Saturday Evening Post
- The New Marilyn Monroe - Part 2

pays magazine: USA
paru le 12 mai 1956
article: 2ème partie "The New Marilyn Monroe"
en ligne sur saturdayeveningpost.com

Part Two: Here She Talks About Herself
By Pete Martin
Originally published on May 12, 1956
Marilyn explains how Freud helped cure her inferiority complex and tells why she posed for that famous nude calendar.

 
The “new Marilyn” and Don Murray, male lead
in her next picture, Bus Stop. (Gene Lester, © SEPS)

“That nude calendar Marilyn Monroe posed for will probably be reprinted as long as we have men with twenty-twenty vision in this country,” Flack Jones told me. Jones had put in several years as a publicity worker at Marilyn Monroe’s Hollywood studio before opening his own public-relations office. “Curious thing about it,” Jones went on, “when that calendar first came out, it had no bigger sale than any other nude calendar.

“You may not know it, but there’s a steady sale for such calendars. You might think that there are too few places where you can hang them up to make them worthwhile. But there’re lots of places where they fit in very nicely — truckers’ havens, barbershops, bowling alleys, poolrooms, washrooms, garages, toolshops, taprooms, taverns — joints like that. The calendar people always publish a certain number of nude calendars along with standards like changing autumn leaves, Cape Cod fishermen bringing home their catch from a wintry sea, Old Baldy covered with snow. You’re not in the calendar business unless you have a selection of sexy calendars. The sale of the one for which Marilyn posed was satisfactory, but not outstanding. It only became a ‘hot number’ when the public became familiar with it.”

Billy Wilder, the Hollywood director who directed Marilyn in The Seven Year Itch, is witty, also pungent, pithy, and is not afraid to say what he thinks. “When you come right down to it,” Wilder told me, “that calendar is not repulsive. It’s quite lovely. Marilyn’s name was already pretty big when the calendar story broke. If it hadn’t been, nobody would have cared one way or the other. But when it became known that she had posed for it, I think that, if anything, it helped her popularity. It appealed to people who like to read about millionaires who started life selling newspapers on the corner of Forty-second and Fifth Avenue; then worked their way up. It was as if Marilyn had been working her way through college, for that pose took hours. Here was a girl who needed dough, and she made it by honest toil.”

“I was working on the Fox Western Avenue lot when this worried man from Fox came tearing in wringing his hands,” Marilyn told me recently. “He took me into my dressing room to talk about the horrible thing I’d done in posing for such a photograph. I could think of nothing else to say, so I said apologetically, ‘I thought the lighting the photographer used would disguise me.’ I thought that worried man would have a stroke when I told him that.

“What had happened was I was behind in my rent at the Hollywood Studio Club, where girls stay who hope to crash the movies. You’re only supposed to get one week behind in your rent at the club, but they must have felt sorry for me because they’d given me three warnings. A lot of photographers had asked me to pose in the nude, but I’d always said, ‘No.’ I was getting five dollars an hour for plain modeling, but the price for nude modeling was fifty an hour. So I called Tom Kelley, a photographer I knew, and said, ‘They’re kicking me out of here. How soon can we do it?’ He said, ‘We can do it tomorrow.’

“I didn’t even have to get dressed, so it didn’t take long. I mean it takes longer to get dressed than it does to get undressed. I’d asked Tom, ‘Please don’t have anyone else there except your wife, Natalie.’ He said, ‘O.K.’ He only made two poses. There was a shot of me sitting up and a shot of me lying down. I think the one of me lying down is the best.

“I’m saving a copy of that calendar for my grandchildren,” Marilyn went on, all bright-eyed. “There’s a place in Los Angeles which even reproduces it on bras and panties. But I’ve only autographed a few copies of it, mostly for sick people. On one I wrote, ‘This may not be my best angle,’ and on the other I wrote, ‘Do you like me better with long hair?”

I said to Marilyn that Roy Craft, who is one of the publicity men at Fox, had told me that he had worked with her for five years, and that in all that time he’d never heard her tell a lie. “That’s a mighty fine record for any community,” I said.

