Vente aux enchères "Icons of Hollywood Auction" les 15 et 16 Décembre 2011 par Profiles in History à Beverly Hills aux Etats-Unis.
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Cette grande vente aux enchères contient une multitude de documents, de photographies, d'affiches de cinéma, d'objets et de costumes de cinéma des années 30 à 70. On y trouve des photographies et des costumes de films des plus grandes stars (Lucille Ball, Clara Bow, Marlene Dietrich, Judy Garland, Steve McQueen, Louise Brooks, Bette Davies, Elizabeth Taylor, John Wayne, Rita Hayworth, Elvis Presley, Alain Delon etc...), des accessoires des films Le Magicien d'Oz, La planète des singes, Star Trek etc... et bien sûr, des effets se rapportant à Marilyn Monroe (49 lots): photographies (dont des clichés inédits de Marilyn adolescente), des costumes de films, des documents papiers (lettres, chèques, scénario...), son alliance de mariage d'avec Joe DiMaggio.
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Les lots: Visitez le site web Profiles in History qui présente les lots mis aux enchères.
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Sur le blog:
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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Lots Partie 1 Norma Jeane
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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Lots Partie 2 Films
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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Lots Partie 3
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Le catalogue: Tout ce qui est vendu est présenté dans le catalogue à télécharger en 2 partie, au format pdf: ici pour la 1ère partie et ici pour la 2ème partie ; le format papier est vendu 35 $).
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All photos are copyright and protected by their respective owners. 
Copyright text by GinieLand.

Norma Jeane en Californie en novembre 1945
photographiée par André De Dienes.

> Séance en robe rose
 
 
 

   
 
   

>> agenda:

 Enchères  "Icons of Hollywood"
des 15 & 16 décembre 2011
- 49 lots avec Marilyn Monroe -
- Partie 2 : Films

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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Vente et Catalogue

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Film: Something's Got to Give

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lot n°695: Collection of (4) oversize photos of Marilyn Monroe
nude swimming pool session, printed ca. 1970
On 5/28/1962, photographers Lawrence Schiller and William Woodfield were allowed onto the closed set of Something’s Got to Give to shoot Marilyn Monroe’s nude swimming scene for her never-completed final film role. Some of those shots appear in “Playboy” magazine shorthly after her death. Lot comprised of (4) gelatin-silver double-weight semi-gloss 11” x 14” prints from that session, printed ca. 1970 from the original negatives. Tiny corner pinholes and minor bumping and handling, else generally Fine.
Estimate: $300 - $500

Film: There's no business like show business

lot n°708: Marilyn Monroe camera negatives
from There’s No Business Like Show Business
(TCF, 1954) Nine (9) original 4 x 5 in. camera negatives on safety film of Marilyn Monroe from There’s No Business Like Show Business from the “Heat Wave” number.
Estimate: $200 - $300

Film: Don't bother to knock

lot n°712: Marilyn Monroe original camera negatives from Some Like It Hot
(UA, 1959) Two (2) original 8 x 10 in. and (9) 2 ¼ in. camera negatives on safety film of Marilyn Monroe with Tony Curtis and Jack Lemmon from Some Like It Hot. 2 ¼ in. negatives feature some candid shots taken on set. Very good to Fine.
Estimate: $200 - $300
 
  

lot n°1186: Original painting of Jack Lemmon as “Jerry” from Some Like it Hot
Original portrait of Jack Lemmon as “Jerry” from Some Like It Hot accomplished in oil on canvas. Stands 69 ¼ in. tall x 19 in. wide. Exhibits some cracking and moisture damage at the top edge. Includes a candid framed color print of Lemmon and Marilyn Monroe on the set of the film. Special shipping arrangements will apply.
Estimate: $300 - $500
  

lot n°133: The Misfits 6 original negatives:
Marilyn Monroe production shots, plus 7 small-format negatives
(UA, 1961) Six (6) original 8 x 10 in., (6) 2 ¼ in. and (1) 4 x 5 in. negatives on safety film of Marilyn Monore, Arthur Miller and Clark Gable on set of The Misfits. Fine; one with cropping tape at the borders.
Estimate: $400 - $600
 
 

lot n°713: Marilyn Monroe and Clark Gable original
camera negatives from The Misfits
(UA, 1961) Eight (8) original 8 x 10 in. negatives on safety film of Marilyn Monroe and Clark Gable in publicity portraits and on set candids from The Misfits. Two with cropping tape at the borders. Fine.
Estimate: $400 - $600
 
   

lot n°715: Marilyn Monroe, Montgomery Clift and Clark Gable
original camera negatives from The Misfits
(UA, 1961) Seven (7) original 8 x 10 in. negatives on safety film of Marilyn Monroe, Montgomery Clift, Clark Gable and other cast members in publicity portraits and on set candids with Arthur Miller from The Misfits. Fine.
Estimate: $400 - $600
 
