Documents papiers

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

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

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

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

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

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

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

 Objets Divers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



 

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

Photographies

lots 925 à 954: Photographies de Joe Jasgur

  lots 955 à 960: Diverses Photographies

 lots 961 à 965: Photographies de 1954

 

lots 966 à 975: Photographies de 1954, Corée

lots 976 à 994: Diverses Photographies
 

lot 998: 'The Prince and Showgirl' lobby cards

Divers

lot 996: Marilyn and Arthur photograph signed by both

lot 997: Jean Louis Costume Sketch

lot 1000: Golden Dream Calendar
 

lot 1001: Hand-Painted Welcome to Marilyn in Korea

lot 1002: "Life" magazine signed by Marilyn
 

Documents papiers

 lot 995: Marilyn personally hand-annoted script
 

Vêtements et Accessoires

 lot 999: Marilyn copper guipe and rhinestone Juliet

lot 1003: Marilyn Ceil Chapman Evening Dress

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

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

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

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

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

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

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

Estimate: $30 000 - $50 000 

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

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

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

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

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

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

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

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

lot n°560: MARILYN MONROE, MILTON GREENE ATTORNEY LETTER 1957
A copy of a 1957 letter written on attorney Irving Stein's stationery following the dissolution of the partnership between Marilyn Monroe and Milton Greene. The letter is written to another lawyer and reads in part, "I have asked Milton Greene for a list of the items of his property which Marilyn now has...In addition, Milton reminds me that Marilyn has in her possession, many items of personal property belonging to the Corporation." Marked along left margin "COPY" in red letters. Pencil notations throughout.
Estimate: $200 - $400

lot n°562: MARILYN MONROE LETTER FROM WILLIAM TRAVILLA
A letter to Marilyn Monroe from designer Bill Travilla dated April 26, 1960 inviting Monroe to a collection preview. On verso in are notes in response detailing why she was unable to attend - not in Monroe's hand.
Estimate: $1,000 - $2,000
 

lot n°563: "THE MISFITS" ORIGINAL SCRIPT
A script from The Misfits (Seven Arts Productions, 1961) originally owned by composer Aaron Copland. The script, written by Arthur Miller, is marked "Revisions - September, 1959." The script has a black cover that is slightly torn, script shows signs of age. Copland gave the script to his assistant in the mid-1980s. 11 1/8 by 8 1/2 inches
Estimate: $800 - $1,200

lot n°565: MARILYN MONROE GOLDEN GLOBES CERTIFICATE
A 19th Annual Golden Globe Awards certificate awarded to Marilyn Monroe for the Henrietta Award "World Favorite Actress."  Certificate reads "Thank you/ MARILLYN MONROE/ WORLD FAVORITE ACTRESS/ Hollywood Foreign Press Association/ 19th Annual Golden Globe Awards."  Mounted to board.
 

Exposition 'Marilyn Remembered' du 1er juin au 31 août 2010 au Hollywood Museum, aux Etats-Unis. 

Exhibition 'Marilyn Remembered' from June 1 to August 31, 2010 at the Hollywood Museum, United States.

 Le catalogue (photo ci-contre) est consultable en ligne sur blurb

> Cover et Back cover
 

vêtements personnels
costumes de films
chaussures
scénarios et scripts
livres ayant appartenus à Marilyn
mobilier
reçus de banques
documents divers

> pages du catalogue
  

   

   
 
 

Plus d'infos sur l'expo: Expo Marilyn Remembered à Hollywood

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

  Enchères "Summer Entertainment Sale"
21 juin 2008
- Partie 3 : Effets personnels

> 21/06/2008, JULIEN'S, "Summer Entertainment Sale": Catalogue

Vêtements et Chaussures

Lot n°346 : Robe d'été ayant appartenue à Marilyn Monroe.
De couleur bleue turquoise à carreau blanc, petite robe d'été avec de petites poches à l'avant, de marque: "Serendipity 3", sans indication de taille.
PROVENANCE Lot 116 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation:$1000 à $2000

Lot n°347 : Blouse blanche en cotton ayant appartenue à Marilyn Monroe.
De style oxford, marque Gucci et "Made in Italy" indiqué sur l'étiquette.
PROVENANCE Lot 116 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $600 à $800

Lot n°348 : Jupe blanche en satin ayant appartenue à Marilyn Monroe.
Jupon couleur crème, étiquetté: “Virginia Wallace 26”.
PROVENANCE Lot 116 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $800 à $1200

Lot n°349 : Veste de soirée en velour noir ayant appartenue à Marilyn Monroe.
Création de Jack Hanson qui travailla pour l'enseigne Jax (indication "Jax" sur l'étiquette). Hanson était un ex joueur de baseball de l'équipe Los Angeles Angels. Il emprunta $500 et installa sa propre boutique à Balboa, en Californie. Il ouvrit une seconde boutique à Beverly Hills et rencontra le succès avec de célèbres clientes: Marilyn, Natalie Wood, Joan Collins, et Janet Leigh. Ses vêtements coûtaient très chers et étaient donc reservés à une certaine classe sociale.
PROVENANCE: Lot 116, The Personal Property of Marilyn Monroe, Christies, New York, Thursday, 28 October 1999.
Estimation: $1000 à $2000

Lot n°350 : Une paire de chaussures ayant appartenue à Marilyn Monroe.
De la marque Creazioni Dal Co, numéroté #1619 à l'intérieur, sans indication de pointure.
PROVENANCE Lot 282, The Personal Property of Marilyn Monroe, Christie’s, New York, Thursday, 28 October 1999.
Estimation : $1000 à $2000

Lot n°351 : Une paire de chaussures ayant appartenue à Marilyn Monroe.
De la marque Creazioni Dal Co, numéroté #38hl à l'intérieur, sans indication de pointure.
PROVENANCE Lot 282, The Personal Property of Marilyn Monroe, Christie’s, New York, Thursday, 28 October 1999.
Estimation : $1000 à $2000

Accessoires

Lot n°300 : Deux chapeaux portés par Marilyn Monroe et Jane Russel - dans le film Gentlemen Prefer Blonds (Les Hommes préfèrent les Blondes) en 1953, où la scène fut coupée au montage.
A l'intérieur de chaque chapeau, figure une étiquette d'identification: dans le premier "1-25-4-4294 M. Monroe A698-67" et le deuxième "1-25-4-4293 J. Russell A-98-66".
Estimation : $6000 à $8000

Lot n°337 : Un chapeau en laine et un béret noir ayant appartenu à Marilyn Monroe.
Etiquette intérieure: “Genuine Beret Basque 100% wool Made In France,” et le chapeau: “béret ELO impermeable”; marqué de deux tailles: 6 7/8 and 10 1/2 - PROVENANCE Lot 116 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation:$600 à $800

Lot n°338 : Un chapeau velour noir ayant appartenu à Marilyn Monroe.
Sans indication de taille. 
PROVENANCE Lot 116 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation:$600 à $800

Lot n°339 : Un chapeau cloche noir ayant appartenu à Marilyn Monroe.
Sans indication de taille. En laine mohair, de Jay Thorpe New York.
Etiquette intérieure: "Helios HB body made in Austria".
PROVENANCE Lot 165 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $600 à $800

Lot n°340 : Un voile en filet noire à mettre sur la tête ayant appartenu à Marilyn Monroe.
PROVENANCE Lot 165 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $600 à $800

Lot n°341 : Une petite pochette à main en velour rouge ayant appartenu à Marilyn Monroe.
Servant de boîte à pillules, avec des petits coeurs pendentifs.
PROVENANCE Lot 165 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $600 à $800

Lot n°342 : Un dessus de tête (sorte de petit chapeau) en plume noir ayant appartenu à Marilyn Monroe.
PROVENANCE Lot 165 "The Personal Property of Marilyn Monroe" de la vente de Christies New York, du 28 Octobre 1999.
Estimation: $600 à $800

Lot n°344 : Un foulard ayant appartenu à Marilyn Monroe.
Avec des inscription sur les sorties parisiennes (écrits en français) sur les bars, restaurants, théâtre et divertissement.
PROVENANCE vente de Christies de 1999 - puis vente Juliens Auction lot 101 en 2005.
Estimation: $400 à $600

Lot n°345 : Un foulard noir et blanc ayant appartenu à Marilyn Monroe.
Quadrillage avec motif cheval et coq, signé Farrar.
PROVENANCE Lot 116 de la vente de Christies de 1999
Estimation: $200 à $300

Documents papiers

Lot n°294: Chèque signé par Marilyn Monroe
- pour un montant de $2.00 adressé à "Barney's Beanery" daté du 20 novembre 1950. En dessous de la signature de Marilyn, est indiqué son adresse "1309 N. Harper Ave. LA 46" où elle vécut en 1950-1951. On dit que Barney's Beanery, le bar légendaire d'Hollywood-Ouest, servait le plat favori de Marilyn: du chili.
Estimation : $600 to $800

Lot n°295: Chèque signé par Marilyn Monroe
- en encre bleue - pour un montant de $16.25 payé à "J.J. Haggarty Stores" le 23 novembre 1951.
Estimation : $600 à $800

Lot n°296: Relevé de compte Marilyn Monroe de la Banque d'Amérique
- "Bank of America" sur Laurel-Sunset Branch, Hollywood, CA pour Marilyn Monroe. Le relevé comprend l'intervalle de dates du 26 octobre 1951 au 24 novembre 1951, pour un montant total de $267.62. L'adresse de Marilyn est 611 N Crescent Drive, Los Angeles, CA.
Estimation : $200 à $400

Lot n°307: Contrat Marilyn Monroe
- d'enregistrement pour la Twentieth Century Fox et RCA de "There's No Business Like Show Business," daté du 14 octobre 1954. Marilyn ne voulait pas faire ce film, mais accepta finalement en trouvant un compromis avec la Fox, pour tourner "Seven years Itch" sous la direction de Billy Wilder.
Estimation : $1000 to $2000

 Lot n°308: Telegram Marilyn adressé à Leonard Lyons
- Lyons a écrit une rubrique “The Lyon’s Den” pour le New York Post de 1934 à 1974. Marilyn Monroe lui envoya un télégramme: "Dear Leonard: Im sorry I won’t be able to go to Harrisburg as I am still under Doctor’s care. Thanks for thinking of me. Best Wishes, Marilyn Monroe". Portant le caché “Mail Room, 23 novembre 1954, 14h 39min”
Estimation : $400 à $600

Lot n°310: salaire de Marilyn Monroe de 1954
- ("1099 Tax") adressé à Marilyn Monroe par "Radio Corporation of America" pour un montant de $1035.93 (équivaut environ à $7,000 aujourd'hui). Marilyn était en contrat avec RCA et avait enregistré en 1954 la chanson "River of No Return" qui apparut dans les hits - charts single au mois de juillet de la même année.
Estimation : $600 à $800

Lot n°320: Contrat signé par Marilyn Monroe avec Warner Bros Pictures Inc
- Une page du contrat signé par Marilyn et l'autre page attaché “Exhibit A” pour Warner Brothers Pictures, Inc. daté du 7 mai 1957. Marilyn donna son accord pour que son nom puisse être utilisé à l'écran pour "Greeneyes".
Estimation: $1000 à $2000

Lot n°322: Chèque Marilyn Monroe et Arthur Miller
- de la "First National City Bank" de New York du compte commun Marilyn Monroe et Arthur Miller. Miller et Monroe furent mariés de 1956 à 1961.
Estimation : $800 à $1200

Lot n°326: Facture et dépot de bilan
- Un groupe de 7 factures de "the Colonial Trust Company in New York, NY" d'environ 1958, faisant référence au dépôt de bilan de sa société "Marilyn Monroe Productions Inc."
Estimation : $600 à $800

Lot n°329: Une lettre de George Chasin adressée à Marilyn Monroe
- datée du 25 septembre 1959, écrite à "MCA Artists LTD. stationary" et adressée à "Mrs. Arthur Miller." Chasin était le représentant de Marilyn jusqu'à sa mort, mais il s'occupa aussi de Clark Gable, Montgomery Clift et Gregory Peck.
Estimation : $1000 à $2000

Lot n°333: Script original de Lets Make Love (Le Milliardaire)
- couverture bleue, daté du 15 janvier 1960. Dans le coin en haut à droite, on peut lire: "second revised shooting FINAL". C'est Arthur Miller qui s'occupa de la réécriture du rôle tenu par Marilyn, car elle n'appréciait pas la version originale.
Estimation: $4000-$6000

 Lot n°336: Une facture de la boutique Saks sur la 5ème Avenue
- de Beverly Hills, connue pour être l'un des magazins préférés de Marilyn. Dans la partie cliente, on peut lire l'adresse donnée: "Marilyn Monroe 444 E 57th St. New York" qui était celle de sa maison de production. Facture datée du 22 mars et fait été de 3 crayons pour un montant de $3.42. Il s'agit sans doute de crayons de maquillage car le reçu est signé par George Masters, un coiffeur et maquilleur de renommée dans le milieu artistique, qui travailla avec la star.
Estimation : $600 à $800.

