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Enchères Julien's Auction
  "Hollywood Legends: Classic Hollywood"
du 11 décembre 2024
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- 25 lots avec Marilyn Monroe -
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11/12/2024, JULIEN'S: Hollywood Legends: Classic Hollywood - Vente
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 Lot 01: Marilyn Monroe | Circa 1962 Mascara
A single piece; in a gold-tone tube marked in part "Helena Rubinstein" -- one of the star's favorite make-up brands.
4.5 inches
PROVENANCE: First sold in the Julien's Auctions Los Angeles sale titled "Property from the Estate of Marilyn Monroe," Sale #6505, June 4, 2005, either Lot 263 or 275 as both lots had Helena Rubinstein mascara in them; subsequently, both tubes have been re-offered a number of times here at Julien's, including this one now.
Estimate: US$600 - US$800
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 Lot 02: Marilyn Monroe | Circa Early 1960s Eye Shadow

A small glass bottle with a gold plastic stopper; filled with purple eye shadow called "Lumino Violette de Parme," label reads in part "Starry / Eyes / Lilly Dache / Liquid Eye Luster."
Height 2.5 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe," Julien's Auctions (#6505), Los Angeles, June 4, 2005
Estimate: US$2,000 - US$3,000
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 Lot 03: Marilyn Monroe | 1962 Arm Chair from Her Brentwood Home
A rustic, handmade piece; wood with a brown leather seat portion affixed with brass upholstery tacks around the edge; custom-made for the star on one of her now well-known trips down to Mexico with housekeeper/narc, Eunice Murray, where the two were buying specific "Spanish-style" items to furnish Marilyn's new house at 12305 Fifth Helena Drive in the Brentwood section of Los Angeles; included with a color image showing the chair in situ.
31 x 19 x 16 inches
PROVENANCE: The consignor bought this chair at an Estate Sale where he was told that the recently deceased owner had purchased it directly from the Nunez family sometime in the 1970s -- the Nunez family having purchased Marilyn's Brentwood house and many of its contents after she passed away in 1962.
Estimate: US$2,000 - US$4,000
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 Lot 04: Marilyn Monroe | 1962 Arm Chair from Her Brentwood Home

A rustic, handmade piece; wood with a brown leather seat portion that is in substantial worn condition, affixed with numerous brass upholstery tacks around the edge; custom-made for the star on one of her now well-known trips down to Mexico with housekeeper/narc, Eunice Murray, where the two were buying specific "Spanish-style" items to furnish Marilyn's new house at 12305 Fifth Helena Drive in the Brentwood section of Los Angeles; included with a color image showing the chair in situ.
31 x 19 x 16 inches
PROVENANCE: The consignor bought this chair at an Estate Sale where he was told that the recently deceased owner had purchased it directly from the Nunez family sometime in the 1970s -- the Nunez family having purchased Marilyn's Brentwood house and many of its contents after she passed away in 1962.
Estimate: US$1,000 - US$2,000
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 Lot 05: Marilyn Monroe | 1949 Early Signed Black and White Publicity Photograph from "Love Happy"

An original print; glossy finish, depicting the 23 year-old in a beautiful headshot pose, printed text on lower margin outlines information about her 1949 United Artists film which starred the Marx Brothers, signed by the star in blue fountain pen ink on the lower margin "Marilyn Monroe" -- a very neat and legible autograph from her early starlet days as her later "movie star" signature became loopier and less concise; photograph is somewhat yellowed due to age and there is evident staining across the top margin.
Estimate: US$2,000 - US$3,000
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 Lot 06: Marilyn Monroe | 1961 Heavily Annotated Script from "Something's Got to Give"

20th Century Fox, 1961; mint green covers, dated "November 22, 1961," marked "Screenplay / Confidential / For Planning Purposes Only" in upper right corner, screenplay by Arnold Schulman, 138 pages; Monroe penciled notes to herself throughout the script on approximately 35 pages; most relate to her character's [Ellen] dialogue, but a few are about the infamously troubled production; her "notes to self" on the title page read in part: "New / producer how come? / not a story for MM / it's for a man / and just any two / girls / why was the writer who wrote it  / let go;" on page 69, Monroe outlines what she wants to do in the scene: "newly learned / playing a record player / and she does a twist / and at certain beats in / time with the music she / bumps her hip against the wall;" on page 87, her short note reads in part "her bed is not a hotel room;" on page 126 she writes "not funny" next to a line of double entendre; on page 131 she writes "Not a good / speech / sick" about another risque part;

she finishes her annotations on page 138, the last page, with "NO NO / NO" -- evidently an ending she did not like; this is just a small sampling of Monroe's notes seen throughout the script; they range from brief to detailed, but overall they show the reader just how seriously she took her role, and how she truly analyzed all her scripts, even ones for silly romantic comedies like this; as we all know, this was the very last film Marilyn Monroe worked on but did not finish due to her death; an apparent coffee or water stain is on lower margin and covers are tattered at edges, but all interior pages are intact and in sturdy condition.
11 x 10 x 1 inches
PROVENANCE: Originally sold in the Christie's New York auction titled "The Personal Property of Marilyn Monroe," Sale 9216, October 27-28, 1999, Lot 48, included with the 1999 Christie's lot card and book mark
Estimate: US$20,000 - US$30,000
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 Lot 07: Marilyn Monroe | 1960 Actor's Studio Notebook

A small six-ring binder containing lined notebook pages in a black and red vinyl case by National that belonged to Marilyn Monroe. The small notebook contains 10 pages of notes in Monroe's hand, in pencil, on eight leaves of paper. The notes were taken during a class with Lee Strasberg and record bits and pieces of things that "Lee said," as is repeated on many pages, which include "For yourself not for us - or one doesn't use own sensitivity/ girl crying continuously Lee said - There should be a certain pleasure in This, in acting - we don't stop these things - she stoped [sic] crying only at those times"; "problems-all the more to be solved got to keep swimming/ criticism can be taken - to incite the will not self criticism"; "the actor has to do what the character has to do - let the author worry about his words"; "Life of - reality of champagne (you don't open every bottle the same) actor in scene took for granted (girl is going to be good (New). Boy - said lines no effort - like crossing street - Lee said he wants - Behavior - When someone is trying to make someone (love etc.) how does one go about it/ Lee said - girl simplicity good honesty, to begin (New) with - but..." The last notes are taken on two sides of one leaf of paper and read "My heart Belongs To Daddy Number/ Remember always left -" and "While tearing off/ caddy-move head a little/ Daddy R. shoulder up/ call dog in closer"; clearly, these notes are for Monroe's musical number in Let's Make Love (20th Century Fox, 1960). The notes correlate with the lyrics of the song, and indeed Monroe does move her head a little during the first verse that mentions the caddy, and she does raise her right shoulder up the first time she says "Daddy" in the chorus.
4 x 5.25 inches
PROVENANCE Lot 442, "Property From The Estate of Lee Strasberg," Julien's Auctions (#160), Beverly Hills, November 17, 2016
Estimate: US$20,000 - US$30,000
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 Lot 08: Marilyn Monroe | 1960 Screen Actors Guild Card

A standard issue one; for the time period May 1, 1960 to May 23, 1960, star's name typed in center left "Marilyn Monroe" with a further note of "2916C" -- possibly her ID number; not signed.
PROVENANCE: Originally sold in the Christie's New York auction titled "The Personal Property of Marilyn Monroe," Sale 9216, October 27-28, 1999, Partial Lot 337, included with the 1999 Christie's lot card
Estimate: US$3,000 - US$5,000
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 Lot 09: Marilyn Monroe | 1960 Screen Actors Guild, Inc. Receipt