 

lot n°720: Marilyn Monroe extensive archive of production
and publicity material from The Seven Year Itch
(TCF, 1955) Extensive archive of production and publicity materials representing all facets of the film, The Seven Year Itch. The archive contains significant correspondence and consultations, with 1,000+ individual pieces including Billy Wilder’s 5 pg. contract signed three (3) times and dated June 1st, 1954, author George Axelrod’s 10 pg. contract signed, Billy Wilder’s signed payment agreement, copy of producer Charles Feldman’s letter sent to “Mr. and Mrs. Joe DiMaggio” framing the reasons he, the director and the studio want Marilyn in the film, confidential correspondence between Wilder and Zanuck with heated exchanges at times, a pair of scripts bearing numerous annotations in Darryl Zanuck’s hand, together with extensive collections of copies of legal documents, inter-office memos, and telegrams, intimate exchanges between Zaunck and Charles K. Feldman, as well as other correspondence to and from Harry Sokolov, Irving Cohen, Irving “Swifty” Lazar, Spyros Skouras, and many other studio heads.

Charles K. Feldman (1904-1968) was one of the most powerful agents in Hollywood and had notable creative input as executive-producer on several important films, Pittsburgh, Red River, A Streetcar Named Desire, and notably, The Seven Year Itch. The archive begins with early correspondence regarding George Axelrod’s screenplay being purchased by Feldman and negotiating with Billy Wilder to direct. Lew Wasserman was acting as agent for Wilder and numerous exchanges are present with drafts of agreements including a fascinating dialogue on Wilder having no interest in Tom Ewell or Walter Mathau as the lead, but instead he wanted Jamest Stewart, Gary Cooper or William Holden. Wilder’s 5 pg. contract is present, dated June 1st, 1954, signed three (3) times and initialed five (5) times, as well as his signed payment agreement dated November 23, 1954.

An official secretarial copy of a fantastic 5 pg. letter, dated May 17, 1954, from Feldman to “Mr. and Mrs. Joe DiMaggio” frames the reasons that he, director Billy Wilder and Twentieth Century-Fox want Marilyn Monroe in the film, “When all of us met, you, Marilyn, expressed a repeated and definite desire to appear in THE SEVEN YEAR ITCH. I bought the play for over $250,000 and as I would not sell it today for a million dollars, it is conceivable…this film could show profits in the millions – for everyone believes it will be a tremendous hit!” Numerous secretarial copies of typed letters sent to Wilder from Zanuck about the lead male role include a number of insights, “If I had read the script at the time we were casting…I would never have recommended Holden or anybody else except Ewell. No one I can think can play this particular script. I didn’t quite understand at the time but in re-reading I believe that Holden would have been as big an error as Gary Cooper. That is a great play…but I tell you that in spite of the enormous success of this play on the stage it would not be, in my opinion, fifty percent of the picture it will be with Marilyn Monroe. She is an absolute must for this story…nothing would make up for her personality in this subject.” Another telegram from Zanuck states, “Monroe was particularly outstanding. Keep up the tempo of the dialogue…I’m really impressed by everything I saw.”

A pair of Zanuck’s personally hand-annotated scripts are present, one a Temporary Incomplete with 11 pages of annotations with an interesting note during the scene Richard is scrutinizing the cover design for Little Women, where he Zanuck pens, “? The Scarlet Letter – play off the Adultress later.” Another Final script bears 24 pages of handwritten notations with suggestions for cutting the reading scene way down. Another Zanuck TLS to Charles Feldman, dated Sept. 20, 1954, advises against the “voice over” scenes and sends along his 10-page breakdown of differences between the play and the script and 12 pages of annotated dialogue with Zanuck’s suggestions stapled to the margins on small strips of blue paper.

When principal filming began and just after Marilyn and DiMaggio’s divorce, some exchanges become heated between Feldman and Zanuck, including a 2 pg. office memo from Oct. 22, 1954, “There have been tough days – rough days - immediately after the divorce proceedings, the 18-takes have only happened on rare occasions with the girl…For the last two weeks this girl has worked as hard as anyone I have known in my life. Incidentally I don’t know how Kazan worked with you but I can tell you that on STREETCAR, it was a daily occurrence for us to have 25 to 30 takes with Marlon Brando and Vivien Leigh. This has not been happening on ITCH. In my opinion, and I think you agree with me, Billy is probably one of the most cooperative of all the directors in the business, and he has never been accused, to my knowledge, of taking unnecessary time – certainly not on ITCH.” Five days later Feldman writes to Zanuck reiterating Billy and Marilyn’s hard work, the tightness of the script and requesting some retakes, including the dress blowing scene. There is criticism though, with some correspondence that relates to Wilder taking too long to film scenes and difficulties with Marilyn taking company time to rehearse.