Lot n°356: Une facture d'Elizabeth Arden signée par Marilyn Monroe
- facture numéro 25627-5 du Salon d'Elizabeth Arden de Beverly Hills, du 5 mai 1961, (la veille de son anniversaire, ses 35 ans). Marilyn y a reçu un traitement spécial visage par Lucille d'un montant de $20.00. L'adresse de Marilyn donnée est “Beverly Hills Hotel, Bev Hills.”
Estimation: $800 à $1200

Lot n°357: Une facture d'Elizabeth Arden signée par Marilyn Monroe
- facture numéro 5868-17 du Salon Elizabeth Arden de Beverly Hills, du 13 janvier 1962. Marilyn y a reçu un traitement de manucure à $6.00 et une pédicure à $9.00 effectuée par Cecile.
Estimation: $800 à $1200 

Lot n°363 :  Une facture d'une boutique d'alcool
- Deux reçus provenant de "Luria's Wine and Spriits, 1217 Madison Ave., New York City". La facture liste la cliente "Marilyn Monroe Prod." à l'adresse "Marilyn Monroe Prod. 480 Lexington Ave. N.Y.C." Le montant s'élève à $129.85 et un crédit $3.08.
Estimation: $800 à $1200

Lot n°364 : Une facture magazin de liqueurs
- venant de "Luria's Wine and Spriits, 1217 Madison Ave., New York City". La facture indique la cliente "Marilyn Monroe Prod. 480 Lexington Ave" et l'adresse de livraison "Miss Marilyn Monroe 2 Sutton place South N.Y.C. Apt. 8E" qui était la résidence new-yorkaise de Marilyn entre 1955-1956. La note relève 12 bouteilles d'alcoll, dont 5 bouteilles de Thornes Scotch, et le montant total atteint $63.40.
Estimation: $600 à $800

 Lot n°365 : Un reçu de Liqueur
- provenant de Jurgensen's, 353 North Rodeo Drive, Beverly Hills, pour Marilyn Monroe, daté du 2 avril 1962. Le reçu liste douze bouteilles d'alcool dont 6 de son champagne préféré, le Dom Perignon. Le reçu est en 2 parties: un en papier et un autre, sa copie en carbone, où figure l'adresse de Marilyn "12305 5th Helena Dr. Brentwood". L'adresse de livraison est listée à"New York City" et le montant s'élève à $114.87.
Estimation: $800 à $1200

Lot n°377 : Chèque signé par Marilyn Monroe
- de la banque "City National Bank of Beverly Hills California" à l'ordre de Eunice Murray, daté du 3 août 1962, pour un montand de $124.10.
Estimation : $600 à $800

Lot n°378 : Dernières volontés et Testament de Marilyn Monroe
- Une copie conforme de trois pages du testament de Marilyn administré par Weisberger & Frosch (New York) un an avant sa mort, daté du 14 janvier 1961. Les bénéficaires de l'héritage: sa demie-soeur pour $10,000.00, sa secrétaire et amie May Reis reçut la même somme, Le couple Norman et Hedda Rosten reçurent $5,000.00 et sa mère Gladys Baker a reçu $5,000.00 par an pour qu'elle reste dans une institution digne.
Estimation : $3000 to $5000

Livres d'années

Lot n°274 : Marilyn Monroe High School Year Book 1942
le livre de photographies scolaires de l'année 1942, où Norma Jean Baker, future Marilyn Monroe, fréquentait l'University High School de Los Angeles, durant la moitié de l'année 1942. Sa photo figure en page 48 (au centre), alors qu'elle suivait les cours du 10ème grade, et était âgée de 15 ans. Elle quitta l'école en février 1942, pour se marier à ses 16 ans avec Jim Dougherty.
Estimation: $1000 to $2000

Lot n°283 : BLUE PRINT GEORGIA TECH YEARBOOK 1953 -
Marilyn Monroe figurait dans le livre de l'année 1953 de "Georgia Tech", où sa photo apparaît en page 398, portant un sweat "T" de Georgia Tech. Marilyn fit la couverture du magazine Look, avec ce sweat et le magazine avait donné sa permission à Georgia Tech pour publier la photo dans leur livre d'année.
Estimation: $1000 to $2000

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

Scudda Hoo! Scudda Hay!

Secrets de tournage ... et anecdotes 
 
The Secrets of filming ... and anecdotes

• "Scudda Hoo! Scudda Hay!" est le cri de ralliement du muletier à ses mulets.
  Les deux mules du film, surnommées Crowder et Moonbeam (Fouleur et Rayon de lune, en français) viennent de Fort Worth, au Texas, et ont été selectionnées après un casting qui a duré cinq mois et la réception de 1 200 lettres d'éleveurs.
  Il n'a pas été facile ni très amusant pour les acteurs de travailler avec des mules. Walter Brennan explique: "Pour la première fois de ma carrière à l'écran, j'improvise le dialogue. Nous ne pouvons pas écrire de dialogue car dans la scène, nous devons ajuster nos lignes aux mules." Quand à Lon McCallister, il rapporte que cela peut être dangereux: "L'une d'elles m'a marché deux fois sur le pied et croyez-moi, ça fait mal. Ca n'a pas fait si mal la première fois, mais la deuxième fois, cette mule a juste gardé son pied sur le mien." De même pour l'acteur Tom Tully, blessé par un coup de sabot à son épaule droite début avril 1947.
  "Scudda Hoo! Scudda Hay!" is the rallying cry of the muleteer to his mules.
  The two mules in the film, nicknamed Crowder and Moonbeam came from Fort Worth, in Texas, and were selected after a five-month casting and receiving 1,200 letters from breeders. .
  It was not easy nor very fun for the actors to work with mules. Walter Brennan explains: "For the first time in my screen career, I'm improvising the dialog. We can't write any dialogue because in th scene, we have to adjust our lines to the mules." When to Lon McCallister, he reports that it can be dangerous: "One of them has stepped on my foot twice and believe me, it hurts. it wasn't so bad the first time, but the second time that mule just kept his foot on mine." The same goes for actor Tom Tully, injured by a hoof hit to his right shoulder early April 1947.
  (-source articles de presse: Star Publications 18/03/1947, Tyrone Daily Herald 01/04/1947, San Antonio Light 12/04/1947)

• Il s'agit de l'adaptation au cinéma d'un livre au même titre - de l'auteur George Agnew Chamberlain et publié en 1946; livre préalablement publié sous forme de feuilleton en série dans la presse (dans le "Country Gentleman" de novembre 1945 à février 1946) puis résumé dans la revue du Reader's Digest.
  Les studios de la Fox annonce en février 1947 (dans le "Hollywood Reporter") que l'adaptation au cinéma se fera sous la direction du metteur en scène Louis King, et que le scénario est de F. Hugh Herbert. C'est finalement Herbert qui réalise le film (tel que l'annonce la journaliste Hedda Hooper dans le Salt Lake Tribune le 01er février 1947; le metteur en scène a alors une très grande carrière au cinéma, débutant en 1926, il a déjà travaillé sur plus de 70 films avant 1947).
  Le duo stars du film - Lon McCallister & June Haver - reprennent leur rôle pour jouer une interprétation du film à la radio: le 24 octobre 1949 au Lux Radio Theatre. Lon McCallister réitère l'expérience le 24 mai 1951 pour un show radio de "The Hallmark Playhouse".
  It is a film adaptation of a book with the same title - by the author George Agnew Chamberlain and published in 1946; book previously published as a serial in the press (in the "Country Gentleman" from November 1945 to February 1946), then summarized in the review of Reader's Digest.
  Fox studios announce in February 1947 (in the "Hollywood Reporter") that the film adaptation would be done with director Louis King, and that the screenplay was by F. Hugh Herbert. It is finally Herbert who directs the film (as reported by journalist Hedda Hooper in the Salt Lake Tribune on February 1, 1947; the director has then a very long career in cinema, starting in 1926, he has already worked on more than 70 films before 1947).
  The celebs duet of the film - Lon McCallister & June Haver - reprise their roles to play a performance of the film on the radio: in October 24, 1949 at the Lux Radio Theater. Lon McCallister repeats the experience on May 24, 1951 for a radio show from "The Hallmark Playhouse".
  

   
Le livre - roman de Chamberlain

   
Le script du film de Natalie Wood daté du 19 février 1947
The Natalie Wood Screenplay dated from 1947, Februrary, 19
vendu aux enchères en 2015 par Bonhams  

• Il s'agit déjà du 7ème film de la jeune Natalie Wood, née le 20 juillet 1938 et donc âgée de 8 ans et demie lors du tournage. Enfant star, c'est la seule au casting du film (en plus de Marilyn) qui parviendra à devenir une grande actrice connue qui saura obtenir de nombreux rôles à l'âge adulte (parmi ses films emblématiques: La Fureur de Vivre en 1955, La Prisonnière du Désert en 1956, La Fièvre dans le Sang et l'apogée avec West Side Story en 1961 mais aussi Une Vierge sur canapé en 1964), alternant ainsi tous les genres du cinéma (comédie, romance, western, comédie musicale, science-fiction). Elle décède tragiquement noyée à l'âge de 43 ans, les circonstances de sa mort étant considérées encore aujourd'hui comme suspectes.
  Pour le film "Scudda Hoo! Scudda Hay!" la jeune Natalie a du prendre des leçons de natations; lors de son deuxième cours en piscine, elle a failli se noyer et a dû être réanimée.
  This is already the 7th film of a young Natalie Wood, born July 20, 1938 and therefore 8 and a half years old during the filming. Child star, it is the only one in the cast of the film (in addition to Marilyn) who will manage to become a great known actress who will know how to obtain a lot of roles in adulthood (among her emblematic films: Rebel without a cause in 1955, The Searchers in 1956, Splendor in the Grass and the climax with West Side Story in 1961 but also Sex and the Single Girl in 1964), thus alternating all genres of cinema (comedy, romance, western, musical, science -fiction). She tragically dies at the age of 43, the circumstances of her death still being considered suspicious today.
  For the movie "Scudda Hoo! Scudda Hay!" young Natalie has to take swimming lessons; during her second pool lesson, she almost drowned and has to be rescued.
  (-source article de presse: Star Publications 18/03/1947)
  

• L'actrice Jean Peters, âgée alors de 21 ans (née la même année que Marilyn, elle sera sa partenaire dans "Rendez-moi ma femme" en 1951 et "Niagara" en 1952) a passé des essais pour obtenir un rôle dans le film mais ne sera pas retenue au casting. Comme Marilyn, elle débutait au cinéma et obtient, pour son premier rôle, la tête d'affiche de "Capitaine de Castille" avec Tyrone Power en 1947, l'année de tournage de "Scudda Hoo ! Scudda Hay !"
  Actress Jean Peters, then 21 years old (born the same year as Marilyn, she will be her partner in "As young as you fell" in 1951 and "Niagara" in 1952) was tested to obtain a role in the film but will not be selected for the casting. Like Marilyn, she started out in the cinema and got, for her first role, the headliner of "Captain from Castile" with Tyrone Power in 1947, the year of filming of "Scudda Hoo! Scudda Hay!"