“It may be a fine record,” she admitted, “but it has also gotten me into trouble. Telling the truth, I mean. Then, when I get into trouble by being too direct and I try to pull back, people think I’m being coy. I’m supposed to have said that I dislike being interviewed by women reporters, but that it’s different with gentlemen of the press because we have a mutual appreciation of being male and female. I didn’t say I disliked women reporters. As dumb as I am, I wouldn’t be that dumb, although that in itself is kind of a mysterious remark because people don’t really know how dumb I am. But I really do prefer men reporters. They’re more stimulating.”

I asked Flack Jones in Hollywood, “When did this business of her making those wonderful Monroe cracks start?”

“You mean when somebody asked her what she wears in bed and she said, ‘Chanel Number Five’?” Jones asked. “You will find some who will tell you that her humor content seemed to pick up the moment she signed a contract with the studio, and that anybody in the department who had a smart crack lying around handy gave it to her. Actually, there were those who thought that more than the department was behind it. ‘Once you launch such a campaign,’ they said, ‘it stays launched. It’s like anyone who has a smart crack to unleash attributing it to a Georgie Jessel or to a Dorothy Parker or whoever is currently smart and funny.’ There was even a theory that the public contributed some of Marilyn’s cracks by writing or calling a columnist like Sidney Skolsky or Herb Stein, and giving him a gag, and he’d attribute it to Marilyn, and so on around town. But the majority of the thinking was that our publicity department gave her her best cracks.”

“Like what?” I asked.

“Like for instance. I’ll have to lead up to it; as you know, in this business you can be destroyed by one bad story — although that’s not as true as it used to be — and when the story broke that Marilyn had posed in the nude for a calendar and the studio decided that the best thing to do was to announce the facts immediately instead of trying to pretend they didn’t exist, we said that Marilyn was broke at the time and that she’d posed to pay her room rent, which was true. Then, to give it the light touch, when she was asked, ‘Didn’t you have anything on at all when you were posing for that picture?’ we were supposed to have told her to say, ‘I had the radio on.’”

Flack Jones paused for a long moment. “I’m sorry to disagree with the majority,” he said firmly, “but she makes up those cracks herself. Certainly that ‘Chanel Number Five’ was her own.”

When I told Marilyn about this, she smiled happily. “He’s right. It was my own,” she said. “The other one — the calendar crack — I made when I was up in Canada. A woman came up to me and asked, ‘You mean to say you didn’t have anything on when you had that calendar picture taken?’ I drew myself up and told her, ‘I did, too, have something on. I had the radio on.’”

“Give her a minute to think and Marilyn is the greatest little old ad-lib artist you ever saw,” Flack Jones had insisted. “She blows it in sweet and it comes out that way. One news magazine carried a whole column of her quotes I’d collected, and every one of them was her own. There’ve been times when I could have made face in this industry by claiming that I put some of those cracks into her mouth, but I didn’t do it. This girl makes her own quotables. She’ll duck a guy who wants to interview her as long as she can, but when she finally gets around to it, she concentrates on trying to give him what he wants — something intriguing, amusing and off-beat. She’s very bright at it.

“A writer was commissioned to write a story for her for a magazine,” Jones said. “The subject was to be what Marilyn eats and how she dresses. As I recall it, the title was to be ‘How I Keep My Figure,’ or maybe it was ‘How I Keep in Shape.’ The writer talked to Marilyn; then ghosted the article. He wrote it very much the way she’d told it to him, but he had to pad it out a little because he hadn’t had too much time with her. As a result, in one section of his article he had her saying that she didn’t like to get out in the sun and pick up a heavy tan because a heavy tan loused up her wardrobe by confusing the colors of her dresses and switching around what they did for her.

“The article read good to me, and took it over to Marilyn for her corrections and approval. Most of the stuff was the routine thing about diet, but when she came to the part about ‘I don’t like suntan because it confuses the coloring of my wardrobe,’ she scratched it out. I asked her, ‘What’s the matter?’

