unjourundestin_mm_cap64
unjourundestin_mm_cap65 unjourundestin_mm_cap66 unjourundestin_mm_cap67
unjourundestin_mm_cap68 unjourundestin_mm_cap69 unjourundestin_mm_cap70
unjourundestin_mm_cap71 unjourundestin_mm_cap72 unjourundestin_mm_cap73
unjourundestin_mm_cap74 unjourundestin_mm_cap75 unjourundestin_mm_cap76
unjourundestin_mm_cap77 unjourundestin_mm_cap78  unjourundestin_mm_cap79
unjourundestin_mm_cap80 unjourundestin_mm_cap81 unjourundestin_mm_cap82
unjourundestin_mm_cap83 unjourundestin_mm_cap84 unjourundestin_mm_cap85
unjourundestin_mm_cap86 unjourundestin_mm_cap87 unjourundestin_mm_cap88

Mon Avis: Ce documentaire se concentre sur les "tourments" de Marilyn, c'est à dire à la face cachée de Marilyn, ses angoisses, ses dépressions, ses dépendances aux médicaments, ses relations avec les Strasberg et Greenson et ne montre que les dernières années de la vie de Marilyn (dès 1954) sans évoquer sa carrière. Le docu représente Marilyn dans un aspect un peu trop négatif, une personnalité sombre et désepérée.

> Vidéo

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23 juin 2013

13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 1

Sept ans de réflexion
Sur le tournage - scène 15

Le 13 septembre 1954, Marilyn Monroe tourne ce qui sera la scène finale du film "Sept ans de réflexion", celle où elle est en peignoir dans l'appartement de Richard Sherman (Tom Ewell); et lui lance ses chaussures par la fenêtre. Il s'agit de la première scène tournée en extérieur, à New York, dans l'appartement situé au 164 East 61 Street. Près de 1000 personnes (des photographes, gens de la presse et beaucoup de passants et de fans), se sont amassés devant l'immeuble.

In September, 13, 1954, Marilyn Monroe shoots what will be the final scene of "The Seven Year Itch", the one where she is in a white robe in the apartment of Richard Sherman (Tom Ewell); and she throws his shoes from out the window. This is the first scene shot on location in New York, in an apartment located at 164 East 61 Street. Nearly 1,000 people (photographers, press people and a lot of shoppers and fans), were raised in front of the building.

> 1ère partie:
- Tournage de la scène
 
film_7yi_scene_robe_window_out_set_020_014_by_shaw_1   film_7yi_scene_robe_window_out_set_020_015_by_shaw_1
 film_7yi_scene_robe_window_out_set_020_013_by_shaw_1 syi_sc15_on_set_filming_010_1_in_1954_09_13 syi_sc15_on_set_filming_011_1 syi_sc15_on_set_filming_013_1
syi_sc15_on_set_filming_012_1 syi_sc15_on_set_filming_012_1a syi_sc15_on_set_filming_014_1

-Marilyn à la fenêtre
syi_sc15_on_set_window_020_1  syi_sc_window 
syi_sc15_on_set_window_020_2 syi_sc15_on_set_window_010_1
 
syi_sc15_on_set_window_051_1 syi_sc15_on_set_window_021_1 syi_sc15_on_set_window_022_1
syi_sc15_on_set_window_023_1 syi_sc15_on_set_window_024_1
syi_sc15_on_set_window_031_1  
syi_sc15_on_set_window_030_1  syi_sc15_on_set_window_050_1 
 syi_sc15_on_set_window_040_1
film-7yi-window syi_sc15_on_set_window_041_1
 syi_sc15_on_set_window_050_2a syi_sc15_on_set_window_050_2b syi_sc15_on_set_window_050_2c 
syi_sc15_on_set_window_052_1 syi_sc15_on_set_window_052_2 

> photographies de George Barris
syi_sc15_on_set_window_by_barris_010_1 syi_sc15_on_set_window_by_barris_010_2 
syi_sc15_on_set_window_by_barris_011_1 syi_sc15_on_set_window_by_barris_011_2 syi_sc15_on_set_window_by_barris_011_2a
syi_sc15_on_set_window_by_barris_011_3 syi_sc15_on_set_window_by_barris_011_3a
syi_sc15_on_set_window_by_sam_shaw_serie1_013_1 syi_sc15_on_set_window_by_sam_shaw_serie1_013_2
syi_sc15_on_set_window_by_barris_012_1 syi_sc15_on_set_window_by_barris_012_1a syi_sc15_on_set_window_by_barris_013_1
syi_sc15_on_set_window_by_barris_020_1 syi_sc15_on_set_window_by_barris_020_2 syi_sc15_on_set_window_by_barris_020_3
syi_sc15_on_set_window_by_barris_020_4 syi_sc15_on_set_window_by_barris_020_5
syi_sc15_on_set_window_by_barris_020_6 syi_sc15_on_set_window_by_barris_020_7 
syi_sc15_on_set_window_by_barris_021_1 syi_sc15_on_set_window_by_barris_021_2 syi_sc15_on_set_window_by_barris_021_3