A small piece; dated "May 23 60," noting current dues of "80.00" for the period ending "Nov. 1, / 1960," the star's name, New York City address, and (likely) ID number of "2916C" appear on the lower left side.
PROVENANCE: Originally sold in the Christie's New York auction titled "The Personal Property of Marilyn Monroe," Sale 9216, October 27-28, 1999, Partial Lot 337
Estimate: US$300 - US$500
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 Lot 10: Marilyn Monroe | 1952 Handwritten Check
A counter check; entirely penned in blue fountain pen ink by the star; dated "Dec 24, '52," from her "Bank of America" account at the "Sunset and Laurel Los Angeles, Calif." branch, written out to "Harriet Beal" [a wardrobe mistress ] in the amount of "$60 / Sixty," signed "Marilyn Monroe / Beverly Hills Hotel / Beverly Hills, Calif / CR-62G51;" with normal cancellation stamps and punch-outs evident plus one small tear in the upper right area.
Estimate: US$1,000 - US$2,000
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 Lot 11: Marilyn Monroe | 1952 Handwritten Check
A counter check from the Laurel-Sunset branch at Bank of America; penned in blue foutain pen ink by the star, dated "Dec 31 '52," written out to "Cash" in the amount of "$370.50 / three hundred seventy" and signed "Marilyn Monroe;" normal cancellation stamps and punch-outs evident.
Estimate: US$1,000 - US$2,000
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 Lot 12: Marilyn Monroe | 1954 Letter Received from Her Mother

A single large sheet of velum paper; folded numerous times; handwritten in pencil by Gladys Pearl Monroe Baker Mortensen Eley (who was using just the last name of Eley at this point), undated, addressed to "Dear Ones" [Marilyn Monroe and Eleanor "Bebe" Goddard, Gladys' best friend's step-daugher]; a sad letter where Gladys outlines her unhappiness at the Rockhaven Sanitarium in Verdugo City, CA (now La Crescenta-Montrose, CA); she writes in part "I am always mentaly [sic] / bumping up against their / manipulation of my mind / which I know is not Christian / Science and we are taught to / use and know our own mind;" she ends with "Would you please remove / me...You don't / want anything injurious / to happen to me do you?! / Please dear see to this at / once. / Anxiously waiting for / an answer. / Love / Mother;" included is the original transmittal envelope postmarked in part "Feb 2 / 1954" and penciled to "Miss Norma Dougherty / 6707 Odessa / Van Nuys / Calif." -- even though the 27 year-old star had not lived at that address for years and she was no longer using that name; Gladys' return address (showing it was sent from Rockhaven) is penciled on the verso; further included is a small reprinted black and white photograph of Gladys as a young woman; as all the biographies of Monroe note, she and her mother had a very fraught relationship, but nonetheless, Marilyn continued to take care of Gladys, even beyond her own lifetime.
Letter; 12 x 12 inches; Envelope; 3.5 x 5.5 inches
PROVENANCE: Originally from the files of Eleanor "Bebe" Goddard, the step-daughter of Gladys' best friend, Grace Atchison Evans McKee Goddard
Estimate: US$1,000 - US$2,000
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 Lot 13: Marilyn Monroe | Circa 1945 Possibly One-of-a-Kind Advertising Standee

A largish piece; made as a countertop display with a stand on the backside, constucted of plywood and real wood elements, featuring a darling color die-cut image of the then model wearing a light blue sweater as she "holds" a folder, text on lower margin reads in part "Emde / New Color Film Protection!" -- a company that manufactured "mounts" which protected slides and film transparencies; the folder shows the different mounts available and is removable from the overall display; according to a Los Angeles Times article from 1988, this image of Monroe was shot by Bill Carroll who then (presumably) sold it to the Emde Products, Inc. company of Culver City, CA so they could create this in-store display; little did anyone suspect at the time what would become of this unknonwn model -- thankfully, this display was saved these past 79 years, and has now been consigned here! Please note there is some staining, paper loss, and a crack in the "hair" area due to age of piece; included with a photocopy of the LA Times article.
Standee; 48 x 40 x 1 inches; Display Folder; 12 x 31 inches
PROVENANCE: Consigned directly by the owners of the now-defunct Emde Products, Inc. company of Culver City, CA
Estimate: US$3,000 - US$4,000
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 Lot 14: Marilyn Monroe | Circa 1945 Small Advertising Pamphlets

A group of five; all identical; two-fold with print on both sides about "Emde Mounts" [same company as the standee in previous lot]; featuring one image of the then model on the front side and a different image of her on the back side; these pamphlets would have been hand-outs that customers picked up in the Culver City, CA store where the company was based.
PROVENANCE: Consigned directly by the owners of the now-defunct Emde Products, Inc. company of Culver City, CA
Estimate: US$400 - US$600
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 Lot 15: Marilyn Monroe | Circa 1945 Advertisement Flyers

A group of five; all identical; printed on both sides with text about "Emde Mounts" [same company as standee in previous lot], front side features a black and white image of the then unknown model holding a folder; these flyers would have been hand-outs that customers picked up in the Culver City store where the company was based.
PROVENANCE: Consigned directly by the owners of the now-defunct Emde Products, Inc. company of Culver City, CA
Estimate: US$400 - US$600
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 Lot 16: Marilyn Monroe | Circa 1954 Hair Comb Gifted to Joe DiMaggio

A nice utilitarian piece; sterling silver handle engraved "Joe DiMaggio," hallmark on back reads in part "Sterling," many teeth now missing; according to a 2008 Guernsey's auction catalogue where this piece was originally offered (from the Morris Engleberg Collection), Marilyn gave this comb to Joe for his birthday; presumably this information came directly from Engleberg who was a close friend of DiMaggio's as well as the ballplayer's personal attorney for many years; included is the 2008 Guernsey's catalogue.
PROVENANCE: Originally sold in the Guernsey's New York auction titled "Yankee Stadium," October 17-18, 2008, Lot 324, From the Morris Engleberg Collection
Estimate: US$400 - US$600
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 Lot 17: Marilyn Monroe | 1960 Fur Storage Receipts
A group of seven; all documents from the Maximilian Fur Company, Inc. in New York City; the first is a small, undated note addressed to "Mrs. Arthur Miller" recommeding repairs for various furs; the second is an itemized receipt, also addressed to "Mrs. Arthur Miller," dated "July 19, 1960," listing and describing various furs that Marilyn took to storage such as "Black American Broadtail Muff," etc.; the third, fourth and fifth are almost identical  to the second (except listing the various other furs); the sixth and seventh are small ticket stubs dated "7/19/60" for "Temporary Fur Storage," both with blue ballpoint ink handwriting (by an employee) on the versos further listing Marilyn's furs -- overall, a great, detailed record showing us exactly what kind of furs the star had!
PROVENANCE: Originally sold in the Julien's Auction Beverly Hills sale titled "Property from the Estate of Lee Strasberg," Sale #160, November 18, 2016, Lot 225
Estimate: US$700 - US$900
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 Lot 18: Some Like It Hot | 1959 Production-Related Bathing Suit 

