Lots sur Marilyn Monroe des enchères
'Entertainment & Music Memorabilia'
organisées le 11 novembre 2017
par Heritage Auctions à Dallas aux Etats-Unis.

> 11/11/2017, HERITAGE "Entertainment & Music Memorabilia": Vente et Catalogue

Lot 89001: A Marilyn Monroe Unusual Inscribed 'Frame Glass' to Arthur Miller, Circa 1960.
A black and white photograph of the star circa 1956, looking wistful, housed in a black wooden frame with the glass signed by her in red wax pencil "I know when / I am not there / for you -- !!!" with her added line marks below forming what look like "X's" or "M's" or both but hard to decipher; consigned directly by the daughters of Aaron Frosch [Monroe's attorney] who said that when their father was handling MM's divorce from Arthur Miller, she gave Frosch a number of items she didn't want anymore, including this photograph which she evidently inscribed to Miller as an apology; interestingly, MM wrote this note with a colored wax pencil, the same kind she used to cross out images of herself on contact sheets that she didn't like; also intriguing to speculate about the photograph itself: it was likely a favorite of hers or Miller's and it was probably hanging somewhere in the couple's home where MM knew Miller would see her message on it. (Please note the inscription has changed to an orangish color and it's faded due to age.)
Matted and framed: 14 1/2" x 12"
   

Lot 89002: A Marilyn Monroe Signed Document, 1952.
Two pages, typed, first page is on Twentieth Century Fox letterhead, dated "June 5, 1952," an eight paragraph agreement outlining the tedious details of the star's payment schedule at the studio, signed by her on the second page in blue fountain pen ink "Marilyn Monroe;" matted and framed in a pretty display featuring a black and white image of MM above brass-like plaques relaying general information about her.
Document only: 10" x 8"; Overall piece: 24" x 34"

Lot 89003: A Marilyn Monroe Signed Waiver, 1957.
One page, typed, dated "July 24, 1957," short document outlining how a meeting of Marilyn Monroe Productions was to be held at an office on Madison Avenue in NYC, signed by the star in blue foutain pen ink in the lower right corner "Marilyn Monroe" along with the signatures of two of her business associates; matted and framed next to three MM collectibles: a plastic "Marilyn Monroe Drawing Aid" (with its original backing), a piece of "Marilyn's Bedsheet!" with its original packaging, and a pocket knife featuring her 'Golden Dreams' nude image (but reversed); included with a LOA from JSA Authentication.
Document only: 10 1/2" x 8"; Whole display: 19" x 26 1/2"
     

Lot 89004: A Marilyn Monroe (and Others) Signed Autograph Book Page, 1956.
Brownish-red leather cover, inside pastel pages inscribed in various colors of fountain pen or ballpoint ink (some to "Henry") by stars including Marilyn Monroe who signed in blue ballpoint ink and added "Warmest Regards" and (in alphabetical order): Ray Bolger, Bing Crosby, Xavier Cugat, Edward Duke of Windsor (who added "March 23rd 1956"), Hedda Hopper, President Herbert Hoover, Frank Sinatra, and President Harry Truman, among a few others who are illegible.
4 1/2" x 5" 
 
 
      

Lot 89005: A Marilyn Monroe Signed Program from the 'April in Paris Ball,' 1957.
Oversized, 15 pages filled with great 'of the era' advertisements plus text about the gala that the star attended with her husband [Arthur Miller] as did JFK, Jackie, and the Duke and Duchess of Windsor among other luminaries; signed in pencil upside down on the front cover "Marilyn Monroe Miller;" included with an undated handwritten note from a "Beverly Heath" who writes in part "Mrs. Marilyn Monroe Miller / autographed the evening's program which / I also attended / ...At the time I was a 'Rockette' at Radio City Music Hall / ...As I recall, Marilyn was / wearing a quite revealing (for the time) / low cut black sequined dress;" further included is a LOA from PSA/DNA. (Please note MMM's signature is somewhat faded now as it was written in pencil and the program is somewhat dog-eared and creased.)
14" x 11"
   

Lot 89006: A Marilyn Monroe Group of Business Documents, 1950s.
Five total including:
1) an invoice from 'Hearst Metrotone News,' addressed to "Marilyn Monroe Productions," dated "November 21, 1956," in the amount of "$257.50" for "Coverage of arrival of Marilyn Monroe and Arthur / Miller at Idlewild Airport;"
2) a paycheck stub from 'Twentieth Century Fox,' dated "12-12-59," for "services of Marilyn Monroe;"
3) an invoice from 'The Waldorf-Astoria,' addressed to "Monroe Miss Marilyn," dated "Apr 19-25, 1955," outlining charges to her hotel room totaling "$75.80,"
4) a paycheck stub from 'Marilyn Monroe Productions, Inc.,' noting the gross earnings of "$7,142.86,"
and 5) a bank statement from 'Colonial Trust Company,' addressed to "Marilyn Monroe Productions, Inc.," dated "Sept 1-27, 1957," showing the various balances for the month;
all originally from the star's personal files.
11" x 8 1/2" and smaller
  

Lot 89007: A Marilyn Monroe-Related Group of Documents, 1955-1956.
Three total including:
1) an invoice addressed to "Mlle. Marilyn Monroe / Hotel Waldorf-Astoria / Park Avenue / New York City" from 'Signorina Eugenia Inc.,' dated "June 29, 1955," in the amount of "$39.14 for special order shoes;"
2) a check from 'Marilyn Monroe Productions, Inc.,' dated "July 14, 1955," to the shoemaker, interestingly signed in black fountain pen ink in the lower right corner "Milton H. Greene" [her short-lived business partner in MMP, Inc.];
and 3) another check from MMP, Inc., dated "Feb 3, 1956," written out to MM in the amount of "$404.30," also signed by Greene in blue ballpoint ink. (Please note there is a small hole in the upper center of the invoice and its original fold marks are still evident.)
11" x 8 1/2"
   

Lot 89008: A Marilyn Monroe Group of Likely Never-Before-Seen Black and White Photographs from Korea, 1954.
Twenty total, all original prints with a glossy finish, all shot by one of the official Army photographers who had close access to the star; including: three that show MM wearing pants, a bomber jacket, and combat boots; seven that show MM in a black turtleneck, pants, and combat boots surrounded by others in the mess hall; three that show MM in a houndstooth-like print dress; six that show MM on stage wearing a sequined dress with spaghetti straps as she sings for the soldiers; and one that shows the outdoor stage and the audience before MM appears (so MM is not in this shot); though these images are all similar to many others we've seen before, these exact ones have never been viewed by the public before; consigned by the family of soldier who shot them 63 years ago.
5" x 4"
 
 

Lot 89009: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, Circa 1952.
Both original prints with a semi-gloss finish, both on double-weight paper, both depicting the star in a sultry pose as she wears a spaghetti-strapped top with a dark-colored over-blouse, both stamped twice on the verso "Photograph / by / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
13" x 9"
  

Lot 89010: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, Circa 1952.
All original prints with a semi-gloss finish, all on double-weight paper, all depicting the star looking happy as she smiles (two are identical but printed differently), all stamped twice on the verso "Photograph / by / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
13" x 10"
  

Lot 89011: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints, both with a glossy finish, one depicting MM alone on the set of her 1953 20th Century Fox film, "How To Marry A Millionaire;" one showing her deep in discussion with director Jean Negulesco; both shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed; image with MM and JN has wrinkling in the lower left corner.)
10" x 8"
   

Lot 89012: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints with a glossy finish, both depicting MM and co-star Lauren Bacall on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," both shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece.
10" x 8"
   

Lot 89013: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Four total, all original prints with a glossy finish; three depicting MM and director Jean Negulesco on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire;" one showing just MM alone; all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note two negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"
    

Lot 89014: A Marilyn Monroe Group of Sepia Photographs by Jean Howard, 1953.
Three total, all original prints with a matte finish, all on double weight paper, all depicting MM and co-stars Lauren Bacall and Betty Grable in outtake shots from the very well-known set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all stamped on the verso "Photograph by / Jean Howard," one further stamped "Photograph by / Jean Howard" and "Copyright / Jean Howard" in different ink -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece.
9 1/2" x 7 1/2"
    

Lot 89015: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints, one with a glossy finish, one with a semi-gloss finish, both depicting MM with her co-stars [Betty Grable, Lauren Bacall, and extras] from the 1953 20th Century Fox film, "How To Marry A Millionaire," both stamped twice on the verso "Photograph by / Jean Howard," one further stamped "Copyright / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both show slight creases and dents in raking light; the horizontal image has further wrinkling on the upper right margin.)
13" x 10"
  

Lot 89016: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Five total, all original prints with a glossy finish, all depicting MM and co-star William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed; four have slight paper loss in the corners but main images are not affected.)
8" x 10"
   

Lot 89017: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Five total, all original prints with a glossy finish, all depicting MM and co-stars Lauren Bacall and William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"
   

Lot 89018: A Marilyn Monroe Rare Group of Black and White Photographs by Jean Howard, 1953. Four total, all original prints with a glossy finish, all depicting MM, Lauren Bacall, and William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"
  

Lot 89019: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953. Seven total, all original prints with a glossy finish, all depicting MM and co-stars William Powell and Lauren Bacall (with one also showing director Jean Negulesco) on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10" 