There is a strong concentration of material on the risqué nature of the publicity done for the film, specifically relating to large promotional billboards that featured the iconic billowing white dress scene, “They’re replacing a big cardboard cutout of Marilyn outside Loew’s Theatre in Times Square. It was showing Marilyn with her skirts blowing above her waist. Not good taste…Some papers refuse to accept wind blowing ad because of Kefauver investigation and pressure groups…this is a very delicate situation…sensational business so far at opening.” Much difficulty arose with censors upon the film’s release, including a complete rejection by the Irish Censor & Appeal Board stating, “this film is incapable of cutting without destroying its continuity. It is indecent and unfit for general exhibition.” Even a telegram from Wilder to the president of the Catholic Legion of Decency states, “I do not have the reputation of having ever been connected with pictures of a lascivious character. Obviously, the picture deals humorously with a man’s temptations but they are very human and utterly harmless. As one reviewer put it quote the play has been laundered snow white unquote. Am afraid that additional bleaching will make the picture disintegrate into an incomprehensible nothing.”

All in all, a rich trove and fascinating glimpse into the project’s inception, it’s transformation from stage to screen, all the various legal wrangling between agents, producers, directors and other studio heads during filming, and finally the fallout over the overt sexuality that faced cinema goers after the film’s release. Interested parties are strongly encouraged to view this material in person.

Estimate: $30 000 - $50 000 

lot n°726: The Seven-Year Itch German R’65 A-0 oversize
poster by Fischer-Nosbisch
(TCF, 1955/R1965) Executed in the very early style of Andy Warhol’s fashion illustrations (the smaller size German poster for this release is in his full pop-art style) by the husband and wife design team of Fischer and Nosbisch. Distinctive enough to have graced the pages of “In Style” magazine some years ago as a recommended décor suggestion. Near-Mint, unused folded condition, 33” x 47”.
Estimate: $200 - $300
 

lot n°714: Pair of Marilyn Monroe 8 x 10 color transparencies from How to Marry a Millionaire
Pair of color 8 x 10 in. color transparencies, one of Marilyn Monroe with Betty Grable and Lauren Bacall from How to Marry a Millionaire and one with Yves Montand from Let’s Make Love. Very good and Fine.
Estimate: $200 - $300
 

lot n°719: Marilyn Monroe’s personal annotated
working promptbook-script for The Sleeping Prince
(aka The Prince and the Showgirl) - (Warner Bros., 1957) Clasp-bound in crimson paper covers, and intentionally printed in half-size (5” x 8”) for ease of use on set, especially considering the elaborate costumes required for this drawing-room comedy starring, and co-produced by, Marilyn Monroe and Laurence Olivier. This example is identified on the specially-printed titled front cover as “PERSONAL COPY OF MISS MONROE”. Many pages inside exhibit not only scene and dialogue notes attributed to Monroe’s own hand, but many personal thoughts and observations by her as well, namely “What am I doing here with this man/I can’t believe my eyes, ears/ watch him/’oh no’/this idiot/ Chanel #5/ I just think it’s a joke/ don’t take anyone else’s tone/ affective memory/ heart breaking” plus at least one slightly naughty joke, “like a music box: a tinkle”, among other ‘notes to self’. Accounts from the time agree that Marilyn had more trouble working with Olivier than with any other male lead in her career. At least (31) of this small, character-dialogue promptbook-script’s (68) pages exhibit anywhere from one to numerous notations by Miss Monroe, making this one of the most intensely personal artifacts extant from her professional career. Covers are significantly tattered all around the margins, and front cover, together with first (2) pages, are torn 2/3 down from top near spine, else intact and complete as originally issued.
Estimate: $30 000 - $50 000
   

lot n°268: Marilyn Monroe, Jayne Mansfield, & Mamie van Doren
9 1-sheet posters & 4 stills
(Various, 1952-56) Gelatin-silver prints (4) from Kiss Them for Me; together with 27” x 41” one-sheet posters (9) for: We’re Not Married; O’Henry’s Full House; Will Success Spoil Rock Hunter?; Girls Town; The sheriff of Fractured Jaw; Private Lives of Adam and Eve; Platinum High School; The Misfits; and Kiss Me, Stupid. Some have minor losses or stains, overall Very Good to Very Fine.
Estimate: $300 - $500
 
 
 
 
   

lot n°725: Marilyn Monroe collection of (10) portrait and scene stills, 1950-1963
Gelatin-silver glossy prints (9) and (1) color still, of Marilyn Monroe from the following films: Asphalt Jungle (1950, 1); Home Town Story (1951, 1); We’re not Married (1952, 1); Don’t Bother to Knock (1952, 1); The Seven Year Itch (1955, 1); The Prince and the Showgirl (1957, 3 including special cheesecake publicity pose); Something’s Got to Give (1962/uncompleted, 1); and Marilyn (1963, 1). Two trimmed slightly for publication, generally Very Good to Fine.
Estimate: $200 - $300
 