United Artists, 1959. A one-piece; made of now-faded gray ribbed cotton; a 1920s-style tank-top with attached shorts, two button closure at top of left shoulder strap, white trim at shoulders, waist, and legs; no labels present; almost identical to the one Marilyn Monroe wears as "Sugar Kowalczyk," though about three other actresses in the beach scene also wear a costume like this; this one seeming to have also been used in later productions due to evident fading, stretching, and wear; funnily, it is also similar to the bathing suit worn by Jack Lemmon as "Jerry" dressed up as "Daphne!"
PROVENANCE: From the collection of a well-known long-time Hollywood costume collector who obtained it in the late 1960s
Estimate: US$1,000 - US$2,000
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Lot 19: Marilyn Monroe | 1955 Oversized Black and White Photograph
An original print; glossy finish, 'weight-and-a-half' paper; depicting the star at the March 9, 1955 premiere of the James Dean film, "East of Eden," which took place at the Astor Theatre in New York City; verso with a black ink credit stamp reading "Silver / Screen."
Estimate: US$300 - US$500
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Lot 20: Marilyn Monroe | 1954 Black and White Photograph
An original print; matte finish, double weight paper; depicting the star in a close-up shot on the set of her 1954 20th Century Fox film, "There's No Business Like Show Business;" verso has blue fountain pen ink annotation reading "Return to: / Marvin Paige" -- the longtime and beloved Hollywood casting director; print is somewhat "wavy" but overall condition is still good.
Estimate: US$400 - US$600
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  Lot 21: Marilyn Monroe | 1953 Oversized Rare Black and White Photograph by Frank Powolny
An original print; glossy finish, 'weight-and-a-half' paper; depicting the star holding a cute French bulldog; an uncommon outtake pose from a known Monroe photo session which was shot in color; verso with a black ink credit stamp reading "Silver Screen."
Estimate: US$300 - US$500
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Lot 22: Marilyn Monroe | Circa 1951/1970s Oversized Color Photograph
A circa 1970s re-print; glossy finish, Kodak paper; depicting the then-starlet wearing a sheer red negliglee as she touches a candlestick; verso with black ink credit stamp reading "Silver Screen."
Estimate: US$200 - US$300
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 Lot 23: Marilyn Monroe | 1947 Oversized Black and White Photographs
A group of two; original prints, glossy finish; both depict the then-starlet wearing a floral print two-piece swimsuit with platform heels as she lounges next to the swimming pool at film producer Artie Stebbins' Beverly Hills home -- Stebbins being the nephew of  20th Century Fox film mogul, Joe Schenck, who was instrumental in launching Marilyn's career; verso of both with black ink credit stamps reading "Silver Screen."
Estimate: US$300 - US$500
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  Lot 24: Marilyn Monroe | 1945/1960s Black and White Photograph by Andre De Dienes
A circa 1960s re-print; glossy finish, double weight paper; depicting a darling 19 year-old Norma Jeane Dougherty dangerously sittiing in the middle of road, barefoot; verso with blue ink credit stamp reading in part "Photo / Andre De Dienes" and another in black reading "The / Kim Goodwin / Collection" -- Goodwin being the very talened 'Marilyn' doll maker as well as a longtime 'Marilyn' photograph collector.
Estimate: $400 - $600
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  Lot 25: Marilyn Monroe | 1953 Premiere Issue of Playboy Magazine Signed by Hugh Hefner
A copy of the first issue of Playboy magazine (HMH Publishing, 1953) featuring Marilyn Monroe on the cover and signed by Hugh Hefner. The magazine hit newsstands in December 1953 and sold for 50 cents a copy.
Marilyn Monroe, Hugh Hefner, Signed
Estimate: $10000 - $15000
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© All images are copyright and protected by their respective owners, assignees or others.

  Vente aux enchères "Hollywood Legends: The Collections of Sir Laurence Olivier and Dame Joan Plowright" le 10 décembre 2024 au Waldorf Astoria de Beverly Hills, USA, en ligne sur Julien's Auction
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Auction "Hollywood Legends: The Collections of Sir Laurence Olivier and Dame Joan Plowright" on December 10, 2024 at the Waldorf Astoria in Beverly Hills, USA, online at Julien's Auction
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Vente aux enchères entièrement consacrée à l'acteur britannique Laurence Olivier et de sa femme Joan Plowright, avec 418 lots: des effets personnels (meubles, vaisselle, bijoux, vêtements), et de la carrière d'Olivier (photographies, scripts, prix reçus, costumes de scènes et de films).
Laurence Olivier a tourné le film "Le Prince et la danseuse" avec Marilyn Monroe, dans lequel il est aussi son partenaire à l'écran et le réalisateur. Marilyn était venue à Londres (son unique voyage en Europe) pour tourner le film. Il y a 4 lots liés à Marilyn et au film: documents de préparation du film, un calice utilisé dans le film, et deux photographies.
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Auction entirely dedicated to the British actor Laurence Olivier and his wife Joan Plowright, with 418 lots: personal effects (furniture, dishes, jewelry, clothes), and Olivier's career (photographs, scripts, awards received, stage and film costumes).
Laurence Olivier shot the film "The Prince and the Showgirl" with Marilyn Monroe, in which he is also her on-screen partner and the director. Marilyn had come to London (her only trip to Europe) to shoot the film. There are 4 lots related to Marilyn and the film: film preparation documents, a chalice used in the film, and two photographs.
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Pas de catalogue proposé à la vente
No catalog offered for sale
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-  Sur le blog: les lots -
10/12/2024, JULIEN'S: Hollywood Legends Laurence Olivier - Lots

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

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Enchères Julien's Auction
  "Hollywood Legends: The Collections of
Sir Laurence Olivier and Dame Joan Plowright"
du 10 décembre 2024
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- 4 lots avec Marilyn Monroe -
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10/12/2024, JULIEN'S: Hollywood Legends Laurence Olivier - Vente
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  Lot 06: Laurence Olivier | and Marilyn Monroe "Prince and the Showgirl" Documents 

A group of documents related to the filming of The Prince and the Showgirl (Warner Brothers, 1957), which costarred Monroe and Olivier, who also directed. included is a typewritten letter addressed to Olivier and dated May 7, 1957 on stationery with the logo for The Sleeping Prince (the title of the Terrence Rattigan play that inspired the film), the script for the film's trailer, and a carbon copy of a typewritten letter from Olivier to Mitlon Greene, Monroe's producing partner, suggesting alternate titles for the romantic comedy.
PROVENANCE Property from The Collections of Sir Laurence Olivier and Dame Joan Plowright
Estimate: $400 - $600
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  Lot 07: Laurence Olivier | and Marilyn Monroe 1956 "The Sleeping Prince" Engraved Silver Chalice

A silver chalice with a lid with engraving on bottom that reads "The Sleeping Prince 1956," the original title of the film The Prince and the Showgirl (Warner Bros., 1957), which starred Olivier and Monroe.
PROVENANCE Property from The Collections of Sir Laurence Olivier and Dame Joan Plowright
Estimate: $800 - $1200
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 Lot 08: Laurence Olivier | Marilyn Monroe, Vivien Leigh and Arthur Miller Photograph Prints
A group of two photograph prints featuring Laurence Olivier, Vivien Leigh, Marilyn Monroe, and Arthur Miller taken during the filming of The Prince and the Showgirl (Warner Bros., 1957) in England in 1956 and both signed in ink by Olivier.
PROVENANCE Property from The Collections of Sir Laurence Olivier and Dame Joan Plowright
Estimate: $100 - $200
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 Lot 09: Laurence Olivier | Signed Marilyn Monroe "The Prince and the Showgirl" Photo
A black and white photograph of Laurence Olivier and Marilyn Monroe in a scene from The Prince and the Showgirl (Warner Brothers, 1957), that's signed in ink by Olivier lower left.
PROVENANCE Property from The Collections of Sir Laurence Olivier and Dame Joan Plowright
Estimate: $300 - $500
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© All images are copyright and protected by their respective owners, assignees or others.