Lot 89020: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953. Seven total, all original prints with a glossy finish, all depicting MM mainly with co-star Betty Grable but also with Lauren Bacall and William Powell (while director Jean Negulesco appears in four) on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"
  

Lot 89021: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Four total, all original prints with a glossy finish, all depicting MM and co-stars Lauren Bacall, Rory Calhoun, and Betty Grable on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"
   

Lot 89022: A Marilyn Monroe Playboy Magazine-Related Limited Edition Serigraph Initialed by Hugh Hefner, 1991.
Depicting the now-famous first cover of the magazine from December 1953, numbered in pencil in the lower left corner "771/950" and initialed in pencil in the lower right corner "HMH" [Hugh Marston Hefner]; issued by Special Editions Limited in August 1991; included with a Certificate of Documentation; a beautiful quality print in excellent condition displaying the oversized image of one of the most famous magazine covers of the 20th century!
36" x 26"
  

Lot 89023: A Marilyn Monroe Black and White Photograph Signed by Milton H. Greene, 1956, 1979.
A later print with a glossy finish, depicting the star from her famous 'Black Sitting,' photographer's stamp on the verso as well as his black felt-tip ink signature reading "Milton H. Greene / 4-12-79." (Please note there is a 2" diagonal tear at the center top and a 1 1/4" diagonal tear near the center right edge.)
16" x 19 3/4"
    

Lot 89725: A Marilyn Monroe and Clark Gable Black and White Photograph by Jean Howard, 1954, 1989.
A later reprint with a glossy finish, depicting a now well-known image of the star dancing with her childhood hero at a post-production party for "The Seven Year Itch" in 1954, verso has typed caption taped to the lower margin noting this detail as well as "copyright / 1989 Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years as well as the producer of "TSYI;" directly from Howard's own files as consigned to this auction by her grand-niece. (Please note there are slight creases seen in raking light only and there is a 1" tear on the lower left margin.)
10" x 8"
   

Lot 89726: A Marilyn Monroe and Jean Negulesco Black and White Photograph by Jean Howard, 1953.
An original print with a matte finish, on double-weight paper, depicting the star and her director at the premiere party for "How To Marry a Millionaire" in November 1953, verso with typed press snipe glued to lower right corner reading "L to R: Marilyn Monroe, Director Jean Negulesco;" shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note there are slight creases along the lower margin.)
10" x 8"
   

Lot 89727: A Group of Rare Black and White Photographs by Jean Howard from the Set of "How To Marry A Millionaire," 1953.
Fourteen total, all original prints with a glossy finish, mainly depicting stars Lauren Bacall and Betty Grable (none of Marilyn Monroe) on the set of the 1953 20th Century Fox film; all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note a few of the images have slight creasing and some of the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10" 
 

Lot 89728: A Marilyn Monroe-Related Citation from "The Seven Year Itch," 1955.
An "Exhibitor / Laurel Awards / Official 1955 Nomination" [for 'Best Picture'] certificate for MM's most famous film, presented to producer Charles K. Feldman who was also MM's agent; consigned directly by Feldman's ex-wife's [actress turned photographer Jean Howard] grand-niece. (Please note the paper is brittle and wrinkled due to age and the gold seal is missing.)
14" x 10"
   

Lot 89730: A Marilyn Monroe Group of Black and White Publicity Stills from "Let's Make Love."
20th Century Fox, 1960. Eighteen total, all original prints with a glossy finish, each depicting MM and co-stars in various scenes from this musical that she made with Yves Montand where they infamously lived out the film's title, each image has printed text on the lower margin noting the film's title and studio, etc.
10" x 8"
 

Lot 89731: A Marilyn Monroe Pair of Black and White Negatives.
One showing the screen icon from her film "Home Town Story," the other showing her wearing a potato sack 'dress;' both images shot in 1951 though it's not known if these negatives are from that era or are later ones; includes glossy printed image of both photos.
5" x 4"
 

Lot 89732: A Collection of Female Movie Star Memorabilia, Circa 1960s-1970s.
Ten pieces total from David Gest's massive memorabilia collection, including: a 4" metal plate and five playing cards featuring famed Tom Kelley images of a young, nude Marilyn Monroe; a 3" porcelain plate featuring a painted image of Audrey Hepburn, stamped "Mah Vigo / Santa Clara / Made in Spain" on the verso; s similar 3" porcelain plate featuring a painted image of Kim Novak, with the same stamp on the verso as the Hepburn plate; a 1.5" makeup compact, engraved "Mary Pickford" on the bottom; a vinyl record containing a Kathryn Grant interview for radio for her 1959 film The Big Circus, includes a typed transcription of the interview. Conditions: LP - VG-EX 6/ transcription - Very Good; all other pieces Fine to Excellent. From the David Gest Memorabilia Archive.

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

Le 9 mars 1953, Marilyn Monroe pose pour des 'tests' costumes pour le film Comment épouser un millionaire. Le costumier est William Travilla.
On March, 9, 1953, Marilyn Monroe poses for wardrobe 'tests' for the movie How to marry a millionaire. The designer is William Travilla.

- vêtement / wardrobe -
 
 
   
     

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

   Enchères "Property from the Osianama Archives Online"
du 19 mars 2018
- 15 affiches de films avec Marilyn Monroe -

> 19/03/2018, JULIEN'S "Property from the Osianama Archives Online": Vente

Lot 16: MARILYN MONROE LOBBY CARDS
Five Lobby Cards for the following Marilyn Monroe films: two for Don't Bother to Knock (20th Century Fox, 1952); one for Some Like It Hot (Ashton Productions, 1959); one for Monkey Business (20th Century Fox, 1952); and one for Niagara (20th Century Fox, 1953).
Estimate: $400 - $600 | Winning Bid: $128
   
   

Lot 30: MISFITS POSTER
A Japanese B2 poster for the Marilyn Monroe film The Misfits (Seven Arts Productions, 1961).
Estimate: $200 - $400 | Winning Bid: $102.25
  

Lot 69: NIAGARA POSTER
An Argentinean poster the Marilyn Monroe film Niagara [Torrente Pasional] (20th Century Fox, 1953).
Estimate: $600 - $800 | Winning Bid: $192
 

Lot 70: DON'T BOTHER TO KNOCK POSTER
An American one-sheet poster for the Marilyn Monroe film Don't Bother to Knock (20th Century Fox, 1952).
Estimate: $800 - $1,000 | Winning Bid: $768
 

 Lot 71: THERE'S NO BUSINESS LIKE SHOW BUSINESS POSTER
An American one-sheet poster for the Marilyn Monroe film There's No Business Like Show Business (20th Century Fox, 1954).
Estimate: $2,000 - $3,000 | Winning Bid: $1,280
 

 Lot 117: GENTLEMEN PREFER BLONDES POSTER
A Swedish poster for the Marilyn Monroe film Gentleman Prefer Blondes (20th Century Fox, 1953).
Estimate: $100 - $200 | Winning Bid: $102.25
  

Lot 119: NIAGARA POSTER
A Swedish poster for the Marilyn Monroe film Niagara [Torrente Pasional] (20th Century Fox, 1953).
Estimate: $100 - $200 | Winning Bid: $76.50
 

Lot 201: BUS STOP POSTER
An American thirty-by-forty poster for the Marilyn Monroe film Bus Stop (20th Century Fox, 1956).
Estimate: $100 - $200 | Winning Bid: $896
 

 Lot 224: RIVER OF NO RETURN POSTER
An American one-sheet poster for the Marilyn Monroe film River of No Return (20th Century Fox, 1954).
Estimate: $200 - $400 | Winning Bid: $320
 

Lot 226: GENTLEMEN PREFER BLONDES POSTER
An American one-sheet poster for the Marilyn Monroe film Gentlemen Prefer Blondes (20th Century Fox, 1953).
Estimate: $800 - $1,200| Winning Bid: $512
 

 Lot 227: BUS STOP POSTER
An American one-sheet poster for the Marilyn Monroe film Bus Stop (20th Century Fox, 1956).
Estimate: $400 - $600| Winning Bid: $384
 

 Lot 228: HOW TO MARRY A MILLIONARE POSTER
An American one-sheet poster for the Marilyn Monroe film How to Marry a Millionaire (20th Century Fox, 1953).
Estimate: $1,000 - $2,000| Winning Bid: $768
 

 Lot 232: LET'S MAKE LOVE POSTER
An American window card poster for the Marilyn Monroe film Let's Make Love (Jerry Wald, 1960).
Estimate: $200 - $400| Winning Bid: $102.25
 

 Lot 294: MARILYN POSTER
A Japanese B2 poster for the Marilyn Monroe film Marilyn (20th Century Fox, 1963).
Estimate: $100 - $200| Winning Bid: $102.25
 

Lot 305: NIAGARA POSTER
A Belgian poster for the Marilyn Monroe film Niagara (20th Cent. Fox, 1953).
Estimate: $300 - $500| Winning Bid: $576 
 

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

Le 24 février 1953, Marilyn Monroe pose pour des 'tests' costumes pour le film Comment épouser un millionaire. Le costumier est William Travilla.
On February, 24, 1953, Marilyn Monroe poses for wardrobe 'tests' for the movie How to marry a millionaire. The designer is William Travilla.