  
1947 - Jean Peters & Marilyn Monroe, à la cantine de la Fox
at the 20th Century Fox Commissary

• Le film est référencé dans une scène du film "Miss Daisy et son chauffeur" (1989): l'histoire du film se passe en 1948 à Atlanta, en Georgie (USA); dans la scène où Daisy Werthan (Jessica Tandy) décide d'aller seule en tramway faire son marché, son nouveau chauffeur Hoke Colburn (Morgan Freeman) parvient à la convaincre de monter à bord de la toute neuve voiture Hudson. Après l'avoir déposée au Piggly-Viggly, il téléphone à Boolie Werthan (Dan Aykroyd), qui l'a engagé, pour l'informer de sa petite victoire. Près de la cabine téléphonique, un cinéma joue «Scudda Hoo! Scudda Hay!» et «Gentleman's Agreement».
  The film is referenced in a scene of the movie "Driving Miss Daisy" (1989): the story of the film takes place in 1948 in Atlanta, Georgia (USA); in the scene where Daisy Werthan (Jessica Tandy) decides to go alone on the streetcar to shop, her new driver Hoke Colburn (Morgan Freeman) manages to convince her to board the brand new Hudson car. After dropping her off at Piggly-Viggly, he phones to Boolie Werthan (Dan Aykroyd), who hired him, to inform him of his small victory. Near the phone booth, a movie theater plays “Scudda Hoo! Scudda Hay! ” and “Gentleman's Agreement”.
  (-  info du site Cinéclap )

  
   
 
captures de "Driving Miss Daisy"

Itinéraire d'un film
Film itinerary

•  FEVRIER à JUILLET 1947 - Tournage en Californie:
  à Sonora,
  au Lac Malibu du Ranch Reuss,
  et dans les studios du Ranch de la Fox (le Malibu Creek State Park). 
  Début du tournage le 24 février 1947; Marilyn aurait tourné ses scènes en mars 1947 ; le tournage est interrompu une semaine pour permettre à June Haver de convoler pour ses noces (elle s'est mariée le 9 mars 1947 avec le trompetiste James Zito) ; la durée du tournage prévue au départ est de 10 semaines ; il semble que le dernier jour de tournage soit début juillet 1947 (cf article de Louella Parsons de Photoplay d'août 1947: "le dernier jour de tournage de " Scudda Hoo ! Scudda Hay !" s'est tenu sur le plateau de la Twentieth Century-Fox et pendant que la mariée, June Haver, se faisait peigner les boucles pour la prise finale, Cal discuta avec elle dans sa loge caravane.")
  
  FEBRUARY to JULY 1947 - Filming in California:
  in Sonora,
  at Reuss Ranch from Malibu Lake,
  at the 20th Century Fox Ranch (the Malibu Creek State Park).
  The start of filming in 1947, February, 24; Marilyn would have filmed her scenes in March 1947 ; the filming is interrupted for a week to allow June Haver to marry for her nuptials (she married on March 9, 1947 with the trumpet player James Zito) ; the duration of the filming is planned at the start for 10 weeks ; it seems that the last day of filming is beginning of July 1947 (from article of Louella Parsons of Photoplay of 1947, August: "the last day of shooting "Scudda Hoo! Scudda Hay!" set out on the back lot of Twentieth Century-Fox and while the bride, June Haver, had her curls combed out for the final take, Cal chatted with her in the portable dressing-room.")
  
  
• 10 MARS 1948 - Première du film dans la ville de Sedalia, dans le Missouri (aux USA) au Fox Theatre, sous la neige, avec la participation des acteurs du film Lon Mc Callister, Colleen Townsend (et sans la présence de Marilyn Monroe) mais aussi des actrices Jeanne Crain et Betty Ann Lynn ainsi que la chanteuse Louanne Hogan; précédé dans la journée par l'organisation d'une parade dans les rues de la ville (suivie par 10 000 personnes) et d'un concours de la "Reine des Jeans" (organisé par la marque Levi's): l'événement est très suivi par la presse locale. Le film sera ensuite joué dans près de 392 salles de cinéma dans l'Ouest américain.
  
  MARCH 10, 1948 - Film premiere in the town of Sedalia, Missouri (USA) at the Fox Theater, under the snow, with the participation of the actors of the film Lon Mc Callister, Colleen Townsend (and without the presence of Marilyn Monroe)  but also of the actresses Jeanne Crain and Betty Ann Lynn as well as singer Louanne Hogan; preceded during the day by the organization of a parade in the streets of the city (followed by 10,000 people) and a contest of the "Queen of the Jeans" (organized by the Levi's brand): the event is widely followed by the local press. The film will then be shown in nearly 392 theaters pictures in the American Middle West.
  

 
 
 
Encarts publicitaires pour la première à Sedalia

  
The Sedalia Democrat - 1948, March, 10

 
 
Le cinéma "Fox Theatre" le jour de la première

  
 
Publicités autour de la Première

Marilyn est Betty
Marilyn is Betty

• Marilyn Monroe n'est pas mentionnée au générique de Scudda Hoo! Scudda Hay! qui doit être en fait considéré comme le tout premier film qu'elle ait tourné, même s'il est sorti après Dangerous Years (ce dernier est sorti sur les écrans le 7 décembre 1947).
  Elle n'est aperçue que brièvement, descendant les marches d'un perron d'église, jouant une paysanne prénomée Betty qui adresse un "Hi Rad !" à l'actrice June Haver. On l'aperçoit à nouveau rapidement dans la scène qui suit, elle est dans un canoë avec une amie (l'actrice Colleen Towsend), mais vues seulement de loin sur le lac, s'apparentant plutôt à de la figuration, la scène de la barque comportant au départ des lignes de dialogues a été coupée au montage. Quand Marilyn deviendra une star, les studios de la Fox confirmeront que la scène parlée de Marilyn a fini coupée au montage, et tel que le racontera Marilyn elle-même notamment lors de son interview donnée à la télévision en 1955 au show d'Edward Murrow "Person to Person".
  C'est donc le premier film où elle a un dialogue, et où on la distingue à l'écran (même si ce n'est que quelques secondes et en second plan): les débuts de Marilyn à la Fox en cette année 1947 se cantonnant à n'obtenir que de la figuration (notamment les films généralement cités dans les biographies: "The Shocking Miss Pilgrim", "You Were Meant for Me" et "Green Grass of Wyoming") où elle n'est même pas identifiable.
  Marilyn Monroe is not mentioned in the credits of Scudda Hoo! Scudda Hay! which must in fact be considered as the very first film she ever made, even though it was released after Dangerous Years (the latter is on screens on December 7, 1947).
  She is only seen briefly, descending the steps of a church porch, playing a peasant girl named Betty who says a "Hi Rad!" to actress June Haver. She appears her again quickly in the scene that follows, she is in a canoe with a friend (actress Colleen Towsend), but seen only from a distance on the lake, more akin to figuration, the scene of the boat initially comprising lines of dialogue was cut during the editing. When Marilyn will become a star, the Fox studios will confirm that the spoken word scene of Marilyn ended up being cut during the editing, and as Marilyn herself will tell it in particular during her interview given on television in 1955 at the Edward Murrow show "Person to Person".
  It is therefore the first film where she has a dialogue, and where we distinguish her on the screen (even if it is only a few seconds and in the background): the debuts of Marilyn at the Fox in this year 1947 are confining to obtaining only figuration (in particular the films generally quoted in the biographies: "The Shocking Miss Pilgrim", "You Were Meant for Me" and "Green Grass of Wyoming") where she is not even identifiable.

• Pendant le tournage, Marilyn prend ses repas à la cantine des studios de la Fox: à chaque fois, elle repartait avec les couverts en argenterie pour les rapporter chez elle, mais les ramenait le lendemain pour les réutiliser. Lorsque le patron de la cantine remarque le manège de Marilyn, il la soupçonne de vol et demande au serveur Robert Temple de lui reprendre ses couverts après son repas, et de l'avertir d'une éventuelle expulsion de la cantine si elle continue. Temple fait ce qu'on lui a demandé, mais ayant le béguin pour Marilyn, il finit par lui voler les couverts pour les conserver car c'était ceux qu'elle utilisait. Et il a ainsi conservé ses couverts (composé de six pièces de Dohrco Piémont, estampé par la 20th Century Fox, comprenant deux cuillères à dîner, une cuillère à soupe, une cuillère à soda / ou thé glacé, une fourchette et un couteau à dîner) pendant près de 62 ans avant de les revendre à une vente aux enchères.
  During the filming, Marilyn takes her meals in the Fox studios commissary: each time, she left with the silverware to bring them home, but brought them back the next day to reuse them. When the boss of the canteen notices Marilyn's merry-go-round, he suspects her of theft and asks to the waiter Robert Temple to take back her cutlery after her meal, and to warn her of a possible expulsion from the canteen if she continues. Temple does what it asked him to do, but having a crush on Marilyn, he ends up stealing the cutlery to keep them because they were the ones she was using. And so he kept his cutlery (consisting of six pieces by Dohrco Piedmont, stamped by 20th Century Fox, including two dinner spoons, one soup spoon, one soda / or ice tea spoon, one dinner fork, and one dinner knife) for almost 62 years before reselling them at auction.
  (-  les couverts "MARILYN MONROE SILVERWARE FROM THE 20TH CENTURY FOX COMMISSARY" )
  

Temple travaillait aux studios de la Fox et s'est même produit sur scène avec Marilyn et d'autres employés le 16 mars 1948 dans la pièce "Strictly For Kicks" au petit théâtre de la Fox.
Temple worked at the Fox studios and even performed on stage with Marilyn and other employees on March 16, 1948 in the play "Strictly For Kicks" at the Fox theater.

  
Strictly For Kicks, 16/03/1948 - 20th Century Fox

Retrouvailles
Reunion
- Marilyn Monroe - 

• Marilyn Monroe retrouvera d'autres membres de l'équipe, à l'écran ou dans la vie:
  Marilyn Monroe will meet other members of the cast, on screen or in life:

Elle donne la réplique à l'actrice June Haver dans Nid d'amour (en 1951)
She plays with actress June Haver in Love Nest (in 1951)
 

 Elle est avec Walter Brennan à l'affiche du Petit train du Far-West (en 1950).
She is with Walter Brennan on the cast of A Ticket to Tomahawk (in 1950).
 

 Le scénariste et réalisateur de Scudda Hoo ! F. Hugh Herbert
est à nouveau scénariste pour Chéri, divorçons (en 1951).
The writer and director of Scudda Hoo! F. Hugh Herbert
is again a screenwriter for Let's Make It Legal (in 1951).
 

Elle est accompagnée d'autres acteurs, dont Lon McCallister,
le 21 juin 1949, quand elle participe à la remise d'un prix (une maison)
à une lectrice du magazine Photoplay à Warrensburg, Etat de New York.
She is accompanied by other actors, including Lon McCallister,
in June 21, 1949, when she participates to the price award (a house)
to a Photoplay magazine reader in Warrensburg, New York.
  

Elle dîne avec Natalie Wood et le compagnon de celle-ci, Warren Beatty,
chez les Lawford, quelques jours avant sa mort, début août 1962.
She dines with Natalie Wood and her companion, Warren Beatty,
at Lawford's, a few days before her death, in early August 1962.
 
Warren Beatty & Natalie Wood, 19/04/1962 - Cérémonie des Oscars 

Retrouvailles
Reunion
- Autres acteurs -

• Lon McCallister, June Haver et Walter Brennan ont déjà partagé l'affiche ensemble dans "Home in Indiana" en 1944, film de la Fox qui avait rencontré un succès honorable et qui était aussi l'adaptation d'une histoire de George Agnew Chamberlain.
  Lon McCallister, June Haver and Walter Brennan once co-starred in "Home in Indiana" in 1944, a Fox movie which has met with honorable success and which was also an adaptation of a story by George Agnew Chamberlain.

• Lon McCallister joue encore dans une adaptation d'un roman de George Agnew Chamberlain: dans le film "La Maison Rouge" qui sort au cinéma en 1947 (avec aussi Rory Calhoun qui tournera avec Marilyn dans "Comment épouser un millionnaire" en 1953 et dans "La rivière sans retour" en 1954). 
  Lon McCallister plays again in an adaptation of a novel by George Agnew Chamberlain: in the film "The Red House" which comes out on screen in 1947 (also with Rory Calhoun who will be the partner of Marilyn in "How to marry a millionaire" in 1953 and in "River of no return" in 1954).

 
Rory Calhoun, Julie London, Lon McCallister

• Lon McCallister et Colleen Towsend ont posé plusieurs fois ensemble pour des photographies de promotion des films de la Fox.
  Lon McCallister and Colleen Towsend have posed together several times for promotional photographs of the Fox films.