 

 lot n°727: All About Eve British Quad poster
(TCF, 1950) British Quad, 30 x 40 in., folded and unrestored. Very fine. Remarkable, unused condition.
Estimate: $500 - $700
 

 lot n°728: Gentlemen Prefer Blondes poster
(TCF, 1953) British Quad, 20 x 40 in., folded and unrestored. Faint ½ in. creased tear at upper center margin; otherwise, Very fine. Remarkable, unused condition.
Estimate: $500 - $700
   

lot n°733: Marilyn Monroe signature camisole top
by Travilla from River of No Return
(TCF, 1954) For Marilyn’s studio-imposed adventure in the Canadian wilderness, director Otto Preminger chose to bless film-goers with the joy of watching her, for a large part of the screen time, in this simple yet highly erotic camisole designed by Travilla. Complemented on screen by skin-tight blue jeans, and accented at one point with a good soaking in the river rapids, this little bit of cotton muslin with lace embroidery has become over the succeeding decades one of Marilyn’s most recognized, iconic, and exploited fashions. With interior label inscribed “1-81-2- 4739 A713-05 M. Monroe”. A few very minor stains, otherwise virtually identical to condition as worn on screen, including the off-white coloring, and the intentional rough-hewn bottom margin. A precious and immediately identified artifact from this great star’s career.
Estimate: $40 000 - $60 000

   

 lot n°734: Marilyn Monroe 2-piece dance costume
by Dorothy Jeakins from Let’s Make Love
(TCF, 1960) For Marilyn Monroe’s singing and dancing character “Amanda Dell” in Let’s Make Love, Dorothy Jeakins designed for her this sheer, sexy two-piece pink silk shirt/ black dance-brief combination, worn for rehearsal scenes in the stage musical set within the film. Both pieces bear internal TCF labels inscribed “F-13 M. Monroe” and apart from a few scattered minor to moderate stains in the shirt and minor separations in the brief, they remain essentially intact and presentable. With the long sleeves casually rolled up and shirt tucked into brief, this was a lovely and happy look for her in what was to be her penultimate film.
Estimate: $80 000 - $100 000
 
 

lot n°735: Marilyn Monroe “Vicky” green cummerbund
from There’s No Business Like Show Business
(TCF, 1954) The stylish “color” accent to a very simple though effective costume designed by Travilla for Marilyn Monroe in There’s No Business Like Show Business, being a large green cummerbund-sash which she wears over a Capri-style black full-body leotard for her languorous and eminently sexy performance of “Lazy”. Bears internal studio wardrobe tag inscribed in cursive “Marilyn Monroe A729-38” with a few faint stains or fading spots, generally Fine.
Estimate: $6 000 - $8 000
 
  

lot n°762: Warner Brothers Large bronze key ca. 1950"s,
a symbolic key to the studio 11 inches x 4 inches
A tradition existed for some years at Warner Bros. Studio of welcoming dignitary and celebrity guests (like major stars on loan from other studios) with one of these commemorative “keys to the studio” in a publicity event for the benefit of promoting Warner’s largesse and standing in the industry. One such key was presented to Marilyn Monroe by Jack Warner when she filmed The Prince and the Showgirl with them, and that key was sold at her estate auction by Christie’s in 1999 for $32,200. Polished cast bronze, 11 in. x 4 in. and weighing 12.2oz.
Estimate: $2 000 - $3 000

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

 Enchères  "Icons of Hollywood"
des 15 & 16 décembre 2011
- 49 lots avec Marilyn Monroe -
- Partie 3 : Photographies diverses
Carrière & Vie Privée
Peintures

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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Vente et Catalogue

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Carrière

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 lot n°699: Collection of (4) 16 x 20 photos of Marilyn Monroe
by Milton Greene from the black lingerie series
Fashion and celebrity photographer Milton Greene so impressed Marilyn Monroe during a Look Magazine shoot, she ended up moving in with his family, and making him her manager for several years. In 1956 Greene shot the seminal black lingerie series of her in New York, with only an occasional cigarette or shot glass as props. Gelatin-silver double-weight semi-gloss 16” x 20” prints (4) of Marilyn Monroe, printed ca. 1970 from the original negatives. Condition varies, with minor to moderate handling, creasing, and edge chipping from storage to each.
Estimate: $200 - $300
  

 lot n°700: Collection of (4) 16 x 20 photos of Marilyn Monroe
by Milton Greene from the black lingerie series
Gelatin-silver double-weight semi-gloss 16” x 20” prints (3) of Marilyn Monroe from Milton Greene’s black lingerie series; one (1) at the beach in sweater, printed ca. 1970 from the original negatives. Condition varies, with minor to moderate handling, creasing, and edge chipping from storage to each.
Estimate: $200 - $300
 