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Manteau d'hiver en fourrure de vison
brume noire de Teitelbaum
Winter black mist mink coat from Teitelbaum
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Long manteau (dont la longueur atteint les chevilles) en fourrure de vison de couleur noire, au large col, doublé d'un tissu de satin noir, provenant de la boutique de fourrure "Teitelbaum" de Beverly Hills.
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Long coat (reaching to the ankles) in black mink fur, with a wide collar, lined with black satin fabric, from the fur shop "Teitelbaum" in Beverly Hills.
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   C'est un vêtement important pour Marilyn Monroe puisqu'il s'agit du cadeau de Noël 1953 offert par Joe DiMaggio. Marilyn s'était rendue incognito à San Francisco, prenant un vol depuis Los Angeles, le 22 décembre 1953 en s'enregistrant sous le nom de Norma Dougherty, pour y rejoindre Joe et passer avec lui les fêtes de fin d'année.
   This is an important garment for Marilyn Monroe as it was her Christmas gift from Joe DiMaggio in 1953. Marilyn had flown incognito to San Francisco, flying from Los Angeles on December 22, 1953, registering as Norma Dougherty, to join Joe and spend the holiday season with him.
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   Joe a acheté le manteau à la boutique de fourrures d'Al Teitelbaum, connu comme étant le fournisseur des fourrures des stars (prêtant même ses collections aux studios de cinéma pour le tournage de films), qui se trouve au 414 North Rodeo Drive à Beverly Hills.
La journaliste Louella Parsons en fait même écho dans la presse annonçant que le manteau vaut 12 500 Dollars et qu'il s'agit du premier manteau de fourrure de Marilyn qui, jusqu'auparavant, empruntait ses fourrures au département des costumes des studios, pour ses apparitions en publique.
(article paru le 09 février 1954 dans The Tribune de Pennsylvannie et dans Fort Worth Star Telegram du Texas)
En fait, une facture d'estimation datée du 04 février 1954 certifie la valeur du manteau d'un montant de 10 000 Dollars.
(facture vendue aux enchères "Property From the Estate of Lee Strasberg" lot 220 du 17/11/2016 par Juliens).
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  Joe bought the coat at the Al Teitelbaum fur store, known as the fur supplier to the stars (even lending his collections to film studios for the shooting of films), located at 414 North Rodeo Drive in Beverly Hills.
Journalist Louella Parsons even echoed it in the press announcing that the coat was worth $12,500 and that it was Marilyn's first fur coat, who, until then, had borrowed her furs from the studios' costume department for her public appearances.
(article published on February 9, 1954 in The Tribune of Pennsylvania and in The Fort Worth Star Telegram of Texas)
In fact, an appraisal invoice dated February 4, 1954 certifies the value of the coat at $10,000.
(appraisal sold at the auction "Property From the Estate of Lee Strasberg" lot 220 on 11/17/2016 by Juliens).
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Marilyn a porté ce manteau à de nombreuses reprises durant toute sa vie. On ne sait malheureusement pas ce qu'est devenu le manteau: faisait-il parti des biens dont avait hérité Lee Strasberg (et conservé dans des entrepôts, dont une partie à été vendue aux enchères de Christie's en 1999) à la mort de Marilyn ? ou encore récupéré par une personne de son entourage (sa comptable Inez Melson ou quelqu'un d'autre) ? Depuis la disparition de Marilyn, le manteau n'est jamais apparu que ce soit à une exposition ou une vente aux enchères.
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Marilyn wore this coat many times throughout her life. Unfortunately, it is not known what happened to the coat: was it part of the property that Lee Strasberg inherited (and kept in warehouses, part of which was sold at Christie's auction in 1999) after Marilyn's death? Or was it recovered by someone close to her (her accountant Inez Melson or someone else)? Since Marilyn's death, the coat has never appeared, either at an exhibition or an auction.
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Marilyn emporte le manteau pour son voyage au Japon avec Joe DiMaggio et Frank O'Doul. Elle est photographiée pour la première fois publiquement avec le manteau lors de son départ de San Francisco le 29 janvier 1954 en destination d'Hawaï: si elle le porte sur ses épaules le matin pour aller retirer son passeport, elle le tient au bras à l'aéroport.
(article Les 28 et 29/01/1954 - Départ de San Francisco )
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Description de la tenue de Marilyn à son départ pour le Japon