- vêtement / wardrobe -
 

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

 Documents papiers

(Day 2) Lot 1147. Marilyn signs an early contract for the Charlie McCarthy show with a morality clause after nude photo debacle threatened to derail her fledgling career.
Document Signed, “Marilyn Monroe” and additionally, “MM” (ten times), four pages, 8.5 x 11 in. (with two 8.5 x 2 in. slips attached to pages three and four), Los Angeles, October 7, 1952, countersigned “Edgar Bergen,” who also adds his initials, “EB” ten times (each below Monroe’s). The contract concerns Monroe’s radio appearance on The Charlie McCarthy Show, recorded on October 18, 1952. A morality rider, attached to page four, addresses Monroe’s legendary sex appeal, in which she agreed Bergen could cancel the appearance, “… if I conducted or do conduct myself without due regard to public conventions and morals or have done or do anything which will tend to disgrace me in society or bring me into pubic disrepute, contempt, scorn or ridicule, or that will tend to schock [sic], insult or offend the community or public morals or decency or prejudice agency or sponsor or the entertainment industry in general …” This rider was especially important in light of the recent controversy over her nude photographs that had surfaced earlier in the year and threatened to derail her fledgling career. The same rider also evokes the “red scare” sentiment of the time. Not only did Monroe agree not to offend any moral sensibility during the program, she also agreed that her appearance could be terminated in the event she was “… held in contempt by any Congressional committee or other governmental body and any refusal to testify before any such committee or governmental body, whether for legally justifiable reasons or otherwise.” The language refers to the House Un-American Activities Committee (HUAC), which had become infamous after it began investigating Hollywood in 1947. Monroe’s appearance with Charlie McCarthy was an enormous hit. During the program, the pair announced their engagement, much to the consternation of Edgar Bergen who “admitted that losing Charlie would be like having his pocket picked.” McCarthy, for his part, assured listeners that he would allow Ms. Monroe to continue her screen career. “Certainly I’m gonna let her work. I love the girl. I don’t want to interfere with her career—or her income.” Exhibiting file holes at top, stapled at left, very light soiling. In vintage fine condition.
Estimate: $12,000 - $15,000
 
   

(Day 2) Lot 1148. Marilyn Monroe’s personally hand-annotated original shooting script from Gentlemen Prefer Blondes. (TCF, 1953)
Marilyn Monroe’s personally-used and annotated script from Gentlemen Prefer Blondes. An incomplete script, being a block of revisions delivered by the production to Marilyn Monroe comprising 69 pages total (numbered 48 through 117, missing page 93) plus a pink title cover-sheet printed “26 November 1952, ‘Gentlemen Prefer Blondes’ (Revised Final Script…13 Nov. 1952),” plus “TO ALL SECRETARIES: Please place these ADDITIONAL PAGES at the back of your script of the above date. THIS IS IMPORTANT! Majority of the prompts for Marilyn’s character “Lorelei Lee” are circled variously in graphite and non-repro blue pencil, with approximately 22 pages annotated in various inks and pencil in Monroe’s hand with amendments and additions to the script and notes on how she proposes to deliver lines and portray Lorelei’s character, with several other pages showing line deletions and other demarcations. Highlights of notes include: pg. 56, when Lord Beekman finds Lorelei stuck in Malone’s porthole, next to Lorelei’s line “Oh yes--Tea with Lady Beekman. Why, she must of forgot. She didn’t show up,” with Monroe adding an alternative line, “Well, I just wanted to see the view. It’s better from here”; pg. 58, Monroe changes the line “Piggie, will you run down to my cabin and get my purse?” to “Maybe I should have that Sherry - will you get me some”; pg. 79, Monroe has written a note to herself in the margin “Feeling that feeds the words, know the lines, go over it inteligently [sic]”; pg. 92, also to herself, “sense the feeling with the body” plus several dialogue changes; pg. 94, again to herself, “grit my teeth and forget it must have my,” “all of feeling in my words,” and “build pull back, don’t stop mutual conflict between partners.” Also, the following page (95) although bearing no notations, features the scene for Monroe’s classic musical number “Diamonds Are a Girl’s Best Friend.” In generally very good condition, with expected handling wear, soiling, and creasing, and some small edge tears and damp-staining to cover page and a few internal margins throughout. Marilyn’s unique, revealing personal notations in this script reveal her private thought processes and fleeting self confidence. On set, she was haunted by her controlling acting coach Natasha Lytess, constantly striving for her approval and insisting on retakes even when director Howard Hawks had already approved. Co-star Jane Russell looked after Marilyn on set and was often one of the only people able to coax her out of her trailer during her bouts of self doubt. Despite her anxieties, it was the role of Lorelei Lee that first fabricated her ‘dumb blonde’ persona—a genius mixture of comedy and sexiness which Marilyn personified on screen, all the while taking her acting very seriously, as evidenced by her occasional heartfelt self-motivational notes in the margins. Monroe biographer Donald Spoto once said: “She put a twist on sexiness. It was not something wicked and shameful...it was something which was terribly funny. And Marilyn enjoyed it.” A remarkable and deeply personal artifact both from Marilyn’s aura imbued within it, and of Hollywood history in general. Provenance: Christies, New York, June 22, 2006, Lot 160.
Estimate: $30,000 - $50,000
 
 
   

(Day 2) Lot 1150. Marilyn Monroe historic signed RCA recording contract from the year of the release of Gentlemen Prefer Blondes. (1953)
Vintage 4-page 8.25 x 11 in. contract signed in blue ink, “Marilyn Monroe on onion skin paper leaf, between Monroe and RCA with mention of Twentieth Century-Fox Film Corporation, dated October 8, 1953. Among Hollywood historians, it’s generally agreed that 1953 marked Marilyn Monroe’s ascent to legend. Though she’d inked a seven-year deal with Twentieth Century-Fox previously, she didn’t achieve super stardom until the 1953 release of Gentlemen Prefer Blondes. That mid-summer release, with its box office acclaim, served as the momentum for her signing this singing recording contract with RCA. There’s no mention in the agreement about Monroe’s compensation except her cut of resultant royalties. Monroe was obliged to record not fewer that “16 sides,” or single tunes on two sides of a record album. Text of the contract makes frequent reference to Twentieth Century-Fox. At the conclusion on page 4, the signatures of the principals appear, “Emanuel Sacks” for RCA, “Joseph Schenck”, Executive Director of Twentieth Century-Fox, and of course, “Marilyn Monroe”. Monroe is assumed to have faithfully fulfilled this contract – to include tunes from her two ensuing films, River of No Return and There’s No Business Like Show Business. Retaining 2-hole punch at upper boarder, white tape at the upper margins, and staple holes in the lower left and in the upper left corners. In vintage fine condition.
Estimate: $8,000 - $10,000
   
   

(Day 2) Lot 1192. Pat Newcomb handwritten letter giving support to Marilyn Monroe during her pending divorce from Arthur Miller. 1-page, Quarto, on “In Flight – American Airlines” letterhead stationery, dated December 31, 1960, written “Personal” at the lower left corner. As Marilyn’s personal friend and publicist, she writes to support Marilyn as her marriage to playwright Arthur Miller was coming to an end. Newcomb pens, in part: “Dear Marilyn,…I hope you will take good care of yourself. I know and understand what you are going through – but you will make it! Just take it ‘nice ‘n easy’. It will all work out – because you want it to and you have the capacity to make it work! Start with the nurse this week and please call me anytime during the night or day that you feel like talking…This week will be a rough one – but it’s worth it and very important for you. Thank you so very very much again for the wonderful ‘lifetime gift.’ I adore it!!! I can only give you one ‘lifetime gift’ – and that’s my friendship – which you know you already have! Love, Pat. See you on the 19th.” At the time this letter was written, Marilyn was on the verge of a nervous breakdown. She had separated from Arthur Miller in October, and their divorce was announced to the press on November 11th. Newcomb’s closing phrase in this letter, “See you on the 19th”, is a direct reference to the divorce proceedings that had already been scheduled. The divorce was finalized on January 24, 1961. Accompanied with original transmittal envelope. In fine condition. Estimate: $800 - $1,200
 
   