  

lot n°702: Marilyn Monroe original 4 x 5 in. color camera transparency,
swimsuit pose with towel
Color 4 x 5 in. camera transparency of Marilyn Monroe posing in a swimsuit with towel. Fine; with smudging.
Estimate: $200 - $300

lot n°704: Marilyn Monroe original color transparency, swimsuit pose
Color 4 x 5 in. camera transparency of Marilyn Monroe posing in a swimsuit bikini poolside. Very fine.
Estimate: $200 - $300

lot n°705: Marilyn Monroe original 4 x 5 in. color camera transparency
Color 4 x 5 in. transparency of an early closeup publicity photo of Marilyn Monroe posing on a bike with a puppy in the basket. Very fine.
Estimate: $200 - $300
 

lot n°723: Marilyn Monroe signed check to her housekeeper, Eunice Murray
Personal check signed, 3 in. x 8 ¼ in., dated July 10, 1962 and drawn from Marilyn Monroe’s account paying her housekeeper Eunice Murray $100.00. Signed “Marilyn Monroe” in blue ink. Cancellation stamps on recto and verso and bearing Murray’s endorsement signature on the verso. Murray was Monroe’s housekeeper during the last years of her life and accompanied Monroe during her trip to Mexico in February, 1962. Eunice Murray was staying with Monroe the night of the star’s death and reportedly called Monroe’s psychiatrist, Dr. Ralph Greenson, upon discovering the body the night of August 5, 1962. This check was signed just three weeks prior to Monroe’s death and amazingly stamped “PAID” on August 7, two days after she died. A wonderful association.
Estimate: $1 500 - $2 500
 

 lot n°724: Joe DiMaggio autograph postcard signed to Marilyn Monroe
Autograph Postcard Signed, “Joe,” to “Dearest Marilyn” from Copenhagen, Denmark and postmarked May 20, 1962. DiMaggio pens, “Dearest Marilyn, Have a short stop over here at Copenhagen enroute for the ‘long underwear country.’ Should be there in about three hours. Spent nine days here in 1958. Wonderful country. The famous Tivoli park was one of my favorite places. Love, Joe.” Addressed in DiMaggio’s hand to “Miss Marilyn Monroe, 12305 Fifth Helena Dr., Los Angeles 49, California, USA.” In February, 1961, Monroe was admitted to the Payne Whitney Psychiatric Clinic where she contacted DiMaggio. He secured her release and she spent some time with him in Florida where the couple reconciled. Accompanied by a printed photograph of the couple on their wedding day
Estimate: $4 000 - $6 000
  

  lot n°737: Marilyn Monroe invitation to JFK birthday celebration with call sheet from her personal property
From the Christie’s 1999 sale of the personal property of Marilyn Monroe, three items for one event which document one of the most significant personal moments for her. In chronological sequence, the first is the personal invitation from “New York’s Birthday Salute to the President” requesting her presence at Madison Square Garden on May 19, 1962 to celebrate President John F. Kennedy’s birthday gala party; the second is a 2pp mimeo call-sheet for the evening’s order of events, detailing Marilyn’s appearance at #35, “Marilyn Monroe and Stars”, which an unknown hand has doodled what might be a stage, and written in red grease pencil, with corrections in graphite, “Who do you have to be to ask- Who do you have to be to be disappointment-“ ; the last is the official illustrated program for the birthday event with iconic portrait of Kennedy on cover, with red, white and blue patriotic design. All three items were the personal examples in Marilyn Monroe’s possession during the time of this historic event, for which she performed an extraordinarily sexy, breathy rendition of “Happy Birthday”to the President (even calling in sick to work at Fox in order to do so), and each shows extra folds and slight handling by her, presumably to secure inside a purse that night. Kennedy remarked on stage that he could retire from politics after such a performance; Peter Lawford introduced her as “the late Marilyn Monroe”, and sadly she would be gone to a mysterious death in just over two months.
Provenance: Christie’s Personal Property of Marilyn Monroe, Lot 54, October 27-28, 1999 and sold for $129,000.
Estimate: $40 000 - $60 000

 lot n°736: Marilyn Monroe portrait by Romeo Catozella
after a Modern Screen magazine cover
From her personal property - Acrylic on canvas, 28 in. x 22 in. (incorrectly catalogued by Christie’s as oil) executed by artist and Marilyn Monroe fan Romeo Catozella of New York, and gifted to her. Based on a 1955 Modern Screen magazine cover photo portrait of Marilyn, and kept by her until her death in 1962. Includes an issue of the 1955 Modern Screen magazine. Provenance: Christie’s 1999 Personal Property of Marilyn Monroe, Lot 346, $23,000.
Estimate: $10 000 - $15 000
  