“‘That’s ridiculous,’ she said. ‘Having a suntan doesn’t have anything to do with my wardrobe.’ I said, ‘You’ve got to say something, Marilyn. After all, the guy’s article is pretty short as it is.’ She thought for a minute; then wrote, ‘I do not suntan because I like to feel blonde all over.’ I saw her write that with her own hot little pencil.

“The magazine which printed that story thought her addition so great that they picked it out and made it a subtitle. She’d managed to transpose an ordinary paragraph about wardrobe colors into a highly exciting, beautiful, sexy mental image. Some guys have said to me, ‘Why, that dumb little broad couldn’t have thought that up. You thought it up, Jones.’ I wish I could say, ‘Yeah, I did,’ but I didn’t. Feeling blonde all over is a state of mind,” he said musingly. “I should think it would be a wonderful state of mind if you’re a girl.

“One reason why she’s such a good interview,” Flack Jones went on, “is that she uses her head during such sessions. She tries to say something that’s amusing and quotable, and she usually does. When I worked with Marilyn I made it a practice to introduce her to a writer and go away and leave her alone, on the grounds that a couple of grown people don’t need a press agent tugging at their sleeves while they get acquainted. So if her interviews have been any good, it’s her doing.”

“One day she gave a tape interview and it was all strictly ad-lib,” he said. “I know, because I had a hard time setting it up. It was for a man who was doing one of those fifteen-minute radio interviews here in Hollywood, to be broadcast afterward across the country. We had a frantic time trying to get him the time with her, but finally he got his recorder plugged in, and the first question he pitched her was a curve. He wanted to know what she thought of the Stanislavsky school of dramatic art or whatever. Believe it or not, old Marilyn unloaded on him with a twelve-minute dissertation on Stanislavsky that rocked him back on his heels.”

“Does she believe in the Stanislavsky method?” I asked.

“She agreed with Stanislavsky on certain points,” Jones said. “And she disagreed on others, and she explained why. It was one of the most enlightening discussions on the subject I’ve ever heard. It came over the radio a couple of nights later, and everybody who listened said, ‘Oh, yeah? Some press agent wrote that interview for her.’ My answer to that was, ‘What press agent knows that much about Stanislavsky?’ I don’t.”

In the course of my research, before interviewing Marilyn, I’d discovered that Billy Wilder agreed with Jones. “I think that she thinks up those funny things for herself,” he said. Wilder’s Austrian background gives his phrases an offbeat rhythm, but because of its very differentness, his way of talking picks up flavor and extra meaning.

“I think also that she says those funny things without realizing that they’re so funny,” Wilder said. “One very funny thing she said involves the fact that she has great difficulties in remembering her lines. Tremendous difficulties. I’ve heard of one director who wrote her lines on a blackboard and kept that blackboard just out of camera range. The odd thing is that if she has a long scene for which she has to remember a lot of words, she’s fine once she gets past the second word. If she gets over that one little hump, there’s no trouble. Then, too, if you start a scene and say, ‘Action!’ and hers is the first line, it takes her ten or fifteen seconds to gather herself. Nothing happens during those fifteen seconds. It seems a very long time.”

“How about an example of when she’s bogged down on a second word,” I asked.

“For instance, if she had to say, ‘Good morning, Mr. Sherman,”’ Wilder told me, “she couldn’t get out the word ‘morning.’ She’d say, ‘Good …’ and stick. Once she got ‘morning’ out, she’d be good for two pages of dialogue. It’s just that sometimes she trips over mental stumbling blocks at the beginning of a scene.

“Another director should be telling you this story, not me,” Wilder said. “This other director was directing her in a scene in a movie, and she couldn’t get the lines out. It was just muff, muff, muff, and take, take, take. Finally, after Take Thirty-two, he took her to one side, patted her on the head, and said, ‘Don’t worry, Marilyn, honey. It’ll be all right.’ She looked up into his face with those big wide eyes of hers and asked, ‘Worry about what?’ She seemed to have no idea that thirty-two takes is a lot of takes.”

When I sat down to talk to Marilyn, I said, “I’ve tried to trace those famous remarks attributed to you and find out who originated them.”