extrait article de The San Bernardino County Sun, 30/01/1954 - USA 

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Marilyn took the coat with her on her trip to Japan with Joe DiMaggio and Frank O'Doul. She was first photographed publicly with the coat when she left San Francisco on January 29, 1954, for Hawaii: if she wore it on her shoulders in the morning to pick up her passport, she held it on her arm at the airport.
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Et à l'arrivée à l'aéroport d'Honolulu à Hawaï le 30 janvier 1954, elle tient le manteau dans ses bras.
(article Les 30 & 31/01/1954, Hawaï - Escale à Honolulu )
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And at her arrival at Honolulu Airport in Hawaii on January 30, 1954, she held the coat in her arms.
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Son arrivée sur le sol japonais, à l'aéroport d'Haneda de Tokyo le 01er février 1954, s'effectue dans un vent froid et glacial: Marilyn tente de combattre ce froid en se pelotonnant bien dans son manteau. Elle le porte toujours à son arrivée à l'hôtel Imperial avant de le retirer pour participer au cocktail de bienvenue avec les nombreux reporters.
(article 01/02/1954, Japon - Arrivée à Tokyo & Réception à l'Imperial Hotel  )
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Her arrival on Japanese soil, at Tokyo's Haneda Airport on February 1, 1954, took place in a freezing cold and wind: Marilyn tried to combat this cold by snuggling up in her coat. She still wore it when she arrived at the Imperial Hotel before taking it off to participate in the welcome cocktail with the many reporters.
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C'est ensuite lors de sa visite à l'hôpital militaire de Tokyo le 05 février 1954, que Marilyn est à nouveau photographiée avec le manteau qu'elle porte tout le temps de la visite et rencontre avec les soldats blessés. Il fait en effet toujours aussi froid et sous le manteau, elle ne porte qu'une fine robe.
(article 05/02/1954, Japon - Visite de l'hôpital militaire de Tokyo & arrivée à Kawana )
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It was then during her visit to the Tokyo military hospital on February 5, 1954, that Marilyn was again photographed with the coat she wore throughout her visit and meeting with the wounded soldiers. It was still very cold and under the coat, she was only wearing a thin dress.
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Marilyn suit Joe et Lefty à travers leurs déplacements professionnels, où ils enseignent le base ball aux équipes japonaises. Le 08 février 1954, ils prennent l'avion pour Osaka, où ils attendent un autre vol dans le salon de la base américaine d'Osaka, à l'aéroport d'Itami, et y rencontrent notamment des journalistes américains: Marilyn garde le manteau près d'elle avant de l'enfiler pour prendre un avion pour Fukuoka. A leur arrivée à la base d'Itzakue (à Fukuoka) à 19h30, Marilyn porte le manteau.
(article Du 08 au 10/02/1954, Japon, Fukuoka - Visites des bases de l'armée )
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Marilyn followed Joe and Lefty through their business trips, where they taught baseball to Japanese teams. On February 8, 1954, they flew to Osaka, where they waited for another flight in the lounge of the American base in Osaka, at Itami Airport, and met American journalists there: Marilyn kept the coat close to her before putting it on to take a plane to Fukuoka. When they arrived at the Itzakue base (in Fukuoka) at 7:30 p.m., Marilyn was wearing the coat.
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Puis Marilyn et Joe quittent Fukuoka tôt le matin du 11 février 1954 pour se rendre à Hiroshima: ils se rendent d'abord à l'aéroport d'Itazuki (à Fukuoka) pour rendre une courte visite à la compagnie aérienne américaine 6160th Air Base Wing et ils prennent l'avion. Marilyn est ainsi photographiée à l'aéroport d'Itazuki (dans un salon d'attente, sur le tarmac et avec le groupe de la compagnie aérienne) avec le manteau.
L'après-midi, Marilyn et Joe visitent le musée commémoratif de la paix de Hiroshima et le centre ABCC (Centre de Commission des victimes des bombes atomiques): Marilyn porte le manteau le temps de sa visite, avec une cagoule sur la tête pour protéger ses oreilles du froid.
Le lendemain, le 12 février 1954, Marilyn, Joe et Bobby Brown (ancien joueur de baseball qui est médecin dans un hôpital militaire à Tokyo) visitent l'île de Miyajima, située dans la baie de Hiroshima: Marilyn porte toujours le manteau et la cagoule. Ils passent la soirée et la nuit à l'auberge restaurant japonais traditionnel Mitakiso, où Marilyn est photographiée marchant le long de l'auberge.
(article Du 11 au 13/02/1954, Japon - Marilyn & Joe à Hiroshima )
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Then Marilyn and Joe leaved Fukuoka early in the morning of February 11, 1954 to go to Hiroshima: they first went to Itazuki Airport (in Fukuoka) to pay a short visit to the American airline 6160th Air Base Wing and they took the plane. Marilyn was thus photographed at Itazuki Airport (in a waiting lounge, on the tarmac and with the airline group) with the coat.
In the afternoon, Marilyn and Joe visited the Hiroshima Peace Memorial Museum and the ABCC (Atomic Bomb Victims Casualty Commission): Marilyn wore the coat during her visit, with a hood on her head to protect her ears from the cold.
The next day, February 12, 1954, Marilyn, Joe and Bobby Brown (a former baseball player who was then a doctor in a military hospital in Tokyo) visited the island of Miyajima, located in Hiroshima Bay: Marilyn still wore the coat and hood. They spent the evening and night at the traditional Japanese restaurant inn Mitakiso, where Marilyn is photographed walking along the inn.
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Toujours à Hiroshima, Marilyn accompagne Joe au stade de baseball le 13 février 1954 où ils font le tour du terrain pour saluer les spectateurs: Marilyn garde le manteau ouvert qu'elle porte par-dessus sa robe en laine à carreaux de Travilla.
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Still in Hiroshima, Marilyn accompanied Joe to the baseball stadium on February 13, 1954, where they walked around the field to greet the spectators: Marilyn kept the open coat that she wore over her Travilla checked wool dress.
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Quand ils quittent Hiroshima le 14 février 1954, Marilyn et Joe sont photographiés dans l'avion qui les mène à l'aéroport d'Itami pour rester à Osaka. Il fait un temps épouvantable, avec une pluie battante et neigeuse. Marilyn garde le manteau bien fermé pour se protéger.
(article Les 14 et 15/02/1954, Japon - Répétitions de la tournée à Osaka )
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When they left Hiroshima on February 14, 1954, Marilyn and Joe were photographed on the plane taking them to Itami Airport to stay in Osaka. The weather was terrible, with pouring rain and snow. Marilyn kept her coat tightly closed for protection.
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Pendant les deux jours qu'ils passent à Osaka, Marilyn va répéter avec les musiciens la scénographie et les chansons qu'elle interprètera sur scène en Corée, à la base américaine d'Osaka. Le 15 février 1954 au matin, elle rend visite aux soldats blessés de l'hôpital n°8009 de l'armée américaine d'Osaka et mange à la cantine de l'hôpital. L'après-midi, elle répète avec les musiciens dans l'Auditorium de la base d'Osaka. Ce jour là, elle porte le manteau par-dessus un pull à col roulé et un pantalon à pinces.
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During the two days they spent in Osaka, Marilyn would rehearse with the musicians the scenography and the songs that she would perform on stage in Korea, at the American base in Osaka. On the morning of February 15, 1954, she visited the wounded soldiers at the No. 8009 hospital of the American army in Osaka and ate at the hospital canteen. In the afternoon, she rehearsed with the musicians in the Auditorium of the Osaka base. That day, she wore the coat over a turtleneck sweater and pleated pants.
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Après sa tournée de quatre jours (du 16 au 19 février 1954) dans les bases américaines situées en Corée pour remonter le moral des soldats mobilisés, et durant laquelle Marilyn n'avait pas emporté son précieux manteau (le laissant ainsi sans doute en lieu sûr à l'hôtel), elle retourne au Japon pour y retrouver Joe à Kobe: le soir du 20 février 1954, ils sont invités au salon de thé "Isami" avec le couple O'Doul. Si Marilyn est photographiée pendant le repas ne portant qu'une robe à fines bretelles et un long châle blanc sur ses épaules, elle met le manteau à son arrivée et quand elle quitte les lieux.
(article Du 20 au 22/02/1954, Japon - Marilyn & Joe à Kobe et Tokyo )
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After her four-day tour (from February 16 to 19, 1954) in the American bases located in Korea to boost the morale of the mobilized soldiers, and during which Marilyn had not taken her precious coat (thus probably leaving it in a safe place at the hotel), she returned to Japan to meet Joe in Kobe: on the evening of February 20, 1954, they were invited to the "Isami" teahouse with the O'Doul couple. If Marilyn was photographed during the meal wearing only a dress with thin straps and a long white shawl on her shoulders, she puts on the coat when she arrives and when she leaves the place.
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C'est la fin du séjour au Japon: le 22 février 1954, Marilyn et Joe quittent l'hôtel Oriental de Kobe et prennent un avion à la base aérienne américaine d'Osaka pour se rendre à Tokyo et loger à nouveau à l'hôtel Imperial. Marilyn est ainsi photographiée avec le manteau sur ses épaules.
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This was the end of the stay in Japan: on February 22, 1954, Marilyn and Joe left the Oriental Hotel in Kobe and took a plane from the American air base in Osaka to go to Tokyo and stayed again at the Imperial Hotel. Marilyn is thus photographed with the coat on her shoulders.
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Pendant son séjour au Japon qui a duré 23 jours, Marilyn a été photographiée à d'autres reprises portant le manteau à diverses sorties en extérieur. L'hiver était en effet très rude à cette période.
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During her 23-day stay in Japan, Marilyn was photographed on other occasions wearing the coat on various outdoor outings. The winter was indeed very harsh at that time.
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Le départ au Japon s'effectue le 23 février 1954: Marilyn, Joe et le couple O'Doul prennent l'avion à l'aéroport de Tokyo en destination d'Hawaï où ils y feront une escale de plusieurs heures pour y reprendre un vol pour les USA. Marilyn, qui était alors malade, apparaît les traits tirés et garde le manteau fermé à Tokyo, tandis qu'elle le porte sur ses épaules lors du départ d'Hawaï.
(article Les 23 et 24/02/1954 - Départ du Japon, Escale à Hawaï et Retour aux USA )
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The departure for Japan took place on February 23, 1954: Marilyn, Joe and the O'Doul couple took the plane from Tokyo airport to Hawaii where they would have a stopover of several hours to catch a flight to the USA. Marilyn, who was ill at the time, appeared drawn and kept her coat closed in Tokyo, while she carried it on her shoulders when leaving Hawaii.
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  Leur avion atterit le soir tard du 24 février 1954 à l'aéroport de San Francisco. Marilyn, souffrante et fièvreuse, semble avoir froid, elle serre bien le col du manteau autour de son cou.
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Their plane landed late on the evening of February 24, 1954 at the San Francisco airport. Marilyn, suffering and feverish, seemed cold, she pulled the collar of her coat tightly around her neck.
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A son retour du Japon, Marilyn et Joe restent à San Francisco (chez Joe). Le 05 mars 1954, Marilyn prend l'avion pour rentrer à Los Angeles. Elle porte les mêmes vêtements (le tailleur à boutons noir et le manteau) que lors de son voyage aller et retour au Japon.
(article 05/03/1954 Retour à Los Angeles )
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Upon her return from Japan, Marilyn and Joe stayed in San Francisco (at Joe's home). On March 5, 1954, Marilyn flew back to Los Angeles. She wore the same clothes (the black button-down suit and coat) as she had worn on her back and forth trip to Japan.
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Marilyn passe une quinzaine de jours à New York en septembre 1954 pour tourner des scènes du film "Sept ans de réflexion" dans la ville. Elle fait quelques sorties dans New York, dont la participation à une conférence de presse le 09 septembre 1954 au Saint Regis Hotel, suivie d'une sortie au théâtre Saint James pour assister à la pièce "The Pagama Game" pour terminer la soirée au restaurant Sardi's et au Club 21. Pour cette occasion, elle porte une fille robe noire à bustier échancrée et par-dessus, le manteau.
(article 09/09/1954 NY Conférence de Presse )
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- Marilyn photographiée par ses fans -