 
1947, Malibu - Colleen & Lon

Sources:
Marilyn Monroe, La Biographie, Donald Spoto
Première du film à Sedalia sur Show-Me the History 

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

  Enchères "Autumn Sale"
29 octobre 2005
- 46 lots avec Marilyn Monroe -

> 29/10/2005, JULIEN'S, "Autumn Sale": Vente et Catalogue

Lot 77: MARILYN MONROE CHILDHOOD PHOTOGRAPH
A small, clipped, vintage sepia toned photograph of Norma Jeane c.1930. The photo is inscribed on verso, "MM age 4." The early photo was taken during the time that Marilyn was in the care of her first foster family the Bolenders. She is shown posing with the Bolender's adopted son Lester.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $500 - $700 / Winning Bid: $720 
 

  Lot 78: MARILYN MONROE CHILDHOOD PHOTOGRAPH
A vintage black and white photograph of Norma Jeane c.1933. The photo was taken while the young Norma Jeane was in the care of her first set of foster parents the Bolender's. Monroe was taken by her un-wed mother Gladys to live with the Bolender's on June 12, 1926 when she was only twelve days old. Monroe's mother paid the family $5 per week for her care.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $1,000 - $1,500 / Winning Bid: $2,040
 

 Lot 79: MARILYN MONROE CHILDHOOD PHOTOGRAPH
A vintage black and white photograph of Norma Jeane and Lester Bolender, inscribed in pencil on verso: "Marilyn Monroe age 6 yr" c.1932. Lester was the adopted son of her foster family, the Bolenders, and is known to have been her first childhood playmate. This photo captures the duo holding hands and clearly demonstrates why they were referred to as "the twins."
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $1,000 - $1,500 / Winning Bid: $1,200
 

Lot 80: MARILYN MONROE INSCRIBED PHOTOS
Two vintage black and white photos, of Jim Dougherty (undated). The first is a passport style portrait of Dougherty, and the second shows him sleeping on the beach. The photo is inscribed in pencil in Monroe's hand on verso, "(zzz......zzz) Jimmy sound asleep." The inscription indicates that this was one of Monroe's personal photos of her first husband.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $800 - $1,200 / Winning Bid: $1,320
   

Lot 81: MARILYN MONROE PHOTOGRAPHS OF ANA LOWER
Four vintage black and white photos, and one modern reprint image of Marilyn's Aunt Ana (c.1943). The vintage photos feature Ana Lower posing alternatively with and without her dog. The modern reprinted image included a young Marilyn posing with Lower and holding her dog. The two images of Lower with her dog are printed from the same negative although one has been trimmed. In the late 1940's Monroe was quoted saying that her "Aunt" Ana Lower was the first and the, "one person in the world that I've ever really loved." Ana was biologically the aunt of Grace Goddard, Monroe's legal guardian, however the young Norma Jean bonded with her saying that, "She never hurt me, not once...She was all kindness and all love. She was good to me." Lower was arguably the most supportive figure of Monroe's childhood.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $200 - $300 / Winning Bid: $480
 
   

Lot 82: MARILYN MONROE SIGNED MODEL RELEASE FORM
A photographer/model consent form signed by a 19 year old Marilyn Monroe. The card is signed "Norma Jean" at bottom right and is dated 5/18/45. Also present is a color snapshot of Marilyn (most likely from the session) posed in a two piece bikini on a West Coast jetty. In August 1945, she would sign her first modeling contract with the Blue Book Modeling Agency.
Estimate: $2,000 - $4,000 / Winning Bid: $3,120
  

Lot 83: MARILYN MONROE - TOM KELLEY SR. PHOTOGRAPH
An original color photograph of Marilyn Monroe from Tom Kelley Sr.'s famous Red Velvet Images session in May of 1949. Signed and dated in white ink at bottom right: "Tom Kelley/ 7/82." The size of this photograph is rare, as Kelley created limited editions in other sizes.
Estimate: $700 - $900 / Winning Bid: $3,360
  

Lot 84: MARILYN MONROE FAMILY PHOTO
Vintage black and white photograph of Marilyn with her half sister Berniece Baker Miracle, her mother Gladys Baker and Berniece's daughter Mona Rae. Marilyn learned that she had a half sister at the age of twelve.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $400 - $600 / Winning Bid: $4,560
  

Lot 85: MARILYN MONROE / GRACE GODDARD CORRESPONDENCE
Two typed letters regarding Marilyn's care at the Los Angeles Orphanage; one from Grace Goddard to the Home dated December 4, 1935 regarding the privacy and visitation rights of Marilyn at the Orphanage. In part it reads (sic): "I am very anxious that no one sees or talks to little Norma Jean Baker...I especially do not want Mrs. Ida Bollender to see her again, as her visits seem to upset the child;" The other, written just two days later, is from Mrs. S. Sweeney on Los Angeles Orphans Home Society letterhead and is addressed to Goddard. In part it reads: "When Mrs. Bollender was here, I told her she should not talk to Norma about her mother. The physicians have said Mrs. Baker would not get well - that means the child must have first consideration." These letters illustrate the complexity of the Marilyn's life during early childhood.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $1,000 - $1,500 / Winning Bid: $2,640
    

Lot 86: LETTER FROM BERNIECE MIRACLE
A one page handwritten letter from half-sister Berniece Miracle to Marilyn congratulating her on her marriage to baseball icon Joe DiMaggio, undated; text reading in full: "Dearest Marilyn, Now that you and Joe are really married we wish you every happiness in the world. We also send congratulations to Joe. We love you both. At first it was hard for me to believe you were married but Im beginning to get use [sic] to the idea now you know. I believe only about half of the publicity I read. I'd like to send you a wedding present so please tell me what you would like to have-maybe a piece of china or a silver compote dish? Love, Paris, Berniece & Mona." The letter is accompanied by a vintage black and white portrait photograph of Berniece and her husband Paris Miracle.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $200 - $300 / Winning Bid: $1,080
  

Lot 87: MARILYN MONROE FIRST FILM CREW PHOTO
Vintage black and white crew photo from Marilyn's first released film "Scudda Hoo! Scudda Hay" (20th Century Fox, 1948) c.1948. Although Marilyn's only spoken line of "Hello" was cut from the film it was her first on-screen appearance. She stands out from the center of this photo taken soon after her transition to Marilyn Monroe.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $500 - $700
  

Lot 88: MARILYN MONROE / GLADYS BAKER DOCUMENTS
A collection of six handwritten and typed documents dated March 25 - April 22, 1935 regarding the care of Gladys Baker (Marilyn's Mother) after her physical and mental breakdown from January of that year. Present are two handwritten receipts and a typed letter from the Santa Monica Rest Home for services rendered for her care addressed to Gladys's best friend Grace McKee (later Goddard); a two page typed letter from Grace McKee to the Santa Monica Rest Home regarding the details of her stay and an outstanding payment owed the home in part reading: "There seems to be quite a misunderstanding as to her financial condition...I did not know it was drugs that caused her condition this last time, and thought it would only be temporary, and she would not have to stay there long...I realized her money was very limited...I talked to the secretary of the head of the cutting department at R.K.O. this morning, and she told me that they were planning on having some sort of benefit for Gladys, either a dinner dance, or proceeds from a couple of picture shows, which will help me pay her expenses"; a typed letter from the Treasury Department to Gladys's regarding owed 1933 taxes; and a typed letter from Grace to the Collector of Internal Revenue in regards to Gladys's outstanding income tax debt, informing them Gladys's was institutionalized and was unable to pay her 1933 taxes.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $700 - $900 / Winning Bid: $1,020
  

Lot 89: MARILYN MONROE / GLADYS BAKER DOCUMENTS
A group of three documents regarding Gladys Baker's (Marilyn's mother) mental heath as well as the loan of personal property from Doc and Grace Goddard (her best friend) to Gladys and her then husband Col. Eley. Included is a one page handwritten letter in pencil, recto and verso, dated September 12, 1952 addressed "To Whom This May Concern" regarding details of Gladys Baker's mental state. In part reading: "Since coming to Los Angeles in 1946, Mrs. Eley (Gladys) has tried to do nursing (a combination of medical and Christian Science)...She was rejected in 1947 to admittance to the Christian Science Benevolent Home...She is not capable...she doesn't eat properly, she has sudden fits of temper and is entirely irrational at times...I have tried too many years to help her and I can no longer have her (Gladys) in my home..." ; a six by eight inch handwritten timeline in pencil by Grace regarding the history of various rest homes and hospitals (1935 - 1950s) to which Gladys was committed. Grace died from a suicidal overdose of barbiturates in 1953.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $700 - $900 / Winning Bid: $1,320
  

Lot 90: MARILYN MONROE - GRACE GODDARD LETTER REGARDING GLADYS BAKER
A three page typed letter from Grace Goddard to Mrs. Van Hyming dated August 15, 1935 about the mental state of their mutual R.K.O co-worker, close friend and mother of Marilyn Monroe, Gladys Baker, who had been hospitalized due to her recently discovered mental illness. In part reading: "I want to tell all I can about Gladys' condition...I had a long talk with her doctor...Gladys' type of insanity is the hardest case to do anything with. Her brain did not develop like an ordinary persons. They examined her brain with a flourscope, and it proved to be about one third the size of a normal human beings...the only thing they could do would to be to give her new brain cells, and according to medical science, that is impossible...I wish that I could in some way make Gladys understand that she cannot come out and back to her job at R.K.O." This letter offers a sad and tragic look at the future of Marilyn's mother, who would eventually be institutionalized for the rest of her life.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $1,000 - $1,500 / Winning Bid: $1,680
  

Lot 91: MARILYN MONROE "LOVE HAPPY' PHOTOS
Four vintage publicity stills of Marilyn from her role in the Marx Brothers' last film, "Love Happy" (United Artists, 1948). The photos show Marilyn in the same gold lame dress on the set of the film, posing for a full length studio portrait, and cuddling with co-star Groucho Marx. Marilyn, later quoted describing her audition for the film, claimed that Marx whispered in her ear, " You have the prettiest ass in the business."
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $200 - $300 / Winning Bid: $1,020
   
    

Lot 92: MARILYN MONROE "THE ASPHALT JUNGLE" PHOTOS
Three vintage black and white publicity photos taken of Marilyn Monroe as she appeared in "The Asphalt Jungle" (MGM, 1950). This set of photos capture a beautiful and vivacious 24 year old Monroe in the film role that captured Hollywood's attention boosting her career to a credited role.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $200 - $300 / Winning Bid: $3,120
      

Lot 93: MARILYN MONROE CHILDHOOD HOME PHOTOS
Six vintage black and white photos featuring the interior and exterior of Marilyn's childhood home c.1939. Importantly one exterior photo of the home is inscribed in Monroe's hand on verso: "6707 Odessa Ave. Van Nuys, Calif. Where I lived when I first ment [sic] Jimmy." Another photo is inscribed on verso in brown ink: "Grace's house" and another on verso in pencil reads: "6707 Odessa Ave." Monroe's inscription refers to "Jimmy" James Dougherty whom she married on June 19, 1942 at the age of 16. When Monroe was taken out of the Los Angeles Orphans Home Society in 1935 she was taken in by Grace McKee; the best friend of her mother Gladys Baker. McKee had recently married "Doc" Goddard and taken his name. Marilyn lived with the Goddards in this home and became very close with Grace's Aunt Ana Lower. These rare and previously unpublished photos show the living room (two photos from the same negative and a third unique image, one photo of the dining room and two exterior photos of the home taken from the street.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $2,000 - $3,000 / Winning Bid: $2,400
     
         

Lot 94: MARILYN MONROE / JOHNNY HYDE CORRESPONDENCE
A group of seven letters, notes, and cards (some with original transmittal envelopes) from agent/manager Johnny Hyde to Marilyn Monroe. Featured is a letter postmarked March 4, 1949 reading in part: "Had your yesterday's letter not reached me today, my disappointment would have been greater than you perhaps wish to believe. However all is forgiven because you said you miss me." These items provide insight to Hyde's love for Monroe. The two met when Marilyn was 22 and formed a bond that would last until Hyde's death in 1950.
Estimate: $1,000 - $3,000 / Winning Bid: $2,280
  

Lot 95: MARILYN MONROE LETTER OF GUARDIANSHIP
One page legal document filed "In The Superior Court Of The State Of California In And For The County Of Los Angeles" c.1936. This rare document shows that on March 27, 1936 Grace McKee (later Goddard), the best friend of Monroe's mother Gladys, was officially granted the status of legal guardian. The case number is given as, "156632" and the paperwork is filed on behalf of, "Norma Jean Baker also known as Norma Jean Mortenson, a minor." The document is signed by both Grace McKee and H.L. Doyle a deputy to the county clerk. The document is creased three times horizontally shows wear consistent with age.
PROVENANCE: From the collection of Eleanor Goddard.
Estimate: $2,000 - $3,000 / Winning Bid: $4,320
  

Lot 96: MARILYN MONROE OWNED AND USED LIGHTER
A silver plated bottle style decorative lighter owned and used by Marilyn Monroe. The lighter was obtained by Marilyn's close friend and longtime personal makeup artist Allen "Whitey" Snyder. Also present are two letters of authenticity.
Estimate: $200 - $300 Winning Bid: $1,680
 