   lot n°738: Nude oil painting of Marilyn Monroe by Earl Moran
Original colorful painting by Earl Moran of a young and nude Marilyn Monroe in a prone pose painted from life circa 1948-1949. Accomplished in oil on board measuring 23 ½ in. x 35 ½ in. Signed “Earl Moran” at the lower right. Matted and framed.
Earl Moran (1893-1984) was the most important pin-up artist of the period. He studied with the legendary anatomist George Bridgman at the Art Students League in Manhattan, and after moving to Chicago in 1931, opened a small photograph and illustration studio. He submitted some paintings of models in bikinis to two calendar companies, Brown and Bigelow and Thomas D. Murphy Company, both of which purchased his work and launched his career. One year later he signed an exclusive contract with Brown and Bigelow and sold millions of calendars for the company over the next few years.
He moved to Hollywood in 1946 when a young starlet named Norma Jeane Dougherty was sent to his Sunset Boulevard studio by the Blue Book Agency. Over the next four years, Marilyn came by once a month for a two-hour modeling session. After Moran chose a costume, the models would assume dozens of poses while he peered through his camera’s 20-pound lens. He generally worked in pastels traced in charcoal from his print, but this is one of only a few oils he did and without a doubt his very best subject.
The photograph he worked from for this sitting was taken by Moran’s wife, and shows Marilyn lying prone and topless on cushions while wearing bikini briefs. As she became more comfortable during the session she removed the briefs and allowed Moran to complete the painting of her completely nude and adding a stylized colorful pillow-like base. Marilyn’s beaming smile is a testament to her comfort and natural demeanor while posing for Moran.
Of all the models he worked with he thought Monroe was the sexiest, “better than anyone else…She expressed just what I wanted.” They met for the last time on the set of There’s No Business Like Show Business (1954). Marilyn embraced Moran telling him she loved the way he made her legs look wonderful. Certainly no better endorsement for this fine painting.
The consignor was a Moran pin-up model and a close friend of Earl Moran who gifted her the painting in the 1960s.  
Estimate: $70 000 - $90 000
    

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

 Enchères  "Icons of Hollywood"
des 15 & 16 décembre 2011
- 49 lots avec Marilyn Monroe -
- Partie 1 : Norma Jeane

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15/12/2011, PROFILES IN HISTORY: Icons of Hollywood: Vente et Catalogue

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lot n°694: 18-year-old Marilyn Monroe amazing autograph letter signed
18-year-old Marilyn Monroe amazing autograph letter signed - MONROE, MARILYN. Amazing Autograph Letter Signed “Norma Jeane”, Four pages, blue-lined Octavo sheets, dated June 15, 1944. Penned at the top, and stricken-through, is the address “14668 Parthenia St, Van Nuys” (curiously, she never lived at that address). Written to Grace Goddard, Norma Jeane’s legal guardian and ‘mother’ figure during the tumultuous years of her youth. Norma Jeane — just 18 years of age — pens (in full):

“Dearest Grace,
I was so happy to hear from you. I was so thrilled to read your letter and learn of all that you have been doing lately. [Grace had recently moved to West Virginia]
I will send you your picture very s[h]ortly now, I’m going down Saturday to find out more about it. Also will send you lots of snapshoots at the same time I send you the picture. I found out that a 10² x 12² (that was the size you wanted wasn’t it?) cost exactly $5.00.
Jimmie has been gone for seven weeks and the first word I received from him was the day before my birthday. He sent a cable night letter by Western Union saying ‘Darling, on you birthday, I send you a whole world of love’. I was simply thrilled to death to hear from him.
I have never really written and told you of Jimmies and my married life together. Of course I know that if it hadn’t been for you we might not have ever been married and I know I owe you a lot for that fact alone, besides countless others. That is why I feel that I should let you know about us. I love Jimmie just more than anyone (in a differn’t way I suppose than anyone) and I know I shall never be happy with anyone else as long as I live, and I know he feels the same towards me. So you see we are really very happy together that is of course, when we can be together. We both miss each other terribly. We will be married two years June 19th. And we really have had quite a happy life together.
I am working 10 hrs. a day at Radioplane Co., at Metropolitain Airport. I am saving almost everything I earn (to help pay for our future home after the war.) The work isn’t easy at all for I am on my feet all day and walking quite a bit.
I was all set to get a Civil Service job with the Army, all my papers filled out and everything set to go, and then I found out I would be working with all Army fellows. I was over there one day, there are just too many wolves to be working with, there are enough of those at Radioplane Co. with out a whole army full of them. The Personal [Personnel] Officer said that he would hire me but that he wouldn’t advice it for my own sake, so I am back at Radioplane Co. & pretty contented.
Well I guess that is about all for now.
With much love,
Norma Jeane”