(Day 2) Lot 1193. Arthur Miller passionate love letter in which he bears his soul to his new love and future wife, Marilyn Monroe. Miller, Arthur [to Marilyn Monroe]. Incredible Five Page Typed Letter Signed, “Art”, Quarto, five pages, dated May 17, 1956, and written to “Dear Heart; My Own Wife; My Very Own Gramercy 5; Sweetheart:” Miller writes (in part):
“I am enclosing a letter I got today from the first woman I ever knew in my life. My mother. Now maybe you will understand where I learned to write and to feel.
I know I am liable to get very sentimental and maudlin about this, but today is one of the most revelatory days of my life. I could write many pages even a volume, about what this letter brings to my mind. I think that had I died without ever receiving it, I should never have known some unbelievably simple but important things.
You see, Poo, I often try to tell you that you mean things to me beyond your body, beyond your spirit, beyond anything you can know about yourself, and it is hard for another person to understand what she –or he—really signifies to one who lovers her. I will try to tell you a few of the things you mean to me, and which became absolutely clear to me when I got this letter today. (I got it today, Thursday, by the way, because I was in Reno for my passport business, and picked up my mail at the post office.)
First let me say what I feared. They are very conventional people. That doesn’t mean they’re stiff—far from it. But they believe in family virtues, in wives being wives and husbands being husbands. They are not especially scandalized by infidelity, but neither do they forget that the big happiness is family happiness. Above all, they know how to love their children, and truly, if I ever needed anything they would die to get it for me. At the same time, my father could take advantage of me and my brother, if we let him, but he would do that as a father’s privilege; which sounds strange, but when he was a young man it wasn’t until he was twenty five or so that his father let him keep his own paycheck. Everything went into the family pot. It was the European way. So I rebelled in many ways against both of them and for many of the usual reasons, but the time came when I began to write successfully, when once again we were friends. I had established my independence from them; they understood it, and we created the necessary adult distance between ourselves, my parents and I, and yet a friendship of grown people, more or less…
Now I receive this letter. (All the above thoughts came as a result of receiving it.) I sat in the public square outside the post office in Reno reading it and my whole life suddenly seemed so marvelously magical. I had saved it! Darling, I had done the right, the necessary, the gloriously living thing at last! For suddenly I saw many questions answered, and many weights lifting off my heart.
It is not that I would hesitate to marry you if they disapproved. Truly, sweetheart, that was not it. It was that somewhere inside me I wanted their love to flow toward both of us because it would give me strength, and you too. It is not that they are my judges, but the first sources of my identity and my love. I know now that I could enjoy seeing my mother. She becomes a pest after too long with her, but that’s another thing. And it is not her, so much—not her corporeal, real being, but what she represents that I can now hold up instead of trampling on it. It is my own sexuality, do you see? I come to her with you, and to my father, and in effect I say—I am a lover. Look, I say, look at my sweet, beautiful, sexy wife. I can see my father’s pleasure at the sight of you—if only because he loves clothes, having been in that business all his life, and he will go mad seeing how you wear them! And if it will only be possible—I can see us with Bob and Jane and all of us joined with one another in joy. I see blue, clear air for the first time in my life when I think of myself and my wife and my children in the house of my parents…
Every time I had trouble with Mary, the worst threat she thought she could make was to go to my parents and tell them I had been unfaithful…She simply cannot conceive that my mother will accept you and my marriage, with you because you are a sexual being, and therefore I am, and parents are by their nature, in her mind, the punishers of sexuality not its helpers and allies…
Wife, Dear, Dear Woman—I have been thinking crazy thoughts. For instance, a wedding with maybe fifty people. Maybe in Roxbury, maybe somewhere else in a big house. And Bob and Jane there. And just a little bit of ceremony. Not fancy, but maybe my old friend Reverend Melish, a courageous and wonderful fighter for fine causes; or a Rabbi of similar background—I know one. Or maybe just somebody who can marry people. I want to dress up, and I want you dressed up; I want all my past looking on, even back to Moses. I want the kids to see us married, and to feel the seriousness and honorableness of our marriage, so that nothing Mary can say to them will ever make them believe we have sneaked away to do this, or that I have hidden myself and what I wanted to do. And I want this for their sakes as much as for my own pride and my joy; so that they will see their Grandma and Grandpa full of happiness—and crying too, of course. (Isn’t it strange?—I didn’t have my parents to my first marriage, which was in Cleveland. It could have been arranged, but I felt better not to have them there. That time I felt untrue, you see? This time I feel true, and if the world wanted to come I would embrace them all.)
Do you see why I say I am proud of you? You have given me back my soul, Darling. And thank god I knew it always; always and always since the hour we met, I knew there was something in you that I must have or die. And the revolution it implied for me was so much more than uprooting my household, my life; facing my own damning curse for depriving the children of my—as I thought of it then, and so on. The revolution was of another sort. It meant that I must face myself and who and what I am. It meant that I must put down those fearfully protective arms of reticence and blushing and all that stupidity, and put my arms around the one I loved and face the startling, incredible, simply glorious fact, that I am a tender man and not the fierce idiot I have tried—and failed—to become. How could you have known that, Darling? How I bless you that you knew it! I am near tears this minute at the miracle you are to me. How happy I will make you! What beautiful children I will give you! Oh, I will watch over you, and pest you, and worry about you.
I feel something today that marks it, like an anniversary, or more truly, my real day of birth. I have reached a kind of manhood I never really knew before. I tell you dear, I am afraid of nothing in this world. The soul of my talent is coming up in me as it has been these past six months, but now I feel it like bread in my hands, like a taste in my mouth. Because I am touching its source and not turning away from it anymore. Believe in me, Darling—I am certain enough of myself to tell you that. And worry nothing about yourself. You are beyond all danger with me because I love you like life itself. Truly, you are my life now.
Your husband, Art
[in Miller’s hand]
“Some more ----------------
PS…If we got married before you had to leave, I could then come and live openly with you and we could maybe tour around on your free time and have some fun. The problem is the lack of time before you have to leave. I’ll be back from Michigan on the 17th. The kids, by our agreement, have to be back with Mary by the 22nd, in order to have a week’s time—(a little less)—to prepare for camp, shopping, etc. Assuming I have a divorce by June 1 or a few days after—as in now planned—we would either have to do it between June 1 and June 15th; or between June 17th and July 7th…The whole problem is to juggle the time I have with them, and the time you’ll be around to attend the ceremony. Don’t worry about it, though. I’m just warning you, however,--you’ll be the most kissed bride in history when my family is there. I’ll have to fight the bastards off. I’m going to put up a sign, “ONE KISS TO A RELATIVE!” (Don’t worry, there won’t be that many.)
How I love you. My heart aches when I think of you being so tired. But you’ll perk up here right off, dear wife. OH, AM I GOING TO MAKE LOVE TO YOU, BEGINNING WITH THE SOLES OF THE FEET AND GOING DUE NORTH, UNTIL SLU-U-U-SH!—RIGHT INTO GRAMERCY PARK!
The World’s Luckiest Man Since Adam Art”
Arthur Miller was introduced to Marilyn Monroe by Elia Kazan in 1951. After the introduction, they had a brief affair to which Miller admitted to his wife, college sweetheart, Mary Slattery. Miller and Monroe were married on June 29, 1956, only days after he divorced Slattery. In this fascinating and revealing letter, Miller chronicles his deteriorating marriage and divulges deeply personal family issues. In this incredible letter, Miller lays bear issues which mirror some of the central themes his characters wrestled with in his dramas: personal and social responsibility, moral conviction, betrayal and the issues of guilt and hope.
Moderate toning, otherwise vintage very good to fine condition. Provenance: From the estate of Marilyn Monroe’s NYC attendant Mrs. Fanny Harris. With original transmittal envelope of this letter addressed to Mrs. Harris with TLS on Marilyn Monroe Productions letterhead signed by Mrs. Fanny Harris releasing Monroe of any salary claims or demands.
Estimate: $25,000 - $35,000
 

(Day 2) Lot 1194: The Misfits autograph book with cast signatures including Marilyn Monroe and others. (United Artists, 1961)
Vintage board and paper bound 40+ page 5.5 x 4 in. young girl’s autograph book. The commercially made book contains the clipped and affixed autographs of cast members of The Misfits. Including Marilyn Monroe, (2) Montgomery Clift, Arthur Miller, Eli Wallach, stuntman Chuck Roberson, (2) John Huston, and 1-unidentified. Interspersed throughout the book are charming youthful entries from schoolmates and teachers. The irregularly clipped signatures by celebrities are in pen, with one of the 2 Montgomery Clift signatures on a page torn from another autograph book and folded in quarters. Exhibiting signs of age and handling. Overall in vintage very good condition.
Estimate: $1,000 - $1,500
     
   

(Day 2) Lot 1202: Marilyn Monroe Something’s Got To Give final-draft script for her uncompleted last film. (TCF, 1962)
Vintage 143-page March 29, 1962 final-draft incomplete (as issued) “planning” script for the uncompleted project from which Marilyn was fired, partly owing to her “dereliction of duty” by leaving production to fly to New York for JFK’s birthday celebration. Bound in studio labeled cover and period brads, printed entirely on green revision paper, and marked with [illegible] cast or crew member’s name. Preface page boldly states “THIS SCRIPT SHOULD BE TREATED AS CONFIDENTIAL AND REMAIN IN THE POSSESSION OF THE PERSON TO WHOM IT HAS BEEN ISSUED.” Minor handling to cover extremities; interior remains in vintage very fine condition.
Estimate: $600 - $800
     
  

 Objets Divers

(Day 2) Lot 990. Lucille Ball as “Marilyn Monroe” mink cuffs from I Love Lucy. (DesiLu Prod., 1951-1957)
Vintage original pink mink fur sleeve cuffs worn by Lucille Ball when she dresses up as “Marilyn Monroe” in Season 4: Episode 5, “Ricky’s Movie Offer” of I Love Lucy. The slip-on cuffs are lined with cotton mesh netting and crème-colored cloth. The fur remains full and supple. Highly visible in the glamorous ensemble seen in the episode. In vintage very good to fine condition.
Estimate: $3,000 - $5,000
      

(Day 2) Lot 1112. Marilyn Monroe lobby card for her first film appearance Dangerous Years. (TCF, 1948)
Vintage 11 x 14 in. portrait lobby card with the earliest appearance of Marilyn Monroe on any known movie paper. Glowing image of a fresh-faced young Marilyn as a diner waitress. Tiny trace of handling, in vintage fine to very fine condition.
Estimate: $400 - $600
  

(Day 2) Lot 1122. Marilyn Monroe vintage original “Golden Dreams” nude calendar earliest sample variant. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample “Golden Dreams” of Marilyn Monroe, being the earliest known variation of the infamous Tom Kelly nude photo sessions. All known subsequent variations of the Tom Kelly/Marilyn nudes list her name with the alternating titles (“Golden Dreams” or “A New Wrinkle”), and only a handful of examples prior to her name addition are known to survive. Virtually unhandled, in vintage very fine condition.
Estimate: $300 - $500
 