Lot 97: MARILYN MONROE PERSONALLY OWNED AND USED MIRROR
A purse mirror having beveled edges and a black mount, personally owned and used by Marilyn Monroe. Also present are two letters of authenticity.
Estimate: $200 - $300 Winning Bid: $420
  

Lot 98: MARILYN MONROE SIGNED CHECK
A personal check written in Marilyn's hand in black ink. Reading in full: "Nov. 5, 1950/Dr. Seligman/40//Forty/Marilyn Monroe."
Estimate: $2,000 - $3,000
  

Lot 99: MARILYN MONROE SIGNED CHECK
A personal check written to Eleanor Goddard; Marilyn's sister (Doc Goaddard's daughter from his marriage previous to Grace raised with Marilyn after she joined the Goddard family). The check is hand written in Marilyn's hand in blue ink and reads in full: "April 8, 1952/Mrs. E.S. Goddard/25/Twenty Five/Marilyn Monroe."
Estimate: $2,000 - $3,000
  

Lot 100: MARILYN MONROE SIGNED CHECK
A personal check written in Marilyn's hand in black ink. Reading in full: "March 31, 1953/Dr. A. Gottsman/$200/Two Hunderd//Marilyn Monroe." In 1953 Marilyn made "Niagara" (20th Century Fox), "Gentlemen Prefer Blondes" (20th Century Fox) and "How to Marry a Millionaire" (20th Century Fox) - three of her best remembered films.
Estimate: $2,000 - $3,000
  

Lot 101: MARILYN MONROE SIGNED CHECK
A Marilyn Monroe Productions check written in Marilyn's hand in black ink. Reading in full: "Dec. 17, 1959/20th Century Fox/$2905Twenty Nine 05/100//Marilyn Monroe."
Estimate: $2,000 - $3,000
  

Lot 102: MARILYN MONROE OWNED AND WORN DRESS
A black velvet sleeveless evening gown owned and worn by Marilyn Monroe in an unidentified production. Dress features round lightly gathered neck, empire waist, hook and eye and snap closure and self attached large velvet bow at back. No label present.
PROVENANCE: The Debbie Reynolds Hollywood Motion Picture Collection.
Estimate: $5,000 - $7,000
  

Lot 103: MARILYN MONROE COSTUME
A black one-piece leotard worn by Marilyn Monroe as she portrayed Vicky Hoffman/Parker in musical drama, "There's No Business Like Show Business" (20th Century Fox, 1954). Constructed of cotton blend, heavily boned at sides and lace up closure at back. No studio label is present.
PROVENANCE: The Debbie Reynolds Hollywood Motion Picture Collection.
Estimate: $4,000 - $6,000
  

Lot 104: MARILYN MONROE "RIVER OF NO RETURN" WARDROBE STILLS
A group of five black and white wardrobe photographs of Marilyn Monroe prior to shooting her 22nd film "River of No Return" (20th Century Fox, 1954). The photographs feature Marilyn posed in a sexually provocative period costume in various poses and were submitted to director Otto Preminger for approval. However, the costume was eventually rejected and not used on screen.
Estimate: $500 - $700 / Winning Bid: $1,080
  

Lot 105: MARILYN MONROE AND COLE PORTER UNPUBLISHED PHOTOGRAPH
A previously unpublished black and white photograph featuring two of the 20th century's most remembered entertainment icons-Marilyn Monroe and Cole Porter (c.1950s). The photograph was taken at the glamorous Coconut Grove Nite Club at the Ambassador Hotel in Los Angeles and features the pair seated at a table engaged in a candid moment. Earlier in her career on August 2, 1945 a 19 year old Marilyn signed her first modeling contract with the Blue Book Modeling Company whose offices were located at the Ambassador Hotel.
Estimate: $200 - $300 Winning Bid: $1,020
  

Lot 106: MARILYN MONROE PHOTOGRAPH BY LEIGH WIENER
A black and white photograph featuring a close up portrait of Marilyn Monroe taken by famed photographer Leigh Wiener. Photographer's stamp appears on verso (undated). This photograph can be seen on page 22 of Wiener's book "Leigh Wiener Portraits."
PROVENANCE: From the collection of Devik Wiener, Leigh's son.
Estimate: $500 - $700 Winning Bid: $720
  

Lot 107: MARILYN MONROE PHOTOGRAPH BY LEIGH WIENER
A black and white photograph featuring Marilyn Monroe before a group of men, most likely press agents taken by famed photographer Leigh Wiener. Photographers stamp appears on verso (undated).
PROVENANCE: From the collection of Devik Wiener, Leigh's son.
Estimate: $500 - $700 Winning Bid: $780
  

Lot 108: MARILYN MONROE PHOTOGRAPHS FROM "THE MISFITS"
A remarkable collection of original black and white proof sheets and prints from Marilyn's last film, "The Misfits" (United Artists, 1961). Present are three original contact sheets (one partial, two having photographers stamp on verso) featuring Marilyn Monroe together with assistant and secretary May Reis and her niece and nephews along with others on "The Misfits" soundstage; three black and white original prints (two being from the contact sheet with photographers stamp on verso) the other of Marilyn and Ms. Reis's niece and nephews eating cake and ice cream; two black and white Ariel photographs of "The Misfits" location shoot in the Nevada desert; and a black and white photograph featuring Arthur Miller in Downtown Reno, Nevada looking over a bus stop with Marilyn and Thelma Ritter in the background, having photographers stamp on verso.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $4,000 - $6,000
  

Lot 109: MARILYN MONROE - CECIL BEATON PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by noted British photographer Cecil Beaton in 1956. This image is well known as Marilyn's favorite photograph of herself, as she kept numerous copies to sign when obliging the request close friends and fans. She also kept a print on her living room wall in her East 57th Street Manhattan apartment. The present copy is from the collection May Reis, Marilyn's assistant and personal secretary from 1958-1961.
Estimate: $300 - $500 Winning Bid: $3,120
  

Lot 110: MARILYN MONROE SNAPSHOT
A color photograph of Marilyn Monroe together with an unidentified young man playfully holding a small white dog c. 1960, clipped at bottom
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $50 - $100 Winning Bid: $480
  

Lot 111: MARILYN MONROE PHOTOGRAPHS
A group of five black and white candid photographs of Marilyn Monroe from the set of "Let's Make Love" (20th Century Fox, 1960) featuring Marilyn celebrating her birthday (June 1st), along with co-star Yves Montand, George Cukor and others.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $100 - $200 Winning Bid: $360
  

Lot 112: AUTHOR INSCRIBED BOOKS TO MARILYN MONROE
Two novels having inscriptions by authors Pierre Sichel and Jane Ardmore to Marilyn Monroe. One being titled "The Jersey Lily" (Prentice-Hall, Englewood Cliffs, New Jersey, 1958) having original dust jacket, 456 pages, features an inscription to Marilyn reading in full: "To Mr. and Mrs. Arthur Miller/with best wishes and the hope (selfish, of course) that the fabulous Marilyn Monroe with be moved to portray the fabulous Mrs. Langtry/Pierre Sichel/January, 1958," the other being a copy of "The Self Enchanted Mae Murray: Image of an Era" (McGraw-Hill Book Company, Inc. New York, Toronto, London, 1959) having original dust jacket, 262 pages, featuring an inscription to Marilyn reading in full: "For Marilyn/Who could play Mae to the hilt!/All the best from Mae and Jane Ardmore/11/9/59."
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $100 - $200 / Winning Bid: $1,920
 

Lot 113: MARILYN MONROE & MAY REIS PHOTOGRAPH & INSCRIBED MEDALLION FROM "THE MISFITS"
A black and white photograph featuring Marilyn sitting with assistant and secretary May Reis in Marilyn's 57th Street apartment in New York (c. 1960). Also present is an a 1 2/8 inch circular silver medallion presented to May Reis by "The Misfits" producer Frank E. Taylor, inscribed "May Reis/" on recto and "The Misfits/F.E.T." on verso.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $200 - $300 / Winning Bid: $1,200
  

Lot 114: MARILYN MONROE AUDIO MATERIAL
A group of audio related items featuring interviews with Marilyn Monroe. Included is a three inch reel Audiotape (Type 151) which includes an interview with then Chicago disc jockey Dave Garroway and an interview for Look Magazine, having "May Reis" handwritten on box cover; three 33 1/2 RPM Microgroove albums reading: "M. Monroe - Belmont" featuring additional interview material; and a compact disc featuring highlights from the mentioned interviews with Marilyn discussing topics including fame, acting, Clark Gable and her early Orphanage years.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $500 - $700 / Winning Bid: $780
  

Lot 115: MARILYN MONROE SIGNED HOSPITAL PATIENT CARD
A Cedars of Lebanon Hospital (Los Angeles) "responsibility for clothes and valuables" card signed by Marilyn Monroe at the bottom right dated May 24, 1961. Also present is an inscription to Marilyn by the witness who also signed the card. Prior to her visit to Cedars Marilyn had been admitted to three hospitals for psychiatric treatment that year.
Estimate: $800 - $1,200 / Winning Bid: $3,240
  

Lot 116: MARILYN MONROE - SCRIPT
Marilyn Monroe's personal "Something's Got to Give" original revised screenplay, having mimeograph title page, 106 pages (29 blue revision pages), bound in light blue cover having Twentieth Century Fox Corporation logo. Also present is documentation from the Christie's 1999 sale.
PROVENANCE: Previously sold at "The Personal Property of Marilyn Monroe" Christie's New York, October 27 & 28, 1999, Sale 9216, lot 489.
Estimate: $6,000 - $8,000 / Winning Bid: $13,200
  

Lot 117: MARILYN MONROE PERSONAL PHONEBOOK
An "Addresses/Telephones" blue hardcover book lettered in gold on cover (circa 1958-1961) containing hundreds of Marilyn's personal friends and contacts in handwritten notation in the hand of assistant and private secretary May Reis in pencil and ink throughout book. Present are the names and contact information of those close to her and in her personal and professional life which include The Actors Studio, Richard Avedon, Elizabeth Arden, Saul Bellow, George Cukor, Bob Fosse, Rod Serling, William Inge, Fox Studios, Samuel Goldwyn, Hedda Hopper, Erno Laszlo, Bernice Miracle, Inez Melson, Norman and Hedda Rosten, John Steinbeck, Ed Sullivan, Paula Strasberg, Frank Sinatra, Norma Shearer, Billy Wilder, Shelly Winters and many others. The book also contains handwritten social security numbers for Marilyn, Arthur Miller and Ms. Reis. Other personal information can be seen on the inside front and outside cover. May Reis's distinctive signature can be seen on the inside front cover.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $6,000 - $8,000 / Winning Bid: $10,800
  

Lot 118: MARILYN MONROE APPOINTMENT BOOK
A "1961 Daily Reminder" red hardcover appointment book having gold lettering and "MM" in handwritten notation on cover containing Marilyn's appointments, invitations, engagements, phone calls and notes relating to her 1961 personal and professional schedule. Notes are in the hand of Marilyn's assistant and secretary May Reis in pencil, colored pencil and ink throughout book. Included are names of most of those close to Marilyn in her personal and professional life the year before her death including Norman and Hedda Rosten, Kay Gable, Joe DiMaggio, Isadore Miller, Harry Belafonte, Max Lerner, Hedda Hopper, Montgomery Clift, Louella Parsons, Ralph Roberts, Lee Strasberg, Billy Wilder and others. Notable is a handwritten pencil note on Friday, March 10 reading: "May, Remind me about dentist this morning" in Marilyn's hand; a handwritten note on Sunday, April 23rd reading: "Judy Garland/8:30/Cargagie Hall" (a well remembered milestone performance by Garland); the absence of any documented activity between February 9 and March 4, presumably due to Marilyn's psychiatric hospitalization; and references in January and early February to Marilyn's New York psychiatrist Marianne Kris (referred to as "Dr. K" or "Dr. Kris"), who apparently recommended Marilyn to check into The Payne Whitney Clinic for emotional exhaustion. Please note November 17th through December pages are not present and that May Reis's employment with Marilyn ended in mid-September, 1961. A remarkable insight to Marilyn's personal world just one year before her death.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $8,000 - $10,000 / Winning Bid: $16,200
  

Lot 119: MARILYN MONROE PRESS ARCHIVE & RELATED ITEMS
A collection of magazines and press clippings related to Marilyn Monroe and Arthur Miller featuring nine original magazines including Life, Post, Look, Redbook, Good Housekeeping, highlighting Marilyn (most posthumous); a group of original press clippings and related items regarding Arthur Miller's theater production "After The Fall" (1964) based on his marriage to Marilyn. May Reis was disappointed with Miller's decision to write "After The Fall" - many of the clippings are critical.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $200 - $300 / Winning Bid: $270
  

