Les reines du music-hall
Scène 09 - Captures

Mae Martin (Adele Jergens) entre dans la loge de sa fille Peggy pour lui apporter une énième orchidée emballée dans un paquet cadeau transparent. Peggy étant occupée, Mae lui pose le paquet sur la table.
Quand Peggy Martin (Marilyn Monroe) découvre le paquet, Mae arrive en lui demandant s'il n'y a toujours pas de nom signé, mais Peggy lui répond que non, et qu'elle aimerait savoir qui est cet admirateur secret. Mae sort en lui disant qu'elle va faire du shopping. Seule, Peggy fait défiler l'ensemble des cartes reçues avec les orchidées: "A une charmante jeune femme", "A une très belle femme", "J'adorerais vous rencontrer", "Merci, pour l'agréable soirée", et l'enveloppe portant l'adresse de "Miss Peggy Martin, Rome Theatre" comporte le cachet de la boutique de la fleuriste "Mimi".

Mae Martin (Adele Jergens) enters her daughter Peggy's dressing room to bring her yet another orchid wrapped in a transparent gift box. Peggy being busy, Mae puts the package on the table for her.
When Peggy Martin (Marilyn Monroe) discovers the package, Mae arrives asking her if there is still no signed name, but Peggy replies no, but she would like to know who this secret admirer is. Mae walks out telling her she's going shopping. Alone, Peggy scrolls through all the cards received with the orchids: "To a charming young lady", "To a very beautiful lady", "Would love to meet you", "Thanks, for a lovely evening", and the envelope bearing the address of "Miss Peggy Martin, Rome Theatre" with the stamp of the florist's shop "Mimi".

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

The Australian Women's Weekly

country: Australia
date: 1955, January, 26
content: 3 pages article on Marilyn Monroe
part 3 of a series of articles in 4 parts - "This is my story"

pays: Australie
date: 26 janvier 1955
contenu: article de 3 pages sur Marilyn Monroe
partie 3 sur une série d'articles en 4 parties - "This is my story"

Article: "This is my story - by Marilyn Monroe"
Third absorbing instalment
SYNOSPIS - After an unhappy orphan childhood and an unsucessful marriage which ends in divorce when she is 19, MARILYN MONROE (born NORMA JEAN MORTENSON) tries to break into movies. A period of bitter hardship, during which she poses nude for a calendar to earn a much-needed 50 dollars, is following by a small success when she gets a part as a bit player. Then, without warning, she is sacked. She has no money, and practically no friends, and is in a state of utter despair whan suddendly, and for the first time in her life, she falls in love.

WHEN I lay on this ocean bottom of despair, love hit me, hoisted me into the air and stood me on my feet looking at the world as if I'd just been born.

HE'S married now to a movie star and it might embarrass him if I used his real name, and her, too. I read in the paper that their marriage, only a year old, is heading for the Hollywood reefs where most of the movieland marriages come apart. A few years ago I might have felt like giving it a push, just for old times' sake.
But now I've known happiness and I wish him well and I wish anybody he loves well.
I was coming out of the casting department at M.G.M. with the usual results - no job and no prospects - when a girl I knew introduced me to an ordinary-looking man. All I could tell about him was that he wasn't an actor.
Actors are often wonderful and charming people, but for a woman to love an actor is something like incest. It's like loving a brother with the same face and manner as your own.
We went to a cafe and sat down and talked. Or, rather, he talked. I stared and half-listened. I was sick inside with failure and there was no hope in me. His voice was like a medicine. He told me he was a musician and how he liked to play the piano and why some music was better than other music. I didn't think of him as a man or a musician. All I though was: "He's alive and strong."
He called me up and I always hurried to join him. The first thing I saw when I entered any place to meet him, no matter how crowded it was, was his face. It would jump out at me.
After a few weeks he knew I loved him. I hadn't said so, but I didn't have to. I stumbled when I went to sit down, my mouth hung open, my heart ached so much I wanted to cry all the time. If his hand touched mine by accident my knees buckled.
He smiled at me through all this as if I were half a joke. When he laughed at things I hadn't meant to be funny I felt flattered. He talked a lot about women and the emptiness of their love. He had just been divorced and was very cynical. He had a six-year-old son whose custody had been granted him by the court.
One evening after he had put his son to bed he sat and played the piano for me. He played a long time. The he did something that made my heart beat crazily. In order to see the music better he put on a pair of glasses. I had never seen him with glasses on.
I don't know why, but I had always been attracted to men who wore glasses. Now, when he put them on, I felt suddenly overwhelmed.
When I looked back on all the years I could remember I shuddered. I knew now how cold and empty they had been. I had always thought of myself as someone unloved. Now I knew there had been something worse than that in my life. It had been my own unloving heart. I had loved myself a little, and Aunt Grace and Anna. How little it seemed now !
I tried to figure out what was so different about my life. It was the same - no hopes, no prospects, all doors closed. The troubles were still there - every one of them - but they were like dust swept into a corner.
There was only one cloud in my paradise, and it kept growing. At first nothing had mattered to me except my own love. After a few months I began to look at his love. I looked, listened, and looked, and I couldn't tell myself more than he told me. I couldn't tell if he really loved me.
He grinned a lot when we were together and kidded me a lot. I knew he liked me and was happy to be with me. But his love didn't seem anything like mine. Most of his talk to me was a form of criticism. He criticised my mind. He kept pointing out how little I knew and how unaware of life I was. It was a sort of true. I tried to know more by reading books.

I had a new friend, Natasha Lytess. She was an acting coach and a woman of deep culture. She told me what to read. I read Tolstoy and Turgenev. They excited me and I couldn't lay a book down till I's finished it. And I would go around dreaming of all the characters I'd read and hearing then talk to each other. But I didn't feel that my mind was improving.
I never complained about his criticism, but it hurt me. Alone, I would like awake repeating all he'd said. I'd think, "He can't love me or he wouldn't be so conscious of my faults. How can he love me if I'm such a goof to him ?"
Then finally I realised the truth. He didn't love me. A man can't love a woman on whom he looks down, and he showed clearly in his criticism that that was how he felt about me. So I knew what I had to do.
When I saw him again the next day I said goodbye.

ALL this time I had forgotten about my film "career." But I went on looking for work because I was broke. I was living on money I could borrow.
Someone I met at a lunch counter, told me they were making retakes on a movie called "Love Happy" and needed a girl for a bit part. Harpo and Groucho Marx were in the movie.
I went on the set and found the producer, Lester Cowan, in charge. He introduced me to Groucho and Harpo. It was like meeting familiar characters out of "Mother Goose." There they were with the same happy, crazy look I had seen on the screen. They both smiled at me as if I were a piece of French pastry.
"This is the young lady for the office scene," said Mr. Gowan.
Groucho stared thoughtfully at me.
"Can you walk ?" he demanded.
I nodded.
"This role," said Groucho, "calls for a young lady who can walk by me in such a manner as to arouse my elderly libido and cause smoke to issue from my ears."
Harpo honked a horn at the end of his cane and grinned at me.
I walked the way Groucho wanted.
"Exceedingly well done," he beamed.
Harpo honked three times and blew a piercing whistle.
"It's Mae West, Theda Bara, and Bo-Peep rolled into one," said Groucho. "We shoot the scene tomorrow morning. Be early."
"And don't do any walking in any unpoliced areas," said Harpo.
I played the next day. Groucho directed me. It was hardly more than a walk-on, but Mr. Cowan, the producer, said I had the makings of a star and that he was going to do something about it.
When you're broke and a nobody and a man tells you that, he becomes a genius in your eyes. But nothing happened for a week.
Then one morning I found my name in the headline of a Hollywood movie-gossip column. I was so excited I fell out of bed. The headline said Lester Cowan had put me under contract to star in a forthcoming movie.
I dressed and made up quicker than a fireman and squandered my last two dollars on a taxi.
Mr. Cowan was in his office.
I told him I'd read about getting a contract. I even suggested I get a hundred dollars a week.
"We'll see," Mr. Cowan replied. "Just go home and wait till you hear from me. I'll send for you."
He kept his word and sent for me. He wasn't ready to use me as a star. But he would like to engage me to exploit the movie "Love Happy."
"But I don't know how to exploit a picture," I said.
"You don't have to know," Mr. Cowan replied. "All you have to do is to be Marilyn Monroe."
He explained that I would travel from city to city, put up at the finest hotels, meet the Press, give out interviews, and pose for photographers. Mr. Cowan agreed to pay my travelling expenses and give me a salary of a hundred dollars a week.
The day before I left for New York to start the tour of the USA I realised I had almost no wardrobe.
"I won't be much of an advertisement in one old suit," I told Mr. Cowan.
He gave me 75 dollars to outfit myself for the tour. I bought three woollen suits for 25 dollars apiece.
I bought woollen suits because I remembered that New York and Chicago were in the North. I had seen them in the movies blanketed with snow. I forgot it was summertime there as well as in Los Angeles.
When the train stopped in New York I could hardly breathe, it was so hot. It was hotter than I had ever known it to be in Hollywood. The woollen suit made me feel as if I were wearing an oven.
The Press agent who was supervising my trip had me pose on the train steps with perspiration running down my face and icecream cone in each hand. The caption for the pictures read: "Marilyn Monroe, the hottest thing in pictures, cooling off."
That "cooling off" idea became sort of the basis for my exploitation work.
Half an hour after arriving in New York I was led into an elegant suite in the Sherry-Netherland Hotel and told to put on a bathing suit. More photographers arrived and took pictures of me "cooling off."
I spent several days in New York looking at the walls of my elegant suite and the little figures of people 15 stories below.
All sorts of people came to interview me. I asked questions about the Statue of Liberty, and what were the best shows to see and the most glamorous cafes to go to. But I saw nothing and went nowhere.
Finally I got tired of sitting around perspiring in one of my three woollen suits.
"I ought to have something more attractive to wear in the evenings," I told the studio representatives.
They bought me a cotton dress at a wholesale shop. It had a lowcut neck and blue polka dots.
Next step was Detroit, then Cleveland, Chicago, Milwaulkee, and Rockford. It was the same story at each. I was taken to a hotel, rushed into a bathing suit, given a fan, and photographers arrived to take more "cheesecake" pictures of me. The hottest thing in pictures was cooling off again.
In Rockford I decided that I had seen enough of the world. Also, due to my moving around continually I had not received any salary. As a result I didn't have fifty cents to spend on myself during my grand tour.
I told the Press agent that I would like to return to Hollywood.

SOME days later, in the office of a film agency, I met John Hyde, one of the most important talent scouts in Hollywood.
Everyone called him Johnny, because of the friendly look he had.
"You're going to be a great movie star," Johnny said to me. "I know. Many years ago I discovered a girl like you and took her to Metro - Lana Turner. You'll go farther. You've got more."
"Then why can't I get a job ?" I asked. "Just to make enough money to eat on ?"
"It's hard for a star to get and eating job," said Johnny. "A star is only good as a star. You don't fit into anything less."
"I used to feel confident of myself once," I said. "When I first started. But I haven't felt it for some time. I've been too busy having troubles."
"Love trouble ?" he asked.
I said "Yes".
"Come around tomorrow and we'll talk again," said Johnny Hyde.
I had made another friend, a woman who was head of the MGM talent-scout department. Her name was Lucille Ryman. Miss Ryman had not only been kind to me, but had also assured me I was going to be a star.
One day Miss Ryman called me up.
"There's a part in John Huston's picture, "The Asphalt Jungle" that's perfect for you," she said. "It's not a big part, but you'll be bound to make a hit in it. Tell your agent to get in touch with Mr. Huston. I've already discussed you with him."
Johnny Hyde took me to Mr. Huston's office. Arthur Hornblow, the producer of the picture, was also present.
Mr. Huston was an exciting-looking man. He was tall, long-faced, and his hair was mussed. He was a genius - the first I had ever met.
Mr. Huston gave me a copy of the script. I took it home and my friend Natasha Lytess agreed to coach me.
"Do you think you can do it ?" Johnny Hyde asked me. "You have to break up in it, and cry and sob."
At first I felt Johnny had lost faith in me. Then I realised he was just being "too close" to me, and that he was worrying with my nerves and tears.
I studied the part for several days, then returned to Mr. Huston's office to read for him. Several other men were present, including Mr. Hornblow.
They were all friendly and make jokes. But I couldn't smile. I felt I would never be able to recite a line. A pulse was pounding in my stomach.
I couldn't have been more frightened if I were about to step in front of a locomotive to get run over.
"Well," said Mr. Huston, "do you like the part ?"
I nodded. My mouth was too dry to try talking.
"Do you think you can do it ?"
I nodded again.
I felt sick. I had told myself a million times I was an actress. I had practised acting for years. Here, finally, was my first chance at a real acting part, with a great director to direct me. And all I could do was stand with quivering knees and a quivering stomach and nod my head like a wooden toy.
But I could feel Mr. Huston was watching me and waiting.
I felt desperate. What was the use of reading in a shaking voice like a terrified amateur ?
"We're waiting, Miss Monroe," said Mr. Huston.
"I don't think I'm going to be any good," I answered.
Everybody stopped talking and looked at me.
"Would you mind if I read the part lying on the floor ?" I blurted out.
"Why, not at all," Mr. Huston replied gallantly. "Bill, here, will cue you."
I stretched myself out on the floor and Bill crouched down beside me. I felt much better. I had rehearsed the part lying on a couch as the directions indicated. There wasn't any couch in the office.
I went through the part with a crouching Bill reading the male actor's lines. When I finished I said: "Let me do it again."
"If you want to," said Mr. Huston, "but there's no need."
I did it again.
When I stood up Mr. Huston said: "You were in after the first reading. Go fit yourself up with the wardrobe department."
I knew this part wouldn't be cut out of the picture because it was vital to the plot. I was the reason one of the stars, Louis Calhern, committed suicide in the story. My characterisation was Mae West, Theda Bara, and Bo Peep - in tight silk lounging pyjamas.

IN a movie you can act a little bits and pieces. You say two lines and they "cut." They set up the camera in another place - and you act two more lines. You walk five feet and they "cut." The minute you get going good in your characterisation they "cut."
But it doesn't matter. There's no audience watching you. There's nobody to act for except yourself.
It's like the games you play when you're child and pretend to be somebody else. Usually, it's even almost the same sort of story you used to make up as a child - about meeting somebody who fell in love with you because, despite everything he'd heard against you, you were a good girl with a heart of gold.
But it wasn't this way while we were making "Asphalt Jungle", because it was an adult script. There was also an audience watching me act - an audience of one, the director. A director like Mr. Huston makes your work exciting. Some directors seem more interested in photographing the scenery than the actors.
The keep moving the camera around, saying, "Here's a wonderful shot." Or, "This is a superb set-up. We'll be able to get the fireplace and the Oriental mask in the frame." Or they say, "That'll cut beautifully. It'll give us a fast tempo."
You feel they're more interested in their directing than they are in your acting. They want the Front Office to praise them when the rushes are shown. Mr. Huston wasn't like that. He was interested in the acting I did. He not only watched it; he was part of it. And even though my part was a minor one, I felt as if I were the most important performer in the picture when I was before the camera.
This was because everything I did was important to the director - just as important as everything the stars of the picture did.

Johnny Hyde was so excited as I was during the shooting. He kept telling me: "This is it, honey. You're in. Everybody is crazy about your work."
When the picture was previewed all the studio heads went to see it. It was a fine picture. I was thrilled by it. The biggest thrill, though, was myself. The audience whistled at me. They made "wolf noises." They laughed happily when I spoke. They liked me very much.
It's a nice sensation to please an audience. I sat in the theatre with Johnny Hyde. He held my hand. We didn't say anything on the way home. He sat in my room beaming at me. It was as if he had made good on the creen, not me. It was not only because I was his client and his "discovery". His heart was happy for me.
I could feel his unselfishness and his deep kindness. No man had ever looked on me with such kindness. He not only knew me; he knew Norma Jean, too. He knew all the pain and all the desperate things in me. When he put his arms around me and said he loved me, I knew it was true. Nobody had ever loved me like that. I wished with all my heart that I could love him back.
I told him about my love affair that had just ended and about all the pain I had felt. The affaire was over in every way but one. It made it hard to love again. Johnny was even kind about this. He didn't scream and carry on. He understood. He didn't blame or criticise. Life was full of mix-ups and wrong starts, he said. He would wait for my heart to get strong again and wait for me to love him, if I could.
Kindness is the strangest thing to find in a sweetheart - or in anybody. Johnny's kindness made him seem the most wonderful human being I'd ever met.
"The first thing to do," he said to me the next day, "is get you a contract with Metro."
"Do you think you can ?" I asked.
"They've got a new star on their hands," said Johnny, "and they know it. Everybody is raving about your work. Most of all, you saw and heard that audience. They bought you as I've never seen any small part player bought in a picture before."
A week later Johnny said to me, "I don't want you to feel depressed, honey. We've had a temporary setback."
"Metro doesn't want me," I said.
"You guessed it," Johnny smiled at me. "It's fantastic. I've been talking to Dore Schary all week. He likes your work. He thinks you've done a wonderful job, in fact. But he said you're not star material. He sayd you're not photogenic, that you haven't got the sort of looks that make a movie star."
"Maybe he's right," I said. "Mr. Zanuck said the same when Twentieth dropped me."
"He's wrong," said Johnny. "And so was Zanuck. I have to laugh when I think how wrong they are and how they'll both eat their words some day - and some day soon."
Johnny laughed, but I didn't. It was frightening - to be up so high in your hopes and then take another tumble back to no work, no prospects, no money, and nowhere. But I didn't quite take the full tumble this time. I wasn't alone. I had Johnny with me. I wasn't merely Johnny's client or even his sweetie. I was a Cause he had.

My heart ached with gratitude and I would have cut my head off for him. But the love he hoped for wasn't in me. You might as well try to make yourself fly as to make yourself love. But I felt everything else towards Johnny Hyde, and I was always happy to be with him. It was like being with a whole family and belonging to a full set of relatives.
It's hard to hope with somebody else's heart and be happy with somebody else's daydreams. But Johnny made me happy and kept me believing in myself. I didn't run around the studios job-hunting anymore. Johnny did that. I stayed home and took dramatic lessons and read books.
One of them excited me more than any other I had read. It was the Autobiography of Lincoln Steffens. It was the first book I'd read that seemed to tell the truth about people and life.
It was bitter, but strong. It didn't just echo tha half lies I's always heard. I loved his book. Reading it I forgot all about not having a job and not being "photogenic". But Johnny didn't forget.
"We've landed a good one," he reported one evening. "I didn't want to talk about it till I was sure. I'm sure now. It's the new Joseph Mankiewicz picture called 'All About Eve.' It's not a big part, but it will establish you at Twentieth."
"But they don't like me there," I said.
"They will," said Johnny.
Mr. Mankiewicz was a different sort of director from Mr. Huston. He wasn't as exciting and he was more talkative. But he was intelligent and sensitive. I felt happy on the set, and, with Johnny Hyde's help, I was able to daydream again.
The studio was always cooking up little publicity stories for the different people under its roof. I was eager for publicity, but there was one kind I refused to accept. This was the publicity you get as a result of being seen in a cafe at night with a fellow actor. The columnists would then hint that you and the young actor were setting out on a romance.
I didn't like going to fancy cafes and sitting around with some ambitious profile. I didn't like people thinking of me as being romantic about somebody I didn't know. And I knew Johnny wouldn't like it. So I stayed out of the cafes and the movie columns as a romance dizzy starlet.

I have had a talent for ittitating women since I was 14. Wives have a tendency to go off like burglar alarms when they see their husbands talking to me. Even young and pretty Hollywood "maidens" greet me with more sneer than smile.
This sort of sex fear that women often feel when I walk into their barnyard has different effects on me. I find it flattering and upsetting. I find it also mysterious. Women don't resent me because I'm prettier or better shaped than they are - or show more of myself to male eyes.
I've seen women at parties who had only enough clothes on to keep from being arrested, and I've heard such party-nudists buzzing about how vulgar I was. They were showing more leg, more bosom, and more spinal column than I was, and I was the "vulgar" one !
Women also don't like the way I talk - even when I'm not talking to thei husbands or lovers. One angry woman said my voice was "too premeditated". I found out she meant I was putting on a sort of bedroom drawl. This isn't true.
The chief difference between my voice and the voices of most women I've seen is that I use mine less.
I can't chatter if I wanted to. I can't pretend to laugh and be full of some sort of foolish good spirits when I'm in company. Standing around at a party looking serious attracts unfavorable feminine comment. They think I'm plotting something, and usually the same thing - how to steal their gentlemen friends from under their noses.
I don't mine their thinking that. I would rather a thousand women were jealous of me than I was jealous of one of them. I've been jealous, and it's no fun.

Sometimes I've been to a party where no one spoke to me a whole evening. The men, frightened by their wives or sweeties, would give me a wide berth. And the ladies would gang up in a corner to discuss my dangerous character.
 Being given the social cold shoulder like that never made me too unhappy. I've done most of my thinking at such parties, standing in a corner with a cocktail glass in hand and nobody to talk to.
I've thought about women. Their jealousy had little to do with me. It cornes out of their realising their own shortcomings. Men have told me a lot about women - how lame their love-making often is; how they mistake hysteria for passion and nagging for devotion.
Looking at me, women think I'm different from them in such matters, and this makes them angry.
When I see women frowning in my direction and cutting me up among themselves, I really feel sorry - not for them, but for their menfolk. I have a feeling that such women are poor lovers. The only thing they are able to give a man is a guilt complex. It they are able to make them fell that he is a bad husband or an unappreciative lover then they consider themselves "successful."

Johnny Hyde's kindness changed the outside world for me, but it didn't touch my inner world. I tried hard to love him. He was not only kind, but loyal, and wise, and devoted.
Johnny was never jealous because of anything I had done. It was always because of what I might do. Most men have been jealous for the same reason. I've liked their jealousy. Often it was the only sincere thing about their love. Most men judge your importance in their lives by how much you can hurt them, not by how happy you can make them.
But there was one kind of jealousy I never liked. It was the jealousy that kept a man asking questions about other men, and never letting up, and wanting to know more and more details. I felt then that my jealous friend was more interested in those men than in me.
I did all I could to lessen Johnny Hyde's fears. I never went out with other men. I was a faithful to him as he was kind to me.
Johnny Hyde gave me more than his kindness and love. He was the first man I had ever known who understood me. Most men (and women) thought I was scheming and two-faced. No matter how thruthfully I spoke to them, or how honestly I behaved, they always believed I was trying to fool them.

When I talk I have the habit of not finishing sentences, and this gives the impression I'm telling lies. I'm not. I'm just not finishing sentences. Johnny knew that I didn't tell lies, and that I wasn't planning to fool him.
The thruth is I've never fooled anyone. I've let men sometimes fool themselves. Men sometimes didn't bother to find out who and what I was. Instead they would invent a character for me. I wouldn't argue with them. They were obviously loving somebody I wasn't. When they found this out they would blame me for disillusioning them - and fooling them.
I have even tried to be straightforward with women. This is more difficult than being straightforward with men. Men are often pleased when you tell them the truth about how you feel. But very few women want to hear any truth - if it's going to be in any way annoying.
As far as I can make out women's friendships with each other are based on a gush of lies and pretty speeches that mean nothing.