(Day 2) Lot 1123. Marilyn Monroe vintage original censored calendar artwork variant. (circa 1952)
Vintage 9.75 x 16.5 in. calendar-salesman’s sample artwork interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Artwork is in the style of Earl Moran or Zoe Mozert, but is uncredited here. Just a trace of handling and corner creasing, in vintage very good to fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1124. Marilyn Monroe in revealing halter-top oversize vintage original salesman’s sample pin-up calendar. (circa 1952)
Vintage 12 x 16.5 in. color chromo-litho calendar-salesman’s sample of Marilyn Monroe, being an exceptionally rare variation in revealing halter-bra and open-sided skirt, with printing that illuminates Marilyn’s blonde hair, blue eyes, and crimson lips. Virtually unhandled, in vintage fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1127. Marilyn Monroe lobby card #5 for The Fireball with exceptional early image in revealing sweater. (TCF, 1950)
Vintage 11 x 14 in. lobby card of Marilyn Monroe with Mickey Rooney in their Roller Derby epic. Young fresh Marilyn was asked to provide her own personal wardrobe on some of her earliest films, and this lovely form-fitting sweater makes a few appearances on her exceptional frame at this point in history. Tiny marginal tear, otherwise in vintage fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1130. Marilyn Monroe calendar. (1952)
Vintage original 16 x 34 in. color chromo-litho calendar with complete date-pad depicting an interpretation of Tom Kelly’s “Golden Dreams” Marilyn Monroe pose, with screened-over bra and lace panties for conservative communities. Entitled here “The Lure of Lace, Posed by Marilyn Monroe In The Nude, With Lace Overprint”. Just a trace of marginal wear and slight internal creasing, in vintage very good to fine condition.
Estimate: $400 - $600
 

(Day 2) Lot 1137. Some Like It Hot Italian one-panel poster. (United Artists, 1959/ ca. 1970)
Italian 39 x 55 in. one-panel poster for the Billy Wilder and Marilyn Monroe comedy. Featuring Monroe and co-stars Jack Lemmon and Tony Curtis. Folded as issued. Overall vivid color in vintage, very good to fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1149. Travilla historic vintage original costume sketch of Marilyn Monroe’s iconic pink satin dress for the “Diamonds are a Girls Best Friend” number in Gentlemen Prefer Blondes. (TCF, 1953)
Vintage 15 x 20 in. pencil, gouache and India ink sketch on double artist’s board of one of the most memorable and timeless gowns in film history, the pink satin strapless evening gown with matching opera gloves and poof derriere bow worn by Marilyn Monroe as “Lorelei” for the “Diamonds are a Girl’s Best Friend” number in Gentlemen Prefer Blondes. William Travilla’s sketch also includes copious jewelry to highlight the “Diamonds” element of the title. Signed by Travilla just below the figure, with his notation at upper right “Marilyn Monroe ‘Gentlemen Prefer Blondes’ ‘Diamonds are a girl’s best friend’ #17”. A long clean diagonal surface-slice which bisected horizontally just below her knees has been archivally filled and retouched making it virtually undetectable, and the restorer also cleaned and enhanced the notations including light airbrushing to blank background, while leaving the sketch itself virtually untouched. One of the most spectacular original artifacts not only from the legacy of Marilyn Monroe, but from the entire artistic span of the silver screen. In vintage very good to fine condition.
Estimate: $20,000 - $30,000
 
   

(Day 2) Lot 1153. Marilyn Monroe screen-used water pitcher from Gentlemen Prefer Blondes. (TCF, 1953)
Vintage “R.Wallace” silver-plate 3-pint water pitcher 8 x 8.5 x 4.5 in., screen-used by Marilyn Monroe and Jane Russell. Prominently handled by the lovely ladies when they entrap Elliott Reid in their cabin and pour water from this pitcher all over his pants in order to get them off him expeditiously. Engraved on side as an original artifact “U.S.N.” with Navy anchor and rope symbol, plus engraved on bottom by Fox properties dept. “32-2-21422 20th-C-Fox”. In vintage screen-used fine condition.
Estimate: $200 - $300
   

(Day 2) Lot 1154. Marilyn Monroe 1-sheet poster for How To Marry a Millionaire. (TCF, 1953)
Vintage U.S. 27 x 41 in. poster for one of the very first wide-format Cinemascope films. An overt attempt to liven up the film-going experience against the onslaught of TV. Pleasing artwork of the three “golddiggers” Marilyn Monroe, Lauren Bacall, and Betty Grable. A curious footnote here is that TCF had been grooming Marilyn specifically to replace Grable, who had been their #1 stable star over the prior decade. Japan-paper backed without retouching to folds, consequently in vintage very good condition.
Estimate: $1,500 - $2,000
 

(Day 2) Lot 1156. Marilyn Monroe screen-used table from How to Marry a Millionaire. (TCF, 1953)
Vintage metal and acrylic table 29 x 18 in. screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed (with its matching twin, not offered here) as all three girls meet to compare “millionaire date” notes in the powder room of the swanky restaurant where they have their first official dates. A period copy/translation of famous designer Andre Arbus’s late art-deco tables “Paire de Gueridons”. Painted silver over its original gold/bronze color for re-purposing in Young Frankenstein (TCF, 1974) in which it is quite prominently viewed (once again with its now-absent twin) at end of film in Madeline Kahn’s bedroom. Beneath the silver paint is barely visible the property dept.’s “20th-C-Fox-32-1-22278”. In vintage screen-used very good condition.
Estimate: $800 - $1,200
 
  

(Day 2) Lot 1157. Marilyn Monroe screen-used (3) table lamp bases from How to Marry a Millionaire. (TCF, 1953)
Vintage (3) glass with metal fixture 10 x 4.25 in. table-lamp bases, screen-used by Marilyn Monroe, Lauren Bacall, and Betty Grable. Most prominently viewed at each table of the swanky restaurant as all three girls have their first official dates, Marilyn with Alex D’Arcy, Betty with Fred Clark, and Lauren with William Powell. Etched in base by the Fox property dept. “20th-C-Fox-32-1-25416” followed variously by “V”, “F,” and “N”. Each retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $400 - $600
   
    

(Day 2) Lot 1170. The Seven Year Itch 3-sheet poster. (TCF, 1955)
Vintage 41 x 78.5 in. U.S. 3-sheet poster. Arguably the best poster for Marilyn Monroe’s most popular film, as it comes closest to a life-size depiction of the iconic subway skirt-blowing scene, one of the most famous in all Hollywood history. Linen-backed with older simple retouching to folds and creases; would benefit greatly from a fresh restoration, though is certainly presentable as is. In vintage good to very good condition.
Estimate: $4,000 - $6,000
 

(Day 2) Lot 1175. Marilyn Monroe screen-used Lamp from Richard Sherman’s apartment in The Seven Year Itch. (TCF, 1955)
Vintage carved wood with metal fixture 31 x 7.25 in. table-lamp base, screen-used by Marilyn Monroe and Tom Ewell. Carved as a classical Roman male bust, it is most prominently viewed (with its female counterpart, not offered here) in Tom Ewell “Richard Sherman’s” apartment, which is where nearly the entire course of action between Marilyn and Ewell takes place. Etched in rear of base by the Fox property dept. “20th-C-Fox-8-36588” then later on bottom of base for the 1971 Sotheby’s sale, “TCF 1200”. Retains what appears to be its original wiring and lamp-socket, though circuitry not tested. In vintage screen-used fine condition.
Estimate: $200 - $300 
   
    

(Day 2) Lot 1176. The Seven Year Itch German A1 poster. (TCF, 1955/ R-1966)
Vintage original 23 x 32 in. German A-1 one-sheet poster for the Marilyn Monroe comedy. Featuring the central image of Monroe done in colorful pop-art style after Andy Warhol. Folded as issued. Exhibiting minor corner bumping and wrinkling from storage. In overall, very good condition.
Estimate: $300 - $500
 

(Day 2) Lot 1177. Marilyn Monroe uncommonly scarce vintage original “Topless Cowgirl” pin-up calendar. (1948/1955)
Vintage 8.25 x 12.25 in. 4-page chromo-litho spiral-bound cheesecake pinup calendar of Marilyn Monroe in (3) highly suggestive topless cowgirl poses, plus the familiar Tom Kelly “Golden Dreams” nude pose with lace overlay. The cowgirl poses are variously titled “Southern Exposure” (a rear-view), “Caught Short” (arms wrapped round her chest) and “Coming Out On Top”. An extraordinarily scarce artifact from Marilyn’s naughty history, especially being intact with all four pages (each of which displays three months of 1955). Two spiral loops broken with a trace of wear at perforations, otherwise in vintage fine to very fine condition.
Estimate: $600 - $800
   
   

(Day 2) Lot 1181. Marilyn Monroe Bus Stop 1-sheet poster. (TCF, 1956)
Vintage original U.S. 27 x 41 in. 1-sheet poster. Linen-backed, in vintage very fine condition.
Estimate: $400 - $600
  