“They are mine,” Marilyn told me. “Take that Chanel Number Five one. Somebody was always asking me, ‘What do you sleep in, Marilyn? Do you sleep in P.J.’s? Do you sleep in a nightie? Do you sleep raw, Marilyn?’ It’s one of those questions which make you wonder how to answer them. Then I remembered that the truth is the easiest way out, so I said, ‘I sleep in Chanel Number Five,’ because I do. Or you take the columnist, Earl Wilson, when he asked me if I have a bedroom voice. I said, ‘I don’t talk in the bedroom, Earl.’ Then, thinking back over that remark, I thought maybe I ought to say something else to clarify it, so I added, ‘because I live alone.’”

The phone rang in her apartment, and she took a call from one of the hand-picked few to whom she’d given her privately listed number. While she talked I thought back upon a thing Flack Jones had said to me thoughtfully, “I’m no psychiatrist or psychologist, but I think that Marilyn has a tremendous inferiority complex. I think she’s scared to death all the time. I know she needs and requires attention and that she needs and requires somebody to tell her she’s doing well. And she’s extremely grateful for a pat on the back.”

“Name me a patter,” I said.

“For example,” he said, “when we put her under contract for the second time, her best friend and encourager was the agent, Johnny Hyde, who was then with the William Morris Agency, although he subsequently died of a heart attack. Johnny was a little guy, but he was Marilyn’s good friend, and, in spite of his lack of size, I think that she had a father fixation on him.

“I don’t want to get involved in the psychology of all this,” Flack Jones continued, “because it was a very complicated problem, of which I have only a layman’s view, but I honestly think that Marilyn’s the most complicated woman I’ve ever known. Her complexes are so complex that she has complexes about complexes. That, I think, is one reason why she’s always leaning on weird little people who attach themselves to her like remoras, and why she lets herself be guided by them. A remora is a sucker fish which attaches itself to a bigger fish and eats the dribblings which fall from the bigger fish’s mouth. After she became prominent, a lot of these little people latched onto Marilyn. They told her that Hollywood was a great, greedy ogre who was exploiting her and holding back her artistic progress.”

I said that the way I’d heard it, those hangers-on seemed to come and go, and that her trail was strewn with those from whom she had detached herself. I’d been told that the routine was for her to go down one day to the corner for the mail or a bottle of milk and not come back; not even wave good-by.

“But she has complete confidence in these little odd balls, both men and women, who latch onto her, while they’re latched,” Jones said. “I’m sure their basic appeal to her has always been in telling her that somebody is taking advantage of her, and in some cases they’ve been right. This has nothing to do with your story, but it does have something to do with my observation that she’s frightened and insecure, and she’ll listen to anybody who can get her ear.”

“Johnny Hyde was no remora,” I said.

“Johnny was a switch on the usual pattern,” Jones agreed. “He was devoted to her. He could and did do things for her. I happened to know that Johnny wanted to marry her and Marilyn wouldn’t do it. She told me, ‘I like him very much, but I don’t love him enough to marry him.’ A lot of girls would have married him, for Johnny was not only attractive, he was wealthy, and when he died Marilyn would have inherited scads of money, but while you may not believe it, she’s never cared about money as money. It’s only a symbol to her.”

“A symbol of what?” I asked.

“It’s my guess that to her it’s a symbol of success. By the same token I think that people have talked so much to her about not getting what she ought to get that a lack of large quantities of it has also become a symbol of oppression in her mind. If I sound contradictory, that’s the way it is.”

When Marilyn had completed her phone call, I put it up to her, “I guess you’ve heard it argued back and forth as to whether you are a complicated person or a very simple person, even a naive person,” I said. “Which do you think is right?”

“I think I’m a mixture of simplicity and complexes,” she told me. “But I’m beginning to understand myself now. I can face myself more, you might say. I’ve spent most of my life running away from myself.”

It didn’t sound very clear to me, but I pursued the subject further. “For example,” I asked, “do you have an inferiority complex? Are you beset by fears? Do you need someone to tell you that you’re doing well all the time?”