One evening in his house Johnny started up the stairs to get me a book. I saw him stop on the landing and lean against the balustrade. I had seen my Aunt Ana do that a few months before she died of her heart attack.
I ran up tp Johnny and put my arms around him and said: "Oh, Johnny, I'm sorry. I'm sorry you feel bad."
"I'll be all right," he said. But that was only Johnny's courage talking. It wasn't his heart. Johnny's heart had been ill for years.
A few week later he died. His family wouldn't let me sit among them at the funeral. I sat in the back of the church among Johnny's acquaintances. When I passed by his coffin I felt such a sadness that I forgot myself. I threw myself on the coffin and sobbed. I wished I was dead with him.
My great friend was buried. I was without his importance to fight for me, and without his love to guide me. I cried for nights at a time. I never stopped regretting him - the kindest man in the world.

Now for the story of what is called a Hollywood "feud".
I met Joan Crawford at Joe Schenck's house. She was an impressive woman. I admired her during dinner. I hoped that when I was her age I would keep my looks as well as she had.
Some movies stars don't seem like stars when you meet them, and some seem more like stars off the screen than on. I don't know which is better, but Miss Crawford was definitely the latter type.
She was as much the movie star at Mr. Schenck's dinner table as she could have been electrifying a courtroom in a movie drama - even a little more.
After dinner Miss Crawford said to me: "I think I could help you if you would let me. For instance, that white knitted dress you're wearing is utterly incorrect for a dinner of this kind."
It was the only good dress I owned. I wore it evenings as well as daytimes when I was going any place important, and I cleaned it myself every day.
I looked at Miss Crawford's beautiful evening gown as she went on: "Taste is every bit as important as looks and figure. Will you let me help you, my dear ?"
I said I was flattered. We made a date to meet Sunday morning after church. It turned out that Miss Crawford and I went to the same church.
Afterwards Miss Crawford said: "I'm so glad to see you. But tou mustn't come to church in flat heels and a grey suit with black trimming. If you wear grey, you must wear different grey tones, but never black."
It was my only suit, but there was no sense defending it on that ground.
She invited me to her lovely home. I thought she might be going to give me some of her old gowns. Instead she said: "I must show you the things I've been knitting."
She showed me a number of knitted fronts in different shades of brown and explained that they were to be worn under different shades of brown suits.
"The main thing about dressing well," Miss Crawford explained, "is to see that everything you wear is just right - that your shoes, stockings, gloves, and bag all fit the suit you're wearing."
"Now what I would like to do is to make a list of all the clothes in your wardrobe and I'll make a list of the things you need to buy and see that you buy the right things."
I didn't say anything. I usually didn't mind telling people I was broke and even trying to borrow a few dollars from them to tide me over.
But for some reasons I couldn't tell Miss Crawford that she had seen my wardrobe in full - the incorrect white knitted dress and the wrong grey suit.
"It's so easy not to look vulgar," Miss Crawford assured me when I was ready to leave. "Do let me guide you a bit, You'll be surprised at the results. And so will everyone else."

The next time I heard from Miss Crawford was in the newspapers. This was a year later. I'd gone to work at 20th Century-Fox again, and the Marilyn Monroe boom had started. I was all over the magazines and movie columns, and the fan mail at the studio was arriving in trucks.
Among the honors that were now showering on me was the privilege of presenting one of the Oscars to one of the Award winners at the Motion Picture Academy's annual affair.
I was frozen with fear the night of the ceremonies. But I thought I did well - until I read Joan Crawford's remarks in the morning papers.
I haven't saved the clippings but I have sort of remembered what she said. She said that Marilyn Monroe's vulgar performance at the Academy affair was a disgrace to all of Hollywood.
The vulgarity, she said, consisited of my wearing a dress too tight for me and wriggling my rear when I walked up holding one of the Oscars in my hand.
I was so suprised I could hardly believe what I was reading. I called up some friends who had seen me at the ceremony and asked them if it were true. They laughed. It wasn't true, they said.
I have written out this accurate account of one of my "feuds" because it is typical. The feuds are all started by someone whom I have mysteriously offended - always a woman.
The truth is my tight dress and my wriggling were in Miss Crawford's mind. She obviously had been reading too much about me.
Or maybe she was just annoying because I had never brought her a list of my wardrobe.

I kept my eyes wide with interest, althought I couldn't understand anything they were saying.
To begin with I didn't know who Botticelli or Da Vinci were.
"We're boring Marilyn," said the director. "I can always tell when she's bored to tears. She opens her eyes wide and parts her lips slightly with bogus eagerness."
"Let's talk about something closer to her than the Renaissance," said the writer. "How about sex ?"
"At least I'll know which side you're on," I said.
But I didn't. The discussion about sex sounded completely unfamiliar. It had to do with Freud and Jung and a few other characters who seemed to me pretty mixed up.
Something occurred to me, however, as I sat listening to my two witty friends.
I realised that about two-thirds of the time I hadn't the faintest idea of what people (even women) were talking about.
There was no hiding from it - I was terribly dumb.
When I arrived home I sat in bed and asked myself if there was anything I did know. I couldn't think of anything - except acting. I knew acting. It was a way to live in dreams for a few minutes at a time.
I decided to go to school. The next day I enrolled in the University of Southern California.
I went to school every afternoon - and often in the evening. The teacher was a woman. I was depressed by this at first because I didn't think a woman could teach me anything. But in a few days I knew differently.
She was one of the most exciting human beings I had ever met. She talk about the Renaissance, and made it sound ten times more important than the studio's biggest epic.
I drank in everything she said. I met Michelangelo and Raphael and Tintoretto.
At night I lay in bed wishing I could have lived in the Renaissance. Of course, I would be dead now. But it seemed almost worth it.
After a few weeks I branched out as a student. I started buying books by Freud, and some of its modern disciples. I read them till I got dizzy.
But I didn't have enough time. There were acting lessons and singing lessons, publicity interviews, sessions with photographers - and rehearsals of a movie.
Finally I decided to postpone my intelligence, but I made a promise to myself I woudn't forget.

To be continued next week

Traduction
"C'est mon histoire - par Marilyn Monroe"
Troisième tome captivant
SYNOSPIS - Après une enfance d'orpheline malheureuse et un mariage raté qui se solde par un divorce à 19 ans, MARILYN MONROE (née NORMA JEAN MORTENSON) tente de percer dans le cinéma. Une période de difficultés amères, au cours de laquelle elle pose nue pour un calendrier afin de gagner les 50 dollars dont elle a tant besoin, et suivie d'un petit succès lorsqu'elle obtient un petit rôle. Puis, sans avertissement, elle est renvoyée. Elle n'a pas d'argent, et pratiquement pas d'amis, et se retrouve dans un état de désespoir total quand soudain, et pour la première fois de sa vie, elle tombe amoureuse.
 
QUAND je me suis allongée dans ce fond océanique de désespoir, l'amour m'a frappé, m'a soulevé dans les airs et m'a tenu debout en regardant le monde comme si je venais de naître.

IL est maintenant marié à une star de cinéma et si j'utilisais son vrai nom, cela pourrait l'embarrasser autant lui que elle. J'ai lu dans le journal que leur mariage, il y a à peine un an, se dirige vers les récifs d'Hollywood où la plupart des mariages font naufrages au pays du cinéma. Il y a quelques années, j'aurais peut-être eu envie de lui donner un coup de pouce, juste en souvenir du bon vieux temps.
Mais maintenant je suis heureuse, je lui souhaite bonne chance et je souhaite bonne chance à tous ceux et celles qu'il aime.
Je sortais du département casting de la M.G.M. avec les résultats habituels - pas de travail et pas de perspectives - lorsqu'une fille que je connaissais m'a présenté à un homme d'apparence ordinaire. Tout ce que je pouvais dire de lui, c'est qu'il n'était pas acteur.
Les acteurs sont souvent des gens merveilleux et charmants, mais pour une femme, aimer un acteur s'apparente à de l'inceste. C'est comme aimer un frère avec le même visage et les mêmes manières que les vôtres.
Nous sommes allés dans un café où nous nous sommes assis et avons parlé. Ou plutôt, il a parlé. Je le regardais en écoutant à moitié. J'étais désemparée par mes échecs et il n'y avait aucun espoir en moi. Sa voix agissait comme un médicament. Il m'a dit qu'il était musicien et qu'il aimait jouer du piano et pourquoi certaines musiques étaient meilleures que d'autres. Je ne le considérais pas comme un homme ou un musicien. Tout ce que je pensais, c'était : "Il est vivant et fort."
Quand il m'appelait, je me suis toujours dépêchée pour le rejoindre. La première chose que je voyais quand j'entrais dans un endroit pour le rencontrer, aussi bondé soit-il, c'était son visage. Comme s'il se jetait sur moi.
Après quelques semaines, il savait que je l'aimais. Je ne l'avais pas dit, mais ce n'était pas nécessaire. Je trébuchais en allant m'asseoir, ma bouche restait grande ouverte, mon cœur me faisait tellement mal que j'avais envie de pleurer tout le temps. Si sa main effleurait la mienne par accident, mes genoux flageolaient.
Il me sourait au milieu de ces travers comme s'il s'agissait d'un petit jeu. Quand il riait de choses que je n'avais pas voulu être drôle, je me sentais flattée. Il a beaucoup parlé des femmes et du vide de leur amour. Il venait de divorcer et était très cynique. Il avait un fils de six ans dont la garde lui avait été accordée par le tribunal.
Un soir, après avoir mis son fils au lit, il s'est assis et a joué du piano pour moi. Il a joué longtemps. Il a fait quelque chose qui a fait battre mon cœur follement. Pour mieux voir la musique, il a mis une paire de lunettes. Je ne l'avais jamais vu avec des lunettes.
Je ne sais pas pourquoi, mais j'ai toujours été attirée par les hommes qui portaient des lunettes. Alors quand il les a mises, je me suis sentie soudainement submergée.
Quand je repensais à toutes les années dont je me souvenais, j'en frissonnais. Je savais maintenant à quel point elles avaient été froides et vides. Je m'étais toujours considérée comme quelqu'un de mal-aimée. Maintenant, je savais qu'il y avait eu quelque chose de pire que cela dans ma vie. Cela avait été mon propre cœur sans amour. Je m'étais un peu aimée moi-même, ainsi que tante Grace et Anna. Comme cela paraissait peu désormais !
J'ai essayé de comprendre ce qui était si différent dans ma vie. C'était toujours pareil - pas d'espoirs, pas de perspectives, toutes les portes fermées. Les problèmes étaient toujours là - chacun d'entre eux - mais ils étaient comme de la poussière balayée dans un coin.
Il n'y avait qu'un seul nuage dans mon paradis, et il n'arrêtait pas de grandir. Au début, rien n'avait compté pour moi, sauf mon amour. Après quelques mois, j'ai commencé à observer le sien. Je regardais, écoutais et regardais encore, et je ne pouvais pas me dire plus que ce qu'il me disait. Je ne pouvais pas dire s'il m'aimait vraiment.
Il souriait beaucoup quand nous étions ensemble et se moquait beaucoup de moi. Je savais qu'il m'aimait bien et qu'il était heureux d'être avec moi. Mais son amour ne ressemblait en rien au mien. La plupart de ses conversations avec moi étaient une forme de critique. Il critiquait mon état d'esprit. Il n'arrêtait pas de souligner à quel point je savais peu de choses, à quel point j'ignorais la vie. C'était en quelque sorte vrai. J'ai essayé d'en savoir plus en lisant des livres.

J'avais une nouvelle amie, Natasha Lytess. Elle était professeure de théâtre et très cultivée. Elle me conseillait pour mes lectures. J'ai lu Tolstoï et Tourgueniev. Ils m'exhaltaient et je ne pouvais pas poser un livre avant de l'avoir terminé. Et je me promenais en rêvant de tous les personnages que je lisais en les entendant se parler entre eux. Mais je n'avais pas l'impression que mon intelligence s'améliorait.
Je ne me suis jamais plainte de ses critiques, mais ça me faisait mal. Seule, je restais éveillée dans mon lit en me répétant tout ce qu'il me disait. Je pensais : "Il ne peut pas m'aimer ou sinon il ne serait pas si conscient de mes défauts. Comment peut-il m'aimer si je suis si gourde ?"
Puis finalement, j'ai réalisé la vérité. Il ne m'aimait pas. Un homme ne peut pas aimer une femme qu'il méprise, et il a clairement montré dans sa critique que c'était ce qu'il ressentait pour moi. Alors je savais ce que j'avais à faire.
Quand je l'ai revu le lendemain, je lui ai dit au revoir.

Pendant tout ce temps, j'avais oublié ma "carrière" cinématographique. Mais j'ai continué à chercher du travail parce que j'étais fauchée. Je vivais avec de l'argent que je pouvais emprunter.
Quelqu'un que j'ai rencontré à un comptoir d'un snack m'a dit qu'on faisait de nouvelles prises de vues d'un film intitulé "Love Happy" et qu'on avait besoin d'une fille pour un petit rôle. Harpo et Groucho Marx étaient dans le film.
Sur le plateau, je suis allée trouver le producteur aux commandes, Lester Cowan. Il m'a présenté Groucho et Harpo. C'était comme rencontrer les personnages si familiers de "Mother Goose". Ils étaient là avec le même regard joyeux et fou que j'avais vu à l'écran. Ils m'ont tous les deux souri comme si j'étais une pâtisserie française.
"C'est la jeune femme pour la scène du bureau", a déclaré M. Gowan.
Groucho me regarda d'un air pensif.
"Pouvez-vous marcher ?" m'a-t-il demandé.
J'ai hoché la tête.
"Ce rôle", a déclaré Groucho, "exige qu'une jeune femme qui, en marchant à côté de moi, puisse éveiller ma libido âgée et à faire sortir de la fumée de mes oreilles."
Harpo klaxonna du bout de sa canne et me sourit.
J'ai marché comme Groucho le voulait.
"Extrêmement bien fait", commenta-t-il, épanoui.
Harpo a klaxonné trois fois et a donné un coup de sifflet perçant.
"C'est Mae West, Theda Bara et Bo-Peep réunies", a déclaré Groucho. "Nous tournons la scène demain matin. Venez tôt."
"Et ne marchez pas dans les quartiers non surveillés par la police", a déclaré Harpo.
Je jouais le lendemain. Groucho me dirigeait. Ce n'était guère plus que de la figuration, mais M. Cowan, le producteur, a dit que j'avais l'étoffe d'une star et qu'il allait faire quelque chose à ce sujet.
Quand on est fauchée et inconnue et qu'un homme vous dit cela, il devient un génie à vos yeux. Mais il ne s'est rien passé pendant une semaine.
Puis un matin, j'ai trouvé mon nom dans le titre d'une colonne de potins sur les films d'Hollywood. J'étais tellement excitée que j'en suis tombée du lit. Le titre disait que Lester Cowan m'avait mise sous contrat pour jouer dans un prochain film.
Je me suis préparée -habillée et maquillée- plus vite qu'un pompier et j'ai gaspillé mes deux derniers dollars dans un taxi.
M. Cowan était dans son bureau.
Je lui ai dit que j'avais lu pour le contrat. J'ai même suggéré que je reçoive cent dollars par semaine.
"Nous verrons," répondit M. Cowan. "Rentrez chez vous et attendez d'avoir de mes nouvelles. Je vous contacterai."
Il a tenu parole et m'a contacté. Il ne pouvait pas encore m'utiliser comme une star. Mais il aimerait m'engager pour exploiter le film "Love Happy".
"Mais je ne sais pas comment exploiter un film," lui dis-je.
"Vous n'avez pas besoin de savoir", a répondu M. Cowan. "Tout ce que vous aurez à faire, c'est d'être Marilyn Monroe."
Il m'a expliqué que je voyagerai de villes en villes, que je logerai dans les meilleurs hôtels, que je rencontrerai la presse, que je donnerai des interviews et que je poserai pour les photographes. M. Cowan a accepté de payer mes frais de déplacement et de me donner un salaire de cent dollars par semaine.
La veille de mon départ pour New York, afin de commencer ma tournée des États-Unis, j'ai réalisé que je n'avais presque pas de garde-robe.
"Je ne ferai pas vraiment une bonne publicité vêtue de vieux vêtements", ai-je dit à M. Cowan.
Il m'a donné 75 dollars pour que je puisse m'habiller pour la tournée. J'ai acheté trois tailleurs en laine pour 25 dollars chacun.
J'ai acheté des vêtements en laine parce que je me souvenais que New York et Chicago étaient dans le Nord. Et j'avais vu dans les films que ces villes étaient recouvertes de neige. J'avais oublié que c'était aussi l'été là-bas, comme à Los Angeles.
Quand le train s'est arrêté à New York, je pouvais à peine respirer, il faisait si chaud. Il faisait encore plus chaud que la chaleur que je connaissais à Hollywood. Mon tailleur de laine me donnait l'impression d'être dans un four.
L'attaché de presse qui supervisait mon voyage m'a fait poser sur les marches du train, la sueur dégoulinant sur mon visage et un cornet de glace dans chaque main. La légende des photos était la suivante : "Marilyn Monroe, la chose la plus sexy au cinéma, se rafraîchit."
Cette idée de "rafraîchissement" est devenue en quelque sorte la base de mon travail d'exploitation.
Une demi-heure après mon arrivée à New York, on m'a conduit dans une suite élégante du Sherry-Netherland Hotel et on m'a dit de mettre un maillot de bain. D'autres photographes sont arrivés et ont pris des photos de moi "en train de me rafraîchir".
J'ai passé plusieurs jours à New York à regarder les murs de mon élégante suite et les petites silhouettes des gens 15 étages plus bas.
Toutes sortes de personnes sont venues m'interviewer. J'ai posé des questions sur la Statue de la Liberté, quels étaient les meilleurs spectacles à voir et les cafés les plus huppés où sortir. Mais je n'ai rien vu et je ne suis allée nulle part.
Finalement, j'en ai eu assez de rester assise à transpirer dans l'un de mes trois tailleurs en laine.
"Je devrais avoir quelque chose de plus attrayant à porter le soir", ai-je dit aux représentants du studio.
Ils m'ont acheté une robe en coton chez un grossiste. Elle avait un col décolleté et des pois bleus.
La prochaine étape était Detroit, puis Cleveland, Chicago, Milwaulkee et Rockford. C'était la même histoire à chaque fois. J'ai été emmenée dans un hôtel, mise d'urgence dans un maillot de bain, on m'a donné un ventilateur, et des photographes sont arrivés pour prendre plus de photos "pin-up" de moi. La chose la plus sexy du cinéma se rafraîchissait à nouveau.
À Rockford, j'ai décidé que j'en avais assez vu du monde. En plus, en raison de mes déplacements continuels, je n'avais reçu aucun salaire. En conséquence, je n'avais pas cinquante centimes à dépenser pour moi pendant ma grande tournée.
J'ai dit à l'attaché de presse que j'aimerais retourner à Hollywood.

QUELQUES jours plus tard, dans le bureau d'une agence de cinéma, j'ai rencontré John Hyde, l'un des découvreurs de talents les plus importants d'Hollywood.
Tout le monde l'appelait Johnny, à cause de son air amical.
"Tu vas devenir une grande star de cinéma", m'a dit Johnny. "Je sais. Il y a de nombreuses années, j'ai découvert une fille comme toi et je l'ai emmenée à la Metro - Lana Turner. Tu iras plus loin. Tu en as plus."
"Alors pourquoi est-ce que je ne peux pas trouver de travail ?" lui ai-je demandé. "Au moins pour gagner assez d'argent pour manger ?"
"Il est difficile pour une star d'obtenir un emploi alimentaire", a déclaré Johnny. "Une star n'est bonne qu'en tant que star. Tu ne peux pas prétendre moins que ça."
"J'avais l'habitude d'avoir confiance en moi autrefois", lui ai-je dit. "Quand j'ai commencé. Mais je ne l'ai pas ressenti depuis un certain temps. J'ai été trop occupée à avoir des problèmes."
"Chagrin d'amour ?" m'a-t-il demandé.
Je lui ai répondu "oui".
"Reviens demain et nous en reparlerons", a déclaré Johnny Hyde.
Je m'étais faite une autre amie, une femme qui dirigeait le département de recherche de talents de la MGM. Elle s'appelait Lucille Ryman. Miss Ryman avait non seulement été gentille avec moi, mais elle m'avait aussi assuré que j'allais devenir une star.
Un jour, Miss Ryman m'appela.
"Il y a un rôle dans le film de John Huston, "Quand la ville dort", qui est parfait pour vous", a-t-elle déclaré. "Ce n'est pas un grand rôle, mais vous y ferez forcément un tabac. Dites à votre agent de contacter M. Huston. J'ai déjà discuté de vous avec lui."
Johnny Hyde m'a amené au bureau de M. Huston. Arthur Hornblow, le producteur du film, était également présent.
M. Huston était un homme fascinant. Il était grand, au visage long et ses cheveux étaient ébouriffés. C'était un génie - le premier que j'aie jamais rencontré.
M. Huston m'a donné une copie du scénario. Je l'ai ramené à la maison et mon amie Natasha Lytess a accepté de me coacher.
"Penses-tu pouvoir le faire ?" me demandait Johnny Hyde. "Pour ce rôle, tu dois être effondrée, pleurer et sangloter."
Au début, j'ai senti que Johnny avait perdu confiance en moi. Puis j'ai réalisé qu'il était juste "trop ​​proche" de moi, et qu'il s'inquiétait de ma nervosité et de mes larmes.
J'ai étudié le rôle pendant plusieurs jours, puis je suis retournée au bureau de M. Huston pour en faire une lecture. Plusieurs autres hommes étaient présents, dont M. Hornblow.
Ils étaient tous sympathiques et faisaient des blagues. Mais je ne pouvais pas sourire. Je sentais que je ne serais jamais capable de réciter une ligne. Mon pouls battait dans mon ventre.
Je n'aurais pas pu avoir plus peur que si je devais courir pour ne pas me faire écraser face à une locomotive en marche.
"Eh bien," dit M. Huston, "aimez-vous le rôle ?"
J'ai hoché la tête. Ma bouche était bien trop sèche pour prononcer un seul mot.
"Pensez-vous pouvoir le faire ?"
J'ai de nouveau hoché la tête.
Je me sentais malade. Je m'étais dit un million de fois que j'étais une actrice. J'avais pratiqué le théâtre pendant des années. Voilà, enfin, ma première chance d'avoir un vrai rôle d'actrice, avec un grand réalisateur pour me diriger. Et tout ce que je pouvais faire, c'était de me tenir debout, les genoux tremblant et l'estomac serré, et de hocher la tête comme un jouet en bois.
Mais je sentais bien que M. Huston me regardait et attendait.
Je me sentais désespérée. A quoi bon lire d'une voix tremblante comme un simple amateur terrifié ?
"Nous attendons, Mlle Monroe", a dit M. Huston.
"Je ne pense pas que je serai bonne," répondis-je.
Tout le monde s'est arrêté de parler et m'a regardé.
"Est-ce que ça vous dérangerait si je lisais en m'allongeant par terre ?" ai-je lâché.
"Pourquoi pas, après tout," répondit galamment M. Huston. "Bill, ici, va vous donner le signal."
Je m'allongeai sur le sol et Bill s'accroupit à côté de moi. Je me sentais beaucoup mieux. J'avais répété mon rôle allongée sur un canapé comme les instructions l'indiquaient. Il n'y avait pas de canapé dans le bureau.
J'ai fais ma lecture avec un Bill accroupi lisant les répliques de l'acteur masculin. Quand j'ai fini, j'ai dit : "Laissez-moi recommencer."
"Si vous voulez," dit M. Huston, "mais ce n'est pas nécessaire."
Je l'ai fait encore une fois.
Quand je me suis levée, M. Huston m'a dit : "Vous étiez prise dès la première lecture. Allez au département costume."
Je savais que ce rôle ne serait pas coupé au montage final car il était essentiel pour l'intrigue. J'étais la raison pour laquelle l'une des stars, Louis Calhern, se suicide dans l'histoire. Mon inspiration s'appuyait sur Mae West, Theda Bara et Bo Peep - en pyjama moulant en soie.