(Day 2) Lot 1184. Bus Stop French grande 1-sheet poster. (TCF, 1956/R-1980s)
French 47 x 63 in. grande-format poster for the circa 1980s reissue poster for the Marilyn Monroe classic drama. Folded as issued. Minor, nearly undetectable age. Vivid colors. In overall very fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1186. The Prince and the Showgirl vintage original painting of Marilyn Monroe and Laurence Olivier by Francis R. Flint. (Warner Bros., 1957)
Vintage 20 x 30 in. oil or acrylic on canvas painting of Marilyn Monroe joining Laurence Olivier. Executed at the time of the film’s production by Francis Russell Flint, the son of famed illustrator Russell Flint, who is a respected and collected artist in his own right. Acquired from the artist’s estate, and retains his pencil-inscribed title on stretcher-bar verso “Marilyn Monroe and Laurence Olivier in ‘The Sleeping Prince’” (the film’s early working title, hence evidence documenting this painting’s early status). Also shows artist’s London address notations on stretcher bar verso, with framing notes. In vintage very fine condition.
Estimate: $600 - $800
 

(Day 2) Lot 1199: Marilyn Monroe in The Misfits approx. 48 minutes of unseen 8mm footage sold with copyright. (UA, 1961)
Original unpublished approx. 48 minutes of color 8mm documentary film footage captured throughout the entire location shoot for Marilyn Monroe’s final [completed] film, The Misfits. Shot by uncredited extra Stanley Killar (with help from an assistant, as Killar appears occasionally on camera interacting with the cast and crew). Killar and his camera were clearly accepted with full access, judging from the intimacy of the hand-held camera with Marilyn, Clark Gable, Montgomery Clift, John Huston, and others. Filming begins in Reno on the casino strip filled with flashing neon signs, and around the “Mapes Hotel and Casino” which was official headquarters for the production while on location. Includes Marilyn first in the legendary cherry dress, truly radiant, then throughout the footage in a few different outfits preparing for and rehearsing scenes like the courthouse (consulting with her coach Paula Strasberg), the rodeo and the tavern; Gable riding horses, practicing roping with a lasso, getting in and out of his beautiful personal Mercedes 300SL Gullwing, rehearsing the drunken tavern scene with Marilyn, and much more, and nearly always with cigarette in holder; real stunt cowboys rehearsing the bull-riding and bulldogging scenes (at obvious great peril) as doubles for Montgomery Clift, who we then see practicing falls as inserts into the filmed stunt action (his nose injury seen in the film was genuine from earlier rodeo rehearsing); and numerous shots of director John Huston and his camera crew at work, and near the end, at play in the Virginia City, Nevada camel races. Also includes occasional shots of Eli Wallach, Thelma Ritter, producer Frank Taylor, Arthur Miller, and other cast and crew. The Misfits is widely considered Marilyn’s finest dramatic acting role, as well as being one of the best for both Clark Gable and Montgomery Clift. Reasonably professional (at least to a certain degree) in nature and shot from start to finish as a sequential “film in production” documentation, with apparent working title On Sets: The Misfits. To the best of our knowledge, this footage has not been previously published or broadcast (apart from its acquisition at auction from Killar’s heirs in 2008), and is offered here with full rights and assignment of copyright to its entire content. The original 8mm film stock has been properly transferred to (2) 7 in. reels in the process of recording its entire contents onto (2) different types of DVDs, while the original metal reels and cardboard Bell & Howell boxes are retained for posterity. Film stock itself is not inspected off the reels for condition, but no problems are apparent from viewing the DVD transfer. An extraordinary and absolutely unique previously missing puzzle piece in the brief, convoluted history of Marilyn Monroe on and off screen. In vintage fine condition.
Estimate: $20,000 - $30,000
   
     
     

(Day 2) Lot 1206: (2) books from the personal property of Marilyn Monroe. (1947, 1957)
Vintage (2) 8vo cloth-bound self-help/ psychology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled Hypnotism Today by L. M. Le Cron and J. Bordeaux, and The Tower and the Abyss by Erich Kahler, both retain original dust-wrappers, and one of which exhibits a pencil notation presumed in Marilyn’s hand, “The conditioning has in some cases created a new, independent quantity—The person, who proceeds to condition himself.” Dust-wrappers chipped and stained, otherwise books themselves are in vintage fine condition.
Estimate: $800 - $1,200
 

(Day 2) Lot 1207: (2) books from the personal property of Marilyn Monroe including Joseph Campbell’s The Masks of God: Primitive Mythology. (1948, 1959)
Vintage (2) 8vo cloth-bound self-help/ mythology books from the personal library of Marilyn Monroe, with Christie’s “The Personal Property of Marilyn Monroe” auction special bookplates. Entitled The Open Self by Charles Morris and The Masks of God: Primitive Mythology by Joseph Campbell, the latter retaining original dust-wrapper and exhibiting a pencil notation presumed in Marilyn’s hand, “x: After all, what are you [I] here for but pleasure. But is it pleasure. When the actress is kissed and feels the warm breath of her lover on her neck—can you feel it? No. It is not pleasure you’ll find here but it’s as if it were. We are [pretending?] it is our pleasure. The real pleasure you can only take at home, when tonight [illegible] in your bed.” Dust-wrapper shows only a trace of marginal handling, otherwise books themselves are in vintage very good to fine condition.
Estimate: $800 - $1,200 
 
 

(Day 2): Lot 1208: Marilyn Monroe extensive vintage original (40+) press file including obituaries. (1961-1965)
Vintage (40+) news clippings and full sections encompassing the last year of Marilyn Monroe’s troubled life, her obituaries, plus revelations and theories to follow. A treasure trove of information contemporaneous to the time of her questionable death, including a magazine article blaming (without naming) JFK. In vintage aged, archived condition.
Estimate: $200 - $300
 
 

(Day 2) Lot 1209: Marilyn Monroe (8) half-sheet posters including Dangerous Years, Bus Stop, River of No Return and others. (Various, 1948-1960)
Vintage (8) U.S. 22 x 28 in. half-sheet posters for films featuring Marilyn Monroe throughout the entire span of her career, including Dangerous Years, Home Town Story, Let’s Make it Legal, Monkey Business, Clash by Night, River of No Return, Bus Stop, and Let’s Make Love. Each is card-stock paper-backed to correct folds, marginal losses, or other wear, though none shows extensive repair much beyond marginal and fold retouching. Overall in vintage very good condition.
Estimate: $800 - $1,200
 
 
  

(Day 2) Lot 1210: Marilyn Japanese “B2” poster. (TCF, 1963)
Japanese 20 x 28 in. “B2” poster for the post-mortem documentary by Fox to capitalize on the Marilyn cult sweeping the world after her untimely death. Highlighted by the climactic moment in the “Diamonds are a Girl’s Best Friend” number. Unfolded, in vintage very fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1211: Andy Warhol signed “Marilyn” Castelli Gallery invitation. (1981)
Vintage original invitation to the Castelli Gallery’s Andy Warhol print retrospective (1963-1981). The 12 x 12 in. colorful invitation with Warhol’s iconic original “Marilyn” silkscreen print (1967). On the occasion of her death in 1962, Warhol chose the Gene Korman publicity photo of Monroe as “Rose Loomis” from the film Niagara as the basis for his instantly recognizable Pop Art treatment of the Hollywood sex symbol. Featuring printed red text on hot pink background in the lower left and right corner reading, “Andy Warhol” and “Castelli Graphics”. The legendary artist has signed boldly, in black pen, “Andy Warhol” vertically, to the left of the image. Show information, gallery address, November 21 through December 22, 1981 date and original print info: “Illustrated: Marilyn, 1967, silkscreen, 36 x 36 inches, edition of 250, published by Factory Additions” on the verso. With very minor signs of age. In vintage, very fine condition.
Estimate: $10,000 - $12,000

(Day 2) Lot 1212: 20th Century Fox “Marilyn Monroe” CineSimplex Model D Camera #6.
The CineSimplex Model D was truly built as a better choice than the heavily-blimped Mitchell cameras at other studios. It was extremely light. Indeed, the camera was so revolutionary that the Academy of Motion Picture Arts and Sciences awarded it a Class One Technical Academy Award. The camera cost $140,000 to build in 1940, a time when a Mitchell could be purchased for $15,000! Of the 17 CineSimplex Model D cameras designed and built for 20th Century Fox, only six still exist today. This #6 camera is the only example with its complete set of Bausch & Lomb Baltar lenses (25, 30, 35, 40, 50, 75 and 100mm) built specifically for this camera, matched to be optically perfect. Of particular importance, this #6 camera photographed more Marilyn Monroe films than any other, including, How To Marry A Millionaire, Let’s Make Love, Bus Stop, River of No Return, Monkey Business, and her last film Something’s Got To Give. 20th Century Fox assigned cameras to specific Directors of Photography. This #6 camera was assigned to Charles G. Clarke, ASC by the studio. Mr. Clarke’s camera was the very first used to photograph in CinemaScope. All tests for the new process were done with #6 and it worked with Leon Shamroy’s camera on The Robe. Comes with Mitchell head and wooden tripod with spreader, 20th Century Fox wooden lens box, (1) Bausch & Lomb CinemaScope lens and wooden case full of camera accessories with “Hugh Crawford Camera” (Clarke’s assistant’s) name painted on the lid. Comes with a letter of provenance from Roy H. Wagner, ASC. From the collection of Debbie Reynolds.
Estimate: $30,000 - $50,000



 