Summer of 1944 was a fateful time for young Norma Jeane Dougherty. Circa 1943-44, she landed her first job at Radioplane Co. (a defense contractor in Burbank, California), through the influence of her mother-in-law, Ethel. Her husband, Jim, had recently joined the U.S. Merchant Marine and shipped off to war just “seven weeks” previously.
Although she here thanks Grace for the instrumental role she played in organizing and consenting to her marriage, it is known that she later harbored feelings of resentment towards Grace for taking off to West Virginia (in effect, abandoning Norma Jeane), and believed that her “surrogate mother” had arranged the marriage as a convenient way to get rid of her. Despite Norma Jeane gushing over her love for her husband, her marriage was soon to unravel. Just a few months later, Norma Jeane met a man who would vault her to stardom: Army photographer David Conover. Conover had been tasked by his commanding officer (who was, interestingly enough, actor and future President Ronald Reagan) to photograph women factory workers who were helping with the war effort. Making the rounds at Radioplane he was naturally drawn to Norma Jeane, who, along with her stunning beauty and bubbly personality, seemed to have a certain “aura” around the camera.
She soon appeared on the cover of Yank magazine, and the die was cast. Heeding the advice of Conover and Grace, she obtained a divorce from Dougherty (September 13, 1946), and began one of the most famous careers in Hollywood.
A wonderful letter, showing how Norma Jeane viewed her world and her future with Jim Dougherty just two years into their marriage — though her life would soon change forever. Numerous corrections throughout, and page one exhibits original ink-blot. Overall, in excellent condition.
Estimate: $40 000 - $60 000
   

lot n°716: Marilyn Monroe (Norma Jeane) original family photograph
age 2, with her later notation on verso
From the personal effects of a relative of Marilyn Monroe (nee Norma Jeane Mortensen/ Baker) to the owner of the image archive “Silver Screen” (now deceased), to the current owner, an original gelatin-silver 3¾” x 4¾” family snapshot of toddler Norma Jeane at the beach. She is playing with another toddler she calls “Donna” in the pencil notation attributed to Norma Jeane herself, “gidy up horsy” at the beach, Donna & me I’m the horse”; comparisons were carefully made to other writing from her teen years, and this is a confident match, so she could have made this notation anytime before leaving home at age 16.
Estimate: $800 - $1 200
  

lot n°717: Marilyn Monroe unique collection
of 16+ personally owned family photographs and negatives
of Marilyn Monroe and her Mother.
A unique archive of 16+ original 2 ½ x 4 ¼ in. to 3 ½ in. x 4 ½ in. personal family photographs and negatives of Marilyn Monroe with her mother Gladys Pearl Baker (née Monroe) and presumably grandmother, as well as other family members and friends spanning toddler age through to adolescence. Her mother Gladys is pictured in several with a woman who is likely her best friend, Grace McKee, the woman that went on to become her guardian and ward of state. Marilyn is pictured in several as a toddler, as a teenager holding a baby on a bench, standing with Chico Marx on stage, as a young swimsuit model etc. Includes additional copy prints and negatives made from original photographs (originals not present). Approx. 30 items total. An incredible glimpse into Marilyn’s early family life and unique opportunity to acquire a rich trove of original material.
Estimate: $2 000 - $3 000
 
   
 
 

lot n°718: Marilyn Monroe (Norma Jeane) original photobooth
snapshot self-portrait, Ca. 1940
From the personal effects of a relative of Marilyn Monroe (nee Norma Jeane Mortensen/ Baker) to the owner of the image archive “Silver Screen” (now deceased), to the current owner, a 1 ½” x 1 ¼“ self-generated “photobooth” self-portrait, cut out of the original multi-shot strip by a teenage Norma Jeane and given to a family member. We have not heard of the survival of other such photos generated by[Marilyn] herself, though of course at least a few must have been generated at the time, so it is conceivable for this to be a unique artifact in the pantheon of Marilyn Monroe’s history. In any case, it is unique for this particular shot, as the photobooth technology only creates a single print of each exposure. Side margins are intact, and this particular image was trimmed out of the middle of a multi-shot strip, so no upper or lower margin is present; else, surprisingly Fine for such a small ephemeral object.
Estimate: $800 - $1 200
 

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

Mardi 29 novembre 2011 - sur Arte - à 14:45
Film - Mister Lonely

 Durée : 108  minutes
Année et origine : 2006, Royaume-Uni, France.
Réalisateur: Harmony Korine
Image: Marcel Zyskind
Musique: Jason Spaceman, The Sun City Girls
Montage: Paul Zucker, Valdís Oskarsdóttir

Acteur: Denis Lavant, Diego Luna, Esme Creed-Miles, James Fox, Samantha Morton.