DANS un film, vous jouer un peu par petits morceaux. Vous dites deux lignes et on "coupe". Ils installent la caméra à un autre endroit - et vous jouez deux autres répliques. Vous faites cinq pas et on "coupe". À la minute où vous êtes bien lancé dans votre personnage, on "coupe".
Mais cela n'a pas d'importance. Il n'y a pas de public qui vous regarde. Il n'y a personne pour qui jouer à part vous-même.
C'est comme les jeux auxquels on joue quand on est enfant et qu'on prétend être quelqu'un d'autre. Habituellement, c'est même presque le même genre d'histoire que vous inventiez quand vous étiez enfant - de la rencontre avec quelqu'un qui est tombé amoureux de vous parce que, malgré tout ce qu'il avait entendu sur vous, vous étiez une bonne fille avec un cœur d'or.
Mais ce n'était pas comme ça pendant que nous faisions "Quand la ville dort", parce que c'était un scénario pour adultes. Il y avait aussi un public qui me regardait jouer - un public composé d'un seul, le réalisateur. Un réalisateur comme M. Huston rend votre travail passionnant. Certains réalisateurs semblent plus intéressés à photographier les décors que les acteurs.
Ils n'arrêtent pas de déplacer la caméra en disant : "Voici une superbe image." Ou, "C'est un superbe montage. On va pouvoir mettre la cheminée et le masque oriental dans le cadre." Ou ils disent : "Ça fera un plan de coupe formidable. Ça donnera un tempo rapide."
Vous sentez qu'ils sont plus intéressés par leur mise en scène que par votre jeu. Ils veulent que la direction les félicite lorsque les rushes sont diffusés. M. Huston n'était pas comme ça. Il était intéressé par le jeu que je faisais. Il ne s'est pas contenté de le regarder; il en faisait partie. Et même si mon rôle était mineur, je me sentais comme si j'étais l'interprète la plus importante du film quand j'étais devant la caméra.
C'était parce que tout ce que je faisais était important pour le réalisateur - tout aussi important que tout ce que faisaient les stars du film.

Johnny Hyde était aussi excité que moi pendant le tournage. Il n'arrêtait pas de me dire : "Ça y est, chérie. Tu es lancée. Tout le monde est fou de ton travail."
Lorsque le film a été visionné, tous les directeurs du studio sont allés le voir. C'était un beau film. J'en étais ravie. Le plus grand frisson, cependant, a été moi-même. Le public me sifflait à l'écran. Ils faisaient des "bruits de loup". Ils riaient si joyeusement dès que je parlais. Ils m'aimaient beaucoup.
C'est une belle sensation de plaire à un public. J'étais assise dans la salle avec Johnny Hyde. Il me tenait la main. Nous n'avons rien dit sur le chemin du retour. Il s'est assis dans ma chambre et me contempla, l'air rayonnant. Comme si c'était lui sur lécran, et pas moi. Ce n'était pas seulement parce que j'étais sa cliente et sa "découverte". Son cœur était heureux pour moi.
Je pouvais sentir son altruisme et sa profonde gentillesse. Aucun homme ne m'avait jamais regardé avec autant de bonté. Non seulement il me connaissait; mais il connaissait Norma Jean aussi. Il connaissait toute la douleur et toutes les choses désespérées en moi. Quand il a mis ses bras autour de moi et a dit qu'il m'aimait, j'ai su que c'était vrai. Personne ne m'avait jamais aimé comme ça. Je souhaitais de tout mon cœur pouvoir l'aimer en retour.
Je lui ai parlé de mon histoire d'amour qui venait de se terminer et de toute la douleur que j'avais ressentie. L'histoire était terminée à tous les égards sauf un. Il était difficile d'aimer à nouveau. Johnny était même compréhensif sur ce point. Il n'a pas crié et n'a pas fait de scène. Il a compris. Il n'a ni blâmé, ni critiqué. La vie était pleine de confusions et de mauvais départs, disait-il. Il attendrait que mon cœur redevienne fort et attendrait que je l'aime, si je le pouvais.
La gentillesse est la chose la plus étrange à trouver chez un amoureux - ou chez n'importe qui, d'ailleurs. La gentillesse de Johnny faisait de lui l'être humain le plus merveilleux que j'aie jamais rencontré.
"La première chose à faire, me dit-il le lendemain, c'est de te trouver un contrat avec la Metro".
"Penses-tu que tu peux ?" lui ai-je demandé.
"Ils ont une nouvelle star entre les mains", a déclaré Johnny, "et ils le savent. Tout le monde est ravi de ce que tu as fait. Surtout, tu as bien vu et entendu ce public. Ils t'ont adopté comme je n'ai jamais vu un aussi petit rôle dans un film l'a fait avant."
Une semaine plus tard, Johnny m'a dit : "Je ne veux pas que tu te sentes déprimée, chérie. Nous avons un revers temporaire."
"La Metro ne veut pas de moi," lui dis-je.
"Tu l'as deviné," Johnny me sourit. "C'est fantastique. J'ai parlé à Dore Schary toute la semaine. Il aime ce que tu fais. Il pense que tu as fait un travail formidable, en fait. Mais il a dit que tu n'as pas l'étoffe d'une vedette. Il a dit que tu n'étais pas photogénique, que tu n'as pas le physique d'une star de cinéma."
"Peut-être qu'il a raison," dis-je. "M. Zanuck a dit la même chose quand la Fox m'a laissé tomber."
"Il a tort", a déclaré Johnny. "Et Zanuck aussi. Ca me fait bien rire quand je pense à quel point ils se trompent et comment ils vont tous les deux ravaler leurs mots un jour – et ce jour est bientôt."
Johnny riait, pas moi. C'était effrayant - d'avoir ses espoirs placés tout en haut puis de retomber ensuite si bas sans travail, sans perspectives, sans argent et d'être nul part. Mais je n'ai pas tout à fait complètement sombré dans ma chute cette fois. Je n'étais pas seule. J'avais Johnny avec moi. Je n'étais pas simplement la cliente de Johnny ou même sa chérie. J'étais une cause qu'il avait à défendre.

J'avais le coeur serré de gratitude et j'aurais coupé ma tête pour lui. Mais je ne ressentais pas cet amour qu'il espérait avoir en retour. C'est autant essayer de voler dans les airs que de se faire aimer. Mais je ressentais tout le reste envers Johnny Hyde et j'étais toujours heureuse d'être avec lui. C'était comme être et appartenir à une famille entière.
C'est difficile de fonder ses espoirs avec le cœur de quelqu'un d'autre et d'être heureux avec ses rêves éveillés à lui. Mais Johnny m'a rendu heureuse et m'a permis de croire en moi. Je n'ai plus couru dans les studios à la recherche d'un emploi. Johnny l'a fait pour moi. Je restais à la maison, prenais des cours de théâtre et lisait des livres.
L'un surtout m'a emballé plus que tout les autres que j'avais lu: L'autobiographie de Lincoln Steffens. C'était le premier livre que je lisais qui semblait dire la vérité sur les gens et la vie.
C'était amer, mais fort. Cela ne faisait pas seulement écho aux demi-mensonges que j'ai toujours entendus. J'ai adoré son livre. En le lisant, j'oubliais que je n'avais pas de travail et que je n'étais pas "photogénique". Mais Johnny, lui, n'oublait pas.
"On a tiré le gros lot", rapporte-t-il un soir. "Je ne voulais pas t'en parler avant d'en être certain. Je suis sûr maintenant. C'est le nouveau film de Joseph Mankiewicz qui s'appelle "Eve". Ce n'est pas un grand rôle, mais cela te permettra de te faire une place à la Fox."
"Mais ils ne m'aiment pas là-bas," lui dis-je.
"Ils t'aimeront", a déclaré Johnny.
M. Mankiewicz était un genre de réalisateur différent de M. Huston. Il n'était pas aussi exalté et il était plus bavard. Mais il était intelligent et sensible. Je me sentais heureuse sur le plateau et, avec l'aide de Johnny Hyde, j'ai pu à nouveau rêvasser.
Le studio préparait toujours de petites histoires publicitaires pour les différentes personnes sous leur coupe. J'étais avide de publicité, mais il y en avait une que je refusais d'accepter. C'était cette publicité qu'on reçoit après avoir été vue dans un night-club le soir avec un autre acteur. Les chroniqueurs laissaient alors entendre que vous et le jeune acteur étiez lancés dans une idylle.
Je n'aimais pas aller dans des boîtes chics pour m'y m'asseoir avec un profil ambitieux. Je n'aimais pas que les gens puisse penser que je sois romantique avec quelqu'un que je ne connaissais pas. Et je savais que Johnny n'aimerait pas ça non plus. Je suis donc restée en dehors des clubs et des potins des rubriques de cinéma qui parlaient de starlette romantique étourdie.

Depuis mes 14 ans, j'ai le don d'irriter les femmes. Les femmes ont tendance à se déclencher comme des alarmes antivol lorsqu'elles me voient parler à leur mari. Même les jeunes et jolies "jeunes filles" d'Hollywood m'accueillent avec plus de ricanements aigres que de sourires aimables.
Ce genre de peur du sexe que les femmes ressentent souvent lorsque j'entre dans leur basse-cour a des effets différents sur moi. Je trouve ça flatteur et bouleversant. Je trouve ça aussi mystérieux. Les femmes ne m'en veulent pas parce que je suis plus jolie ou que j'ai plus de formes qu'elles - ou que je me montre davantage aux yeux des hommes.
J'ai vu des femmes dans des soirées qui portaient juste assez de vêtements pour ne pas être arrêtées, et j'ai entendu ces nudistes bourdonner sur ma vulgarité. Elles montraient plus de jambes, plus de poitrine et plus de colonne vertébrale que moi, et c'était moi qui étais "vulgaire" !
Les femmes n'aiment pas non plus ma façon de parler - même quand je ne parle pas à leur mari ou à leur amant. Une femme en colère m'a dit que ma voix était "trop ​​préméditée". J'ai découvert qu'elle voulait dire que je parlais d'une sorte de voix traînante de chambre. Ce n'est pas vrai.
La principale différence entre ma voix et les voix de la plupart des femmes que j'ai vues, est que j'utilise moins la mienne.
Je ne bavarde pas à volonté. Je ne peux pas faire semblant de rire et d'être dans une folle plénitude quand je suis en société. Rester debout à une fête avec un air sérieux attire aussi des commentaires féminins défavorables. Elles pensent que je mijote un truc, en général toujours la même chose - comment voler leurs amis messieurs sous leur nez.
Je me fiche qu'elles puissent penser ça. Je préférerais qu'un millier de femmes soient jalouses de moi que moi d'être jalouse d'une seule d'entre elles. J'ai été jalouse, et ce n'est pas amusant.

Il m'est arrivé parfois d'être à une fête où personne ne m'adresse la parole de toute la soirée. Les hommes, effrayés par leurs femmes ou leurs chéries, me laissaient à l'écart. Et les dames se regroupaient dans un coin pour discuter de mon caractère dangereux.
Etre snobée de la sorte ne m'a jamais vraiment affectée. J'ai beaucoup réfléchi dans ces soirées où je restais debout dans un coin avec un verre à cocktail à la main et personne à qui parler.
J'ai pensé aux femmes. Leur jalousie n'avait pas grand chose à voir avec moi. Cela vient du fait qu'elles réalisent leurs propres manques. Les hommes m'ont beaucoup parlé des femmes - à quel point leurs relations amoureuses sont souvent boiteuses; comment elles confondent l'hystérie avec la passion et le harcèlement avec la dévotion.
Quand elles me regardent, les femmes pensent que je suis différente d'elles dans ces domaines, et cela les met en colère.
Quand je vois des femmes froncer des sourcils en me regardant et de me faire saquer dans leurs conversations, je me sens vraiment navrée - pas pour elles, mais pour leurs hommes. J'ai l'impression que ces femmes sont de médiocres amantes. La seule chose qu'elles sont capables de donner à un homme est un complexe de culpabilité. Si elles parviennent à lui faire croire qu'il soit un mauvais mari ou un amant peu attentif, alors elles pensent avoir "gagné".

La gentillesse de Johnny Hyde a changé le monde extérieur pour moi, mais elle n'a pas touché mon monde intérieur. J'ai essayé de l'aimer. Il était non seulement gentil, mais aussi loyal, sage et dévoué.
Johnny n'a jamais été jaloux de tout ce que je faisais. C'était toujours à cause de ce que j'aurai pu faire. La plupart des hommes ont été jaloux pour la même raison. J'ai aimé leur jalousie. C'était souvent la seule chose sincère dans leur amour. La plupart des hommes jugent votre importance dans leur vie en fonction de la façon dont vous pouvez les blesser, et non en fonction de la façon dont vous pouvez les rendre heureux.
Mais il y avait une sorte de jalousie que je n'ai jamais aimée. C'était la jalousie qui poussait un homme à poser des questions sur d'autres hommes, à ne jamais lâcher prise et à vouloir en savoir de plus en plus sur les détails. Je sentais alors que mon ami jaloux s'intéressait plus à ces hommes qu'à moi-même.
J'ai fait tout ce que j'ai pu pour apaiser les craintes de Johnny Hyde. Je ne suis jamais sortie avec d'autres hommes. Je lui étais aussi fidèle comme il était aussi gentil avec moi.
Johnny Hyde m'a donné plus que sa gentillesse et son amour. Il a été le premier homme qui m'a comprise. La plupart des hommes (et des femmes) pensaient que j'étais calculatrice et hypocrite. Peu importe la sincérité avec laquelle je leur parlais ou l'honnêteté avec laquelle je me suis comportée, ils croyaient toujours que j'essayais de les tromper.

Quand je parle, j'ai l'habitude de ne pas finir mes phrases, ce qui donne l'impression que je raconte des mensonges. Ce n'est pas le cas. Je ne termine simplement pas mes phrases. Johnny savait que je ne mentais pas et que je n'avais pas l'intention de le duper.
La vérité est que je n'ai jamais trompé personne. J'ai laissé parfois des hommes se duper eux-mêmes. Parfois, les hommes ne se souciaient pas de savoir qui j'étais et ce que j'étais. Au lieu de cela, ils m'inventaient de toute pièce une personnalité. Je n'aurais pas discuté avec eux. Ils aimaient manifestement une personne que je n'étais pas. Quand ils s'en apercevaient, ils me reprochaient de les avoir désillusionnés - et de les avoir trompés.
J'ai même essayé d'être franche avec les femmes. C'est plus difficile que d'être direct avec les hommes. Les hommes sont souvent ravis lorsque vous leur dites la vérité sur ce que vous ressentez. Mais très peu de femmes veulent entendre la vérité - si cela doit être en quelque sorte dérangeant.
Autant que je sache, l'amitié entre femmes repose sur un flot de mensonges et de jolis discours qui ne veulent rien dire.

Un soir, dans sa maison, Johnny montait les escaliers pour aller me chercher un livre. Je le vis s'arrêter sur le palier et s'appuyer contre la balustrade. J'avais vu ma tante Ana faire la même chose quelques mois avant de mourir d'une crise cardiaque.
Je me suis précipitée vers Johnny et en l'enlacant de mes bras autour de lui, je lui ai dit : "Oh, Johnny, je suis désolée. Je suis désolée que tu te sentes mal."
"Je vais bien," me dit-il. Mais ce n'était que le courage de Johnny qui parlait. Ce n'était pas son cœur. Le cœur de Johnny était malade depuis des années.
Quelques semaines plus tard, il mourut. Sa famille ne m'a pas laissé m'asseoir parmi eux à l'enterrement. Je me suis assise au fond de l'église parmi les connaissances de Johnny. Quand je suis passée devant son cercueil, j'ai éprouvé une telle tristesse que je m'oubliais totalement. Je me suis jetée sur le cercueil et j'ai sangloté. J'aurais aimé mourir avec lui.
Mon grand ami était enterré. Je ne l'avais plus, lui qui se battait pour moi, et sans son amour pour me guider. J'ai pleuré des nuits entières. Je n'ai jamais cessé de le regretter - l'homme le plus gentil du monde.

Passons maintenant à l'histoire de ce qu'on appelle une « querelle » hollywoodienne.
J'ai rencontré Joan Crawford chez Joe Schenck. C'était une femme impressionnante. Je l'ai admirée pendant le dîner. J'espérais qu'à son âge, je conserverais mon apparence aussi bien qu'elle.
Certaines stars de cinéma ne ressemblent pas à des stars quand vous les rencontrez, et certaines ressemblent plus à des stars dans la vie qu'à l'écran. Je ne sais pas ce qui est le mieux, mais Miss Crawford était définitivement de la seconde catégorie.
Elle était autant, si ce n'est même plus, la star de cinéma à la table du dîner de M. Schenck qu'elle aurait pu électrifier une salle d'audience d'un procès d'assise dans un film dramatique.
Après le dîner, Miss Crawford m'a dit : "Je pense que je pourrais vous aider si vous me le permettez. Par exemple, cette robe en tricot blanc que vous portez est tout à fait incorrecte pour un dîner de ce genre."
C'était la seule belle robe que je possédais. Je la portais aussi bien le soir que la journée quand je me rendais dans un endroit important, et je la lavais moi-même tous les jours.
Je regardai la magnifique robe de soirée de Miss Crawford tandis qu'elle poursuivait : "Le goût est tout aussi important que l'apparence et la silhouette. Voulez-vous que je vous aide, ma chère ?"
Je lui ai dit que j'étais flattée. Nous avons pris rendez-vous le dimanche matin après l'église. Il s'est avéré que Miss Crawford fréquentait la même église que moi.
Après la messe, Mlle Crawford a déclaré : "Je suis si heureuse de vous voir. Mais vous ne devez pas venir à l'église avec des talons plats et un costume gris avec des accessoires de couleur noir. Si vous portez du gris, vous devez porter des tons de gris différents, mais jamais du noir. "
C'était mon unique tailleur, mais je n'allais pas me justifier pour une aussi mauvaise raison.
Elle m'a invité dans sa jolie maison. J'ai pensé qu'elle allait peut-être me donner quelques-unes de ses vieilles robes. Au lieu de cela, elle m'a dit: "Je dois vous montrer les choses que j'ai tricotées."
Elle m'a montré un certain nombre de petits hauts tricotés dans différentes nuances de marron et m'a expliqué qu'ils devaient être portés sous différentes nuances de tailleurs marrons.
"L'essentiel pour bien s'habiller", a expliqué Mlle Crawford, "est de s'assurer que tout ce que vous portez est parfait - que vos chaussures, vos bas, vos gants et votre sac s'harmonisent tous au tailleur que vous portez."
"Maintenant, ce que j'aimerais faire, c'est une liste de tous les vêtements de votre garde-robe et j'établirai une liste des choses que vous devez acheter et je veillerai à ce que vous achetiez les bonnes choses."
Je n'ai rien dit. Cela ne me dérangeait généralement pas de dire aux gens que j'étais fauchée et même d'essayer de leur emprunter quelques dollars pour me dépanner.
Mais pour certaines raisons, je ne pouvais pas dire à Miss Crawford qu'elle avait vu l'intégralité de ma garde-robe - la mauvaise robe en tricot blanc et le mauvais tailleur gris.
"C'est si facile de ne pas avoir l'air vulgaire", m'a assuré Miss Crawford quand j'étais sur le départ. "Laissez-moi vous conseiler un peu, vous serez surprise des résultats. Et tout le monde le sera aussi."

La fois d'après où j'ai entendu parler de Miss Crawford, c'était dans les journaux. C'était un an plus tard. J'étais retournée travailler à la 20th Century-Fox, et le boom de Marilyn Monroe avait démarré. J'étais partout dans les magazines et les rubriques de cinéma, et le courrier des fans arrivait par camions au studio.
Parmi les honneurs qui pleuvaient maintenant sur moi, il y avait le privilège de présenter l'un des Oscars à l'un des lauréats lors de la cérémonie annuelle.
Le soir de la cérémonie, j'étais pétrifiée. Mais je pensais que j'avais bien fait - jusqu'à ce que je lise les remarques de Joan Crawford dans les journaux du matin.
Je n'ai pas conservé les coupures de presse, mais je me souviens de ce qu'elle a dit. Elle a dit que la performance vulgaire de Marilyn Monroe à la cérémonie des Oscars était une honte pour le tout Hollywood.
La vulgarité, a-t-elle dit, consistait à porter une robe trop serrée pour moi et à me tortiller les fesses quand j'arrivais sur la scène en tenant l'un des Oscars à la main.
J'étais tellement surprise que je pouvais à peine croire ce que je lisais. J'ai appelé des amis qui m'avaient vu à la cérémonie et leur ai demandé si c'était vrai. Ils ont rigolé. Ce n'était pas vrai, disaient-ils.
J'ai écrit ce récit précis d'une de mes « querelles » parce qu'il est typique. Ce genre de querelles ont toutes été provoquées par quelqu'un que j'aurai mystérieusement offensé - et toujours une femme.
La vérité est que ma robe moulante et mes frétillements étaient dans l'esprit de Miss Crawford. De toute évidence, elle avait lu trop de bobards à mon sujet.
Ou peut-être m'en voulait-elle parce que je ne lui avais jamais rapporté la liste de ma garde-robe.