(Day 2) Lot 1220:  All About Eve screen-used prop “Sarah Siddons” award.
 (TCF, 1950) Vintage original gold-lacquered cast acrylic 5.5 x 5.5 in. sculpture of 18th Century actress Sarah Siddons (based upon Sir Joshua Reynolds 1784 portrait of her as “The Tragic Muse”) which is a key integral plot element in the Bette Davis, Anne Baxter and Marilyn Monroe classic film of backstage imbroglios. On 3.5 x 5.75 in. black-painted wooden base. Bette Davis as “Margo Channing” portrays the consummate stage actress and object of idolatry and envy in newcomer Anne Baxter as “Eve Harrington”, who manipulates Channing in order to usurp her crown as queen of the theatre, with the “Sarah Siddons” award being the badge of that distinction. This is one of the most recognized and revered “award” props ever featured in any film, not only from its importance in the story, but even more so from the continually growing fame and respect this extraordinary film garners. One of only three Sarah Siddons Award props visible during the ceremony, the statues are not only the object of specific attention through the opening sequence but one is then visible prominently throughout the film displayed on Margo Channing’s mantle. Years of storage have left the figure bereft only of its hands, with just a few tiny paint chips and bumps to figure and base, which is also missing the name placard. A truly fantastic, indelible icon from the golden-age of Hollywood. In vintage very good condition.
Estimate price: $4,000 - $6,000
 

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Photographies

lot 47: Oversized Photograph of Marilyn Monroe in The Seven Year Itch
(TCF, 1955) Vintage original 9.75 x 12 in. gelatin silver glossy borderless photo print of Marilyn Monroe and Tom Ewell from The Seven Year Itch. The production photo exhibits some minor flaws from the negative and very minor corner bumping. In vintage very good condition.
Sold: $300

 lot 48: Collection of (7) Photos of Marilyn Monroe
(Various studios, 1957-1961)
Gelatin-silver glossy approx. 8 x 10 in. prints (7) all featuring Marilyn Monroe in (3) films:
The Prince and the Showgirl (Warner Bros., 1957) (1), Let’s Make Love (TCF, 1960) (5),
and The Misfits (United Artists, 1961) (1).
All are in very fine condition and (1) has descriptive studio snipes on verso
Sold: $350
   
    

lot 128: Collection of (32) contact sheet Prints of Marilyn Monroe with Milton Berle  and Maurice Chevalier and Marlene Dietrich by Milton h. Greene
(32) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe with Marlene Dietrich at
cocktail party announcing formation of MM Productions, Milton Berle for Mike Todd Circus at Madison Sq. Garden and at Friars’ Club Roast, and Maurice Chevalier for Look, dated 1/7/55, 3/15/55 and 9/30/55. Very good.
Estimate: $200 - $300
Sold: $3 250 
 
   
   

lot 129: Collection of (10) contact sheet Prints of Marilyn Monroe from Seven Year Itch  and other sittings by Milton H Greene.
(10) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe from Seven Year Itch (20th Century-Fox, 1955), “Nude,” “Nightgown and Mink Stole,” “White Robe” and “Gypsy” sittings by Milton H. Greene, dated 9/2/53, 10/7/53, 9/13/54, 3/8/55 and 4/15/56. Very good.
Estimate: $200 - $300
Sold: $ 1 000
 
   
   

  lot 130: Collection of (8) contact sheet Prints of Marilyn Monroe from “balalaika” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (2 double-weight) from 2.25
x 2.25 in. and 35mm negatives of Marilyn Monroe from “Balalaika” sitting by Milton
H. Greene, dated 9/2/53. Very good to Fine.
Estimate: $300 - $500
Sold: $ 1 200
 
   
 

lot 131: Collection of (8) contact sheet Prints of Marilyn Monroe from “ballerina” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (1 double-weight) from 2.25 x 2.25 in. negatives of Marilyn Monroe from “Nightgown and Mink Stole” “Ballerina” and “White Robe” sittings by Milton H. Greene, dated 10/7/53, 10/6/54 and 3/8/55. Very good.
Estimate: $300 - $500
Sold: $ 1 600 
 
   
    

lot 132: Collection of (14) contact sheet Prints of Marilyn Monroe with Marlon Brando Edward R. Murrow by Milton H Greene
(14) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. and 35mm negatives of Marilyn Monroe
with Marlon Brando for Actor’s Studio Benefit for Muscular Dystrophy and Edward R. Murrow for Person to Person by Milton H. Greene, dated 4/1/55 and 12/12/55. Very good.
Estimate: $200 - $300
Sold: $ 1 600 
 
   
   

lot 133: Collection of (17) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(17) Silver gelatin glossy 8 x 10 in. proof prints (1 double-weight) of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 1/1/56. Fine.
Estimate: $200 - $30
Sold: $ 2 750
   
    

  lot 134: Collection of (98) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(98) Silver gelatin glossy 4 x 5 in. proof prints of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Good to Fine; with missing corners to some.
Estimate: $300 - $500
Sold: $ 1 900
     
   
      

  lot 135: Collection of (33) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(33) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. (4) and 35mm negatives of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Very good.
Estimate: $200 - $300
Sold: $ 900 
     
   

 lot 136: Collection of (9) contact sheet Prints of Marilyn Monroe  from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(9) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 6/26/56. Very good.
Estimate: $200 - $300
Sold: $ 700 
 
     
   

lot 137: Collection of (33) contact sheet Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(33) Silver gelatin glossy 4 x 5 in.
contact sheet prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller at press reception at Heathrow for
The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very good to Fine.
Estimate: $200 - $300
Sold: $ 1 400  
   
   

lot 138: Collection of (170) contact Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(170) Silver gelatin glossy 2.25 x 2.25 in. contact prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and
Arthur Miller at press reception at Heathrow for The Prince and the Showgirl
by Milton H. Greene, dated 7/56. Very good.
Estimate: $200 - $300
Sold: $ 1 100 
    
   
   

 lot 139: Collection of (17) contact sheet Prints of Marilyn Monroe with Lawrence Olivier from The Prince and the Showgirl by Milton H. Greene (Warner Bros., 1957)
(17) Silver gelatin glossy 8 x 10 in. proof prints (5) and contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe with Lawrence Olivier at press reception for The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very
good.
Estimate: $200 - $300
Sold: $ 1 500 
     
   

Lot 140: Collection of (15) contact sheet Prints of Marilyn Monroe and Lawrence Olivier with Terence Rattigan from The Prince and the Showgirl by Milton H. Greene (Warner Bros.,1957)
(15) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn Monroe and Lawrence Olivier with
Terence Rattigan in publicity sitting for The Prince and the Showgirl by Milton H. Greene, dated 7/56; with
photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 2 750 
   
   
    

 Lot 141: Collection of (496) contact Prints of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(496) Silver gelatin glossy contact prints including (164) 2.25 x 2.25 in. and (332) 35mm negatives of Marilyn Monroe for The Prince and the Showgirl by Milton H. Greene, dated 6/28/56; with photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 3 750  
     
   

Lot 142: Collection of (14) camera negatives of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(14) Black-and-white 2.25 x 2.25 in. camera negatives (3 with contact print) of Marilyn Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 11/29/73. Very fine.
Estimate: $200 - $300
Sold: $ 1 100  
   
     

Lot 161: Travilla “subway dress” costume design for The Seven Year Itch. (TCF, 1955)
In this landmark film from the mid-1950s, Tom Ewell reprises his Broadway role as a husband whose wife goes on a brief vacation with their children. He remains behind in New York on business, alone for the first time in seven years of marriage, and begins fantasizing about a model who has sublet the apartment above. Marilyn Monroe plays The Girl with her characteristic mix of innocence and sexual allure. The Seven Year Itch storyline, unlike some of Monroe’s earlier films, held forth no promise as a costume showcase. It was not a period piece and she had no dance routines. Still, this was to become the vehicle for Travilla’s most famous dress design. It was a deceptively simple dress, classic but sexy, and it was meant to make Monroe look cool on the hot, sticky sidewalks of New York. “I’m going to have my precious baby standing over a grate,” Travilla remembered. “I wanted her to look fresh
and clean. So I wondered what could I do with this most beautiful girl that Marilyn was to play to make her look clean, talcum-powdered and adorable,” Travilla mused. “What would I give her to wear that would blow in the breeze and be fun and pretty? I knew there would be a wind blowing so that would require a skirt.” In his trademark painterly style, Travilla then drew his visualization of what would become the most famous garment in Hollywood history – a white crepe bias-cut dress with a halter-top and sunburst pleated skirt. Accomplished in gouache and ink on a 15 in. x 20 in. sheet of artist’s illustration board, the sketch features the now-famous skirt billowing around her waist, in the scene that would electrify audiences all over the world and reportedly bring an abrupt end to Marilyn’s celebrated marriage to slugger Joe Dimaggio.
Giving the actress a broad smile, Travilla positioned her left arm delicately across her body, while her hand holds up the skirt in a playful tease. The sketch is signed boldly at the lower right of the image in black ink, “Travilla”, with notation at the upper right corner in dark graphite, “7 Year Itch – Wind Scene at Subway”. When she stood over the subway grate and a blast of air caused her pleated skirt to swirl above her waist, Monroe made Hollywood history. Travilla’s contribution was almost forgotten, although he often mused in private about the fame of The Dress. “Here’s how famous it was,” he said. “We were traveling in London to promote the Littlewoods catalog in the 1970s, and my copy of the dress was on display along with millions of dollars in jewelry.” There was a break-in at the show, but the only item stolen was The Dress (which was later anonymously returned). This sketch perfectly embodies the many competing themes of American life during the conservative 1950s, all of which seemed to converge in this film and in this dress at the very moment Marilyn paused over the Subway grate: the responsibilities of modern life as represented by Tom Ewell’s character, the growing independence of American women, and the changing attitude of the country towards
sex and desire, which would culminate in the sexual revolution of the 1960s just a few years away. The crown jewel of Travilla’s Lost Collection, this sketch is not only a wonderful piece of Hollywood history, but an important snapshot of American popular culture from the apex of Marilyn Monroe’s meteoric film career. Provenance: Profiles in History Auction 20, Lot 114.
Estimate: $60,000 - $80,000
Sold: $ 80 000
 