Lot 120: MARILYN MONROE RELATED ITEMS
A group of three Marilyn Monroe related items including an original envelope dated January 5, 1961 from Magnum Photos to Marilyn Monroe Productions, an original Daily News/New York's Picture Paper dated six days after her death featuring a cover story titled "Ma and Seven Get MM Estate," (May Reis was one of the seven), and an envelope from D.L. Yaple to May Reis dated October 25, 1965.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $100 - $200 / Winning Bid: $240
  

Lot 121: MARILYN MONROE - FAN CLUB MATERIALS
A collection of original Marilyn Monroe fan club and related Marilyn items owned by Marilyn's assistant and secretary May Reis. Present are three original mimeographed Marilyn Monroe fan club fanzines, one mentioning May Reis and Patricia Neal as life members (c. 1966-1967), a copy of "The Strange Death of Marilyn Monroe" (c.1964), a 45rpm vinyl single featuring Marilyn singing "I Wanna Be Loved By You" b/w "I'm Thru With Love" (from "Some Like it Hot" MGM, 1959), two Christmas cards and a fan letter to Marilyn dated 1958 and a mimeographed 8 by 10 inch piece of fan artwork from a pencil rendition.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $200 - $300 / Winning Bid: $240
  

Lot 122: MARILYN MONROE - COPY OF WILL AND TESTAMENT
A facsimile conformed copy of Marilyn Monroe's Last Will and Testament dated January 14, 1961 belonging to Marilyn's assistant and private secretary May Reis. Present are three pages setting forth the manner of distribution of the assets of Marilyn Monroe. May Reis was one of a handful of individuals to whom Marilyn left her assets.. Additional documents include the account of the ancillary executor, a petition for allowance of statutory and extraordinary commissions and attorneys, and a petition for order directing deposit of money regarding those listed as beneficiaries in Marilyn's will. Also present is and original copy of a Notice of Probate dated August 28, 1962 and a two page unsigned typed affidavit from May Reis, dated January 11, 1966. This document authenticates May's daily involvement with Marilyn from 1958-1961 and was apparently prepared in connection with a dispute involving Arthur Miller and the Estate of Marilyn Monroe regarding their apartment on East 57th Street in New York. Documents also present include a group of related documents regarding money Ms. Reis received from Monroe's estate and a group of facsimile correspondence to and from Tom Kelley, the Strasbergs, and the Rostens, dated 1972. The letter from Kelley is notable because of allegations he made in the letter regarding the whereabouts of the negatives from the famed "Red Velvet Images" sessions in 1949. May Reis inherited a total of $50,000, but because of legal and financial complications, her final payments were not received until 1982, 20 years after the death of Marilyn Monroe.
PROVENANCE: From the estate of May Reis, Marilyn's assistant and private secretary from 1958 to 1961.
Estimate: $2,000 - $3,000 / Winning Bid: $2,760
 

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

Enchères "The Personal Property Of Marilyn Monroe"
27 & 28 octobre 1999
- Partie 1 : Lots 1 à 55 : Effets personnels iconiques:
photos, bijoux, vêtements, awards, documents papiers

> 27 & 28/10/1999, Christie's: Catalogue "The Personal Property of Marilyn Monroe"

Photos, Bijoux, Vêtements & Autres
Photos, Jewels, CLothes & Others

 Lot 1: A PHOTOGRAPH OF MARILYN MONROE
Circa late 1950's, autographed with original signatures including: Jimmy Stewart, Gary Cooper, Henry Hathaway, Clifton Webb, Claudette Colbert,Robert Stack, Humphrey Bogart, Lauren Bacall, Peter Lawford, Susan Hayword, Clark Gable, "Bill" Holden, Evelyn Keyes, Groucho Marx and others-framed. 20 1/4 X 16 1/4 in. 
Estimate: $10,000 - $15,000 / Sold: $88,300
 

Lot 2: A PAIR OF STILETTOS BY SALVATORE FERRAGAMO (2)
A pair of scarlet satin stiletto heeled shoes encrusted with matching rhinestones.
Estimate: $4,000 - $6,000 / Sold: $48,300
 

Lot 3: A PAIR OF RHINESTONE EARRINGS AND A PINK SATIN EVENING MUFF (3)
A pair of rhinestone earrings designed with four dangling rows of rhinestones, suspended from a fancy rhinestone cluster; together with a pink satin evening muff.
Estimate: $2,000 - $4,000 / Sold: $24,150
  

Lot 4: A PAIR OF FANCY EARRINGS AND A PINK SATIN STOLE (3)
A pair of earrings fashioned in a tri-row dangling style, suspended from a cluster set with a pattern of three abstract rhinestones; together with a pink satin fringed stole.
Estimate: $1,500 - $2,000 / Sold: $14,950

Lot 5: A PAIR OF EAR CLIPS AND A PURPLE VELVET STOLE (3)
A pair of ear clips, each with a double-curved setting set with circular rhinestones; together with a stole of electric purple velvet.
Estimate: $1,500 - $2,000 / Sold: $12,075

Lot 6: A PAIR OF EARRINGS (2)
Designed with three varying links of rhinestones, fastened to a rhinestone scroll, in a fancy motif; worn on March 14, 1954 as Marilyn Monroe accepted her "Photoplay Magazine Award" for "Most Popular Film Actress of 1953.".
Estimate: $2,000 - $4,000 / Sold: $35,650

Lot 7: THREE PAIRS OF DENIM BLUE JEANS (3)
RIVER OF NO RETURN, 1954.
Worn by Marilyn Monroe as "Kay Weston" in the film co-starring Robert Mitchum; one labeled (1-68-1-0435 Helen Thurston A-713), and another labeled (1-68-1-0444 M. Monroe A-713), the jeans are constructed with a zipper and single button closure stamped Foremost JCP Co, designed with two cross-stitched back pockets.
Estimate: $20,000 - $30,000 / Sold: $42,550
  

Lot 8: A PHOTOGRAPH OF JOE DIMAGGIO
A circa 1940's black and white photograph of the sports hero, signed on the lower right corner "M. Sergis Alberts"-framed and matted-
20 1/4 x 15 in.
Estimate: $2,000 - $4,000 / Sold: $10,350
  

Lot 9: THE HOLY BIBLE
Containing the Old and New Testaments. Authorized King James Version. Oxford: University Press, no date. 8vo, original red leather. Marilyn Monroe's copy of The Holy Bible, with a few pencil markings in the text.
Estimate: $2,000 - $4,000 / Sold: $37,950
  

Lot 10: AN ETERNITY BAND
A platinum band, set with thirty-five baguette-cut diamonds (one diamond missing), given to Marilyn Monroe by Joe Dimaggio after their 1954 wedding.
Estimate: $30,000 - $50,000 / Sold: $772,500
  

Lot 11: A PAIR OF KOREAN WAR SHOES (2)
A pair of gold leather high heeled shoes; labeled The French Room, designed with curved front and ankle straps. Worn by Marilyn Monroe in February 1954 while entertaining the troops in Korea.
Estimate: $4,000 - $6,000 / Sold: $32,200
  

Lot 12: A BLACK SEQUINNED DRESS
A full-length evening dress, believed to have been worn in February 1954 while singing to over 10,000 soldiers stationed in Korea during the war. The black silk crepe evening dress is by Ceil Chapman, designed with a vermicular pattern of black bugle beads. While the dress is floor length, it appears that the hem was raised to three-quarter length, held in place with loose stitches and gaffer tape. Not since President Eisenhower's pre-inaugural visit had there been such a turn-out and reception as when Marilyn wowed the troops.
Estimate: $30,000 - $50,000 / Sold: $112,500
  

Lot 13: A COUTURE EVENING GOWN BY LANVIN AND CASTILLO
A circa late-1950's couture gown designed by and labled Jeanne Lanvin and Castillo. The sleeveless ivory satin sheath is embellished with a front band in a tri-squared classical leaf pattern, continuing in cascading three-quarter rows.
Estimate: $6,000 - $8,000 / Sold: $61,900
  

Lot 14: A SIMULATED DIAMOND AND FAUX PEAR BROOCH (2)
Of circular design, set with large faux pearls enhanced by circular-cut simulated diamonds, suspending fringe with small faux pearls, terminating with large faux pearls; together with a deep purple velvet fringed wrap.  
Estimate: $1,500 - $2,000 / Sold: $12,650

Lot 15: TWO PAIRS OF EARRINGS (2)
Both designed with five linked imitation pearl drops; one pair with smaller drops, worn by Marilyn Monroe on February 25, 1956 as she departed New York for Hollywood for pre-production work on Bus Stop, and also on several other occasions. 
Estimate: $3,000 - $5,000 / Sold: $18,400

Lot 16: A BLACK COCKTAIL DRESS
A waisted, close-fitting, black wool cocktail dress, designed with three-quarter length sleeves and wool band at the collar. Worn by Marilyn Monroe as she departed New York for Hollywood to film Bus Stop in February 1956. 
Estimate: $15,000 - $20,000 / Sold: $24,150
  

Lot 17: HENRY CARTIER-BRESSON THE DECISIVE MOMENT
New York, 1952. Large 4to, original color pictorial boards after design by Matisse; dust jacket.
FIRST EDITION, PRESENTATION COPY, inscribed by Cartier-Bresson to Marilyn Monroe and Arthur Miller on the front free endpaper verso: "a Madame Marilyn Monroe a Monsieur Arthur Miller/Avec mes hommages admiratif Henri Cartier-Bresson." With caption pamphlet laid in..
Estimate: $3,000 - $5,000 / Sold: $19,550
  

Lot 18: A COUTURE COCKTAIL DRESS BY GALANOS
Of black wool crepe, the bare midriff with chiffon overlay, labeled Galanos and Bergdorf Goodman, On the Plaza, New York, the tag inscribed, MIS MONROE, DATE: 6/22/56 No Maltide. Worn by Marilyn Monroe at a London press call with Laurence Olivier and Arthur Miller for the promotion of The Prince and the Showgirl, July 1956.
Estimate: $30,000 - $50,000 / Sold: $74,000
  

Lot 19: A PAIR OF PLATFORM SHOES (2)
The gold patina lam mules designed with stiletto heels and gold tone inner soles, labeled Anello & Davide, London WC2. Worn by Marilyn Monroe at the Royal Film Performance on October 29, 1956, to premiere the British film The Battle of the River Plate. After the screening, the actress was presented to H.R.H. Queen Elizabeth II..
Estimate: $4,000 - $6,000 / Sold: $33,350
  

Lot 20: A PLASTER FLOOR LAMP
Serge Roche, circa 1937. In the shape of a palm tree. Literary ref.: Bruno Foucard and Jean-Louis Gaillermin, Les Dcorateurs des Annes 40, 1998, p. 236. Showing the lamp model in a gouache study of the salon in Serge Roche's apartment on the rue Las Cases, 1937. See p. 237 for an illustration of the lamp model. .
Estimate: $2,000 - $4,000 / Sold: $21,850

Lot 21: A BABY GRAND PIANO
The white lacquered piano is early-20th century, unknown American manufacturer. The case with square tapering legs and feet with casters; together with a matching bench. The piano originally belonged to Marilyn Monroe's mother, Gladys. After the star's mother was institutionalized, the piano was sold and it would take years of searching for Marilyn to finally locate the piano and buy it back. Her sentimental attachment to this instrument is well-documented in the 1974 book (published posthumously), My Story, by Marilyn Monroe, in Chapter One entitled How I rescued A White Piano.
Length: 52 in. Width: 57 in. Height: 40 1/2 in.
Estimate: $10,000 - $15,000 / Sold: $662,500