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Marilyn spent a fortnight in New York in September 1954 to shoot scenes for the film "The Seven Year Itch" in the city. She made a few outings in New York, including a press conference on September 9, 1954 at the Saint Regis Hotel, followed by an outing to the Saint James Theatre to attend the play "The Pagama Game" to end the evening at Sardi's restaurant and Club 21. For this occasion, she wore a black dress with a low-cut bustier and over it, the coat.
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- Club 21, New York -

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Pendant ce séjour à New York en septembre 1954, Marilyn est photographiée dans une gallerie d'art en compagnie de l'actrice Gladys Lloyd (l'épouse de l'acteur Edward G Robinson). Marilyn porte le manteau fermé.
(article 09/1954, New York - Gallerie d'art )
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During this stay in New York in September 1954, Marilyn is photographed in an art gallery with actress Gladys Lloyd (wife of actor Edward G Robinson). Marilyn is wearing the coat closed.
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En 1954, Marilyn est aussi photographiée sortant d'un taxi dans une rue de New York, portant le manteau de fourrure.
(article 1954 Marilyn à New York )
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In 1954, Marilyn was also photographed getting out of a taxi on a New York street, wearing the fur coat.
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Le 13 septembre 1954, Marilyn tourne une scène pour le film "Sept ans de réflexion" dans un immeuble au 164 East 61 Street de New York (scène où elle est en peignoir à la fenêtre). Les journalistes, reporters et fans sont nombreux. Elle est photographiée sortant de l'immeuble avec le manteau par-dessus le peignoir.
(article 13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 3  )
Puis le 15 septembre 1954, Marilyn tourne la célèbre scène de "Sept ans de réflexion" en pleine nuit, au croisement de Lexington Avenue: celle de sa robe blanche qui se soulève, entaînée par le souffle de la grille de métro sur le trottoir. Entre les prises, elle se rend dans le Trans-Lux Theatre, un cinéma qui sert de décor au film: elle est photographiée descendant les marches avec le manteau sur ses épaules.
(article 15/09/1954 NYC - Sur le tournage de The Seven Year Itch partie 3 )
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On September 13, 1954, Marilyn filmed a scene for the movie "The Seven Year Itch" in a building at 164 East 61 Street in New York (scene where she is in a bathrobe at the window). Journalists, reporters and fans are numerous. She is photographed leaving the building with the coat over the bathrobe.
Then on September 15, 1954, Marilyn filmed the famous scene from "The Seven Year Itch" in the middle of the night, at the intersection of Lexington Avenue: that of her white dress lifting, dragged by the breath of the subway grate on the sidewalk. Between takes, she goes to the Trans-Lux Theatre, a cinema that serves as a set for the film: she is photographed going down the stairs with the coat on her shoulders.
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Le lendemain, le 16 septembre 1954, Marilyn prend l'avion à New York avec Joe pour retourner à Los Angeles. Elle porte un tailleur noir et le manteau sur ses épaules.
(article 16/09/1954 De New York à Los Angeles )
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The next day, September 16, 1954, Marilyn flew to New York with Joe to return to Los Angeles. She was wearing a black suit and the coat over her shoulders.
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Le 4 octobre 1954, Marilyn participe à une projection en avant-première du film "La joyeuse parade" (dans lequel elle joue). Elle porte une fine robe noire et le manteau de fourrure.
(article 04/10/1954 Pré-Projection There's no Business... )
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On October 4, 1954, Marilyn attended a preview screening of the film "There's no business like show business" (in which she played). She wore a thin black dress and a fur coat. 
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Le 07 novembre 1954, Marilyn est photographiée pendant qu'elle intègre l'hôpital Cedars of Lebanon de Los Angeles pour subir une opération gynécologique le lendemain. Les reporters suivent Marilyn dans les couloirs: elle tente de cacher son visage derrière le large col de son manteau.
(article 07/11/1954, Los Angeles - Marilyn hospitalisée )
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On November 7, 1954, Marilyn is photographed as she enters Cedars of Lebanon Hospital in Los Angeles to undergo gynecological surgery the next day. Reporters follow Marilyn through the hallways: she tries to hide her face behind the wide collar of her coat.
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Le 26 novembre 1954, Marilyn est au Beverly Hills Hotel: elle donne une interview (à la journaliste chilienne Maria Romero), se fait lire les lignes de la main par un médium et rencontre un jeune fan. Elle porte un débardeur noir à fines bretelles et sans doute une jupe, et le long manteau de fourrure par-dessus qu'elle garde sur elle.
(article 26/11/1954, Beverly Hills Hotel - Interview de Maria Romero )
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On November 26, 1954, Marilyn is at the Beverly Hills Hotel: she gives an interview (to the Chilean journalist Maria Romero), has her palm read by a medium and meets a young fan. She is wearing a black tank top with thin straps and probably a skirt, and the long fur coat over it that she keeps on her.
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Le 24 janvier 1955, Marilyn retrouve son ex-mari Joe DiMaggio, son frère Dom DiMaggio et son épouse Emily à Boston où ils dînent au restaurant. C'est une soirée froide car les frères Dimaggio portent un long pardessus, Emily une longue veste en fourrure et Marilyn son long vison.
(article 24/01/1955, Boston - Marilyn avec les DiMaggio )
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On January 24, 1955, Marilyn met with her ex-husband Joe DiMaggio, his brother Dom DiMaggio, and his wife Emily in Boston where they dined at a restaurant. It was a cold evening as the Dimaggio brothers were wearing long overcoats, Emily a long fur jacket, and Marilyn her long mink.
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Le 28 janvier 1955, Marilyn est à New York et fait la publicité de sa nouvelle société Marilyn Monroe Productions: elle se rend au studio de Milton Greene qui la prend en photos; elle donne une interview au journaliste George Carpozi Jr au Gladstone Hotel où elle vit et où ses fans la rencontrent; elle se ballade en début de soirée dans Central Park et elle prend un taxi avec Milton Greene.
Quand elle sort de l'hôtel avec Milton pour prendre un taxi, elle enfile le manteau, qu'elle porte en le tenant bien fermé pour se promener dans Central Park.
(article 28/01/1955, New York - Lexington Avenue, Gladstone Hotel et Central Park )
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On January 28, 1955, Marilyn was in New York City and advertised her new company Marilyn Monroe Productions: she went to Milton Greene's studio who took her pictures; she gave an interview to journalist George Carpozi Jr. at the Gladstone Hotel where she lived and where her fans met her; she walked in the early evening in Central Park and she took a taxi with Milton Greene.
When she left the hotel with Milton to take a taxi, she put on the coat, which she wore keeping it tightly closed to walk in Central Park.
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Le 30 mars 1955, Marilyn participe à un grand événement médiatique à New York: sa venue sur un éléphant rose au Madison Square Garden, une cérémonie de bienfaisance organisée par Mike Todd et son cirque Ringling Brothers Circus. Marilyn se rend de son hôtel au Madison Square Garden en limousine avec son agent new-yorkais Dick Sheperd: elle porte le manteau de vison. Elle rejoint ensuite sa loge pour revêtir son costume de scène et met le manteau sur ses épaules dans les coulisses pour rejoindre la scène.
(article 30/03/1955, New York - Ringling Brothers Circus )
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- photographies de Ed Feingersh -