> photographies de Bob Henriques
syi_sc15_on_set_window_by_bob_henriques_1_1 syi_sc15_on_set_window_by_bob_henriques_1_2 syi_sc15_on_set_window_by_bob_henriques_1_3

> photographies de Garry Winogrand 
syi_sc15_on_set_window_by_gary_winogrand_1  
syi_sc15_on_set_window_by_gary_winogrand_2  

> photographies de Myron Ehrenberg
film-7yi-by_MYRON_EHRENBERG_SEVEN_YEAR_ITCH176 

> photographies de Milton H. Greene
syi_sc15_on_set_window_by_mhg_020_1  
syi_sc15_on_set_window_by_mhg_010_1

> photographie de Sam Schulman
syi_sc15_on_set_window_by_sam_schulman_1 

 > photographies de Sam Shaw  
syi_sc15_on_set_window_by_sam_shaw_serie1_010_1 syi_sc15_on_set_window_by_sam_shaw_serie1_010_2 syi_sc15_on_set_window_by_sam_shaw_serie1_010_3
syi_sc15_on_set_window_by_sam_shaw_serie1_011_1 syi_sc15_on_set_window_by_sam_shaw_serie1_012_1 syi_sc15_on_set_window_by_sam_shaw_serie1_012_2

syi_sc15_on_set_window_by_sam_shaw_serie1_011_1a syi_sc15_on_set_window_by_sam_shaw_serie1_014_1a
film_7yi_scene_robe_window_out_set_031_010_by_shaw_1 syi_sc15_on_set_window_by_sam_shaw_serie1_017_1a
syi_sc15_on_set_window_by_sam_shaw_serie1_014_1 syi_sc15_on_set_window_by_sam_shaw_serie1_015_1 syi_sc15_on_set_window_by_sam_shaw_serie1_016_1
syi_sc15_on_set_window_by_sam_shaw_serie1_018_1 syi_sc15_on_set_window_by_sam_shaw_serie1_018_1a syi_sc15_on_set_window_by_sam_shaw_serie4_010_1  
syi_sc15_on_set_window_by_sam_shaw_serie2_010_1 syi_sc15_on_set_window_by_sam_shaw_serie2_010_1a syi_sc15_on_set_window_by_sam_shaw_serie2_011_1
syi_sc15_on_set_window_by_sam_shaw_serie2_012_1 syi_sc15_on_set_window_by_sam_shaw_serie3_010_1 syi_sc15_on_set_window_by_sam_shaw_serie3_010_1a

> photographie de Walter Jacobsen 
syi_sc15_on_set_window_by_walter_jacobsen_1 

> photographie de Elliott Erwitt
by_elliott_erwitt-MARILYN-MONROE-NEW-YORK-1956-2-BHC0340 

 


 > planche contact
syi_sc15_set_contact_sevenyear13 


> dans la presse
syi_sc15_on_set_window_mag_danois_norma_ray_04 


> captures
syi_sc15_set_cap_01 syi_sc15_set_cap_02 syi_sc15_set_cap_03
syi_sc15_set_cap_04 syi_sc15_set_cap_05 syi_sc15_set_cap_06
syi_sc15_set_cap_07 syi_sc15_set_cap_08 syi_sc15_set_cap_09
syi_sc15_set_cap_10 syi_sc15_set_cap_11 syi_sc15_set_cap_12
syi_sc15_set_cap_13 syi_sc15_set_cap_14 syi_sc15_set_cap_15
syi_sc15_set_cap_from_the_legend_of_MM_01 syi_sc15_set_cap_from_the_legend_of_MM_02 syi_sc15_set_cap_from_the_legend_of_MM_03
syi_sc15_set_cap_from_the_legend_of_MM_04 syi_sc15_set_cap_from_the_legend_of_MM_05 syi_sc15_set_cap_from_the_legend_of_MM_06
syi_sc15_set_cap_from_marilyn_in_manhattan_01 syi_sc15_set_cap_from_marilyn_in_manhattan_02 syi_sc15_set_cap_from_marilyn_in_manhattan_03
syi_sc15_set_cap_from_marilyn_in_manhattan_04 syi_sc15_set_cap_from_marilyn_in_manhattan_05 syi_sc15_set_cap_from_marilyn_in_manhattan_06
syi_sc15_set_cap_from_marilyn_in_manhattan_07 syi_sc15_set_cap_from_marilyn_in_manhattan_08 syi_sc15_set_cap_from_marilyn_in_manhattan_09
syi_sc15_set_cap_from_the_legend_of_MM_07 syi_sc15_set_cap_from_the_legend_of_MM_08 syi_sc15_set_cap_from_the_legend_of_MM_09 

1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-1 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-2 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-3 
1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-4 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-5 1954-09-13-ny-tsyi-set-cap_by_jules_schulback-02-6 


> video

> video (color footage in Kodachrome by Jules Schulback)


> source captures:
Documentaires "The Legend of Marilyn Monroe", "Marilyn in Manhattan".


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

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Marilyn sur le web

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