UN soir, j'écoutais deux amis discuter bon train. Nous dînions dans un petit restaurant italien. L'un était écrivain. L'autre était réalisateur. Le sujet était de savoir si Botticelli était un meilleur peintre que Léonard de Vinci.
J'écarquillai les yeux avec intérêt, même si je ne comprenais rien à ce qu'ils disaient.
Au début, je ne savais pas qui étaient Botticelli ou De Vinci.
"Nous ennuyons Marilyn", a déclaré le réalisateur. "Je peux toujours dire quand elle s'ennuie aux larmes. Elle écarquille les yeux en grand et entrouve légèrement sa bouche en prenant des airs de faux désir."
"Parlons de quelque chose qu'elle connait mieux que la Renaissance", a déclaré l'écrivain. "Et si on parlait de sexe ?"
"Au moins, je saurai de quel bord tu es", lui dis-je.
Mais ce ne fut pas le cas. Leur discussion sur le sexe m'était totalement étrangère. Cela parlait de Freud et Jung et quelques autres personnages qui me plongeaient dans une totale confusion.
Quelque chose m'est cependant venue à l'esprit, pendant que j'étais assise là à écouter mes deux amis pleins d'esprit.
J'ai réalisé que les deux tiers du temps environ, je ne savais absolument pas de quoi les gens (même les femmes) parlaient.
Il n'y avait pas le moyen de le cacher - j'étais terriblement stupide.
Quand je suis rentrée chez moi, je me suis assise sur mon lit et je me suis demandée si je connaissais des choses. Je ne pouvais penser à rien - à part jouer. Je savais jouer. C'était une façon de vivre dans des rêves pendant quelques minutes.
J'ai décidé d'aller à l'école. Le lendemain, je me suis inscrite à l'Université de Californie du Sud.
J'allais à l'école tous les après-midi - et souvent le soir. Le professeur était une femme. Cela me déprimait au début parce que je ne pensais pas qu'une femme pouvait m'apprendre quoi que ce soit. Mais après quelques jours, j'ai changé d'avis.
Elle était l'un des êtres humains les plus passionnants que j'aie jamais rencontrés. Elle parlait de la Renaissance et c'était dix fois plus captivant que la plus grande épopée du studio.
Je buvais toutes ses paroles. Je rencontrais Michel-Ange et Raphaël et le Tintoret.
La nuit, je restais dans mon lit en souhaitant vivre pendant la Renaissance. Bien sûr, je serais morte aujourd'hui. Mais cela en aurait presque valu la peine.
Après quelques semaines, je me suis diversifiée en tant qu'étudiante. J'ai commencé à acheter des livres de Freud et de certains de ses disciples modernes. Je les lisais jusqu'à en avoir le vertige.
Mais je manquais de temps. Il y avait les cours de théâtre et de chant, les interviews publicitaires, les séances avec les photographes - et les répétitions d'un film.
J'ai finalement décidé de remettre mon éducation à plus tard, et je me suis faite la promesse de ne pas l'oublier.

A suivre la semaine prochaine

 pour info

 Il s'agit ici de la publication dans la presse (et du vivant de Marilyn) de ce qui restera considéré comme son "autobiographie" débutée mais jamais achevée, le fruit d'une collaboration émaillée d'entretiens avec le journaliste Ben Hecht au début de l'année 1954 et publiée dans un livre intitulé (comme cet article) "My Story" en 1974 et publié en France en 2011 sous le titre de "Confession inachevée".

 This is here the publication in the press (and during Marilyn's lifetime) of what will remain considered as her "autobiography" started but never completed, the result of a collaboration punctuated by several interviews with the journalist Ben Hecht at the early of the year 1954 and published in a book entitled (like this article) "My Story" in 1974 and published in France in 2011 under the title of "Confession inachevée".

 - Blog: 12/01/1955, The Australian Women's Weekly: "This is my story" (part 1) -
- Blog: 19/01/1955, The Australian Women's Weekly: "This is my story" (part 2) -

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

C'est pour un reportage photographique commandé par la presse que le photographe Mel Traxel va suivre Marilyn Monroe pour décrire à quoi ressemble son quotidien. Il semblerait que les prises de vues datent du 12 février 1952 (c'est la date qui figure tamponnée au dos des photographies).
Les photos servent aussi de support promotionnel pour l'université d'UCLA (Université de Californie à Los Angeles), que Marilyn fréquente en suivant des cours de littérature et d'histoire de l'art.
On la découvre aussi dans son appartement au Beverly Carlton Hotel.
Le reportage paraît dans les magazines américains Movies (en août 1952) et Movie Stars Parade (de mai 1953).

This is for a photographic report commissioned by the press that the photographer Mel Traxel follow Marilyn Monroe to describe what her daily life looks like. It seems that the shots date from February 12, 1952 (this is the date stamped on the back of the photographs).
The photos are also used as promotional support for the University of UCLA (University of California at Los Angeles), that Marilyn attends by following courses in literature and art history.
We also discover her in her apartment at the Beverly Carlton Hotel.
The report appears in the American magazines Movies (in August 1952) and Movie Stars Parade (in May 1953).

Beverly Carlton Hotel

- Séance de Gym -
Gym Sitting

C'est en général le matin que Marilyn Monroe s'adonne à quelques exercices physiques; pendant 15 minutes, elle soulève des haltères et des rouleaux. Son appartement est aménagé avec l'équipement nécessaire: table pour s'allonger, différents poids pour ajuster les haltères à soulever. 

This is usually in the morning that Marilyn Monroe makes some physical exercises; for 15 minutes, she lifts dumbbells and rollers. Her apartment is equipped with the necessary equipment: table to lie down, different weights to adjust the dumbbells to be lifted.

- informations au dos des photographies -
   

- Séance de mise en beauté -
Beauty Sitting

Elle se met du vernis à ongles (une teinte rose claire) sur les ongles de mains et de pieds; elle utilise la marque Revlon.
Elle se met aussi des rouleaux dans les cheveux et fait fixer les boucles sous la chaleur d'un casque.

She puts nail polish (a light pink shade) on her fingernails and toenails; she uses the Revlon brand.
She also puts rollers in her hair and sets the curls in the heat of a helmet.

- information au dos des photographies -
 

- La vie quotidienne -
The Daily Life

Ranger ses vêtements, téléphoner, lire son courrier... simplement la vie quotidienne de n'importe quelle personne.
Tidying up clothes, making phone calls, reading mails ... just the everyday life of any person.

Elle pose fièrement avec la statuette Henrietta, qu'elle a reçu le 26 janvier 1952 , pour la catégorie de la "Meilleure jeune personnalité du box office 1951".
She is proudly to pose with her Henrietta Award received in January, 26, 1952, for the "The Best Young Box Office Personality in 1951".

L'heure de se lever ou de se coucher ? Marilyn règle l'heure sur son petit réveil.
Car Marilyn a un emploi du temps bien rempli: en plus de son travail au studio, elle prend des cours sur l'interprétation de la danse deux soirs par semaine, prend des cours de théâtre un soir par semaine et se rend à l'université d'UCLA tous les jeudis soirs.

Time to get up or go to bed ? Marilyn sets the time on her little alarm clock. Because Marilyn has a busy schedule: in addition to her work at the studio, she studies interpretative dancing two evenings a week and, attends acting class one evening a week and goes to UCLA university every Thursday evening.

- information au dos des photographies -
    

UCLA

Tous les jeudis soirs, Marilyn prend des cours de littérature d'une durée de deux heures, dans le bâtiment annexe pour les formations en littérature à l'université d'UCLA de Los Angeles. Puis elle passe des heures à la bibliothèque de l'université pour faire de plus amples recherches sur ses sujets d'études.

Every Thursday evening, Marilyn takes literature classes for two hours session, in the extension building for backgrounds in literature at UCLA University in Los Angeles. Then she goes for hours to the university library to do further research on her subjects of study.

- A la boutique de l'université, Marilyn fait des achats
Elle écoute les conseils de l'étudiante vendeuse Vera Roush -
To the UCLA's bookstore, Marilyn is shopping
She listens the advices of student-salesgirl Vera Roush -
      

- En cours de littérature -
At the the literature course
 
     

- Etude à la bibliothèque de l'UCLA -
Studying at the UCLA library
     
 
     
     
 
 

- A la cafétéria du Kerckhoff Hall de l'université d'UCLA
Elle discute avec l'équipe de basketball de la fac:
At the UCLA commissary of Kerckhoff Hall
She talks to the basketball team of the University:
Ronnie Livingston, Mark Costello, Don Bragg & Don Johnson
 
   

Chez le dentiste Louis Armann
To the dentist's Louis Armann

Wil Wright's

Elle adore déguster des sundae chauds chez Wil Wright, qui était une chaîne de brasserie spécialisée dans les glaces aux Etats-Unis jusque dans les années 1970s.
Ils avaient plusieurs établissements, dont un à Beverly Hills (au croisement de Beverly Drive et Charleville) et aussi un dans le quartier de Westwood à Los Angeles.

She loves to eat hot sundae at Wil Wright, which was a chaine of ice cream parlor in the United States until the 1970s. They had several establishments, including one in Beverly Hills (at the corner of Beverly Drive and Charleville) and also one in the Westwood district of Los Angeles.

> Informations Wil Wright: Old Los Angeles Restaurants

 - Dans la presse -

MOVIES, 24/08/1952 - USA
   
     

MOVIE LIFE, 11/1952 - USA
  

MOVIE STAR PARADE, 05/1953 - USA
 
     

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

Books loved by Hollywood's golden era stars, from Marilyn Monroe to Audrey Hepburn
02/09/2019 | en ligne sur Evening Standard

The great American novel is a girl's best friend

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The Hollywood Book Club
- Reading with the Stars -
Auteur: Steven Rea

Prix éditeur : 15 Euros
Date de sortie : 10 septembre 2019
120 pages - taille 20,96 x 20,96 cm
Langue : anglais
Éditeur : Chronicle Books
ISBN 10: 1452176892
ISBN 13 : 978-1452176895
Ou le trouver ? en commande sur amazon

Description - par l'éditeur: Audrey Hepburn, Humphrey Bogart, Gregory Peck, Rita Hayworth, Marilyn Monroe—the brightest stars of the silver screen couldn't resist curling up with a good book. This unique collection of rare photographs celebrates the joy of reading in classic film style. The Hollywood Book Club captures screen luminaries on set, in films, in playful promotional photos, or in their own homes and libraries with books from literary classics to thrillers, from biographies to children's books, reading with their kids, and more. Featuring nearly 60 enchanting images, lively captions about the stars and what they're reading by Hollywood photo archivist Steven Rea, and a glamorous stamped case design, here's a real page-turner for booklovers and cinephiles.

55 célébrités photographiées en train de lire; chaque photographie est accompagnée d'un texte expliquant le rapport de la célébrité à la lecture.

- pages avec Marilyn -
 

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Le Milliardaire
Sur le tournage

 Pendant la scène
During the shooting scene

Yves Montand, Marilyn Monroe
    
 
   

- photographies: John Bryson -

 Yves Montand, Marilyn Monroe, George Cukor

Sur le plateau
On the set

Marilyn Monroe & George Cukor
 

 Marilyn Monroe & Yves Montand
 
 

 Marilyn Monroe & Arthur Miller
   
   

 Marilyn Monroe et le journaliste Donald Zec
   

>  12/05/1960 - anniversaire de Wilfrid Hyde-White
1960, May, 12 - Birthday of Wilfrid Hyde-White
      

> 15/05/1960 - jour de tournage de Gene Kelly 
1960, May, 15 - Day of shooting of Gene Kelly
    
    

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

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Enchères Julien's Auction 
  "The Marilyn Monroe Auction"
du 17 au 19 décembre 2016
.
17-19/11/2016, JULIEN'S: The Marilyn Monroe Auction - Vente et Catalogues
.

Documents papiers - Santé
Papers documents - Health

Lot 134: MARILYN MONROE HANDWRITTEN AND SIGNED CHECK
 A check written entirely in Monroe's hand, in blue ink, dated January 18, 1951, and paid to Dr. A. Gottesman, in the amount of $100. The check is drawn on Monroe's Bank of America account. Monroe lists her address as the Beverly Carlton Hotel.
3 by 8 inches
 Estimate: $2,500 - $3,500
  

Lot 176: MARILYN MONROE FREE ASSOCIATION NOTES
 Four pages torn from an Italian agenda, dating between 1955 and 1956. It is believed that the pages correspond to Monroe's work with Dr. Hohenberg in which she began practicing self-analysis and working on her repressed memories. The notations in pencil jump from one topic to the next, wandering around the physical pages themselves and even passing from one page to the next and then back again. It is difficult to follow, but the topics include examining her childhood need to lie to her teacher, her physical insecurities, self-conscious thoughts of what others think of her drinking, speculation that "Peter" is capable of violence and possibly gay as well as a touching passage about Arthur Miller: "I am so concerned/ about protecting Arthur/ I love him-and he is the/ only person-human being I have/ ever known that I could love not only/ as a man to which I am attracted to practically/ out of my senses about-but he is the only/ person-as another human being that I trust as/ much as myself-because when I do trust my-/ self (about certain things) I do fully, and I/ do about him also." Another revealing passage reads in part, "… fear to touch my own body/ after Buddy (I started to write Bad instead of Buddy-/ slip in writing?)/ because A.I. punished me/ with fear and whipped me-/ ‘The bad part of my body’ she said-/ must never touch myself/ there or let anyone." It is believed that "A.I." refers to Aunt Ida Martin, a foster mother who punished Monroe as a child, possibly after a sexual abuse incident, with the "Buddy" mentioned here.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 89-101. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
6 1/2 by 4 1/8 inches
 Estimate: $20,000 - $30,000
 
 

Lot 189: MARILYN MONROE HANDWRITTEN NOTE
 A handwritten note on unlined paper, annotated “for Kris,” dated September 9, most likely used as a reminder for Monroe to discuss the noted issue with her psychoanalyst, Dr. Marianne Kris. The note reads "Remember, somehow, how Mother always tried to get me to 'go out' as though she felt I were too unadventurous. She wanted me even to show a cruelty toward woman [sic]. This in my teens. In return, I showed her that I was faithful to her. Also written on the note is the passage “Jane’s 10th Birthday on 7th same year,” obviously regarding Jane Miller, Arthur Miller’s daughter, who was born on September 7."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 156-157. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 by 5 inches
Estimate: $10,000 - $20,000
  

Lot 204: MARILYN MONROE HANDWRITTEN LETTER TO DR. HOHENBERG
 A single sheet of lined paper from a six-ring agenda, with a draft of a letter written, on two sides, to Monroe's psychoanalyst, Dr. Hohenberg, 1956. The letter skips through many topics and references Monroe's difficulties in breaking ties with her former acting coach, Natasha Lytess, and her optimism in beginning to work with Paula Strasberg. She is also buoyant in her mention of Arthur Miller, stating, "Arthur writes me every day-at/ least it gives me air to/ breathe-I can't get used to the fact/ that he loves me and I keep waiting/ for him to stop loving me-though I/ hope he never will-but I keep telling/ myself-who knows?"
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 202-203. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
6 3/4 by 3 3/4 inches
 Estimate: $8,000 - $12,000
    

Lot 205: MARILYN MONROE TYPED LETTER TO DR. RALPH GREENSON
 A vintage file copy of a six-page typed letter from Monroe to Dr. Ralph Greenson, the California-based psychiatrist who treated Monroe in the period leading up to her death. This deeply emotional letter, dated March 2, 1961, was written while Monroe was staying at Columbia Presbyterian Medical Center for three weeks of recuperation following her stay at New York’s Payne Whitney Psychiatric Clinic. The letter is done as a stream of conscious recollection of Payne Whitney.
Passages in the letter include:
“There was no empathy at Payne-Whitney — it had a very bad effect — they asked me after putting me in a 'cell' (I mean cement blocks and all) for very disturbed depressed patients (except I felt I was in some kind of prison for a crime I hadn’t committed. The inhumanity there I found archaic. They asked me why I wasn’t happy there (everything was under lock and key; things like electric lights, dresser drawers, bathrooms, closets, bars concealed on the windows — the doors have windows so patients can be visible all the time, also, the violence and markings still remain on the walls from former patients). I answered: 'Well, I’d have to be nuts if I like it here.'"
“I sat on the bed trying to figure if I was given this situation in an acting improvisation what would I do. So I figured, it’s a squeaky wheel that gets the grease. I admit it was a loud squeak but I got the idea from a movie I made once called Don’t Bother to Knock. I picked up a light-weight chair and slammed it, and it was hard to do because I had never broken anything in my life — against the glass intentionally. It took a lot of banging to get even a small piece of glass – so I went over with the glass concealed in my hand and sat quietly on the bed waiting for them to come in. They did, and I said to them 'If you are going to treat me like a nut I’ll act like a nut.' I admit the next thing is corny but I really did it in the movie except it was with a razor blade. I indicated if they didn’t let me out I would harm myself — the furthest thing from my mind at that moment since you know Dr. Greenson I’m an actress and would never intentionally mark or mar myself. I’m just that vain.”
The letter also takes several sentimental turns with Monroe fondly referencing Joe DiMaggio and Yves Montand. Monroe closed the letter with “I think I had better stop because you have other things to do but thanks for listening for a while. Marilyn M.”
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 207-213. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 1/2 by 11 inches
Estimate: $8,000 - $10,000
  

Lot 206: MARILYN MONROE HANDWRITTEN INTERVIEW NOTES
Three unlined oversize pages containing answers to a reporter's interview questions in preparation for a press interview. She writes her numbered responses in blue ink and pencil. Answer number 11 explains her stay at the Payne Whitney clinic, writing, "Payne Whitney gives me a pain/ It was obviously an error of judgment to place me in Payne Whit. and the doctor/ who recommended realized it and tried to rectify it. What my condition warranted/ was the rest and care I got [at] Presbyterian Hospital." Number 19 states, "[M]y sleep depends on my state of satisfaction and that varies with my life-my dreams/ are too intimate to be revealed in public/ My nightmare is the H Bomb."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments : Poems, Intimate Notes, Letters. Pages 217-223. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
15 3/4 by 11 inches
 Estimate: $8,000 - $12,000
 

Lot 346: MARILYN MONROE HANDWRITTEN AND SIGNED SCHWAB'S CHEECK
 A check written entirely in Monroe's hand, in blue ink, dated April 10, 1952, and paid to Schwab's Pharmacy, in the amount of $10. The check is drawn on Monroe's Bank of America account. Monroe lists her address as the Beverly Carlton Hotel.
2 5/8 by 5 7/8 inches
 Estimate: $2,500 - $3,500
 

Lot 347: MARILYN MONROE HEALTH CARD
 A Blue Cross insurance card for Monroe provided through the S.A.G. Welfare Plan. The effective date of the plan is January 1, 1961, for Monroe.
3 1/4 by 7 1/4 inches
 Estimate: $300 - $500
  

Lot 350: MARILYN MONROE PHARMACY STATEMENT AND INVOICE
 A handwritten itemized listing of goods sold to "Mrs. Arthur Miller" by Pollock-Bailey Pharmacists in New York City between October 1-30, 1959, totaling $220.58. Together with a follow-up statement in the same amount dated December 1, 1959. The items purchased include Revlon lotion, ACE bandage, vitamin B1 tablets, styptic pencils, bedpan, Revlon eyeliner, Revlon eye shadow, nasal jelly, and shadow stick, among other items.
11 by 5 3/4 inches
 Estimate: $300 - $500
 

Lot 916: MARILYN MONROE PRESCRIPTION RECEIPT
 A pink carbon receipt for Mrs. Arthur Miller from the Fairfax Drug Company, dated “10/15/1958” in the amount of $17.68. The receipt lists Marilyn Monroe's address as the Bel Air Hotel.
4 by 6 inches
 Estimate: $200 - $400
 

 Lot 988: MARILYN MONROE PHARMACY RECEIPT
 A receipt from Vicente Pharmacy to Marilyn Monroe for RX 19329 totaling $7.75, dated "6-8-62." Receipt number 12542.
7 by 5 1/2 inches
 Estimate: $400 - $600
  

Lot 992: MARILYN MONROE RECEIPT AND LETTERS
 A Marilyn Monroe receipt from Vicente Pharmacy dated June 18, 1962, in the amount of $9.40 for two prescriptions. Accompanied by a letter addressed to Milton Greene dated October 10, 1955, in an unknown hand, regarding expenses for a Marilyn Monroe dress; and a letter typed on hotel stationery by May Reis regarding a check for Paula Strasberg dated September 23, 1960.
Largest, 10 1/2 by 7 1/4 inches
 Estimate: $800 - $1,200
  

Lot 993: MARILYN MONROE PHARMACY RECEIPT
 A receipt from Vicente Pharmacy for "M. Monroe" from April 16, 1962, for two medications including a sleep aid. The amount totals $4.01.
7 by 5 1/2 inches
 Estimate: $400 - $600
 

Enregistrer

Enregistrer

Documents papiers - Finances, Dépenses diverses
Papers documents - Finances, Various Spendings

Lot 71: MARILYN MONROE FINAL CHECKBOOK 1962
 Dated February 2, 1962, this vinyl covered; wire bound checkbook was for Marilyn Monroe’s personal account at Irving Trust Company in New York City, labeled “MM Personal” on the cover. The checkbook covers Monroe’s New York expenses from February 2 through August 31, 1962, check numbers 2102 through 2251, and offers a fascinating look at her expenses during the final year of her life.
Recipients of payments from Monroe’s personal account during her final six months include Saks Fifth Avenue in Beverly Hills, the Mexican Government Tourist Bureau, Flatiron Window Cleaning Company, Hedda Rosten, New York Telephone Company, J. Ricky - for “face treatments,” Lena Pepitone, Hattie Stephenson, Empire State Drycleaners and Hand Launderers, Century Furniture Repairs, Exec-U-Car Service, Globe-Star Travel Service, Pollock-Bailey Pharmacists, Marie Irvine - make-up for special appearance at Madison Square Garden, Sutton Wines & Liquors, Madison Avenue Florist, New York State Income Tax Bureau, Department of Labor, and State Unemployment Insurance Fund, among others.
The final check from this checkbook written while Monroe was alive was to Hattie Stephenson, Monroe’s East Coast housekeeper, on August 3, 1962. Checkbook activity resumed on August 10, through August 31, 1962, with payments made to Stephenson and Hedda Rosten.
Several Marilyn Monroe signed checks are included, some actually written in Monroe’s own hand, with her signature having been ripped from the check so it could not be cashed. However, in some cases the remnants of Monroe’s signature are still present, as the complete signature was not torn away from the check.
7 1/2 by 8 3/4 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $8,000 - $10,000
 
 

Lot 72: MARILYN MONROE COMPLETE 1962 FINANCIAL STATEMENTS
 An extraordinarily detailed record of Monroe's financial transactions via prepared report statements reflecting the activities in Monroe's bank accounts at City National Bank and Irving Trust Company from January 1, 1962, to August 3, 1962, 99 pages total. The monthly statement reports include all "withholds," receipts, and disbursements broken down by type of expense for each account. Of particular interest is the state of Monroe's accounts at the time of her death, including a balance of $1,337.53 in her City National Bank account on August 1, 1962, with an overdraft of $4,208.34 in the same account on August 3, 1962. The Irving Trust Account shows a balance of $1,472.41 on August 1, 1962, and a balance of $111.71 on August 3, 1962.
The January 1962 statement includes a charge for "Household-Miscellaneous/ Jan. 30 Southdown Kennel - N.Y./ "Maf" board - 8/3 to 12/17 $330.00" and income from Some Like It Hot reported as $100,000.00 and from The Misfits as $150,000.00 against which Monroe paid a total of $45,000.00 in federal taxes. The March 1962 statement lists a total of $2,459.43 in beauty expenses, including hairdressing, cosmeticians, skin treatments, hair coloring, manicures and supplies. The May 1962 statement has a separate expense category titled "New York Birthday Salute to the President" with expenses listed as "May 18 New York's Birthday Salute to the President $5,000.00/ May 16 Hazel Washington - come to NY for above - business maid, plane fare, expenses, salary $1,000.00." The same statement lists a $300 deposit with Western Costume Company and the June 1962 statement lists a payment of $1,140.33 to Western Costume Company as "balance on gown." Payments made to Dr. Ralph Greenson during the period of these statements total $8,450. The statements also show a great number of meals coded as "Entertainment" at Chip's Steak House and La Scala.
The statements are accompanied by a file copy of a typed, unsigned letter, dated September 6, 1962, from Monroe's secretary, Cherie Redmond, who prepared the statements, to secretary Inez Melson, who requested the statements. Together with five additional pages prepared by Redmond listing all outstanding checks drawn on both accounts as well as those not honored by the bank as of August 15, 1962. The lot includes another file copy of a typed, unsigned letter from Melson to attorney Aaron R. Frosch dated September 11, 1962, that accompanied the same monthly statements sent by Melson for purposes of preparing Monroe's final tax filings and for probate purposes. This two-page letter discusses measures taken to maintain the security of Monroe's Brentwood, California, property on Helena Drive and is accompanied by a seven-page report prepared by Melson giving greater detail regarding all of the outstanding checks and bills due with explanations of each payment, including what it was for and to whom it was made.
8 1/2 by 11 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $3,000 - $5,000
 