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- Le manteau apparaît derrière Marilyn quand elle s'habille (photos: Ed Feingersh) -

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On March 30, 1955, Marilyn participated in a major media event in New York: her arrival on a pink elephant at Madison Square Garden, a charity event organized by Mike Todd and his Ringling Brothers Circus. Marilyn traveled from her hotel to Madison Square Garden in a limousine with her New York agent Dick Sheperd: she was wearing the mink coat. She then went to her dressing room to put on her stage costume and put the coat on her shoulders backstage to go on stage.
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Marilyn passe l'hiver 1955 à New York et fait beaucoup de sorties (outre ses cours à l'Actors Studio et des séances photos au studio de Greene, elle sort pour voir des pièces de théâtre, dîner chez des amis et au restaurant etc...); elle est suivie et photographiée à de nombreuses reprises avec son manteau de fourrure par une bande de fans new-yorkais (James Haspiel et le groupe des "Monroe Six").
(articles 1955 New York, Instantanés + Hiver 1955, New York - Marilyn sortant du Gladstone Hotel + 1955, New York, Gladstone Hotel )
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Marilyn spent the winter of 1955 in New York and went out a lot (in addition to her classes at the Actors Studio and photo shoots at Greene's studio, she went out to see plays, dine at friends' houses and restaurants, etc.); she was followed and photographed many times with her fur coat by a group of New York fans (James Haspiel and the "Monroe Six" group).
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- Marilyn devant le Gladstone Hotel -

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Le 22 février 1956, quand Marilyn sort de son appartement à New York avec son attaché de presse Lois Weber pour prendre un taxi pour se rendre à l'hôtel Waldorf Astoria pour y donner une interview (à la journaliste Elsa Maxwell), elle porte le manteau sur ses épaules. Puis, elle se rend ensuite à pied à l'hôtel Ambassador en portant le manteau bien fermé, pour aller poser dans une suite pour le photographe Cecil Beaton.
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On February 22, 1956, when Marilyn left her New York apartment with her publicist Lois Weber to take a taxi to the Waldorf Astoria Hotel for an interview (with journalist Elsa Maxwell), she carried the coat over her shoulders. She then walked to the Ambassador Hotel with the coat securely fastened, to pose in a suite for photographer Cecil Beaton.
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Fin mars 1956 (du 26 au 30 mars), Marilyn tourne des scènes extérieures du film "Arrêt d'Autobus" à Sun Valley, dans l'Idaho, connue comme étant une station de sports d'hiver car cette région montagneuse est enneigée. Entre les prises de vues, pour avoir chaud, Marilyn porte son manteau de vison qu'elle garde bien fermé. Ce qui ne l'empêchera pas d'attraper une bronchite aigüe et d'être hospitalisée à son retour à Los Angeles début avril.
(articles Sur le tournage de Bus Stop 12  +  Sur le tournage Bus Stop 18 (2) )
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In late March 1956 (March 26-30), Marilyn filmed exterior scenes for the movie "Bus Stop" in Sun Valley, Idaho, known as a winter sports resort because this mountainous region is snowy. Between shots, to keep warm, Marilyn wore her mink coat, which she kept tightly closed. This didn't prevent her from catching acute bronchitis and being hospitalized upon her return to Los Angeles in early April.
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Ayant terminé le tournage de "Arrêt d'Autobus", Marilyn quitte Los Angeles le soir du 01er juin 1956, le jour de ses 30 ans, et prend un avion pour New York qui atterit le 02 juin 1956. Accompagnée de Milton H Greene, elle porte le manteau de fourrure sur le tarmac de l'aéroport où elle monte dans une voiture.
(article 02/06/1956 Retour à New York )
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Having finished filming "Bus Stop", Marilyn left Los Angeles on the evening of June 1, 1956, her 30th birthday, and took a plane to New York, landing on June 2, 1956. Accompanied by Milton H Greene, she wore the fur coat on the tarmac of the airport where she got into a car.
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Le 03 janvier 1957, Marilyn et son mari Arthur Miller (ils sont mariés depuis le 01er juillet 1956) partent en lune de miel en Jamaïque, en compagnie de Morton Miller, le cousin d 'Arthur, et sa femme Florence. Ils prennent l'avion de New York où, pour le départ, Marilyn porte le manteau de vison.
(article 03/01/1957 - Départ de New-York pour la Jamaïque )
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On January 3, 1957, Marilyn and her husband Arthur Miller (they had been married since July 1, 1956) went on their honeymoon to Jamaica, accompanied by Morton Miller, Arthur's cousin, and his wife Florence. They flew from New York where, for the departure, Marilyn wore the mink coat.
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Après la lune de miel de deux semaines sous le soleil de la Jamaïque, Marilyn et Arthur Miller rentrent à New York le 18 janvier 1957, dans un froid glacial (il fait moins de 10 degrés). Marilyn a revêtu le manteau de vison dans lequel elle grelotte. 
(article 18/01/1957 - Retour à New York )
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After a two-week honeymoon in sunny Jamaica, Marilyn and Arthur Miller came back in New York on January 18, 1957, in freezing cold (it was below 10 degrees). Marilyn had put on the mink coat, in which she was shivering.
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Le 16 avril 1957 se tient une réunion dans les bureaux de l'avocat de Marilyn à New York pour discuter de la réorganisation de la société Marilyn Monroe Productions. Milton Greene, le vice-président et directeur de la compagnie, ainsi que l'avocat et le comptable sont renvoyés. Marilyn est photographiée sortant des bureaux après 18h, portant un dossier dans ses bras, et vêtue de son manteau.
(article 16/04/1957, New York - Réunion et réorganisation de la société MM Prod )
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On April 16, 1957, a meeting was held at Marilyn's attorney's offices in New York to discuss the reorganization of Marilyn Monroe Productions. Milton Greene, the company's vice president and director, along with the attorney and accountant, were fired. Marilyn is photographed leaving the office after 6 p.m., carrying a file in her arms, and wearing her coat.
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Une photographie instantanée prise par un admirateur montre Marilyn à New York - vers 1959/1960 - sortant d'un immeuble, où elle porte le manteau.
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A snapshot taken by an admirer shows Marilyn in New York - around 1959/1960 - coming out of a building, where she is wearing the coat.
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© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