     

Lot 226: Marilyn Monroe hand–signed and inscribed photograph.
Vintage 8 in. x 10 in., black & white, gelatin silver photo of the sex symbol in a low-cut, clinging blouse. Inscribed in blue ink on the image, “To Lou, When you come back – come around, Marilyn Monroe”. With chipped, upper right hand corner. Pinholes in corners and minor creasing not affecting image or signature. In good condition.
Estimate: $15,000 - $20,000
Sold: $19 000
 

Lot 227: Original Marilyn Monroe anniversary Playboy cover artwork by Victoria Fuller, signed by Hugh Hefner.
Original commemorative Marilyn Monroe Playboy magazine cover painting accomplished in oil paints and silkscreen on a 30 x 40 in. stretched canvas. A one of a kind collection of 11 paintings were created by artist Victoria Fuller in celebration of the 60th anniversary of Marilyn Monroe’s appearance in the first issue of Playboy in December, 1953. The art depicts the iconic cover of the first issue of Playboy. In addition to being a fine art painter, Fuller was one of Playboy’s most popular Playmates, and the most photographed ‘Bunnies’ in the magazine’s last 50. She is also the first and only artist to ever receive a licensing contract from Playboy allowing her to use the famous trademark Rabbit Head Playboy, and Bunny Costume as subjects of her paintings and limited addition prints. The piece is hand-signed by the artist and Playboy Magazine founder and American icon Hugh Hefner. In fine condition.
Estimate: $6,000 - $8,000
Sold: $ Pass
 

 Documents papiers

Lot 224: Marilyn Monroe contract for The Asphalt Jungle. (MGM, 1950)
1-page, printed, typed contract on approx. 21 x 8.5 paper, signed, “Marilyn Monroe” dated 29 November 1949. In John Huston’s The Asphalt Jungle, an unknown actress named Marilyn Monroe in her early breakthrough roll as “Angela Finlay”, a small but important roll in this film noir classic. This oversize “Screen Actors Guild Minimum Contract for Freelance Players” outlines the terms of Monroe’s employment on the film. The contract states that Monroe will play the role of “Angela” in the “photoplay” The Asphalt Jungle and be paid the sum of $300 for 1 week of work beginning on November 9th, 1949. The contract lists Monroe’s’ current address as, “1301 N. Harper Ave. Los Angeles, California” and her phone number, “Hampstead 9943”. The contract verso exhibits an additional amendment typed on 8 x 4 in. paper, tipped to the contract. Signed at the bottom of the page by MGM casting director “Fred A Datig” and below that, in black pen, “Marilyn Monroe”. Retaining original folds. In very good condition.
Estimate: $2,500 - $3,500
Sold: $ 4 750
   

Lot 225: Marilyn Monroe’s personal title and service agreement to her 1950 Pontiac
Marilyn Monroe Pontiac sedan paperwork consisting of (3) documents, including: (1) 8.5 x 3.75 in. Beverly Motor Company, tri-folded, printed Pontiac Service Policy. With typed “Miss Marilyn Monroe / 1301 N. Harper Ave. / Los Angeles, CA”. Inside there are terms of ownership and two attached, perforated 1000 and 2000 mile service coupons also type to “Miss Marilyn Monroe” with other information filled in, dated July 1, 1950, (1) 7.25 x 3.25 in folded printed warranty for the car’s Delco Battery. Type written to Miss Marilyn Monroe and with other technical information, dated July 1, 1950 and (1) State of California DMV “pink slip” certificate of ownership printed to “Monroe Marilyn / 1301 N Harper AV / Los Angeles” including vehicle engine number, make, model, total fees ($24.00) and Monroe’s license number, “19B29921”. All documents in fine condition.
Estimate: $1,000 - $1,500 
sold: $ 1 400
  
  
    

 Objets Divers

Lot 231: Warner Bros. commemorative key. (c. 1950s)
10 x 3.75 in. brass key to Warner Brothers Studios. The key’s bow is shield-shaped and features the raised “WB” letters synonymous with the studio. One side of the key blade reads, in raised letters, “Welcome to Warner Bros. Studios” and the reverse side, “The Largest in the World”. In vintage very fine condition.
Estimate: $1,000 - $1,500
Sold: $2 500
   
 

Lot 764: Jane Russell extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Jane Russell created from the original concrete impression at the Chinese Theatre when she placed her hand and footprints in the cement along with Marilyn Monroe for the west coast premiere of Gentlemen Prefer Blondes.  Rumor has it that Both Jane and Marilyn wanted to make more than just hand and foot print impressions in the forecourt and that they actually wanted to imprint the physical attributes that they were both known for. Theatre management turned down this request though as it would have been considered too risqué. Measuring 37.25 x 41 in. Inscribed, “Jane Russell 6 26 53” and then “Gentleman” as the beginning of the Gentlemen Prefer Blondes title which begins on her square and ends on Monroe’s. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Jane Russell name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $4,000
 

Lot 765: Marilyn Monroe extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Marilyn Monroe created from the original concrete impression at the Chinese Theatre which is, by far, the most photographed imprint square in the TCL Chinese Theatre forecourt, honored with the opening of her film Gentlemen Prefer Blondes. She originally wanted them to dot the “I” in her name with a diamond, but theatre management suggested that someone would steal the diamond and suggested an earring be placed instead. A short time later someone over night came along and attempted to steal the earring. The top broke off, but the back remains firmly implanted in the cement to this day. 42.5 x 42.25 in. Inscribed, “Marilyn Monroe” and then “Prefer Blondes” as half of the Gentlemen Prefer Blondes title started on Jane Russell’s square and finished on Monroe’s. Marilyn’s “I” is dotted by a faux diamond imbedded in the square. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Marilyn Monroe name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $7 500
  

Vêtements

lot 701: Marilyn Monroe “Pola Debevoise” black felt hat from How to Marry a Millionaire. (TCF, 1953)
 Black felt hat with soft ruffle brim and simple bow. Bodies by Lee yellow stamp. Internal bias label handwritten “1-39-1-4691 A-705-54 M. MONROE”. Created by Travilla for Marilyn Monroe as “Pola Debevoise” in How to Marry a Millionaire but not in the final version of the film. Lot includes a wardrobe test photo showing Monroe wearing the hat. This hat was originally created for the scene with David Wayne on the plane but was replaced with a simple beret.
Estimate: $15,000 - $20,000
Sold: $15, 000 
     
 

4 novembre 1953, première "Comment épouser un millionaire"   

Vêtements

lot 1263: MARILYN MONROE BROWN BLOUSE
A Marilyn Monroe brown button-down blouse from her personal wardrobe. The long-sleeved blouse has a "designed by Jax" label.
PROVENANCE Partial Lot 103, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $2 000 - 4 000

lot 1259: MARILYN MONROE COTTON NIGHTGOWN 
A cotton nightgown owned by Marilyn Monroe, embroidered at the collar "Marilyn." Short sleeved, two-button closure, pocket at left breast. No label or size.
PROVENANCE Lot 300, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $15 000 - 20 000
  

lot 1171: BETTY GRABLE HOW TO MARRY A MILLIONAIRE HAT 
A violet silk faille hat worn by Betty Grable in How to Marry a Millionaire (20th Century, 1953). The hat has a bow to back, piping and artificial horsehair to interior. A bias label reads "1-39-1-4694 Betty Grable A703-47." Costume design by Travilla. Travilla received an Oscar nomination for outstanding achievement in Color Costume Design for his work on this film. Accompanied by a copy of the film.
Estimate: $300 - 500
  

Maquillage

lot 1261: MARILYN MONROE MASCARA
A gold-toned metal tube of Helena Rubinstein mascara.
4 1/2 inches
PROVENANCE Partial Lot 264, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $300 - 500 

Divers Objets

 lot 1258: MARILYN MONROE REDBOOK AWARD
A 1952 Redbook Award presented to Marilyn Monroe. Inscribed "1952/Best Young Box Office Personality/ Marilyn Monroe" and on reverse "Redbook Magazine/ Award For Distinguished Contribution/ To The/ Art Of The Motion Picture." The double-handled bell-shaped loving cup trophy is stamped on the bottom “Sterling 9553 6 IN Black Starr & Gorham.” Accompanied by original Christie’s receipt.
Height, 4 inches
PROVENANCE Lot 353, “The Personal Property of Marilyn Monroe,” Christie’s, New York, October 27-28, 1999
Estimate: $20 000 - 40 000
  

lot 1262: MARILYN MONROE SNUFF BOTTLE
A snuff bottle of jade and coral owned by Marilyn Monroe. The bottle face is carved with an image of a bird in relief; the reverse is carved with four Chinese characters that read "fortune and longevity fill your doors." Affixed to a wooden stand.
3 by 1 3/4 inches
PROVENANCE Lot 370, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $1 000 - 2 000