 
 

Lot 99: MARILYN MONROE 1952 SIGNED CHECK TO HER MOTHER
 An oversized counter check dated July 25, 1952, completed fully in Monroe’s own hand, written to Mrs. Gladys P. Eley in the amount of $150.00. The check has been endorsed by Monroe’s mother and is signed “Mrs. Gladys P. Eley.” Monroe has given her address at the time this check was written as “Hotel Bel Air, L.A. Calif.” This is an exceptionally rare document containing both Monroe’s signature as well as her mother's. The check also documents the fact that Monroe began to help her mother financially at the earliest stages of her career.
 Estimate: $3,000 - $5,000
 

Lot 104: MARILYN MONROE 1952 SIGNED CHECK TO GRACE GODDARD
An oversized counter check dated April 26, 1952, completed fully in Monroe’s hand, written to Grace Goddard in the amount of $50.00 and signed by Goddard on the reverse with a handwritten address of 6707 Odessa Avenue, Van Nuys, Calif. Goddard was significant in Monroe’s early life and formative years and even became her legal guardian. Monroe lived with the Goddard family off and on over the years, and it was Goddard who arranged her marriage to James Dougherty in 1942 when she was just 16 years old.
 Estimate: $1,500 - $2,500
  

Lot 133: MARILYN MONROE AUTOMOBILE INVOICE
 A customer copy of an invoice from Beverly Motor Co. of Beverly Hills dated July 1, 1950. The invoice is for a new 1950 Pontiac Chieftain Deluxe sedan coupe sold to "Miss Marilyn Monroe," address "1301 N. Harper Ave. Los Angeles, 46, Calif." The car had some optional equipment and accessories and totaled $2,729.69 including delivery and tax charges. This is most likely Monroe's first new car.
8 by 9 1/2 inches
 Estimate: $400 - $600
  

Lot 157: MARILYN MONROE FINANCIAL LEDGER 1953-1955
 A comprehensive financial ledger documenting presumably every Marilyn Monroe financial transaction from January 1953 through March 1955. The hardbound ledger contains handwritten entries, all of which are presumed to have been made by Monroe’s business manager, Inez Melson, covering in great detail Monroe’s cash received and disbursed, assets and liabilities, capital, income, expenses, and general financial transactions for the years in which Monroe completed Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, River of No Return, and There’s No Business Like Show Business. This is an incredible look at Monroe’s finances during the years she was propelled to stardom as she completed some of her most famous films.
7 3/4 by 11 3/4 inches
 Estimate: $8,000 - $10,000
 

Lot 158: MARILYN MONROE HANDWRITTEN AND SIGNED CHECK TO ANN KARGER
 A check written entirely in Monroe's hand, in blue pen, dated May 12, 1952, and paid to Anne Karger, in the amount of $16. The check is drawn on Monroe's Bank of America account, with normal cancellation stamps and also endorsed on verso by Karger. Karger was the mother of Fred Karger, one of Monroe's early vocal coaches and also one of her first loves. Monroe remained quite close to Anne Karger and, according to reports, valued her as a mother figure.
2 5/8 by 5 7/8 inches
  Estimate: $2,000 - $3,000
  

Lot 167: MARILYN MONROE BILL FOR THE BEVERLY HILLS HOTEL
 A two-page itemized invoice for Monroe's stay during her 35th birthday, May 30 through June 5, 1961, at Bungalow B1 A/B at The Beverly Hills Hotel, together with envelope addressed to "Miss Monroe." The balance owed as of June 5, 1961, totals $3,734.93 and includes charges for not only the room but television rental, tips, limo drivers and other fees. The invoice does list a charge noted as "limo driver" in the amount of $55 on her birthday.
6 3/4 by 6 1/8 inches
 Estimate: $400 - $600
 

Lot 168: MARILYN MONROE SIGNED CHECK
 A Marilyn Monroe Productions canceled bank check dated May 6, 1960, in the amount of $1,423.20, written to The Beverly Hills Hotel, signed by Marilyn Monroe. The check is additionally annotated "Bungalow 16, (Room 204 W.E. 5/1/60)."
3 by 8 1/2 inches
 Estimate: $2,500 - $3,500
 

Lot 213: MARILYN MONROE HANDWRITTEN AND SIGNED CHECK IN GREEN INK
 A check written entirely in Monroe's hand, in green ink, dated July 2, 1952, and paid to Vic Massy [sic], in the amount of $50. The check is drawn on Monroe's Bank of America account. Vic Masi was a friend of Joe DiMaggio's. Monroe and DiMaggio were friendly with the Masis during their relationship.
2 5/8 by 5 7/8 inches
 Estimate: $2,000 - $3,000
 

Lot 217: MARILYN MONROE RECEIPTS AND DISBURSEMENT DOCUMENTS
A typed statement of receipts and disbursements for Monroe for the period January 1, 1955, through March 17, 1955. Monroe’s starting bank balance was $1,800.55, and her ending balance was $3,530.55. The document clarifies deposits, disbursements, and accounts payable. Payees of note include Schwab’s Pharmacy, the IRS, Screen Actors Guild, Saks Fifth Avenue, Rockhaven Sanitarium, Twentieth Century Fox “Old Cafe,” and Rosalee Conover for “Partial payment on settlement of damage at 508 N. Palm Drive, Beverly Hills,” which was the address of the home Marilyn shared with Joe DiMaggio following their January 1954 marriage.
 Estimate: $800 - $1,000
  

Lot 311: MARILYN MONROE AND ARTHUR MILLER 1959 FEDERAL INCOME TAX RETURN
 A 1959 federal income tax return for Marilyn Monroe and Arthur Miller, including Form 1040, Schedule C, and Form 1116, together with five typed pages documenting income for Monroe and Miller, along with business expenses and deductions, contributions, taxes paid, medical expenses, and other items. These documents show that the combined income for Monroe and Miller for 1959 was $323,453.00, of which $103,362.50 was income from royalties for Miller’s plays, including Death Of A Salesman, The Crucible, and A View from the Bridge, among others. The Millers were required to write a check to the Internal Revenue Service for $30,338.55, the balance due for taxes on their income. Monroe’s marriage to Miller ended in 1961.
 Estimate: $1,500 - $2,500
  

Lot 327: MARILYN MONROE UNUSED CHECKBOOK
 An unused vinyl covered spiral-bound checkbook for Monroe’s personal East Coast account at Irving Trust Company in New York City.
7 1/2 by 8 3/4 inches
 Estimate: $1,000 - $2,000

Lot 351: MARILYN MONROE LIQUOR RECEIPTS
 Two carbon copy receipts, the first from the Jurgensen's grocery liquor department for a bottle of Cutty Sark dated January 27, 1960, sold to Marilyn Monroe at The Beverly Hills Hotel, the second from Mac's Liquors in Beverly Hills listing caviar as well as three bottles of hard alcohol signed by Monroe's housekeeper, Hazel Washington, dated February 5, 1960. Together with a handwritten invoice for the month of June 1958 from Sutton Wines and Liquors in New York City.
Largest, 8 1/2 by 5 1/2 inches
 Estimate: $200 - $300
  

Lot 353: MARILYN MONROE CHAMPAGNE RECEIPT
 A carbon copy receipt from the Jurgensen's grocery liquor department, Beverly Hills, listing an order for 12 splits of Piper Heidsieck Champagne, for a total of $26.21. The receipt, dated December 2, 1959, lists a delivery date of "Thurs AM" to Marilyn Monroe at The Beverly Hills Hotel, Bungalow 21.
8 by 5 1/2 inches
 Estimate: $200 - $300
  

Lot 358: MARILYN MONROE HANDWRITTEN AND SIGNED LIQUOR LOCKER CHECK
 A check written entirely in Monroe's hand, in blue pen, dated September 29, 1955, and paid to the "Liquor Locker" in the amount of $14.20. The check is drawn on Monroe's Bank of America account, Sunset & Laurel branch, and has normal cancellation stamps. A small notation in the lower left of the check reads simply "Gift," and Monroe has written her address as "508 N. Palm Drive."
2 3/4 by 6 1/4 inches
 Estimate: $3,000 - $5,000
 

Lot 429: MARILYN MONROE COFFEE RECEIPT
 A simple restaurant receipt with secretarial writing recording the items as coffee, tea and milk for a total of $2.03 and Monroe's name recorded at the bottom for accounting purposes. The undated receipt is a small record of one moment in Monroe's life.
3 by 2 1/4 inches
  Estimate: $80 - $120
 

Lot 438: MARILYN MONROE UNUSED CHECKBOOK
 A hardcover wire bound checkbook for Monroe’s account at City National Bank in Beverly Hills, California. While there are no handwritten annotations in the checkbook, several checks are missing. One hundred and ninety-seven personalized checks remain in the book, with “Marilyn Monroe” printed twice on each check.
9 1/2 by 14 inches
 Estimate: $1,000 - $2,000
   

Lot 473: MARILYN MONROE CHECKBOOK AUGUST 8,1960 – JANUARY 27, 1961
 A cardboard covered wire bound checkbook for Monroe’s account at Irving Trust Company in New York City. The cover is incorrectly labeled as being from the “Colonial Trust Company,” 4/30/58 – 7/31/59. The checkbook covers Monroe’s expenses from August 8, 1960, to January 27, 1961, with check numbers 1253 through 1483, offering a fascinating look at Monroe’s expenses in 1960 and 1961.
Recipients of payments from Monroe’s personal account during this period include The Mapes Hotel in the Nevada hotel (where Monroe and Arthur Miller stayed while filming The Misfits ), Erno Laszlo Institute, Paula Strasberg, Ralph Roberts, I. Magnin + Co., Dorr Optical Co., Beverly Pets, Arthur P. Jacobs Co., Beverly Hills Hotel, West Side Hospital, Ferragamo, Jurgensen’s Grocery, Hollywood Reporter, AvisRent-A-Car System, Bergdorf Goodman, Carey Cadillac Rending Co., Yankee Traders, Variety, Riverside Flower Shop, Marilyn Monroe Productions, Hattie Stephenson, Ralph Greenson, M.D., Modern Auto Rental, T. Anthony - luggage, La Scala Restaurant, Schwab’s Pharmacy, New York Telephone Company, J. Ricky, Screen Actors Guild, Lee Siegel, M.D., Leonard H. Schuyler, M.D., Bloomingdale’s, Flatiron Window Cleaning Co., Jax Beverly Hills, Inc., Martindale’s Bookstore, Plaza Hotel, Louis Finger, M.D., Rexford Kennamer, M.D., Berkley Square Cleaners, Sutton Wines and Liquors, Beverly Hills Music Co., MCA Artists Ltd., Marianne Kris, M.D., Actors Studio Inc. - contribution, Agnes M. Flanagan, Mrs. Michael Chekhov, Rudolph J. Kautsky, Evelyn Moriarty, Allan Snyder, Hazel Washington, Gucci, Patricia Newcomb, Maximilian Fur Company, Academy of Motion Picture Arts and Sciences, Norman Norell Inc., and Western Costume Co., among others.
9 3/4 by 6 inches
 Estimate: $6,000 - $8,000

Lot 475: MARILYN MONROE SIGNED TAX FORM
 A Form 1096 tax form from the U.S. Treasury Department Internal Revenue Service dated 1960 and addressed to Marilyn Monroe Productions in New York, signed in black ink "Marilyn Monroe."
3 1/2 by 7 3/4 inches
 Estimate: $1,500 - $2,000
  

Lot 513: MARILYN MONROE CHECKBOOK SEPTEMBER 9, 1960 – FEBRUARY 20, 1961
 A cardboard covered black plastic comb bound checkbook for an unspecified Marilyn Monroe account, presumably Irving Trust Company in New York City based on similar payees named in other checkbooks.
Recipients of payments from this Monroe checking account include May Reis, Hedda Rosten, The Mapes Hotel in Nevada (where Marilyn and then husband Arthur Miller stayed while filming The Misfits), New York Telephone Company, La Scala Restaurant, Holiday Hotel, New York State Income Tax Bureau and Department of Labor, California Department of Employment, Beverly Hills Hotel, Ralph Roberts, MCA Artists Ltd., Internal Revenue Service, and Marilyn Monroe Productions. Christmas bonuses for Rosten and Reis are also annotated in this checkbook.
9 1/2 14 1/2 inches
 Estimate: $6,000 - $8,000
 
 

Lot 532: MARILYN MONROE RECORD RECEIPT
 A receipt from Raf's Record Bar on South Beverly Drive, dated February 25, 1960. The receipt is in the name of Miss Marilyn Monroe at The Beverly Hills Hotel and is signed by Monroe's assistant, Hazel Washington. The records purchased are noted as Frank Sinatra's "Come Back to Sorrento," "Swing Lovers" and "Swing Affair."
8 by 5 1/2 inches
 Estimate: $100 - $150
  

Lot 533: MARILYN MONROE RECORD ALBUM MEMO
 A pink credit memo from Sam Goody music store at 250 W. 49th St. in New York City. The memo is dated April 9, 1962, and has an accompanying note addressed to Cherie Redmond, one of Monroe's secretaries, stating that Monroe was charged twice when she bought only one copy of the record. The item that she was double charged for is listed as SWBO 1569, which is the Capitol Records catalog number for the double LP set Judy At Carnegie Hall - Judy in Person. This Judy Garland performance took place April 23, 1961, and the album spent 13 weeks at the top of the Billboard charts and won four GRAMMY Awards.
8 1/2 by 5 1/2 inches
 Estimate: $200 - $300
  

Lot 601: MARILYN MONROE CHECKBOOK SEPTEMBER 25, 1961 – FEBRUARY 23, 1962
 A vinyl covered wire bound checkbook for Monroe’s personal account at Irving Trust Company in New York City, annotated “MM Personal” on the cover. The checkbook covers Monroe’s New York expenses from September 25, 1961 through February 23, 1962, with check numbers 1802 through 1951, offering a fascinating look at Monroe’s expenses as she entered the final year of her life.
Recipients of payments from her personal account during this period include Taft Garage - RR car storage, Bloomingdale’s, Hammacher Schlemmer, Hattie Stephenson, Arthur P. Jacobs, Lena Pepitone, RCA Services - for 1 year contract, Ralph Roberts, Elizabeth Arden Beverly Hills, Mrs. Jane Zigler - rent-Calif. Apt, Schwab’s Pharmacy, Maximilian Fur Company - fur storage, Anna’s Housewares, I. Magnin + Co., Beverly Hills Call Board - answering serv., A. Fitz + Sons, Berkley Sq. Cleaners, Saks Fifth Avenue Beverly Hills, Ralph Greenson, Harold Tribune Fresh Air Fund, Internal Revenue Service, Cedars of Lebanon Hospital, Jax - Manhattan, Jurgensen’s Grocery, New York Telephone Company, Malone Studio Service, Erno Laszlo Institute, Beverly Hills Flowers, Abercrombie + Fitch, Bedford Prescription Pharmacy, Hyman Engelberg, M.D., Pioneer Hardware, Screen Actors Guild, Philip R. Reuben, M.D., and Edward J. Simons, M.D. among others.
Interestingly, a typed reconciliation of Monroe’s account, stapled to the inside of the checkbook, indicates that she was overdrawn by $991.41 on December 31, 1961. Several Marilyn Monroe signed checks are included with her signature having been ripped from the check so it couldn’t be cashed. However, in one case, the remnants of Monroe’s signature are still present.
7 1/2 by 8 3/4 inches
 Estimate: $7,000 - $9,000
 
 

Lot 824: MARILYN MONROE SIGNED CHECK
 A Marilyn Monroe handwritten and signed check. The check is written from an account with Bank of America, Laurel/Sunset branch, in the amount of $15.00, dated October 29, 1951, and paid to J.J. Haggarty Stores, Inc. The information is handwritten aside from the establishment's name, which is stamped. The check is endorsed by the store on verso with an additional note that reads “Reg Patron.”
3 1/4 by 8 inches
 Estimate: $2,000 - $3,000
  

Lot 841: MARILYN MONROE SIGNED 1953 CHECK
 A Marilyn Monroe handwritten and signed check from a Bank of America Los Angeles account, dated March 21, 1953, in the amount of $50.00 paid to Mr. John R. Tilley. The check is housed in a frame with an image of Monroe taken by Cecil Beaton, said to be her favorite photograph of herself.
14 3/4 by 22 inches, framed
Estimate: $4,000 - $6,000
 
  

Lot 900: MARILYN MONROE PRODUCTIONS BANK STATEMENT
 A Colonial Trust Company bank statement for Marilyn Monroe Productions Inc. for December 1959 showing the balances throughout the month. The account had $56,503.35 on December 1st and $65,838.55 on December 31.
10 by 6 1/4 inches
 Estimate: $600 - $800
  

Lot 904: MARILYN MONROE AND ARTHUR MILLER CHECK
 An unwritten check from Marilyn Monroe and Arthur Miller's joint account at The First National City Bank of New York. The check is numbered 44 on the top right and still has the attached ledger on the left.
2 3/4 by 8 inches
PROVENANCE Partial Lot 142, "Property from the Estate of Marilyn Monroe and Other Collections," Julien's Auctions, Los Angeles, California, June 4, 2005
 Estimate: $150 - $300
     

Lot 907: MARILYN MONROE RECEIPT FOR STATIONERY
 A receipt from A. Webster & Company in London, England, addressed to Mrs. Arthur Miller and dated August 8, 1956. The receipt is for note paper and envelopes totaling £6.76. Together with a receipt for the check dated September 12, 1956, to Mrs. Arthur Miller. Marilyn Monroe was in London at the time shooting Prince and the Showgirl (Warner Bros., 1957).
6 3/4 by 8 1/4 inches
 Estimate: $1,000 - $2,000
  

Lot 987: MARILYN MONROE FINANCIAL DOCUMENTS
 A group of four documents relating to Marilyn Monroe's finances: a memo from Monroe's attorney Mickey Rudin typed on Gang, Tyre, Rudin & Brown memo stationery dated July 9, 1962, regarding a deposit slip from City National Bank in the amount of $4,000, accompanied by a carbon duplicate of the deposit slip dated July 6, 1962; a carbon copy of a letter written by Monroe's secretary to City National Bank; and a carbon of a deposit slip from City National Bank for a mail deposit made on May 8, 1962, in the amount of $23.47. Also present is a blank City National Bank change of address card.
Largest, 11 by 8 1/2 inches
PROVENANCE Partial Lot 977, "Icons & Idols: Hollywood," Julien's, Beverly Hills, December 5, 2014
Ex-Collection Lois Banner
 Estimate: $300 - $500
 

Lot 990: MARILYN MONROE DELIVERY RECEIPT
 A delivery receipt from Abbey Rents for a lamp delivered to "Miss M. Monroe" on May 17, 1962. The total amount including tax is $71.92.
8 1/2 by 8 1/2 inches
 Estimate: $200 - $400
 

Lot 991: MARILYN MONROE HANDWRITTEN NOTE
 A Marilyn Monroe handwritten note to her secretary. A typed message from her secretary reads “Is this to be held or check issued?” Monroe responded in green ballpoint ink, “I have to check something about it.” The note is signed either “M” or a quick partial “Marilyn.” Housed in a frame with a color image of Monroe.
23 1/2 by 16 1/2 inches, framed
 Estimate: $1,000 - $2,000
 
     

Documents papiers - Maison
Papers documents - Home

Lot 109: MARILYN MONROE SIGNED HAMMACHER SCHLEMMER RECEIPT
An original Hammacher Schlemmer receipt, addressed to Mrs. Arthur Miller, 444 E. 57 St., NYC, dated July 9, 1959, for the purchase of “Herbs and Spices” and “The Gold Cook Book,” hand signed “Mrs. A Miller.” During this period, Marilyn’s husband, Arthur Miller, was finalizing his screenplay for The Misfits.
 Estimate: $1,000 - $1,500
 

Lot 282: MARILYN MONROE SIGNED RECEIPT
 A receipt from Bloomingdales for a black leather and Rosewood lounge chair and matching ottoman on March 31 (no year listed) to be delivered to Marilyn Monroe at 444 East 57th Street with notation reading "Please Rush." Receipt is signed in blue ink "Marilyn Miller."
7 by 5 1/2 inches
 Estimate: $2,000 - $3,000
  

Lot 283: MARILYN MONROE JAPANESE SCREEN PAPERWORK
 An invoice from Parke-Bernet Galleries Inc., New York, for lot 409 from sale number 1861, December 4-5, 1958, for a "6 fold screen" in the amount of $1081.50. The invoice is addressed to Monroe's secretary "Miss Mary [sic] Reis for Mrs. Arthur Miller" at 444 East 57th Street." Together with a letter addressed to May Reis concerning the sale of the screen in October 1959 to Marsden J. Perry for $750. Perry was the son of a prominent Rhode Island collector.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
 

Lot 284: MARILYN MONROE INTERIOR DESIGN DRAWING
 A pencil on paper rendering of an elaborately carved headboard, together with accompanying letter from Daniel Lavezzo of Lavezzo Inc. Antiques of New York City dated March 4, 1958. The letter is addressed to Mrs. A. Miller of 444 East 57th Street and describes the proposed custom piece as "... carved wood frame. Finished with sterling silver antiqued, upholstered back." The quote for the job is $1,200.
10 1/4 by 7 1/4 inches
 Estimate: $300 - $500
 

Lot 285: MARILYN MONROE FABRIC SAMPLES AND PAPERWORK
 A large group of documents, including four customs and import forms, one in duplicate, from Eagle Star and American Express Company regarding the import and customs clearance of 70 meters of Italian silk satin. Together with four letters from Filippo Haas & Figli of Italy regarding the purchase of the material, two small fabric samples attached to cards of the fabric purchased, and four file copies of messages from Monroe's secretary regarding payment and purchase of the fabric.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600 
   
   

Lot 286: MARILYN MONROE INTERIOR DESIGN DOCUMENTS
 A proposal sent to Normal Norell from Thomas DeAngelis Inc. for Mrs. A. Miller's bedroom. The proposal gives estimates to custom upholster a settee, headboard, bedspread, pillows and box spring drop using the fabric ordered by Norell from Italy, samples of which are included in the previous lot. The estimate is accompanied by six invoices from De Angelis, an invoice from Scalamandré Silks, and an invoice with Scalamandré silk fabric sample.
Largest, 8 1/2 by 11 inches
 Estimate: $300 - $500
 
 

Lot 287: MARILYN MONROE INTERIOR DESIGN DRAWING
 A letter from Amelia Wilcox of Earnshaw Inc. that accompanied photographs and sketches of potential pieces of furniture for Monroe's review. The letter, dated September 12, 1961, is addressed to Mr. John Moore, the fashion designer who at one time worked with Norman Norell and Mattie Talmack. Other documents show that Norell was also assisting Monroe with the interior decoration of her New York apartment. The letter is accompanied by an original pencil and gouache on card painting of a coffee table with attached information sheet.
Painting, 5 by 7 inches
 Estimate: $400 - $600
 