“I don’t feel as hopeless as I did,” she said. “I don’t know why it is. I’ve read a little of Freud and it might have to do with what he said. I think he was on the right track.” I gave up. I never found out what portions of Freud she referred to or what “right track” he was on.

“What happened in 1952, when the studio sent you to Atlantic City to be grand marshal of the annual beauty pageant?” I asked Marilyn instead. “Did you mind going?”

She smiled. “It was all right with me,” she said. “At the time I wanted to come to New York anyhow. There was somebody I wanted to see here. This was why it was hard for me to be on time leaving New York for Atlantic City for that date. I missed the train and the studio chartered a plane for me, but it didn’t set the studio back as much as they let on. They could afford it.”

Flack Jones had told me that story too. “They’d arranged a big reception for Marilyn at Atlantic City,” he said. “There was a band to meet her at the train, and the mayor was to be on hand. Marilyn and the flacks who were running interference for her were to arrive on a Pennsylvania Railroad train at a certain hour, but, as usual, Marilyn was late, and when they got to the Pennsylvania Station the train had pulled out. So there they were, in New York, with a band and the mayor waiting in Atlantic City. Charlie Einfeld, a Fox vice-president — and Charlie can operate mighty fast when he has to — got on the phone and chartered an air liner — the only one available for charter was a forty-six-seat job; it was an Eastern Air Lines plane as I recall it — and they all went screaming across town in a limousine headed for Idlewild.

“The studio’s magazine man in New York, Marilyn and a flack from out here on the Coast boarded the plane and took off for Atlantic City,” Flack Jones said. “Bob and the Coast flack were so embarrassed at missing the train, and the plane was such a costly substitute that they were sweating like pigs. On this big air liner there was a steward aboard — they’d shanghaied a steward in a hurry from some place to serve coffee — but all of this didn’t bother Marilyn at all. She tucked herself into a seat back in the tail section, hummed softly; then fell fast asleep and slept all the way. The other two sat up front with the steward, drinking quarts of coffee because that was what he was being paid to serve. They drank an awful lot of coffee.”

Flack Jones said that Marilyn and her outriders were met at the Atlantic City airport by a sheriff’s car and that they were only three minutes late for the reception for Marilyn on the boardwalk. There she was given an enormous bouquet of flowers, and she perched on the folded-down top of a convertible, to roll down the boardwalk with a press of people following her car.

“She sat up there like Lindbergh riding down Broadway on his return from Paris,” Flack Jones said. “The people and the cops and the beauty-carnival press agents followed behind like slaves tied to her chariot wheels. That is, she managed to move a little every once in a while when the crowd could be persuaded to back away. Then Marilyn would pitch a rose at the crowd and it would set them off again, and there’d be another riot. This sort of thing went on — with variations — for several days. It was frantic.

  “But,” Flack Jones explained, “there was one publicity thing which broke which wasn’t intended to break. It was typical of the way things happen to Marilyn without anybody devising them. When each potential Miss America from a different part of the country lined up to register, a photograph of Marilyn greet- ing her was taken. Those pictures were serviced back to the local papers and eventually a shot of Miss Colorado with Marilyn wound up in a Denver paper; and a shot of Miss California and Marilyn in the Los Angeles and San Francisco papers, and so forth.”

For a moment Flack Jones collected his thoughts in orderly array; then went on, “Pretty soon in came an Army public-information officer with four young ladies from the Pentagon. There was a WAF and a WAC and a lady Marine and a WAVE. The thought was that it would be nice to get a shot of Marilyn with ‘the four real Miss Americas’ who were serving their country, so they were lined up. It was to be just another of the routine, catalogue shots we’d taken all day long, but Marilyn was wearing a low-cut dress which showed quite a bit of cleavage — quite a bit of cleavage. That would have been all right, since the dress was designed for eye level, but one of the photographers climbed up on a chair to shoot the picture.”

The way Marilyn described this scene to me was this: “I had met the girls from each state and had shaken hands with them,” she said. “Then this Army man got the idea of aiming his camera down my neck while I posed with the service girls. It wasn’t my idea for the photographer to get up on a chair.”