Lot 22: CECIL BEATON TRYPTICH PHOTOGRAPH OF MARILYN MONROE
A 1956 photograph of Marilyn Monroe Miller taken by society photographer Cecil Beaton.
In one of her most famous sittings, the actress is posed reclining, holding a rose. The photograph is signed on the mat Cecil Beaton and is accompanied by two page autograph letter signed from Beaton. He describes his fascination and perspective on his subject in detail, "Miss Marilyn Monroe calls to mind the bouquet of a fireworks display, eliciting from her awed spectators an open mouthed chorus of ohs and ahs... In her presence, you are startled, then disarmed, by her lack of inhibition. What might at first seem llike exhibitionism is yet counterbalanced by a wistful incertitude beneath the surface. If this star is an abandoned sprite, she touchingly looks to her audience for approval. She is strikingly like an overexcited child asked downstairs after tea. The initial shyness over, excitement has now gotten the better of her. She romps, she squeals with delight, she leaps onto the sofa. She puts a flower stem in her mouth, puffing on a daisy as though it were a cigarette. It is an artless, impromptu, high spirited, infectiously gay performance. It may end in tears. Equally impromptu is her general appearance. This canary blond nymph has been so sufficiently endowed by nature as to pay no attention to the way she looks. Her hair, her nails, her make-up, have a makeshift, spontaneous attractiveness. It is all very contemporary: Marilyn Monroe conjures up two straws in a single soda, juke-boxes, sheer nylons and drive- in movies for necking (does she not project a hynotized nymphomania?). This, then, is the wonder of the age - a dreaming somnabular, a composite of Alice in Wonderland, Trilby, or a Minsky artist. Perhaps she was born the post war day we had need of her. Certainly she has no knowledge of the past. Like Giraudoux's Ondine, she is only fifteen years old; and she will never die." Cecil Beaton, June 1956.
- Encased in a silver tryptich, engraved on the center panel To Marilyn Monroe Miller Love Nedda and Joshua Logan. Gelatine silver print. 1956. Signed "Cecil Beaton" in red pencil on the mount.  
Estimate: $15,000 - $20,000 / Sold: $145,500
  

Lot 24: A RIBBED WHITE ERMINE COAT
Circa mid-1950's, with deep cape collar, lined in black satin, labeled Maximillian, New York, fastening with rhinestone cuff button. Worn to the premiere of Conversation Piece to see Arthur Miller's sister Joan Copeland on November 18, 1957. 
Estimate: $10,000 - $15,000 / Sold: $79,500
  

Lot 25: AN ELABORATE HAREM COSTUME (12)
In December 1958 Marilyn Monroe sat for a Life Magazine photo shoot with photographer Richard Avedon. In addition to posing as Jean Harlow, Marlene Dietrich, Lillian Russell, and Clara Bow, she also donned an exotic harem girl's outfit with appropriate hair and make-up to imitate Theda Bara in Cleopatra, with the hope of winning the role that ultimately went to Elizabeth Taylor. The skirt of orange and yellow chiffon scarves is attached to a gold lam bikini bottom with an ornate belt of embossed gold leather encrusted with amber-colored imitation jewels; the gold lam top designed with snake motif cups. Together with matching headdress and three imitation gold slave bracelets and four copies of Life Magazine, including the 1962 issue of the magazine that reprinted with the photographs. 
Estimate: $10,000 - $15,000 / Sold: $46,000
  

 Lot 26: SCREENPLAY "SOME LIKE IT HOT"
Script for Some Like It Hot. Screenplay by Billy Wilder and I.A.L. Diamond. July 18, 1958. Mimeographed typescript, title page, list of character and the actors playing them, 122 pages (printed on rectos only). Bound in bright green paper wrappers, stamped number "56" on the cover and first page (very slight wear). A number of pages preceding Marilyn's character's first entrance are folded diagonally, probably as these scenes were finished shooting.
- MARILYN MONROE'S COPY, with her initials "MMM" in large letters in red crayon on upper cover and repeated on first page; with the name of her character "Sugar" circled in red crayon on 54 pages. A note on page 91 "to a child" is in an unidentified hand.
Scripts all sold separately
Estimate: $6,000 - $8,000 / Sold: $51,750
  

 Lot 27: "SOME LIKE IT HOT" Contact Sheets (5)
A group of five black and white contact sheets from the film co-starring Jack Lemmon and Tony Curtis. With over forty-five images, the shots depict the actors, cast and crew in various scenes including on the beach and yacht-both on camera and relaxing between takes.
Contact sheets: 10 X 8 in. Individual images: 2 3/4 x 2 1/4 in.
Estimate: $2,000 - $4,000 / Sold: $57,500
  

 Lot 28: NOMINATION FOR GOLDEN GLOBE AWARD
Hollywood Foreign Press Association / A Certificate of Nomination for Golden Globe Award of Merit for Outstanding Achievment Best Performance by an Actress in a Musical or Comedy / Marilyn Monroe / Some Like It Hot, 1959 .
Estimate: $3,000 - $5,000 / Sold: $34,500
  

Lot 29: GOLDEN GLOBE AWARD (2)
To Marilyn Monroe Some Like It Hot - Best Actress in a Comedy 1959
Hollywood Foreign Press Association
March 8, 1960  York for her performance in The Prince and the Showgirl, 1959.
Estimate: $10,000 - $15,000 / Sold: $140,000
  

Lot 30: A BLACK COCKTAIL DRESS AND A COAT
LET'S MAKE LOVE (2)
A black cocktail dress worn by Marilyn Monroe opposite Yves Montand in the 1960 film. The sleeveless dress is constructed with a bodice of coffee-colored chiffon embroidered with black scrolling foliage and matching cropped jacket. Also worn by the star to the 1959 ceremony for the presentation of her David Di Donatello Award at the Italian Consulate in New York for her performance in The Prince and the Showgirl, 1959.
Estimate: $20,000 - $30,000 / Sold: $79,500
  

Lot 31: PROMPTBOOK FOR "LET'S MAKE LOVE"
Typescript, 33 pages (of 35, without pages 23 and 25, typed on rectos only). Bound in yellow wrappers (several pages detached and loosely inserted, some pages with creases and other signs of use, covers worn).
MARILYN MONROE'S COPY, evidently used in the filming, with her lines circled in red crayon on many pages, and with very extensive notes in pencil and ink on inside wrappers and throughout the text. Random notes on the front cover include "The situation," "enjoy,""just work for the situation," and "dream sequence:everything you do-do more/Amanda in a dream." On the inside front cover are a number interesting inscriptions, including "using my intelligence [sic]/am not a baby any longer," "she's a person/I am playing her," and (possibly referring to her character, Amanda) "For the theatre/she'll do anything." The inside back cover too contains some interesting self-admonitory notes: "Accept it, summon all strength needed - save myself for other things/don't fight/enjoy when I can," and "Not intense/leads to only tension/relax." Every page of the promptbook is marked up, with Marilyn's lines underlined or bracketed in bright red ink, there are numerous changes in the lines and cues noted, and the margins of each page contain notes in ink and in pencil, evidently made at different times during the filming. Her extensive notes - which reveal Monroe's very serious and meticulous efforts to perfect her role as "Amanda Dell," the showgirl being romanced by an incognito billionaire - are too numerous to do more than briefly sample here. At the bottom of page 3, she writes "what a small world only theatre"; on page 4, where she is describing the attitudes toward women in the theatre, she writes "types like J. Gould," and reminds herself to say certain lines "like a child." National politics are the subject on a note on page 9, where she has written: "What's wrong with the Democratic party letting Nixon win" (the filming took place during the Presidential contest between Nixon and Kennedy). At page 8, she writes "Joan of Arc" at the top of the page, and, in the margin: "Joan of Arc [sic] hears voices - sound the wind makes in Roxbury around the corner of the house- like a human whistle." At the top of page 14, in bold letters, she writes "don't rush" and "scene made by the silences/don't rush on the silences on the lines rush if necessary." At the top of page 33 appear several provocative inscriptions: "If I have to kill myself I must do it," and "acting must/occur not be made/use something to make/this possible" At the end of her lines, on the last page, she records the final moments of the film: "he kisses her vastly." On the inside back wrapper she has written several telephone numbers including that of Dr. Greenson, her Beverly Hills psychiatrist.  
Estimate: $10,000 - $15,000 / Sold: $55,200
  

Lot 32: A SIMULATED DIAMOND BROOCH
Circa mid-1950's, of circular outline, designed as a cluster of rhinestones. 
Estimate: $2,000 - $4,000 / Sold: $12,650

Lot 33: A FANCY BROOCH OF SIMULATED DIAMONDS
Circa late-1950's, of starburst design, set with rhinestones.
Estimate: $2,000 - $4,000 / Sold: $12,650

Lot 34: A SIMULATED DIAMOND BROOCH
Circa late-1950's brooch, of heart shaped design, set with rhinestones. 
Estimate: $2,000 - $4,000 / Sold: $12,650

Lot 35: AN EVENING STOLE
A black and creme satin evening stole, finished in a fringe pattern.
Estimate: $2,000 - $4,000 / Sold: $12,650

Lot 36: A PAIR OF EAR CLIPS (2)
Decorated with three lines of drop-cut rhinestones, worn to the premiere party for Some Like It Hot, 1959.
Estimate: $2,000 - $4,000 / Sold: $39,100

Lot 37: A WHITE STOLE
The center panel of white chiffon, trimmed with white fox fur and labeled Frederica. Worn by Marilyn Monroe to the premiere of Some Like It Hot, held at the Loew's State Theater on Broadway on March 28, 1959. Sold to benefit World Wildlife Fund. 
Estimate: $10,000 - $15,000 / Sold: $41,400

Lot 38: A FULL LENGTH EVENING SHEATH (2)
Of ivory crpe, embroidered overall with silvered clear bugle beads, the skirt worked with shimmering pendant bugle beads, the dress with plunging rear dcolletage, the halter-neck with shoe-string straps. Worn by Marilyn Monroe as she was accompanied by Arthur Miller to the premiere of Some Like It Hot, 1959 and to Yves Montand's 1959 one-man-show on Broadway. The dress was also worn by the actress in the film Let's Make Love, 1960. Accompanied by a black and white publicity photograph of Marilyn on the set of Let's Make Love with Yves Montand, 8 x 10 in. 
Estimate: $20,000 - $30,000 / Sold: $107,000

Lot 39: A BLACK SILK JERSEY COCKTAIL DRESS LET'S MAKE LOVE, 1960
A black silk jersey cocktail dress worn by Marilyn Monroe in the 1960 film. Designed with an under bosom belt and draped, the interior labeled JAX, the paper wardrobe tab inscribed "ENOLA."  
Estimate: $15,000 - $20,000 / Sold: $48,300
  

Lot 40: A GREY SILK JERSEY DRESS LET'S MAKE LOVE, 1960
A grey silk jersey dress worn in the film. The halter-neck style costume is designed with full skirts of layered grey chiffon with unfinished hems, piped, and labeled JAX.
Estimate: $15,000 - $20,000 / Sold: $52,900
  

Lot 41: A SCARLET DRESS (2)
A scarlet silk halter dress, featuring full skirts of matching layered scarlet chiffon. Worn by Marilyn Monroe in a series of photographs to advertise the Warner Bros. film The Prince and the Showgirl, 1957, in her well-known, provocative sitting for Milton Greene, where she was photographed against a black background. Together with a mounted color tearsheet featuring the actress in the scarlet dress.
Estimate: $15,000 - $20,000 / Sold: $167,500
  

Lot 42: A PAIR OF SQUARE-TOED TAN LEATHER BOOTS (2)
THE MISFITS, 1961
A pair of square-toed tan leather cowgirl boots, worn in the actress's last completed film. Embellished with embroidered stitching, the boots are stamped with the maker's mark Hyer. 
Estimate: $4,000 - $6,000 / Sold: $85,000
  

Lot 43: SCRIPT FOR THE MISFITS
BY ARTHUR MILLER. REVISION MARCH 1960
Mimeographed typescript, title page and 147 pages (printed on rectos only). Punched and bound with three brass rivets, the different settings ("Ranch House,""Car,""Bar,"Mustanging") marked with alternating white or pink index tabs affixed to certain pages (title page soiled, some margins frayed).
- MARILYN MONROE'S COPY, with the initials "M.M." on title page and large note "Paula's script" deleted in pencil, the lines of the character "Roslyn" underlined in pink ink and her character's name circled in the same color ink throughout. At the top of the title, Marilyn has written, rather cryptically, "The effort is made by one's will." With Monroe's pencilled notes on 46 pages of script and on facing blank pages. On the verso of page 6 are several notes including: "play the situation/don't push it,""when she listens she smiles, when she talks, she doesn't," and "talk differently to him than to her!" On the verso of page 8 are the notes "plead for understanding," "try to smile a little," and "not to worry how I say it," and others. A note on the verso of page 14 reads "look straight at Gable - just look don't say anything don't do anything," and on the verso of page 13, she characterizes Roslyn as "stange lovely quality/not bitter/not blaming/realizing/no pressure now/I hoped so much that things would be different." At the bottom of page 16 Marilyn has written "lean back, stretch, unconcerned feminine sex." On page 20, where Isabelle cautions Roslyn about cowboys, Marilyn has written "men that are men can't be trusted." On page 37, Roslyn has the line "I didn't want children. Not with him," and on the facing blank, connected by a pencil line, Marilyn has written "Like with J.D." (Joe DiMaggio?). At page 72, where Perce is thrown from his horse during the rodeo and injured, Marilyn records:"this is the most dramatic thing so far - its - as if something has happened to her [Roslyn] - she is lost." On the blank verso of page 44, is an extensive inscription commenting on Roslyn's kissing Gay:"she kisses him because she could say that she's lonely - then when he doesn't seem to respond she's hurt then glad for the interruption."
Estimate: $8,000 - $10,000 / Sold: $31,050
  