Lot 288: MARILYN MONROE NEW YORK APARTMENT DECORATING DOCUMENTS
 A group of three invoices dating from February and March 1958 from Oskar Barshak Interiors, New York, for a variety of improvements made to Monroe's 444 East 57th Street apartment. Together with four account statements listing a total of $7,262.07 in charges for the work.
8 1/2 by 11 inches
 Estimate: $200 - $300
 

Lot 289: MARILYN MONROE CARPET CARE DOCUMENTS
 A group of five invoices dating from June 6, 1958, to November 14, 1958, from Renofab, Colonial Carpet Corporation and Chambers-Eaton Co. of New York for various carpet cleanings and treatments, including reburling of cigarette burn, steel combing, shearing of stained areas, and application of Karpet Kare with moth proofing. Together with Karpet Kare proposal form for dining room, living room, bedrooms and hallway of the apartment Monroe shared with Arthur Miller at 444 East 57th Street.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
 

Lot 290: MARILYN MONROE NEW YORK APARTMENT PAINTING DOCUMENTS
 An unsigned file copy of a letter from Monroe dated November 1961 to the management company of 444 East 57th Street regarding the painting of her apartment, with a response from the management company. Together with three detailed invoices from Roth Painting Co. and Don Adame painting, each with a detailed accounting of painting work performed in the apartment in March 1958 together with two handwritten documents listing additional painting work.
Largest, 8 1/2 by 11 inches
 Estimate: $200 - $300
   

Lot 291: MARILYN MONROE INTERIOR DESIGN DRAWING AND PHOTOGRAPHS
 An original pencil on paper sketch of a steel finish table prepared by Earnshaw Incorporated of Madison Avenue. The drawing is accompanied by four additional photographs of potential coffee table options with attached information cards also sent by Earnshaw.
Largest, 8 by 10 inches
 Estimate: $300 - $500 
 

Lot 292: MARILYN MONROE CUSTOM FRENCH FURNITURE PAPERWORK
 A series of documents including eight pages of customs and import forms from foreign freight company Inter-Maritime Forwarding Co. Inc. and customs agent A. & G. Valcke & Co. regarding the import of a custom set of three lacquered nesting tables from French designer Leleu. The forms are accompanied by three letters from Leleu addressed to Mrs. Arthur Miller at 444 East 57th Street regarding the order and expressing his pleasure at knowing one of his pieces will be in her home and offering further design services. The group also includes two invoices for the tables from Leleu, one in triplicate, in the amount of $300, two file copies of communications sent to Leleu regarding the order, and a brochure from Leleu showcasing his work.
8 1/2 by 11 inches
 Estimate: $300 - $500
 
 

Lot 293: MARILYN MONROE INTERIOR DESIGN INVOICES
 A large group of documents detailing custom beveled mirror wall panels installed in Monroe’s 444 E. 57th Street apartment in New York City. The documents include two diagrams of wall installations with accompanying job quote dated March 28, 1958; a file copy of a letter dated April 1, 1958, from Monroe's secretary giving approval to begin work on the job quoted at $669.50; an invoice in this amount dated "4/10/58"; an additional invoice in triplicate for a 22 by 72 1/2-inch mirror dated March 18, 1958 in the amount of $49.44; a handwritten invoice in the same amount; and a letter from a competing contractor who quoted $826 for the same mirrored wall panel job.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600
 
   

Lot 515: MARILYN MONROE INVOICE FOR OIL PAINTINGS
 An original invoice dated February 24, 1962, from the Galeria Bryna in Mexico listing three paintings purchased by Monroe for her home on Fifth Helena Drive. The paintings are listed as a Nude oil on Masonite by Rogelio Hermosilla Rembrud, "Window" oil on canvas by Olga Mendez, and "Thistles" oil on canvas by Nova Taylor for a total of $850. The invoice is accompanied by an original shipping form from the gallery. All three of these paintings were hanging in Monroe's home at the time of her death.
8 1/2 by 11 inches
 Estimate: $200 - $300
  

Lot 516: MARILYN MONROE ART COLLECTION PAPERWORK
 A group of documents regarding works of fine art purchased by Monroe. The papers include the original certificate issued by the Musee Rodin in Paris, November 17, 1960, for a bronze work titled "L' Emprise," inventory number 236 A. The certificate is issued to the Edgardo Acosta Gallery in Beverly Hills, California, which staged an exhibition of Rodin's work in March 1962, when Monroe purchased the sculpture. Together with a letter from Edgardo Acosta, a gallery receipt listing the sculpture as well as an oil painting by Poucette titled "Le Taureau," and a handwritten payment receipt dated May 5, 1962, in the amount of $962 for both works.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600
 
   

Lot 518: MARILYN MONROE POTENTIAL HOME LISTING
 An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated October 18, 1961, addressed to Miss Marilyn Monroe, 444 East 57th Street, New York, "Attention: Miss Marjorie Stengel" (Monroe's secretary). The letter reads in part, "[L]ast summer Mr. Ballard of our office, and I showed you the house at the corner of 57th Street and Sutton Place and Mr. Arthur Krim's house on Riverview Terrace. I spoke to Miss Stengel yesterday and told her of a house which we have just gotten listed for sale at 241 East 61st Street. She asked me to send you the particulars on this house as she thought you might be interested in it. I am enclosing our setup. ... The garden duplex apartment is now occupied by the owner and would be available to a purchaser for occupancy. You may possibly have been in this apartment as Miss Kim Novak ... just moved out in September. Before that it was occupied by Prince Aly Khan." The letter is accompanied by the setup sheet listing the details of the property as well as the price of $200,000.
8 1/2 by 11 inches
 Estimate: $200 - $300
 

Lot 519: MARILYN MONROE ARCHITECTURAL DRAWINGS FOR 61st STREET MANHATTAN PROPERTY
 An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated November 15, 1961, addressed to Miss Marjorie Stengel, Monroe’s secretary, at Marilyn Monroe Productions, Incorporated, 444 East 57th Street, New York, stating, “I am enclosing herewith Photostats which I had made of the drawings adding a stairway which would include all or half of the third floor with the duplex garden apartments. These sketches may be somewhat confusing, but I could easily explain them if you would like to have me do so,” together with six Photostat copies of original architectural drawings for the redesign of an apartment located at 241 East 61st Street in New York. The drawings go into great detail as to the redesign of the apartment, with space for an art studio and specific notes stating, “This could be another bedroom or boudoir, or health studio with 'massage' table, 'chaise lounge,' private living room…or…with numerous 'closets.'”
Interestingly, these architectural drawings from November 1961 imply that Monroe was considering relocating from the home she shared with husband Arthur Miller on East 57th Street to a three-story apartment on East 61st Street. Monroe and Miller divorced earlier in 1961. Even more interesting is the fact that, as Monroe considered a new apartment in New York City near the end of 1961, she made an offer on January 12, 1962, on a house in Brentwood, California. She moved into 12305 Fifth Helena Drive in Brentwood in March 1962.
 Estimate: $700 - $900
 

Documents papiers - Divers
Papers documents - Various

Lot 120: MARILYN MONROE JURGENSEN’S GROCERIES RECEIPT
 A receipt from Jurgensen’s Groceries for food delivered to Monroe at The Beverly Hills Hotel, Bungalow 51. Dated March 2, 1960, the receipt was for a container of lard and a package of bacon. Monroe was filming Let’s Make Love at this time.
 Estimate: $300 - $500
  

Lot 188: MARILYN MONROE HANDWRITTEN TO-DO LIST
 A single page of lined paper from a Steno notebook with notes in pencil on recto and pen on verso. The notes reference a wide range of people in Marilyn Monroe's life including dress designer Ceil Chapman, Paula and Lee Strasberg, designer John Moore, publicist Arthur Jacobs, business partner Milton Greene, analyst Dr. Hohenberg, and press agent Lois Weber.
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 154-155. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $4,000 - $6,000
     

Lot 198: MARILYN MONROE HANDWRITTEN TO-DO LIST AND MENU
 A single page of lined paper from a Steno notebook with extensive notes in pencil on both sides, heavily creased in multiple places. The front contains a long list of things Monroe needed to buy for a household as well as household things to do: "dry clean comforter/ have wash-bathroom rugs/ send out laundry" among other things. The other side has a proposed menu and guest list for a dinner party most likely dating to 1955 or 1956. The dinner menu even included items needed for the bar, including "buy - champagne? at least some kind of wine with dinner, liquor-scotch-gin-vermouth."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 176-179. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
8 3/4 by 6 inches
 Estimate: $8,000 - $12,000
   

Lot 199: MARILYN MONROE HANDWRITTEN STUFFING RECIPE
 A single page torn from a notepad from the City Title Insurance Company of San Francisco with a recipe for stuffing, written entirely in Monroe’s hand. The recipe calls for a loaf of French bread with a note above reading "sourdough." The verso of page offers instructions for roasting a chicken or turkey with reminder that poultry cooks "30 min to 1 lbs."
LITERATURE Monroe, Marilyn, and Bernard Comment. Fragments: Poems, Intimate Notes, Letters. Pages 180-183. New York: Farrar, Straus and Giroux, 2010. 1-237. Print.
6 1/4 by 4 inches
 Estimate: $10,000 - $20,000
    

Lot 269: MARILYN MONROE ARTHUR MILLER HANDWRITTEN BOOK DEDICATION TO MARILYN MONROE
 A single piece of lined paper torn from a spiral-bound notebook, heavily stained, containing a notation in Miller's hand reading "This book is being written out of the courage, the widened view of life, the awareness of love and beauty, given to me by my love, my wife-to-be, my Marilyn. I bless her for this gift, and I write it so that she may have from me the only unique thing I know how to make. I bless her, I owe her the discovery of my soul." Although the note is undated, Miller refers to Marilyn Monroe as his wife to be, indicating that it was written prior to their marriage on June 29, 1956. Although this dedication did not appear in any of Miller's books it was possibly intended to be used in A View from the Bridge, which Miller was rewriting as a two-act play during his courtship with Monroe. Because Miller was not officially divorced until June 1956 it is possible that the dedication was not used due to timing.
8 1/2 by 11 inches
 Estimate: $1,500 - $2,500
 
  

Lot 270: MARILYN MONROE CORRESPONDENCE WITH XENIA CHEKHOV
 A single-page typed, unsigned file copy of a letter dated December 19, 1958, to "Mrs. Chekhov" reading "My husband and I were so happy with the pictures you sent us of Mr. Chekhov. We will treasure them forever./ I am not able to shop for Christmas, as you may already know I have lost the baby, so I would like you to use this check as my Christmas greetings with all my most affectionate good wishes./ My husband sends you his warmest regards." The letter is accompanied by Xenia Chekhov's response written on a notecard dated January 10, 1959, reading in part, "[Y]our personal sad news affected me very much and I could not find the courage to write you sooner. All my warmest feelings of sympathy go out to you and Mr. Miller." This is a deeply personal note with an acknowledgement of a miscarriage in Monroe's own words.
Largest, 8 1/2 by 11 inches
 Estimate: $600 - $800
  

Lot 272: MARILYN MONROE HANDWRITTEN SIGNED CHECK TO BOOKSTORE
 A check written entirely in Monroe's hand, in blue ink, dated August 20, 1955, and paid to Martindale Books, in the amount of $2. Monroe has filled out the blank counter check listing her address as "508 N. Palm Dr."
2 5/8 by 5 7/8 inches
 Estimate: $2,000 - $3,000
  

Lot 273: MARILYN MONROE BOOKSTORE RECEIPTS
 An assortment of receipts from seven different bookstores: including: Doubleday Book Shop, Beekman Place Bookshop, and E. Weyhe Inc., all of New York City, and Wepplo's Book Store, Lee Freeson, Martindale's Book Stores and Hunter's Books, all of Los Angeles. Titles include The Great Gatsby; Van Gogh's Great Period; I , Rachel;  An Encyclopedia of Gardening; Hi - Lo's - Love Nest; a book listed simply as "Yves Montand," among others. The receipts are dated 1958 and 1960, and the receipt from Hunter's Books includes a pink carbon copy.
Largest, 10 1/2 by 7 1/4 inches
 Estimate: $400 - $600
  

Lot 275: MARILYN MONROE ARTHUR MILLER TYPEWRITER RENTAL RECEIPT
A receipt from the Beverly Hills Typewriter Shop dated September 1, 1960, addressed to Mr. Arthur Miller, Room 356, Beverly Hills Hotel, for rental of an Olympia typewriter. Marilyn Monroe was admitted to Westside Hospital in Los Angeles on August 29, needing a break from filming The Misfits in Nevada as she was suffering from exhaustion. Interesting to note that Miller attempted to write in his room at The Beverly Hills Hotel while his wife convalesced in a Los Angeles hospital.
 Estimate: $150 - $250
 

Lot 309: MARILYN MONROE HANDWRITTEN NOTATION
 A single page of typed lines comprising "City Ballad" with "(preferably with music)" written below. The lines are arranged in five stanzas. A note in pencil in Monroe's hand in the upper left corner of the page reads "I must stop staring out of the library window!"
8 1/2 by 11 inches
Estimate: $1,000 - $1,500
  

Lot 500: MARILYN MONROE PERSONAL STATIONERY
 A large group of 50 sheets of stationery paper and 250 matching ivory envelopes in original packaging. The envelopes are contained in their original Strathmore box listing the paper as "Strathmore Bond 25% Cotton Fiber Ivory Laid" made by the Old Colony Envelope Company. The box originally contained 500 envelopes and now contains 250 "Marilyn Monroe" blind embossed envelopes. Together with 50 sheets of matching stationery paper still in the original brown paper bag, each sheet with "Marilyn Monroe" blind embossed in the now iconic font. Together with a file copy of a letter dated April 18, 1962, addressed to Hedda (Rosten) from Cherie (Redmond), Monroe's friend and secretary in New York City and Monroe's secretary in Los Angeles, respectively. The letter instructs Hedda to order more stationery for Monroe from the Chase Press at 247 Park Avenue in New York, "... if the information under 'Stationery' in the telephone book is right." Redmond continues, "I would think about 250 sheets and envelopes would suffice for sometime, but usually it costs very little more to get 500 of each... (I just has a call from Pat Newcomb for 50 sheets of each and that doesn't leave much more on hand in case she again asks me for that amount." The box of envelopes included in this lot is half full and indeed was a box of 500, quite possibly the very order mentioned in this letter written less than four months before Monroe's death.
9 by 6 inches
 Estimate: $8,000 - $12,000
 

Lot 501: MARILYN MONROE PERSONAL STATIONERY
 Five sheets of custom ivory stationery with five matching envelopes, each personalized with a simple "Marilyn Monroe" blind stamp.
9 by 6 inches
 Estimate: $1,000 - $1,500
 
 

Lot 502: MARILYN MONROE PERSONAL STATIONERY
 A single sheet of custom ivory stationery with a matching envelope, each blind embossed simply "Marilyn Monroe."
9 by 6 inches
 Estimate: $500 - $700
 

Lot 503: MARILYN MONROE INVOICE FOR STATIONERY
 An invoice from Chase Press Inc. printers, engravers and stationers on Park Avenue in New York City dated March 31, 1958. The invoice lists "500 pieces of note size letter heads 6 x 9 engr. Blank" and "500 6 3/4 engr. Envelopes flap," each at a cost of $12.50 for a total of $25.75 with tax. Together with a statement of account as of the same date in the same amount and a past due notice dated April 30, 1958, for the same bill.
Largest, 6 1/2 by 8 1/2 inches
 Estimate: $200 - $300
 

Lot 504: MARILYN MONROE STATIONERY
 A single sheet of custom stationery with personalized embossed name at top reading "Mrs. Arthur Miller" in black. Together with four sheets of Arthur Miller's stationery paper reading "Arthur Miller" at the top of each page.
Smaller, 8 by 6 inches
 Estimate: $500 - $700
 

Lot 506: MARILYN MONROE NOTEPAD
 A blank notepad from Parkside House, Englefield Green, in Surrey, England, with 29 pages and loose paper cover. Parkside House is where Monroe and then husband Arthur Miller stayed while Monroe was filming The Prince and the Showgirl . Some of the notes included in the book Fragments were written on pages from this pad.
7 by 5 1/4 inches
 Estimate: $150 - $250
 

Lot 845: MARILYN MONROE IDENTIFICATION CARD SIGNED "NORMA JEANE DiMAGGIO"
 A Marilyn Monroe signed United States Department of Defense Noncombatant’s Certificate of Identity. The card is signed “Norma Jeane DiMaggio” and countersigned by the issuing officer. It is additionally marked “Void.” Monroe’s fingerprints are stamped on the back of the card, but no other information has been entered. It is well known that Monroe was issued an official Department of Defense identification card dated February 8, 1954, with a card serial number of 129278. This card’s serial number is 129279. The same issuing officer signed this card as well as Monroe's official ID card. Monroe visited Korea to entertain the troops while on her honeymoon with Joe DiMaggio in February 1954.
2 1/2 by 3 3/4 inches
 Estimate: $15,000 - $30,000
    

Lot 848: MARILYN MONROE DEPARTMENT OF DEFENSE PERFORMER ID CARD
 A Marilyn Monroe signed United States Department of Defense Identification Card used in 1954 while in Korea. The card is issued to Norma Jeane DiMaggio, her position listed as “USO Entertainer,” and the card is dated February 8, 1954, serial number 129278, with a black and white photograph of Monroe in the upper left corner. Monroe signed the card in blue ink “Norma Jeane DiMaggio.” It is additionally signed by the issuing officer. Monroe’s fingerprints have been stamped on the back of the card and her descriptive information typed. In 2008, an almost identical card was sold at auction; however, that card did not list Monroe’s position. Both that card and this have the same serial number. Novelty cards replicating this card have been produced but entirely in black and white.
2 1/2 by 4 inches
 Estimate: $10,000 - $20,000
   

 Lot 849: MARILYN MONROE HOTEL RECEIPT
 A receipt from the Beverly Hills Hotel for "Dimaggio Mrs JP" for $576.59 accrued between March 15 and March 17, 1954. Marilyn Monroe had married Joe DiMaggio two months earlier, on January 14, 1954.
7 by 6 1/4 inches
 Estimate: $800 - $1,200
 

Lot 908: MARILYN MONROE PERSONAL STATIONERY
 A sheet of Marilyn Monroe personal stationery with envelope. Both are unused and blind embossed "Marilyn Monroe."
9 by 6 inches
 Estimate: $200 - $300
    

Lot 994: MARILYN MONROE LIMOUSINE RECEIPT
 A carbon copy of a receipt from Carey Cadillac Renting Co. of California to "M. Monroe" on "3/4/62" for $100. The charge was for a 14 1/2 hour use of a limousine. Ticket number 21076.
8 1/2 by 6 1/4 inches
Estimate: $400 - $600
  

Lot 995: MARILYN MONROE AIRLINE TICKET RECEIPT
 A Rand-Fields ticket service receipt addressed to Marilyn Monroe for a one-way first-class ticket from Los Angeles to New York purchased for "Mrs Lee Strasbourg" [sic] for $205.59, on July 30, 1962. The receipt was issued less than a week before Monroe's death.
6 3/4 by 6 inches
 Estimate: $400 - $600
 

Lot 1004: MARILYN MONROE FUNERAL CARD
 An original card from the funeral of Marilyn Monroe, held on Wednesday, August 8, 1962, at the Westwood Village Mortuary in Los Angeles. The front of the card bears an image of the Bok Singing Tower. The inside reads in part, "In Memory of/ Marilyn Monroe/ Born June 1st, 1926/ Passed Away/ August 5th, 1962,” and includes the details of her funeral service. Facing page is printed with Psalm 23. Accompanied by an information packet about the services for Monroe that includes the eulogy given by Lee Strasberg, a list of invited guests, and a letter to those not invited to the service. Inez Melson gave funeral card and accompanying packet to a friend, and it has remained with that family until this time.
Card, 5 1/2 by 3 1/4 inches
 Estimate: $1,000 - $2,000

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

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Enchères Julien's Auction 
  "The Marilyn Monroe Auction"
du 17 au 19 décembre 2016
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17-19/11/2016, JULIEN'S: The Marilyn Monroe Auction - Vente et Catalogues
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Maison, Meubles, Déco
House, Furnitures, Deco

Lot 582: MARILYN MONROE HOME RENOVATION NOTEBOOK
 An extraordinary, blue cloth over board, "project management" three-ring binder kept by one of Monroe's assistants chronicling the purchase and ongoing renovation and decoration of her home located at 12305 Fifth Helena Drive in Brentwood, California. The notebook begins with an information sheet and lot diagram as well as a typed renovation and additions budget for the property totaling $34,877.36 against a purchase price of $57,609.95. The book also contains four pages of phone numbers, including neighbors, utilities, friends, secretaries, and professional colleagues, dated January 20, 1962; a list of the appliances in the kitchen and their cost; three pages regarding furniture and shipments from Mexico; approximately 36 business cards from various contractors; approximately 28 pages of notes on various renovation projects and to-do lists; a page with notes regarding terracing and planting the hillside; seven drawings of exterior floor plan for possible apartment above the garage for a cook; three renderings of options for a table and another decorative element for the home; and a listing of bills due as of August 16, 1962. The last page of the book lists "Moet - Champagne vintage 1952/ et Chandon a Epernay/ Cuvee Dom Perignon - 13.88." The book lists dates that furniture is due to be delivered from various suppliers, many after Monroe's death, as well as dimensions of each room of the home for the purpose of ordering "white India" carpet. It also has estimates to have the pool resurfaced, water heater moved, fountain built, and laundry room and shower expanded for people using the pool as well as notes about decoration of a "play room," fabrication of a new gate, bars for windows, and shelving to be built, among many other things. The notebook makes it very clear that the home was a work in progress at the time of Monroe's death.
11 1/4 by 10 inches
 Estimate: $4,000 - $6,000
 
 
 
 
     

Lot 586: MARILYN MONROE DOCUMENTS REGARDING FURNISHING HER HOME
 A group of invoices dating to February 28, 1962, from various Mexican boutiques listing the purchase of a great number of pieces of furniture and home furnishings, including enamel trays, benches, chairs, tables, and other pieces purchased in Mexico for Monroe's Fifth Helena Drive residence. Together with a two-page typed signed letter dated July 26, 1962, signed "Mura," giving a full report to Monroe's secretary Eunice Murray regarding her buying trip in Mexico and status of custom-ordered tin panels, fabric, rugs, iron fire screen, and tiles. The letter demonstrates the fact that Monroe was still quite actively working on her home at the time of her death.
Largest, 8 1/2 by 11 inches
 Estimate: $400 - $600 
 

Lot 476: MARILYN MONROE SILVER STEELMASTER FOUR-DRAWER FILING CABINET
 A vintage filing cabinet marked "Steelmaster/ Art Steel Cabinet/ New York." The third drawer has a false front concealing a combination lock safe.
52 1/4 by 18 by 26 1/2 inches
 Estimate: $800 - $1,200
  
 