L'histoire: Les pérégrinations d'un groupe de sosies de stars vivant en communauté au fin fond de l'Écosse. Un ovni drôle et mélancolique signé Harmony Korine.
Le speech: À Paris, le sosie de Michael Jackson rencontre celui de Marilyn Monroe. Cette dernière vit dans un château en Écosse, entourée de clones de stars : Charlie Chaplin, son mari, leur fille Shirley Temple, mais aussi le pape, James Dean, la reine d'Angleterre, Abraham Lincoln et d'autres encore. Tombé sous le charme de la belle Marilyn, Michael accepte de la suivre dans les Highlands...

Critique du site arte: Soif d'absolu
Le réalisateur porte un regard plein de tendresse sur ces sosies faussement joyeux qui préfèrent se réfugier dans un monde où personne ne vieillit et où tous sont célèbres plutôt que de se cogner à la vie. Dans une ambiance surréaliste, Michael, Marilyn et leurs acolytes tentent ainsi de monter un spectacle afin de conquérir le public local. Parallèlement, dans la jungle, un groupe de nonnes fait l'expérience du miracle en s'initiant à la chute libre. Mêlant humour farfelu et poésie d'une infinie tristesse, ce film déconcertant offre une réflexion sur la solitude, et sur la soif d'absolu, qui trouve rarement satisfaction.

 > sur le blog
l'article sur Samantha Morton  

Calendrier 2012 Marilyn Monroe; édité par Hugo & Cie, avec 24 photographies noir et blanc (1 page pour 15 jours).
Prix éditeur: 19,95 Euros (on le trouve à 18,95 Euros à Carrefour).

Icônes 1960-1990
Auteur: Isabelle Solal
Préface de Michel Giniès

Date de sortie: 13 octobre 2006
Relié 200 pages
Langue: français
Éditeur: Hugo et Compagnie
ISBN-10: 2755600950
ISBN-13: 978-2755600957
Prix éditeur: 35 Euros
Ou le commander ? sur le site de l'éditeur HugoEtCie et sur amazon.fr

Présentation de l'éditeur:  Étoiles hollywoodiennes, monstres sacrés, compositeurs de génie, héraut du pop art, rock-stars planétaires, divas de la mode, égéries de la Nouvelle Vague ou têtes couronnées, autant de figures de légende immortalisées par le regard des photographes. Ces icônes symbolisent et incarnent à elles seules la couleur, l'âme et l'esprit d'une époque. En 1960, le film de Fellini, La Dolce Vita , donne le ton et inaugure l'avènement d'un âge d'or : quatre décennies cultes, avant le déferlement de la presse à scandale. Les photographes travaillaient alors sans téléobjectif et immortalisaient en toute liberté, dans un climat de confiance et de proximité, les icônes du monde entier : de Charlie Chaplin à Marilyn Monroe, d'Alain Delon à Jeanne Moreau, de Brigitte Bardot à Sophia Loren, Grace Kelly, Mick Jagger, Elizabeth Taylor, Marlon Brando, Maria Callas, Jackie Kennedy-Onassis, Romy Schneider, Andy Warhol, Dustin Hoffman ou Orson Welles.

Norma Jeane en Californie en décembre 1945
photographiée par André De Dienes.

> Séance en pull rose
  
  
  
 
 

Commentaires d' André De Dienes*:
Norma Jeane portait un pull rose pâle moulant et avait noué un ruban de la même couleur dans ses boucles blondes cendrées. Avec son teint frais et ses yeux bleus, elle me faisait penser à un ravissant lapin de Pâques. (...) Je remarquai que Norma Jeane portait une alliance. Elle m'expliqua qu'elle était mariée, mais séparée de son mari qu'elle n'aimait plus. Il travallait dans la marine marchande et passait son temps en mer. Elle était donc libre et pensait donc se consacrer au métier de modèle. A aucun moment elle ne parla de vouloir devenir actrice. Ces quelques explications me libérèrent de mes scrupules. En vérité, si j'avais très envie de la photographier, c'était surtout elle que je désirais plus que tout! Je m'étais entiché d'elle dès le premier regard. 

>> agenda:
 

>> livre:
  

*(source: coffret André De Dienes, Marilyn, publié chez Taschen en 2002)

- Magazines -

La toute première couverture de magazine
de Marilyn seule est pour un magazine britannique:
Leader, le 13 avril 1946 , Grande Bretagne

Votre Amie  - 03/09/1946, Belgique
Hela Varlden - 06/1947, Suede
Photo Developments - 11/1948, USA
     

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

Le magazine Paris Match n°673, du 3 mars 1962, consacrait un article de 4 pages sur le remariage d'Arthur Miller avec la photographe Inge Morath, intitulé "La nouvelle Mme Miller avait photographié la rupture avec Marilyn".