Lot 44: PROMPTBOOK FOR THE MISFITS 1961
"copied July 30, 1960" on inside black wrapper.
Typescript, 40 pages, oblong, typed on rectos only. Bound in light green wrappers, typewritten label "File Copy" on upper cover (several pages creased, wrappers worn).
- MARILYN MONROE'S COPY, with her pencilled initials "MM" on front wrapper, and with extensive notes and markings on 20 pages of the script, in pen and pencil, including extensive deletion of lines in the scene numbered 108 (which she has labelled "love scene"). Her notes are often reminders to herself regarding the action: at scene 31 she notes "keep looking at him"; at scene 45 she writes "make believe he is scrubbed up in a tuxedo"; next to liness inscene 82 "gently, like to a child," and "whisper, then let go." In scene 111, where her character is trying to calm an agitated man, she notes "stroke head, finger on lips," and later in the scene she adds a new line: "women do changes - a man can make that difference." Her notes in scenes 118 to 130 are extensive and quite interesting, and include "walk - tiredness, weariness, inside exhillerated [sic]; "the words are on a thin thread." Next to the lines in which her character cannot see and becomes agitated, she writes "as if all in a dream trying to find myself with these men - am I hearing what I hear." Further on, in scenes 131 to 148, Monroe has made notations including "all the stangers in the world," "stand on a spot of earch and call to the moon - calling into infinity," "in a forest she is covered/in a desert she stands exposed," and "smile - human madonna." At the end of scene 148 she adds a fascinating though cryptic note referring to her acting: "Nightclub - I'm not ashamed of that/hold onto...that as Lee [Strasberg] says of my acting/say it to myself." On the same page, she writes "don't at results/let it occur," and "observe/react/let it happen."
- [With:]MONROE. A sheet of autograph notes, 2 pages in pencil on a partial page torn from a yellow lined-paper notebook. Marilyn has written at the top of the sheet "Affective memory/in Sunday school play - children reading - late afternoon child doing my part that I know by heart Aunt Ida." Beneath, she writes "draw My own Map - what I want." Following other notes, at the bottom of the sheet she adds "write out my part." - BEHAN, BRENDAN. Autograph note, penned in ink on a small scrap of paper, paper-clipped to the front cover, reading "For Marilyn Monroe - a credit to the human race mankind in general and womankind in particular."
Estimate: $10,000 - $15,000 / Sold: $28,750
  

Lot 45: A SLEEVELESS COCKTAIL DRESS
THE MISFITS, 1961 (2)
A sleeveless cocktail dress, labeled Jean Louis, of black silk jersey and elaborately cut, the irregular neckline threaded with a jersey band. Inscribed in pen, "#4Marilyn Monroe" on the Jean Louis label, together with a matching bolero jacket. (2) 
Estimate: $20,000 - $30,000 / Sold: $72,900
  

Lot 46: FRANKIE AND JOHNNY BY JOHN HUSTON
New York: Albert and Charles Boni, 1930. Small 4to, original gilt cloth.
FIRST EDITION, PRESENTATION COPY, inscribed by John Huston to Marilyn Monroe on the title page:"Marilyn dear/all those years ago when you were hardly born I wrote this for you - the perfect Frankie - Johnny (himself) Huston." Illustrated by Covarrubias. 
Estimate: $4,000 - $6,000 / Sold: $33,350
  

 Lot 47: A PAIR OF GILT-METAL LIGHTERS AND CASE (3)
A circa early-1960's set of two lighters, set in a fitted velvet case. Signed Wellington-Thin, the lighters are engraved FRANK SINATRA'S CALNEVA LODGE, the resort owned by Marilyn's good friend on the shores of Lake Tahoe.
Estimate: $2,000 - $4,000 / Sold: $48,300
  

 Lot 48: SCRIPT FOR SOMETHING'S GOT TO GIVE, 1961
Screenplay by Arnold Schulman. November 22, 1961. Screenplay. Confidential. For Planning Purposes Only.
Confidentiality notice, mimeographed title page and 138 pages script (printed on rectos only). Bound in light green paper wrapper with Twentieth Century-Fox Film Corporation logo, title on spine (one tear to front cover).
MARILYN MONROE'S COPY, with numerous markings and notes in pencil on 39 pages. On the blank page facing the title she has written:"she maneuvers [sic], she gets him to chase her - he[sic] resents her leaving her husband." On the title page appear a number of notes and page references to the script and the observation "at one point in the story two women like each other but hate the man." Below, she writes, emphatically, "not a story for MM," and adds, "it's for a man and just any two girls except the first 45 pages." On the same page, she apparently records her reactions to the change of screenwriter: "why was the writer who wrote it let go?" and queries "New Producer, How come?" ON page 57, where the stage directions call for Richard and Priscilla to "embrace and kiss passionately," she has added: "but mechanically." On page 58, Monroe likens the towering rage of the forsaken Ellen to the emotions expressed in a song from Lerner and Loew's My Fair Lady, writing "I can do without you, or just you wait, Henry Higgins, just you wait." On page 69, Monroe has pencilled in what appear to be some ideas for the cinematic action. Instead of Ellen banging on the wall of the room honeymoon suite in which Priscilla and Ricahrd are kissing, Marilyn suggests: "she plays a record player very loud - and she does the twist and at certain beats in time with the music she bumps him against the wall." Continuing though, on the next page she writes "Ellen is getting tired her bumps are getting less enthusiastic and sad to put it mildly." Page 87 bears several notes, and the blank page facing it is covered with extensive pencilled notes concerning Ellen's lines, and suggesting a number of lines, including, "Now listen this happens to be a democracy - we're even the 50th state. We are no longer just a possession of the U.S.A." Monroe is caustic about certain weak features of the script: on page 126 in the script, the lines of the character Richard include a particularly awful pun: "You know the old saying - cast your broad upon the waters." In the margin Marilyn writes, "Not funny." On page 130, next to rather silly lines by Priscilla about the availabilty of men, she writes "Not a good speech," and next to Ellen's response to Priscilla, she comments succinctly: "sick." Following the final scene (Richard and Ellen kissing), she writes in large letters: "NO NO NO."
Estimate: $8,000 - $10,000 / Sold: $36,800
  

Lot 49: SCRIPT FOR SOMETHING'S GOT TO GIVE, 1961
Script for Something's Got To Give. Screenplay by Nunnally Johnson. Revised Screenplay, February 12, 1962.
Mimeograph title page, 108 pages script (printed on rectos only), with 34 pages printed on blue paper representing changes to the script. Bound in light blue paper wrappers with Twentieth Century-Fox Film Corporation logo, title on spine (small tears, small stains and light soiling to covers, spine chipped). An intermediate stage of the script, before final scenes were added, and differing in many places from the final text.
MARILYN MONROE'S COPY, with numerous annotations and notes in ink (and, in a few cases, pencil) on the title page and 32 pages of the script, the annotation very heavy on about 12 pages, referring to lines, the characters, the blocking, commenting on the charaters and their motivations, etc. On title: "We've got a dog here - so we've got to look for impacts in a different way, or as Mr. Johnson says, the situation." On page 7, which is very heavily annotated, Monroe queries Bianca's use of the term "psychosomatic":"would she come right out with this sort of thing? I feel a hint of what she's getting to would be more real"; at another point, Monroe asks: "How can she say this at this point - too early? Gives away what she will be saying later...No! she is not a Nut but a cold Hard dame!...Maybe she could also be one of these 'practical' types - a bookkeeper at heart." On page 7a, Monroe comments on lines of the judge: "This is funny?" On page 12, heavily annotated, Monroe comments, "Ellen is no longer Irene Dune [the actress, Irene Dunne]- and the only people on earth I get on well with is [sic] men so lets have some fun with this opening scene on Ellen plus impact for the picture." On page 23, remarking on Bianca's taking Nick's hand, Monroe writes: "Let's remember she is frigid - We all know what Kinsey found out about most females. This has got to be one in one way or another." On verso of the last page are pencilled notes referring to the character Dr. Schlick, who has a German accent: "Alex Guinness/Oh goodness/on/vot - what/I am so merry." With a loose final page from a shooting script with bold ink notes about Schlick's accent: "Escuse me, plees...good Gude french u/Dat isgude/Dis is cross between D and TH."
Estimate: $8,000 - $10,000 / Sold: $25,300
  

Lot 50: PROMPTBOOK FOR SOMETHING'S GOT TO GIVE, 1961
Carbon typescript, 32 pages, oblong, typed on rectos only. Bound in black paper wrappers, typewritten label "Marilyn Monroe/"Something's Got To Give" on upper cover. Marilyn Monroe's copy, with her pencil notes on 11 pages. On page 1, next to the lines "Kennedy"/"Oh...really...which one" she writes "dead pan." On page 7 she notes that the lines "let me get fixed up a little, will you" have been changed to "let me slip into something more comfortable..." At the bottom of that page she writes "I hope I hope I hope." At page 8 she comments "you are all crazy not me," and adds "dead pan" next to Bianca's lines. On page 10, next to her lines, she comments, "kidding the pants off him."
Estimate: $10,000 - $15,000 / Sold: $23,000
  

Lot 51: A HAND-KNITTED CARDIGAN
Of creme wool decorated with a brown geometric pattern across the center, cuffs and the neck, with matching knitted belt. Worn by Marilyn Monroe in 1962 and featured in a series of photographs by George Barris taken on the beach in Santa Monica, California.
Estimate: $30,000 - $50,000 / Sold: $167,500
  

Lot 52: A GOLDEN GLOBE AWARD
Marilyn Monroe World's Favorite Female Star 1961
Hollywood Foreign Press Association - March 5, 1962.
Estimate: $10,000 - $15,000 / Sold: $184,000
  

Lot 53: A SEQUINED EVENING DRESS
From the personal wardrobe of Marilyn Monroe: A backless, full-length dress of emerald green jersey, heavily embroidered with matching sequins, decorated with inset waistband. Unlabeled, by Norman Norell, worn by Marilyn Monroe at the Golden Globe Award Ceremonies in Hollywood on March 5, 1962, when accepting her award as 1961’s “World’s Favorite Film Star.”
Estimate: $30,000 - $50,000 / Sold: $96,000
  

 Lot 54: "HAPPY BIRTHDAY MR. PRESIDENT" INVITATION
Program for "Happy Birthday, Mr. President. New York's Birthday Salute to President Kennedy." Madison Square Garden, May 19, 1962. 4 pages. Front cover with title between squares of red and blue, to the right, a black and white photograph of President Kennedy. Page 2 text listing the Sponsors, Committee and Patrons of the event, page 3 enumerating the events scheduled for the evening, including appearances by Henry Fonda, Jack Benny, Ella Fitzgerald, Jerome Robbins' Ballet, Jimmy Durante, Bobby Darin, Peter Lawford and Marilyn Monroe.
- [With:] Official invitation to be with President Kennedy at New York's Birthday Salute to the President, May 19, 1962. 4 pages, lightly creased. Front cover with decorative text, page 2 with quotation from Mayor Robert F. Wagner.
- With:] Call sheet for the "Salute to the President" [May 19, 1962]. 2 pages, mimeograph typescript (on rectos only). Enumerating 39 events or appearances, Monroe as number 35 "Marilyn Monroe and Stars." Marilyn Monroe's copy, with notes in red crayon and pencil on first page, reading "who do have to be/to ask/who do you think you have to be to be disappointment." Together with three items, all Marilyn Monroe's copies.
Estimate: $10,000 - $15,000 / Sold: $129,000
  

Lot 55: JEAN LOUIS DRESS DRESS WORN BY MARILYN MONROE WHEN SHE SANG HAPPY BIRTHDAY TO JFK
A Jean Louis gown worn by Marilyn Monroe at Madison Square Garden in New York City on May 19, 1962, at a Democratic fundraiser and 45th birthday celebration for President John F. Kennedy..
Sold: $1,267,500

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