 Lot 477: MARILYN MONROE BROWN DEVON FOUR-DRAWER FILING CABINET
 A vintage filing cabinet marked "W.H. Harper Co./ Devon/ El Segundo." With a metal security rod attached by a padlock.
52 1/4 by 18 by 26 inches
 Estimate: $800 - $1,200
    

Lot 479: MARILYN MONROE FILE FOLDERS
 Two blue Oxford file folders with tab tops and labels reading "MM - Personal" and "MM - Paid Bills - 1961." These are original folders as they were found in Monroe's filing cabinets.
9 1/2 by 11 3/4 inches
 Estimate: $80 - $120
   

Lot 3: MARILYN MONROE CURIO CABINET
 A wood curio five-tier shelf from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. Accompanied by a copy of a letter from Roberts.
31 by 13 ½ by 6 inches
PROVENANCE: Partial lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
  

Lot 539: MARILYN MONROE BARCELONA CHAIR
 Vintage black button tufted leather and chrome frame. Unmarked.
29 1/2 by 29 1/4 by 30 inches
 Estimate: $3,000 - $5,000
    

Lot 540: MARILYN MONROE BUTLER TRAY ON FOLDING STAND
 A metal and wood tray and stand.
24 by 31 by 22 inches
 Estimate: $1,000 - $2,000
    

Lot 541: MARILYN MONROE CORDUROY UPHOLSTERED CLUB CHAIR
 With a loose seat cushion.
33 by 32 by 36 inches
 Estimate: $2,000 - $3,000
   

Lot 542: MARILYN MONROE TWO DECORATIVE METAL BENCHES
 Including a loveseat with a silk tapestry cover and a single seat with a floral needlepoint pillow cover.
Larger, 29 by 53 by 17 inches
 Estimate: $2,000 - $3,000
    

Lot 543: MARILYN MONROE CANED CHAISE LOUNGE
 With turned wood frame.
24 by 76 by 26 inches
 Estimate: $3,000 - $5,000
    

Lot 544: MARILYN MONROE CANED LOVESEAT
 With a carved walnut frame and decorative back.
32 by 40 by 18 inches
 Estimate: $3,000 - $5,000
    

Lot 545: MARILYN MONROE THREE WICKER CHAIRS
Including a Heywood-Wakefield style armchair, a rocker with a caned seat, and a small barrel-back chair (damaged).
Largest, 39 by 25 by 20 inches
 Estimate: $2,000 - $3,000
    

Lot 546: MARILYN MONROE TWO VINTAGE SIDE CHAIRS
 One with a caned seat and one with a woven seat (damaged).
Taller, 35 by 17 by 14 inches
 Estimate: $1,500 - $2,500
   

Lot 553: MARILYN MONROE VICTORIAN PAPIER MÂCHÉ CHAIR
 With shell and mother of pearl inlay and a caned seat.
32 by 15 by 13 1/2 inches
 Estimate: $2,000 - $3,000
   

Lot 557: MARILYN MONROE ROCOCO STYLE BENCH
 A carved wood and parcel gilt satin upholstered bench.
24 by 40 1/2 by 14 inches
 Estimate: $2,000 - $4,000
    

Lot 558: MARILYN MONROE ROCOCO STYLE COFFEE TABLE
 A carved wood coffee table with canted edges and inset parchment top.
19 by 46 by 38 inches
 Estimate: $2,000 - $4,000
   

Lot 547: MARILYN MONROE BURLWOOD VENEER THREE-DRAWER DRESSER
 With movable jewelry display trays inside the top drawer.
36 by 47 1/2 by 22 inches
 Estimate: $3,000 - $5,000
    

Lot 548: MARILYN MONROE BAKER CAMPAIGN DRESSER
 A modern four-drawer dresser in a British 19th Century style, with brass mounted hardware.
22 by 62 by 19 inches
 Estimate: $3,000 - $5,000
    

Lot 549: MARILYN MONROE WOOD CHEST
 A locked wood chest in a rococo style.
21 by 48 by 20 inches
 Estimate: $2,000 - $3,000
   

Lot 550: MARILYN MONROE WOVEN CHEST ON CASTERS
 A woven hamper on wood casters. With interior painted decoration.
15 by 28 by 14 1/2 inches
 Estimate: $1,000 - $2,000
   

Lot 551: MARILYN MONROE CERAMIC PINK AND WHITE DOOR PANEL
 With transfer printed rose decoration, together with two key-shaped items. Marked on the back "1960 BLD."
11 by 3 inches
 Estimate: $400 - $600
    

Lot 552: MARILYN MONROE HANDPAINTED WOODEN DOOR PANEL
 With floral decoration and ivory crackle finish.
11 by 3 1/8 inches
 Estimate: $400 - $600
    

Lot 4: MARILYN MONROE OWNED LAMP BASE
 A painted plaster chalkware lamp base in the image of a girl sitting by a tree from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. Accompanied by a copy of a letter from Roberts.
Height, 12 inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
 

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Lot 10: MARILYN MONROE OWNED OIL LAMP BASE
 An opaque glass oil lamp base from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. In a letter to the consignor, Roberts states Monroe won the lamp at a country auction and used it as a flower vase, usually placed on a round table in front of a window looking toward the river. Accompanied by a copy of a letter from Roberts.
Height, approximately 11 inches
PROVENANCE: Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
Estimate: $300 - $500
 

Lot 554: MARILYN MONROE CUT CRYSTAL PERFUME ETUI
 With a sterling finial marked "Sterling."
Length, 4 1/2 inches
 Estimate: $600 - $800
 

Lot 555: MARILYN MONROE CUT CRYSTAL CHATELAINE ETUI
 With a rim marked "Sterling." (Lacking lid.)
Length, 2 inches
 Estimate: $400 - $600
   

Lot 244: MARILYN MONROE VINTAGE ABSTRACT PARCEL GILT FAN
 A folding paper Japanese hand fan with abstract parcel gilt decoration.
15 1/2 by 24 1/2 by 2 inches
 Estimate: $600 - $800
    

Lot 245: MARILYN MONROE VINTAGE JAPANESE PAINTED FAN
 A folding paper hand fan featuring a peacock and pink flowering vines. In a frame under glass.
13 1/2 by 21 1/4 by 2 inches
 Estimate: $600 - $800
  

Lot 559: MARILYN MONROE VINTAGE BROWN SILK HANDPAINTED FAN
 A folding hand fan featuring an 18th Century man and woman. With parcel gilt birds and floral decoration. (Glass lacking.)
18 by 27 1/2 by 3 1/2 inches
 Estimate: $600 - $800
    

Lot 560: MARILYN MONROE VINTAGE HANDPAINTED FRENCH FAN
 A white silk fan featuring a handpainted lady in a landscape, signed "A. Ravaux." (Glass broken.)
16 by 25 by 2 inches
 Estimate: $600 - $800
   

Lot 566: MARILYN MONROE VINTAGE BLACK PEACOCK FEATHER FAN
 A folding feather hand fan with carved ebonized handle.
16 by 25 by 2 1/2 inches
 Estimate: $600 - $800
   

Lot 567: MARILYN MONROE VINTAGE BLACK LACE FAN
 A lace folding hand fan with gilt decoration. In a frame under glass.
13 1/2 by 21 1/4 by 2 inches
 Estimate: $600 - $800 
 

Lot 561: MARILYN MONROE RED FRAMED NEEDLEPOINT PICTURE
 Featuring a bouquet of poppies. Marked "From D.M. Ferry/ 1926" lower right.
16 1/2 by 16 inches
 Estimate: $800 - $1,200
 

Lot 562: MARILYN MONROE GLASS COVERED WOODEN BREAKFAST TRAY
 With a hand embroidered textile featuring a violet bouquet.
15 by 25 inches
 Estimate: $600 - $800
  

Lot 563: MARILYN MONROE RED NEEDLEPOINT PILLOW CUSHION
 Red flowers on a black ground, in a later unassociated shadowbox frame.
19 3/4 by 19 3/4 inches
 Estimate: $800 - $1,200
 

Lot 564: MARILYN MONROE BLACK NEEDLEPOINT PILLOW CUSHION
 Needlepoint with pink flowers on a black ground, in a later unassociated shadowbox frame.
19 3/4 by 19 3/4 inches
 Estimate: $800 - $1,200
   

Lot 565: MARILYN MONROE NEEDLEPOINT PIANO STOOL
 An ebonized carved wood stool with opening top featuring a needlepoint upholstery of three red robins on a flowering tree branch.
19 1/4 by 19 1/4 by 14 inches
 Estimate: $1,000 - $2,000
  

Lot 505: MARILYN MONROE CALENDAR PENCIL HOLDER
 A metal pencil holder cup imprinted with a calendar and having a leather swiveling cover.
Height, 4 inches
 Estimate: $400 - $600
    

Lot 583: MARILYN MONROE PENCIL HOLDER
A vintage paper decorated tin pencil holder. The pencil holder can be seen on the coffee table of the sunroom in Monroe's Brentwood, California, home.
 Estimate: $600 - $800
   

Lot 596: MARILYN MONROE VINTAGE GENERAL ELECTRIC TELECHRON CLOCK
 With faux wood pattern face and black hands. Model 2H103-S.
6 by 6 1/2 by 2 3/4 inches
 Estimate: $400 - $600
 

Lot 597: MARILYN MONROE TABLE LAMP
 A green and brass metal table lamp with electrical cord stripped in some places. No shade.
8 1/4 inches
 Estimate: $300 - $500
   

Lot 595: MARILYN MONROE COLORLESS CRYSTAL TEARDROP VASE
 A vintage teardrop form bud vase.
Height, 10 inches
 Estimate: $400 - $600

Lot 599: MARILYN MONROE EDWARDIAN SILVERPLATED VASE
 A double-handled urn-form vase marked "J.B." and "1937" on the base.
Height, 8 1/2 inches
 Estimate: $600 - $800

Lot 952: MARILYN MONROE PRINT
 A Marilyn Monroe owned untitled print by artist, set designer and director Edward Gordon Craig from Hamlet. The woodblock print is signed with initials EGC in the lower right corner. The prints were made for the Cranach Press German edition of Hamlet printed in 1928.
Sight, 5 1/2 by 9 1/4 inches; 22 by 21 1/4 inches, overall
PROVENANCE Partial Lot 424, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $4,000 - $6,000 
   

Lot 953: MARILYN MONROE LITHOGRAPH AFTER TOULOUSE-LAUTREC
 A Marilyn Monroe owned lithograph printed with the words “Catalogue d’Affiches artistiques A.ARNOLD 7 rue Racine Paris.” Housed in a frame, not examined outside of frame.
Sight, 8 3/4 by 12 inches; 21 by 24 1/2 inches, overall
PROVENANCE Partial Lot 424, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
Estimate: $4,000 - $6,000
   

Lot 956: MARILYN MONROE BELL
 A Marilyn Monroe bronze bell with wood handle, stamped on the interior.
Height, 10 inches
PROVENANCE Partial Lot 460, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $800 - $1,200 
   

Lot 957: MARILYN MONROE MEXICAN WOOL THROW
 A Marilyn Monroe Mexican wool throw with multicolor woven design.
Approximately 60 by 50 inches
PROVENANCE Partial Lot 450, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $1,500 - $2,500 
   

Lot 278: MARILYN MONROE GROUP OF THREE ASHTRAYS
 Including a printed and parcel gilt Maxim's Paris porcelain ashtray, marked on the back "Pillivuyt/ France" and "Edite par A. Simon Paris," circa 1950, a patinated metal scallop shell ashtray, and a black glazed terra cotta ashtray displaying the Christie's 1999 sale sticker.
5 1/4 by 3 1/2 inches
PROVENANCE Partial Lot 408, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $800 - $1,200
  

Lot 279: MARILYN MONROE ASHTRAY
 A black plastic ashtray with matchbook holder from Dan Stampler's The Steak Joint Inc. with address listed as "58 Greenwich Avenue in Greenwich Village." The Steak Joint was a village favorite run by Dan Stampler for nearly 25 years.
5 inches
 Estimate: $300 - $500
   

Lot 280: MARILYN MONROE AMERICAN EXPRESS KEYCHAIN
 Has "American Express" and "5 year member" on the tag. .37 troy oz.
Length, 1 inch
 Estimate: $400 - $600
   

Cuisine
Kitchen

Lot 5: MARILYN MONROE OWNED SPOONS 
A pair of spoons from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. The spoons have embossed portraits of women. The first has an embossed signature that reads “Lois Wilson,” the second an embossed signature that reads “Norma Shearer.” Accompanied by a copy of a letter from Roberts.
6 inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
  

Lot 6: MARILYN MONROE OWNED GLASS CREAMER
 A pink glass creamer from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. In a letter to the consignor, Roberts states Marilyn bought the creamer at an antique shop between the Nevada cities of Virginia City and Reno during an outing with him and Paula Strasberg. Accompanied by a copy of a letter from Roberts.
Height, 3 inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
  

Lot 7: MARILYN MONROE OWNED SERVING TRAY
 A round metal and glass serving tray that Marilyn Monroe used to deliver food to a party at the home of Ralph Roberts. The event was a Bon Voyage gala for May Reis and Maureen Stapleton in April 1961, both of whom were headed to Europe: Reis for vacation and Stapleton to work on the European film production of A View from the Bridge (Vu du pont). According to Roberts, guests at the party included Gloria Vanderbilt, Walter and Carol Matthau, Clifford David, and Sidney Lumet. Accompanied by a copy of a letter from Roberts.
Diameter 12 ½ inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
 

Lot 8: MARILYN MONROE OWNED COOKING PRESS
 An aluminum Wearever cooking press from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to her friend and personal masseur, Ralph Roberts. Accompanied by a copy of a letter from Roberts.
Length, 8½ inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
  

Lot 9: MARILYN MONROE OWNED CHAMPAGNE COOLER
 A metal champagne cooler brought by Marilyn Monroe to a party at the home of Ralph Roberts. The event was a Bon Voyage gala for May Reis and Maureen Stapleton in April 1961, both of whom were headed to Europe: Reis for vacation and Stapleton to work on the European film production of A View from the Bridge (Vu du pont). According to Roberts, guests at the party included Gloria Vanderbilt, Walter and Carol Matthau, Clifford David, and Sidney Lumet. Accompanied by a copy of a letter from Roberts.
Height, 9 inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
Estimate: $300 - $500 
   

Lot 111: MARILYN MONROE BAKE KING CAKE PAN
 A vintage coated tin cake pan.
2 by 9 by 9 inches
 Estimate: $400 - $600

Lot 112: MARILYN MONROE YAAD DECORATIVE COPPER TRAY AND TWO OTHERS
 A decorative tray marked "Yaad/ Made in Israel," together with a circular brass saucer and a large metal dish.
Copper tray, 9 3/4 by 12 1/4 inches
 Estimate: $600 - $800
 

Lot 113: MARILYN MONROE GROUP OF THREE DECORATIVE PIECES
 Two wood bowls and a woven basket.
Largest, diameter, 17 1/4 inches
 Estimate: $600 - $800
   

Lot 114: MARILYN MONROE BRONZE ROOSTER NUTCRACKER
 With scrolled terminals.
Length, 5 1/2 inches
 Estimate: $400 - $600
 

Lot 115: MARILYN MONROE METLOX POPPY TRAIL DINNERWARE
 In the Sculpted Grape pattern, including four dinner plates, six salad plates, five large bowls, six small bowls, eight saucers, a butter dish, a double serving bowl with handle, and a large serving bowl. Thirty-two pieces total.
Size varies
 Estimate: $1,000 - $2,000
  

Lot 116: MARILYN MONROE ASSORTED GROUP OF COPPER COOKWARE
 Including a chafing dish marked "Bazar Francais 666," three pots marked "Country Kitchen," and an unmarked pot.
Chafing dish, 13 by 16 by 10 1/2 inches
See Lot 401 for pots from the same set, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $800 - $1,200 
  

Lot 117: MARILYN MONROE SAUTÉ PAN
 A copper and brass sauté pan, made in Italy, stamped number "24."
Diameter, 10 inches
 Estimate: $500 - $700
   

Lot 118: MARILYN MONROE GROUP OF VINTAGE COPPER HOLLOWWARE
 Including a coffeepot with a wood handle marked "Majestic," a teapot marked "Old Dutch," an unmarked pitcher, and a pot marked "Bazar Francais."
Tallest, 11 inches
See Lot 401 for pots from the same set, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $600 - $800
   

Lot 119: MARILYN MONROE ASSORTED WOOD AND METAL KITCHEN UTENSILS
 Including cooking spoons, spatulas, spreaders, knives, a serving fork, and a baster in the original vintage packaging. Twelve items total.
Size varies
 Estimate: $600 - $800
   

Lot 121: MARILYN MONROE SET OF VINTAGE ECKO UTENSILS
 A set of 10 stainless Ecko kitchen cooking utensils with black handles.
Longest, 13 inches
 Estimate: $600 - $800
 

Lot 122: MARILYN MONROE ASSORTED METAL KITCHEN UTENSILS
 Including vintage beaters, graters, strainers, measuring cups and spoons, a paring knife, and aluminum salt and pepper shakers. Fifteen items total.
Size varies
 Estimate: $600 - $800
  

Lot 123: MARILYN MONROE CHROME TOASTMASTER TOASTER
 A vintage toaster with two slots, brown Bakelite trim, and original cord and socket. Model 1B21.
6 1/4 by 9 1/2 by 5 inches
 Estimate: $3,000 - $5,000
 

Lot 124: MARILYN MONROE CHROME JUICE-O-MAT TILT-TOP JUICER
 A vintage juicer with a mechanical hand crank. Model NJ-848.
6 1/2 by 8 by 6 inches
 Estimate: $3,000 - $5,000
   

Lot 125: MARILYN MONROE DESCOWARE BELGIAN CAST IRON POT
 A vintage enamelware pot with a lid, together with another lid.
Pot, diameter, 5 3/4 inches
See Lot 401 for pots from the same set, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $600 - $800
   

Lot 126: MARILYN MONROE LAMBERTON SCAMMELL HOTEL SERVICE PLATE
 A porcelain charger with pink edges and thistle pattern on the rim, with a center monogram and gilt edges. Backstamp dates to circa 1928.
Diameter, 11 inches
 Estimate: $600 - $800
   

Lot 127: MARILYN MONROE GROUP OF THREE CHINESE ENAMELED DISHES
 Three decorative enameled metal dishes, each picturing flowers and animals, each marked "China."
3 1/8 by 4 1/8 inches
 Estimate: $800 - $1,200
   

Lot 128: MARILYN MONROE BRONZE ENAMELED KOVSH
 With a bronze bowl and polychrome enameled handle, marked "China."
Length, 7 1/2 inches
 Estimate: $600 - $800
   

Lot 129: MARILYN MONROE ASSORTED GROUP OF DECORATIVE DISHES
 Including a French glazed stoneware plate with a printed rhyme, a KPM Bavaria handpainted and parcel gilt saucer, and a decorative Italian pottery dish.
Largest, diameter, 8 inches
 Estimate: $300 - $500

Lot 130: MARILYN MONROE ASSORTED DECORATIVE CERAMICS
 Including a majolica oyster plate with gilt rim, marked "C.T.," a majolica double-handled sugar bowl with floral decoration, and a painted figural vase.
Plate, diameter, 9 1/4 inches
 Estimate: $800 - $1,200
 

Lot 131: MARILYN MONROE PARTIAL SET OF HAVILAND LIMOGES DINNERWARE
 In a parcel gilt and leaf and painted design, white porcelain with an ivory band, including four dinner plates, six luncheon plates, eight salad plates, three cream soup bowls with four underplates, two bread and butter plates, and seven saucers. Twenty-nine pieces total.
Size varies
 Estimate: $800 - $1,200
  

Lot 240: MARILYN MONROE DINNER SERVICE
 A dinner service for eight, each piece stamped "Noritake Hand Painted Japan Dresdoll" comprising one oval serving bowl, one round serving bowl, eight dinner plates, eight salad plates, seven saucers, eight small serving bowls, and eight bread plates. 41 pieces.
Dinner plates, 10 inches
 Estimate: $5,000 - $7,000
 

Lot 241: MARILYN MONROE ASSORTED ASIAN INSPIRED TABLEWARE
 Including an earthenware Regout Timor plate, a set of four Nippon double-handled dishes decorated with birds, and a set of five Chinese soup spoons. Ten pieces total.
Largest, diameter, 8 inches
 Estimate: $800 - $1,200
 

Lot 242: MARILYN MONROE TWO ANTIQUE ASIAN CARVED SNUFF BOTTLES
 One decorated with dragons, the other with swords and instruments. (Both lacking stoppers.)
Height, 2 1/2 inches each
Estimate: $1,000 - $2,000 
 

Lot 352: MARILYN MONROE VINTAGE DAISY TRIPLE ICE CRUSHER
 With a hand crank. Model 16Q.
Height, 4 3/4 inches
 Estimate: $400 - $600
 

Lot 354: MARILYN MONROE ICE BUCKET
 A Walker & Hall, Sheffield, England, electroplate ice bucket with lion head ring handles. The bucket has seen so much use that the plating has worn off, and there are a good number of scratches on interior from bottles. Engraved design on side of bucket featuring flag with the letters "N C S."
8 1/4 by 7 1/4 inches
 Estimate: $1,500 - $2,000
 

Lot 355: MARILYN MONROE PRESSED GLASS MARTINI SHAKER
 With triple ridge design and metal lid.
Height, 9 1/2 inches
 Estimate: $400 - $600
 

Lot 356: MARILYN MONROE TWO VINTAGE LIQUEUR BOTTLES
 Two vintage bottles, the first a green glass bottle labeled "Dolfi Framberry," the second of colorless glass with giltmetal mounts marked "Jacquin's Forbidden Fruit Liqueur."
Taller, 12 1/2 inches
 Estimate: $600 - $800
 

Lot 357: MARILYN MONROE CASED AMBER GLASS DECANTER SET
 A mid-century decanter with crystal finial, five cordials, and a black ridged circular undertray.
Tallest, 10 inches
 Estimate: $1,200 - $1,800
 

Lot 359: MARILYN MONROE AMBER CUT-TO-CLEAR DECANTER
 Decorated with a hand cut floral and foliate pattern. Bottle marked "Handblown, Made in Czechoslovakia" with an affixed label marked "Bischoff Cordials/ Double Kummel."
Height, 15 inches
 Estimate: $600 - $800
 

Lot 360: MARILYN MONROE RUBY CUT-TO-CLEAR WINE DECANTER
 With grape and leaf decoration. (Lacking stopper.)
Height, 11 1/2 inches
 Estimate: $600 - $800
 

Lot 361: MARILYN MONROE ETCHED GLASS DECANTER
 A double-gourd shaped bottle with allover etched floral decoration and a sterling rim with marks for Birmingham, 1911-12. (Lacking stopper.)
Height, 11 inches
 Estimate: $600 - $800
  

Lot 362: MARILYN MONROE PAIR OF PRESSED GLASS DECANTERS
 With floral decoration, unmarked.
Height, 15 1/2 inches
 Estimate: $600 - $800
 

Lot 363: MARILYN MONROE ETCHED GLASS DECANTER
 With a handpainted parcel gilt base and rim and engraved floral and foliate design on the body.
Height, 8 inches
 Estimate: $600 - $800
  