“Nobody thought anything of it at the time,” Jones had told me, “and those around Marilyn went on with the business of their workaday world. In due course the United Press — among others — serviced that shot. Actually it was a pretty dull picture because, to the casual glance, it just showed five gals lined up looking at the camera.”

Jones said that when the shot of the four service women and Marilyn went out across the country by wirephoto, editors took one look at it and dropped it into the nearest wastebasket because they had had much better art from Atlantic City.

“That night the Army PIO officer drifted back to the improvised press headquarters set up for the Miss America contest,” Flack Jones said. “He took one look and sent out a wire ordering that the picture be stopped.”

“On what grounds?” I asked.

“On grounds that that photograph showed too much meat and potatoes, and before he’d left the Pentagon he’d been told not to have any cheesecake shots taken in connection with the girls in his charge. Obviously what was meant by those instructions was that he shouldn’t have those service girls sitting on the boardwalk railings showing their legs or assuming other undignified poses. There was nothing in that PIO officer’s instructions which gave him the right to censor Marilyn’s garb, but he ordered that picture killed anyhow.”

According to Jones, every editor who had junked that picture immediately reached down into his wastebasket, drew it out and gave it a big play. “In Los Angeles it ran seven columns,” he said, “and it got a featured position in the Herald Express and the New York Daily News. All the way across country it became a celebrated picture, and all because the Army had ‘killed’ it.”

He was silent for a moment; then he said, “Those who were with her told me afterward that it had been a murderous day, as any day is when you’re with Marilyn on a junket,” he went on. “The demands on her and on those with her are simply unbelievable. But finally she hit the sack about midnight because she had to get up the next day for other activities. The rest of her crowd had turned in too, when they got a call from the U.P. in New York, asking them for a statement from Marilyn about ‘that picture.’”

“‘What picture?’ our publicist-guardian asked, and it was then that they got the story. They hated to do it, but they rousted Marilyn out of bed. She thought it over for a while; then issued a statement apologizing for any possible reflection on the service girls, and making it plain that she hadn’t meant it that way. She ended with a genuine Monroeism. ‘I wasn’t aware of any objectionable décolletage on my part. I’d noticed people looking at me all day, but I thought they were looking at my grand marshal’s badge.’ This was widely quoted, and it had the effect of giving the whole thing a lighter touch. The point is this: a lot of things happen when Marilyn is around.” He shook his head. “Yes, sir,” he said. “A lot of things.

“Another example of the impact she packs: when she went back to New York on the Seven Year Itch location,” Jones went on. “All of a sudden New York was a whistle stop, with the folks all down to see the daily train come in. When Marilyn reached LaGuardia, everything stopped out there. One columnist said that the Russians could have buzzed the field at five hundred feet and nobody would have looked up. There has seldom been such a heavy concentration of newsreel cameramen anywhere. From then on in, during the ten days of her stay, one excitement followed another. She was on the front page of the Herald Tribune, with art, five days running, which I’m told set some sort of a local record.

“In the case of The Itch, there was a contractual restriction situation,” Flack Jones said. “The studio’s contract called for the picture’s release to be held up until after the Broadway run of the play. When Marilyn went back to New York for the location shots for Itch, the play version was still doing a fair business, but it was approaching the end of its long run. If you bought a seat, the house was only half full. Then Marilyn arrived in New York and shot off publicity sparks and suddenly The Itch had S.R.O. signs out again. The result was that it seemed it was never going to stop its stage run; so, after finishing the picture, Fox had to pay out an additional hundred and seventy-five thousand dollars to the owners of the stage property for the privilege of releasing their movie.

“Things reached a new high — and no joke intended,” Flack Jones went on, “when Billy Wilder shot the scene where her skirts were swept up around her shoulders by a draft from a subway ventilator grating. That really set the publicity afire again, and shortly after that The Itch location company blew town while they were ahead. The unit production manager had picked the Trans-Lux Theater on Lexington Avenue for the skirt-blowing scene. He’d been down there at two o’clock in the morning to case the spot; he’d reported happily, ‘The street was fully deserted,’ and he’d made a deal with the Trans-Lux people for getting the scene shot there because there was nobody on the street at that hour.