- photographie de L. Schiller

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

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Comme chaque dernier jeudi du mois de novembre,
Thanksgiving se fête cette année ce jeudi 28 novembre 2024.
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As every last Thursday of November,
Thanksgiving is celebrated this year this Thursday, November 28, 2024.
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© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

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Le mardi 16 avril 1957, Milton Greene est convoqué par Marilyn Monroe à une réunion dans les bureaux de Robert H. Montgomery Jr, l'avocat de Marilyn, associé au cabinet Paul, Weiss, Rifkind, Wharton & Garrison au 575 Madison Avenue à New York, pour la réorganisation de leur société Marilyn Monroe Productions, qu'ils ont fondé en 1955. La réunion dure trois heures (de 15h à 18 h).
Milton Greene (vice-président et directeur des MM Prod), l'avocat Irving Stein et le comptable Joseph Carr sont renvoyés de la société Marilyn Monroe Productions; Marilyn les considère comme "les hommes de Greene". Milton Greene conserve néanmoins ses actions (49,6 %).
Marilyn se proclame présidente (détenant ainsi 50,4 % des parts) et nomme Robert H. Montgomery Jr (le conseiller juridique de Miller) comme secrétaire trésorier, George Kupchik (le beau-frère de Miller, qui travaille comme ingénieur sanitaire pour la ville de New York) au poste de directeur financier et George Levine (un ami de Miller, marchand de tapis).
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On Tuesday, April 16, 1957, Milton Greene was summoned by Marilyn Monroe to a meeting in the offices of Robert H. Montgomery Jr., Marilyn's lawyer, partner in the law firm Paul, Weiss, Rifkind, Wharton & Garrison at 575 Madison Avenue in New York, for the reorganization of their company Marilyn Monroe Productions, which they had founded in 1955. The meeting lasted three hours (from 3:00 p.m. to 6:00 p.m.).
Milton Greene (vice president and director of MM Prod), lawyer Irving Stein and accountant Joseph Carr were fired from the company Marilyn Monroe Productions; Marilyn considered them "Greene's men". Milton Greene nevertheless kept his stock interest (49.6%).
Marilyn proclaimed herself president (holding 50.4% of the stock in the corporation) and nominated Robert H. Montgomery Jr. (Miller's legal counsel) as secretary treasurer, George Kupchik (Miller's brother-in-law, who worked as a sanitation engineer for the City of New York) as financial director, and George Levine (a friend of Miller's, a carpet merchant).
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Marilyn Monroe explique: "Mon entreprise n'a pas été fondée pour verser pendant sept ans 49,6% de tous mes revenus à Monsieur Greene."
Il est évident que même si les rapports entre Marilyn et Milton se sont dégradés lors de la production du film Le Prince et la Danseuse, tourné à Londres l'année précédente, où Milton a procédé à des coupures du montage du film sans en référer à Marilyn, il est indiscutable qu'Arthur Miller a joué un rôle primordial pour inciter Marilyn à se débarrasser de Milton. D'autant que les personnes nouvellement nommés dans la société de production sont toutes des connaissances de Miller.
Certains pensent que Miller souhaitait contrôler totalement sa femme en profitant de son statut de célébrité; cependant, Miller voulait écarter Milton de Marilyn, qu'il n'a jamais apprécié, afin de protéger la santé de sa femme, Milton prenant beaucoup de médicaments et ayant contribué à l'initiation de Marilyn à ce rythme médicamenteux (enchaînant les barbituriques pour trouver le sommeil avec des amphétamines pour retrouver la forme). Amy Greene, la femme de Milton, racontera d'ailleurs que Milton n'avait de cesse d'éloigner Arthur lorsque ce dernier s'intéressait aux affaires de sa femme, rétorquant à Arthur qu'il n'était que le mari de Marilyn, seulement bon à écrire des pièces de théâtre et de rester en dehors de leurs affaires de business. Michael Korda, un écrivain et ami de Milton, a raconté que Milton prenait du Dilantin, un médicament antiépileptique alors qu'il n'en avait pas besoin médicalement, mais qui lui permettait d'augementer son énergie en envoyant des impulsions électriques au cerveau. Amy dira "C'était un homme aux excès effrayants et il a fini par se détruire lui-même, ainsi que sa famille."
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Marilyn Monroe explains: "My company was not founded to pay 49.5 % of my income for seven years to Mr. Greene."
It is clear that even though the relationship between Marilyn and Milton had deteriorated during the production of The Prince and the Showgirl, shot in London the previous year, where Milton had made cuts to the film's editing without consulting Marilyn, it is indisputable that Arthur Miller played a major role in encouraging Marilyn to get rid of Milton. Especially since the newly named people in the production company were all acquaintances of Miller.
Some believe that Miller wanted to have total control over his wife by taking advantage of his celebrity status; however, Miller wanted to keep Milton away from Marilyn, whom he never liked, in order to protect his wife's health, Milton taking a lot of medication and having contributed to Marilyn's initiation into this drug rhythm (chaining barbiturates to help her sleep with amphetamines to get back in shape). Amy Greene, Milton's wife, would also say that Milton would constantly push Arthur away when he was interested in his wife's business, telling Arthur that he was just Marilyn's husband, only good at writing plays and staying out of their business affairs. Michael Korda, a writer and friend of Milton, recounted that Milton took Dilantin, an anti-epileptic drug although he didn't need it medically, but which allowed him to increase his energy by sending electrical impulses to the brain. Amy would say "He was a man of frightening excesses and eventually he destroyed himself, and his family, too."
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- Marilyn photographiée à la sortie de la réunion -
Photographies pour le Mirror, de Armand Sevasta
- Marilyn photographed leaving the meeting -
Photographs for the Mirror, by Armand Sevasta
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Milton H. Greene apparaît plutôt triste et répond respectueusement aux attaques de Marilyn :
   « Je suis content que Mlle Monroe soit toujours présidente. L'élection de Marilyn au nouveau conseil d'administration a été unanime grâce à mon vote. ».
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Milton H. Greene appears rather sad and responds respectfully to Marilyn's attacks:
   « I am happy Miss Monroe is still the president. Marilyn's election to the new board was made unanimous by my vote. ».
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- Milton photographié à la sortie de la réunion -
Milton et son avocat Irving Stein
- Milton photographed leaving the meeting -
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. - dans la presse -

sources:
coupures de presse
Livre Marilyn Monroe, La Biographie de Donald Spoto

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

 Numéro Spécial
n°36
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pays: France
paru le 12/11/2024
Trimestriel (nov-déc-janv)
prix: 7,90 €
Thème des "Premiers Influenceurs"
article de 10 pages sur "Marilyn Monroe Blonde Story"

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

Une photographie rare et inédite de Marilyn Monroe sur une échelle ?
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A rare and unpublished photograph of Marilyn Monroe on a ladder?
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C'est un montage:
Une photo de l'actrice Barbara Nichols (années 1950s)
avec la tête de Marilyn Monroe en 1952 à la Ray Anthony Party
(Marilyn est photographiée par Bruno Bernard)
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It's a fake:
A photo of actress Barbara Nichols (1950s)
with Marilyn Monroe's face in 1952 at the Ray Anthony Party
(Marilyn is photographed by Bruno Bernard)
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© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.