Lot 364: MARILYN MONROE GROUP OF THREE ASSORTED DECANTER STOPPERS
 One is ruby flashed cut glass and the other two are faceted glass with cork plugs.
Tallest, 4 inches
 Estimate: $400 - $600
  

Lot 365: MARILYN MONROE STERLING COLLAPSIBLE TRAVEL CUP
 With hallmarks for Germany and "800." 2.47 troy oz.
Height, 3 1/4 inches
 Estimate: $600 - $800
 

Lot 366: MARILYN MONROE METAL COLLAPSIBLE TRAVEL CUP
 A base metal cup with metal loops on the rim.
Height, 3 1/2 inches
Estimate: $400 - $600
 

Lot 367: MARILYN MONROE BRONZE AND METAL MIDDLE EASTERN CUP
 With punctured design throughout.
Height, 3 3/4 inches
 Estimate: $400 - $600 
  

Lot 587: MARILYN MONROE PHOTOGRAPHS OF FIFTH HELENA DRIVE PROPERTY
 A group of four vintage black and white photographs, most likely of the kitchen and laundry room of the guest house at Monroe's Fifth Helena Drive property prior to her renovations and decorating.
8 by 10 inches
 Estimate: $300 - $500

Lot 588: MARILYN MONROE HEART-FORM COASTER
 On three feet, marked "HW Limited/ EPNS."
4 by 4 inches
 Estimate: $400 - $600
 

Lot 589: MARILYN MONROE GORHAM STERLING RETICULATED HEART DISH
 With scrolling bows and ribbons, marked "Sterling." 1.50 troy oz.
1 by 5 by 4 1/2 inches
 Estimate: $600 - $800
 

Lot 590: MARILYN MONROE COPPER HEART-FORM CANDLE HOLDER
 With a wooden ring handle, marked "Chase USA."
5 by 3 3/4 inches
 Estimate: $400 - $600
   

Lot 591: MARILYN MONROE SCALLOPED EDGE METAL CANDLE BASE
 With faux hallmarks. Together with a shell fragment.
Diameter, 3 inches
 Estimate: $400 - $600
 

Lot 592: MARILYN MONROE VINTAGE MOUNT WASHINGTON ROSE BOWL
 A hand decorated blue satin glass bowl with crimped rim.
Height, 3 3/4 inches; Diameter, 4 1/2 inches
 Estimate: $400 - $600
   

Lot 593: MARILYN MONROE VINTAGE FENTON HOBNAIL DISH
 A blue opalescent hobnail square dish.
4 1/2 by 4 1/2 inches
 Estimate: $400 - $600
 

Lot 594: MARILYN MONROE TRI-FORM TRINKET BOX
 With figural scenes and putti on the lid and Hanau-type marks. 7.25 troy oz., but not marked sterling.
1 1/2 by 5 1/4 by 4 3/4 inches
 Estimate: $800 - $1,200
 

Lot 598: MARILYN MONROE VINTAGE GLO-MAR BRASS SHELL DISH
 A scallop shell trinket dish, marked on the base.
4 3/4 by 4 1/2 inches
 Estimate: $400 - $600

Lot 955: MARILYN MONROE GREEN GLASS CARAFE
 A Marilyn Monroe owned green-tinted mallet form glass carafe. A Christie's lot sticker is affixed to the underside.
Height, 10 1/2 inches
PROVENANCE Partial Lot 406, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $3,000 - $5,000
  

Livres & Magazines
Books & Magazines

Lot 12: MARILYN MONROE OWNED MAGAZINES
 A group of nine gossip magazines owned by Marilyn Monroe and packed into a trunk as she was moving out of her Roxbury, Connecticut, home when she and Arthur Miller were separating. Monroe is featured on most covers and in many articles; titles of magazines include 'Inside Hollywood' (May 1960), 'Hush-Hush' (November 1960), 'Confidential' (September 1961), 'Movie Fan' (July 1954), 'Untold Secrets' (October 1961), 'Screenland' (July 1962), 'Movie World' (March 1953), 'Movie Life' (May 1948) and 'Kroniek Van De Week' (March 1949). The original consignor was Ralph Roberts, Monroe's masseuse and confidant.
Largest, 14 ¼ by 10 ¼ inches
PROVENANCE: Partial Lot 22, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $800 - $1,000
  

Lot 155: MARILYN MONROE BOOK OF POETRY
 A hardcover copy of Good Fellowship, a book of poetry compiled by Samuel Francis Woolard, 1909, by The Goldsmith-Woolard Publishing Co., Wichita, Kansas. Faint pencil marking on inside front cover reads, "MM 12/53." A number of page corners are creased as they had been dog eared. Additionally, some passages have brackets faintly drawn around them, including: "My character may be my own, but my reputation belongs to any old body that enjoys gossiping more than telling the truth"; "Here's to the woman who has a smile for every joy, a tear for every sorrow, a consolation for every grief, an excuse for every fault, a prayer for every misfortune, an encouragement for every hope. - Sainte Foix"; "Here's to the only true language of love: A Kiss," among others.
8 1/8 by 4 1/4 inches
 Estimate: $2,000 - $3,000
  

 Lot 268: MARILYN MONROE CUSTOM BOUND COPY OF ARTHUR MILLER'S COLLECTED WORKS
 A red leather clamshell box with gilt designs, title on spine and a simple "MM" on the lower right corner. The ivory silk satin lined box contains a matching red leather bound volume with "MM" on cover, gilt edged pages and chartreuse silk satin boards and end papers. Special dedication page reads, "This first copy/ of the first edition/ has been specially hand-bound/ for Marilyn." Arthur Miller's Collected Plays, The Viking Press, copyright 1957. Bound by Gerhard Gerlach, stamped in gold inside back cover.
9 1/2 by 6 3/4 inches
 Estimate: $40,000 - $60,000
     
     
 
  

Lot 106: MARILYN MONROE COOKBOOK
 A hardcover copy of The New Fannie Farmer Boston Cooking - School Cookbook, ninth edition, 3rd printing 1954 by Little Brown and Company, Boston. The encyclopedic cookbook also contains an index card with newspaper clippings stapled to the card featuring recipes for "Hearty Hot Lettuce Salad" and "Dinner with Lamb" and a small four-page booklet torn from a magazine featuring recipes for "Frankfurter Spaghetti," "Beefsteak Bundles," "Beef and Potato Loaf," among others. Page 53 features acid stains left by a piece of newspaper torn from the drama section of the Los Angeles Times dated December 26, 1956, used to mark the page about planning buffet meals for parties.
8 1/2 by 5 3/4 inches
 Estimate: $1,500 - $2,500
 
   

Lot 107: MARILYN MONROE MEXICAN COOKBOOK
 A soft cover spiral-bound copy of Elena's Famous Mexican and Spanish Recipes, copyright 1944 Elena Zelayeta, 30th printing June 1, 1950, by Dettners Printing House, San Francisco. This best selling cookbook by Zelayeta is credited with introducing traditional Mexican and Spanish cooking to many American households.
9 by 6 1/2 inches
 Estimate: $1,500 - $2,500
 

Lot 108: MARILYN MONROE COOKBOOK
 A hardcover copy of The Household Searchlight Recipe Book, 13th printing 1940 by The Household Magazine, Topeka, Kansas. The pages are indexed in tabs by chapter, including chapters on "Fish and Wild Game," "Canning and Preserving," "Pastries," "Soups," and many others. Some cooking stains to the pages in the meat section, whose index tab has been lost.
10 1/2 by 7 1/4 inches
 Estimate: $800 - $1,200
 

Lot 110: MARILYN MONROE HOMEMAKING BOOK
 A hardcover copy of the Searchlight Homemaking Guide, 2nd edition 1949 by Household Topeka, Kansas. The pages are indexed in tabs by chapter, including chapters on "Etiquette," "Exercise and Good Looks," "The Sickroom," "Physical Care of the Baby," "Building the Home," "Floors Woodwork and Walls," "Buying Fabrics," "The Laundry," "Destroying Household Pests," and others. A hole has been drilled through the upper margin starting at the back cover of the book and going through the last 60 pages.
10 1/4 by 7 inches
 Estimate: $800 - $1,200
 

Lot 868: MARILYN MONROE OWNED BOOK
 A Marilyn Monroe owned copy of The Open Mind by J. Robert Oppenheimer (New York: Simon and Schuster, 1955). Christie’s bookplate affixed to endpaper. The hardcover book is accompanied by a paper dust jacket and a lotted Christie's bookmark.
5 3/4 by 8 1/2 inches
PROVENANCE Partial Lot 563, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $1,000 - $2,000

Lot 869: MARILYN MONROE OWNED BOOK
 A Marilyn Monroe owned copy of Everyman’s Search by Rebecca Beard (New York: Harper & Brothers, 1950). Christie’s bookplate affixed to endpaper. The hardcover book is accompanied by a paper dust jacket and a lotted Christie's bookmark. Additionally stamped on the title page “Women’s League Library/ Old First Church/ Huntington, N.Y.”
5 3/4 by 8 1/2 inches
PROVENANCE Partial Lot 563, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $1,000 - $2,000
 

Lot 870: MARILYN MONROE OWNED BOOK
 A Marilyn Monroe owned copy of The Devil's Advocate by Morris L. West (New York: William Morrow & Company, 1959). Christie’s bookplate affixed to endpaper.
5 1/2 by 8 1/4 inches
PROVENANCE Partial Lot 546, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $1,000 - $2,000
   

Lot 871: MARILYN MONROE OWNED BOOKS
  A copy of Karl A. Menninger's Man Against Himself (New York: Harcourt, Brace and Company, 1938) and Dr. Joseph Murphy's The Miracles of Your Mind (San Gabriel, California: Willing Publishing Company, 1953) from the personal collection of Marilyn Monroe with a Christie's auction bookplate on the front inside covers.
Larger, 8 3/4 by 6 inches
PROVENANCE Partial Lot 559, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $2,000 - $3,000
   

Lot 905: MARILYN MONROE PRAYER BOOK FOR JEWISH WORSHIP
 A Marilyn Monroe Union Prayer Book for Jewish Worship. The cover is stamped “Marilyn Monroe Miller” and inscribed to Monroe “For Marilyn – with all of my best wishes and deepest respect – fondly – Bob.” Christie’s bookplate is affixed to the interior of the front cover.
6 3/4 by 5 by 1 inches
PROVENANCE Lot 9A, “The Personal Property of Marilyn Monroe,” Christie’s, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $20,000 - $40,000
 

Lot 584: MARILYN MONROE HORTICULTURE MAGAZINES
 Three copies of Horticulture, "America's Authentic Garden Magazine," dated October 1960, January 1961, and June 1962. Each magazine has typed adhesive labels addressed to Monroe, two reading "Mrs. Marilyn Miller" and the third "Miss Marilyn Monroe," all to her 444 East 57th Street address. The October 1960 issue has this address crossed out and "Beverly Hills Hotel/ Beverly Hills, California" written beside the label. Another issue of Horticulture magazine is visible on the coffee table of the sunroom in Monroe’s Brentwood home in the photograph on the right.
11 by 8 1/4 inches
 Estimate: $1,000 - $1,500
 
 

Lot 514: MARILYN MONROE SCULPTURE BOOK SIGNED BY THE ARTIST
 A copy of The Sculpture of William Zorach, by Paul S. Wingert, Pitman Publishing Corp., New York 1938 signed by Zorach to Marilyn Monroe and Arthur Miller January 1, 1957. Monroe owned one of Zorach's sculptures titled "Young Woman." The book is accompanied by a letter from The Downtown Gallery dated April 24, 1957, regarding this small sculpture, which Monroe had "purchased just before Christmas," to ensure that Monroe received the piece after lending it to the University of Illinois for an exhibition.
Book, 10 by 7 inches
 Estimate: $400 - $600
   

 Récompenses
Awards

Lot 26: MARILYN MONROE NEW FACES AWARD
 A Detroit Press New Faces Award, 1952, presented to Marilyn Monroe by Hollywood gossip columnist Hedda Hopper. The award is designed as a wall mirror of birch wood with a leather handle and surrounded is by fourteen electric light sockets. The plaque is engraved “Marilyn Monroe Winner-First Place Detroit Free Press New Faces Award 1952.” Accompanied by a copy of the 1999 Christie's The Personal Property of Marilyn Monroe auction catalog.
22 by 18 by 2 inches
PROVENANCE: Lot 312, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $20,000 - $40,000
   
   

Lot 832: MARILYN MONROE 1953 AWARD
 A Marilyn Monroe trophy honoring Monroe as the 1953 World Film Favorite by The International Press of Hollywood.
Height, 23 inches
PROVENANCE Lot 320, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
 Estimate: $20,000 - $30,000 
    

 Lot 856: MARILYN MONROE "I'M GONNA FILE MY CLAIM" RECORD AWARD
 An in-house record award presented to Simon House Music to commemorate the sale of more than 50,000 copies of the RCA Victor record release of “I’m Gonna File My Claim” as performed by Marilyn Monroe. Monroe performed the song in her film River of No Return (20th Century, 1954).
23 by 17 3/4 inches, framed
 Estimate: $6,000 - $8,000
 

 Divers
Various

 Lot 2: MARILYN MONROE ST. CHRISTOPHER PENDANT
 A silver tone St. Christopher pendant in the style of a wax seal given to Ralph Roberts by Marilyn Monroe. The religious medal is designed with the likeness of the patron saint. A neck chain loop is connected to the top of the medallion. According to Roberts, Natasha Lytess, Monroe's early acting coach, gave her the medal. Monroe gave the medal to Roberts together with a handwritten postcard in which she confirmed for him that she wasn't pregnant. When she gave Roberts the medal she stated, "I've outgrown Natasha." Accompanied by a copy of a letter from Roberts.
Diameter, 1 inch
PROVENANCE: Partial Lot 334, “Film & Television Memorabilia,” Christie's East, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
 

Lot 11: MARILYN MONROE OWNED BALLERINA PAPERWEIGHT
 A paperweight fashioned after a ballerina, from Marilyn Monroe's New York home, located at 444 East 57th Street, gifted to Ralph Roberts. According to Roberts, the paperweight was displayed next to a photo of Broadway star Marilyn Miller in a similar ballerina pose as the paperweight. Miller is believed to have been the inspiration for Norma Jeane's name change to "Marilyn Monroe," and Monroe herself later became "Marilyn Miller" after marrying playwright Arthur Miller. In a letter to the consignor, Roberts wrote Monroe stated, "That's the other Marilyn." Accompanied by a copy of a letter from Roberts.
Height 5 inches
PROVENANCE: Partial Lot 340, “Film and Television Memorabilia,” Christie's East, New York, Sale number 7821, December 18, 1995
 Estimate: $300 - $500
 

Lot 13: MARILYN MONROE PRESCRIPTION BOX
 A small box prescribed by Dr. Davis dispensed by Hilp’s Drug Store in Reno, Nevada, for “Mrs. Miller” and dated 09/15/60. The prescription occurs while Monroe was in Nevada working on her final completed film, The Misfits (United Artists, 1961).
2½ by 1½ inches
 Estimate: $800 - $1,200
   

Lot 14: MARILYN MONROE PRESCRIPTION PILL BOTTLE
 A prescription pill bottle prescribed by Dr. Wechsler and dispensed by Pollock-Bailey New York for Mrs. A. Miller, dated 3/15/60. The prescription occurs while Monroe was working on Let’s Make Love (20TH Cent., 1960).
Height, 2½ inches
 Estimate: $800 - $1,200

Lot 44: MARILYN MONROE GIFTED MONEY CLIP
 A sterling silver money clip, engraved "To Harry" with the engraved signature in Monroe's hand "Love and Kisses/ Marilyn Monroe." The clip is stamped "Sterling CJS" to the reverse. 'Harry' is Harry Roberts, a soundman at 20th Century Fox. Originally, consigned by Harry Hooten, the grandson of Harry Roberts.
1 by 2 1/2 inches
 Estimate: $3,000 - $5,000
  

Lot 62: MARILYN MONROE 34TH BIRTHDAY PARTY DOLL
 A small plastic doll created in the likeness of Marilyn Monroe and distributed to guests at a party for Monroe's 34th birthday on the set of Let's Make Love (20th Century, 1960) in 1960.
Height, approximately. 3 inches
 Estimate: $1,000 - $2,000
 

Lot 68: MARILYN MONROE SOUVENIR
 A set of keys with a brass metal tag, originally sold as a novelty souvenir. The tag reads “M. Monroe, Dressing Room 5.”
6 ½ by 2 inches
 Estimate: $250 - $500
   

Lot 95: MARILYN MONROE VINTAGE WOOD SKI
 A single wood ski with metal binding, with a label marked "Made in Czechoslovakia," and another marked "White Mountain Ski Shop New York."
Length, 65 1/2 inches
 Estimate: $600 - $800
 

Lot 210: MARILYN MONROE CAMERA
 A Minolta-16 subminiature 16mm camera in a brown leather case, with matching wrist strap, together with original blue box and instruction book. The Minolta model 16 was first introduced in 1957.
Camera, 1 5/8 by 3 1/8 inches
 Estimate: $4,000 - $6,000
   

Lot 216: MARILYN MONROE JOE DiMAGGIO ELECTRIC RAZORS
 Two Norelco electric Speed shavers with zipper closure Norelco case; top leather covering has become separated from the cardboard box lid. Together with power cord, one plastic shaver cap, three cleaning brushes, two loose shaver sharpeners, one sharpener in original unopened plastic bag with instruction paper and one loose sheet of sharpener instructions.
Shaver, 3 1/2 by 4 inches
 Estimate: $200 - $300
   

Lot 246: MARILYN MONROE VINTAGE MINI PINECONE TREE GIFTED FROM JOE DIMAGGIO TO MARILYN MONROE
 A mini brown wire form holiday tree made of pinecones and other tree items, dusted with glitter. Wrapped in a black tulle base. The tree was purportedly a gift from Joe DiMaggio to Marilyn Monroe one Christmas when he discovered that she did not have a tree to celebrate the holidays.
Height, 23 inches
 Estimate: $2,000 - $3,000
  

Lot 274: MARILYN MONROE TYPEWRITER
 A Royal Quiet De Luxe model typewriter in grey with tweed style hard carrying case. Partial sticker on side reads "San Leandro Co. Sales, Repairs 614 E. 14th Street."
13 1/2 by 7 by 14 inches
 Estimate: $800 - $1,200
   

Lot 277: MARILYN MONROE VANITY CASE
 A tan leather suitcase by Mark Cross, England with hinged front panel that opens to access vanity compartment containing two tone blue vanity set including hand mirror, two empty glass bottles, glass powder container, glass jar containing hairpins, glass jar containing soap powder, hairbrush, garment brush, long glass tube bottle, small leather box containing triangular tube of lipstick, nail file, and hair comb. The top of case has custom stamped "A.L." Mark Cross is considered among the first American luxury brands that expanded its operations overseas with a store in London. It is perhaps most famous for the overnight bag it designed for Grace Kelly to use in Rear Window.
14 by 20 3/4 by 7 inches
 Estimate: $1,500 - $2,500
   
 

Lot 281: VINTAGE MARILYN MONROE SUITCASE
 A fabric lined luggage case with leather edging and metal hardware.
With a label reading "Royal Gascogne Bordeaux/ Garage dans L'Hotel."
8 by 25 1/4 by 14 1/2 inches
 Estimate: $800 - $1,200
   

Lot 348: MARILYN MONROE CHINESE STERLING FAN SHAPED PILLBOX
 A pillbox, the lid with a figure of a dancer, a fan with Chinese characters, and a hand. Marked "Sterling" and "Made in {...}," (partly effaced but believed to read "China"). Weight, .84 troy oz.
3/4 by 2 1/4 by 1 1/4 inches
 Estimate: $800 - $1,200
 

Lot 349: MARILYN MONROE VINTAGE BRASS PILLBOX
 Marked "M.R. Morais," the top inset with a 500 reis coin reading "7 de Setembro 1 Centenario da Independencia 1822-1922"
Diameter, 1 1/2 inches
 Estimate: $600 - $800
 

Lot 63: MARILYN MONROE GIFTED BOX
 A rectangular silver tone presentation cigarette box gifted from Marilyn Monroe to Frankie Vaughan. The interior of the lid is in engraved Monroe's handwriting “Dear Frankie, It was really wonderful working with you. Best always, Marilyn.“ The box was gifted to Vaughan by Monroe at the end of filming Let's Make Love (20th Century, 1960).
Approximately 9 ½ by 4 by 1 ½ inches
PROVENANCE: Lot 132, "Film and Entertainment,” Christie's, London, Sale number 5515, December 14, 2004 
Estimate: $4,000 - $6,000
 

Lot 452: MARILYN MONROE MINAUDIERE
 A ladies evening minaudiere with original box reading "Pandora by Wadsworth." The small evening compact features three compartments. When opened, the center features a loose powder compartment and original cotton buffer with mirror. The top compartment features a lipstick holder, with a tube of lipstick, a clear plastic comb and two loose Mercury dimes dated 1943 and 1945. The lower compartment contains eight Philip Morris cigarettes. Each end of the gold metal case is embellished with a citrine crystal floret. The compact is accompanied by a black velvet and white silk carrying case terminating in a black tassel. The case features a gold metal ring that closes down below the wrist to hold the case in place.
Case, 4 1/4 inches
 Estimate: $20,000 - $30,000
 
  
 

Lot 143: MARILYN MONROE MARGIT TEVAN BRONZE CIGARETTE BOX
 A bronze lidded box with figural Old Testament scenes on the lid and partition inside. Marked "Hungarian Handmade" on the bottom.
1 by 5 by 5 1/2 inches
 Estimate: $1,000 - $2,000
  

Lot 847: MARILYN MONROE CIGARETTE CASE GIVEN TO JOE DiMAGGIO
 A sterling silver cigarette case given by Marilyn Monroe to Joe DiMaggio. The front of the case is engraved “Memory of Japan” with a landscape scene. The back of the case is engraved “Joe” at the center and “Love Marilyn” at lower right.
3 1/4 by 7 inches
 Estimate: $10,000 - $20,000 
 
 

Lot 214: MARILYN MONROE JOE DiMAGGIO ACCESSORY CASE
 A burgundy alligator jewelry case with hinged lid, removable tan suede divided tray that fits into a partitioned interior with matching leather pad. The lid to the case features gold metal letters reading "J Dim" and a front three-digit combination lock closure with "555" code, a repetition of DiMaggio's Yankee number, 5.
20 1/2 by 11 1/2 by 3 inches
 Estimate: $3,000 - $5,000
 

Lot 951: MARILYN MONROE UNEDITED AUDIO RECORDING OF "RUNNING WILD" AND "I WANT TO BE LOVED BY YOU"
 An unedited audio recording of Marilyn Monroe performing multiple takes of the song “Running Wild” and “I Want to be Loved by You.” Both of these songs are performed in the film Some Like It Hot (UA, 1959). Recorded on a reel of 1/4-inch magnetic acetate tape housed in a Maestro reel box. The reel comes from the estate of Myrton Blackler who owned and operated Studio 7612, a recording studio in Hollywood. In the late 1950s and early 1960s, Blackler was hired by MGM for recording sessions, including Monroe’s. On the approximately 30-minute recording, an unknown person can be heard giving Monroe direction in the background. The tape includes a CD copy of the recording.
Reel diameter, 7 inches
 Estimate: $10,000 - $20,000
 

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