“It seemed certain that Billy Wilder would have all the room in the world to work, and he had left word that nobody was to know what location he’d selected, because he didn’t want crowds. But word leaked out. It was on radio and TV and in the papers, so instead of secrecy you might almost say that the public was being urged to be at Lexington Avenue on a given night to Marilyn’s skirts blow. Instead of having a nice, quiet side street in which to work, Wilder had all the people you can pack on a street. Finally the cops roped off the sidewalk on the opposite side to restrain the public, and they erected a barricade close to the movie camera. But that wasn’t good enough, and they had to call out a whole bunch of special cops.”

Flack Jones said that when Wilder was ready to shoot, there were 200 or 300 photographers, professional and amateur, swarming over the place. Then Marilyn made her entrance from inside the theater out onto the sidewalk, and when she appeared the hordes really got out of control and there was chaos. Finally Wilder announced that he’d enter into a gentleman’s agreement. If the press would retire behind the barricades, and if the real working photographers would help control the amateurs, he would shoot the scene of Marilyn and Tom Ewell standing over the subway grating; then he’d move the movie camera back and the amateur shutter hounds could pop away at Marilyn until they were satisfied.

“So the New York press took care of the amateurs and made them quit popping their flashbulbs,” Flack Jones said. “Wilder got the scene and the volunteer snapshooters got their pictures. Everybody was there. Winchell came over with DiMaggio, who showed a proper husbandly disapproval of the proceedings. I myself couldn’t see why Joe had any right to disapprove. After all, when he married the girl her figure was already highly publicized, and it seemed odd if he had suddenly decided that she should be seen only in Mother Hubbards.”

I asked Marilyn herself if she thought that Joe had disapproved of her skirts blowing around her shoulders in that scene. I said I had heard his reaction described in two ways: that he had been furious and that he had taken it calmly.

“One of those two is correct,” Marilyn said. “Maybe you can figure it out for yourself if you’ll give it a little thought.”

Something told me that, in her opinion, Joe had been very annoyed indeed. And while we were on the subject of Joe, it seemed a good time to find out about how things had been between them when they had been married, and the unbelievable scene which accompanied the breaking up of that marriage. “Not in his wildest dreams could a press agent imagine a series of events like that,” Flack Jones had told me.

When I brought the subject up, Marilyn said, “For a man and a wife to live intimately together is not an easy thing at best. If it’s not just exactly right in every way it’s practically impossible, but I’m still optimistic.” She sat there being optimistic. Then she said, with feeling, “However, I think TV sets should be taken out of the bedroom.”

“Did you and Joe have one in your bedroom?” I asked.

“No comment,” she said emphatically. “But everything I say to you I speak from experience. You can make what you want of that.”

She was quiet for a moment; then she said, “When I showed up in divorce court to get my divorce from Joe, there were mobs of people there asking me bunches of questions. And they asked, ‘Are you and Joe still friends?’ and I said, ‘Yes, but I still don’t know anything about baseball.’ And they all laughed. I don’t see what was so funny. I’d heard that he was a fine baseball player, but I’d never seen him play.”

“As I said, the final scenes of All-American Boy loses Snow White were unbelievable,” Flack Jones told me. “Joe and Marilyn rented a house on Palm Drive, in Beverly Hills, and we had a unique situation there with the embattled ex-lovebirds both cooped in the same cage. Marilyn was living on the second floor and Joe was camping on the first floor. When Joe walked out of that first floor, it was like the heart-tearing business of a pitcher taking the long walk from the mound to the dugout after being jerked from the game in a World Series.”

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    The Lost Footage of Marilyn Monroe
That film image of Ms. Monroe’s skirt rising high in a gust of air? It’s a reshoot of a discarded and more risqué scene seldom seen until now.

published in January 13, 2017
by HELENE STAPINSKIJAN
en ligne sur nytimes.com

 
A still of Marilyn Monroe filming “The Seven Year Itch” on the Upper East Side from the found footage of Jules Schulback, a furrier and avid taker of home movies.
 Credit Jules Schulback, via Bonnie Siegler

It happened one night in the late summer of 1954.
Jules Schulback, a New York furrier and taker of home movies, heard that Marilyn Monroe would be on the Upper East Side of Manhattan filming scenes again for her new picture, “The Seven Year Itch.” Two days earlier, Mr. Schulback had taken footage of her with his 16-millimeter Bolex movie camera around the corner from his townhouse apartment.

So he grabbed the camera — the one usually used for family picnics and parades and the stuff of everyday life — and headed over to the subway grate in front of Wright’s Food shop, just down the street from the Trans-Lux movie theater on Lexington Avenue and 52nd Street.
Though it was around 1 a.m., a large crowd had already gathered, mostly newspaper photographers and curious men waiting to see Marilyn. The movie studio and the director, Billy Wilder, had counted on this, inviting the press and the public to drum up buzz for the new movie, which starred Ms. Monroe as “the Girl Upstairs,” who entices a middle-aged executive, played by Tom Ewell, while his wife is away with the kids for the summer.

 
Mr. Schulback captured Billy Wilder, the director of “The Seven Year Itch,”
with Ms. Monroe in the background in her famous dress,
accessorized by a white clutch and a red-and-white scarf.
Credit Jules Schulback, via Bonnie Siegler 

In the famous street scene, the two are leaving the movies as Ms. Monroe pauses over a grate to enjoy the breeze from the subway as it blows up her dress on a hot summer night. “Isn’t it delicious ?” she purrs. The breeze came from a large fan under the grate operated by the film’s special effects chief. The night — Sept. 15 — was actually quite chilly. But the stunt worked. It became known as “the shot seen around the world.”

But there was a dark subtext to the comedy. Gathered at that late hour were hundreds of gawkers, almost all men, who catcalled and yelled things like, “Higher! Higher !” as Ms. Monroe’s dress blew up over her head. For two hours, the men watched from surrounding buildings and from the street.

“Unfortunately, one of them was her husband, Joe DiMaggio,” Mr. Wilder is quoted as saying in his biography, “Nobody’s Perfect.” “And he didn’t like what he saw, or what everyone else was seeing.”
Mr. DiMaggio hadn’t planned on visiting the set that night, and was waiting for his wife at the St. Regis Hotel, where the couple were staying. But the columnist Walter Winchell had persuaded him to come along. Ms. Monroe was not happy her husband had shown up. But he was even more unhappy and angrily stormed off. Later that night the couple had a screaming fight in their room. The next morning, her hairdresser covered up Ms. Monroe’s bruises with makeup. Three weeks later, Ms. Monroe filed for divorce.

Mr. Wilder never used the Lexington Avenue footage and reshot the scene on a closed lot in Hollywood, though photographs of that night appeared everywhere. Except for some brief, grainy shots from a newsreel covering the divorce, footage from that night was never screened.
“The footage immediately disappeared,” Mr. Wilder said in the biography. “But one day I’m sure some film scholar will dig it up.”

A filmstrip discovered in a shopping bag filled with home movies offers a rare glimpse of
Marilyn Monroe in color in New York.
By JULES SCHULBACK, VIA BONNIE SIEGLER

The story of the night Marilyn Monroe’s white halter-top dress blew up was well known among Jules Schulback’s children, and even among his grandchildren. His granddaughter Bonnie Siegler said he bragged from time to time about his personal film shoot with Marilyn.
“He was a real raconteur,” said Ms. Siegler, a graphic designer who runs her own company, Eight and a Half. “I didn’t know if the story was real.” But even though she had never seen it, she often told people that her grandfather had footage of Marilyn Monroe on the subway grate.

Ms. Siegler’s older sister, Rayna Dineen, said her grandfather, whom they called Opi (a German term of endearment), was rarely without his camera. “He would be filming everywhere, all the time.” There were reels of vacations, family picnics, birthday parties and bar mitzvahs. He had even filmed a 12-minute day in the life of his daughters, depicting them waking up, brushing their teeth and going to school.
“But the Marilyn story was one of his favorite stories to tell,” Ms. Dineen said.
It was just one of dozens of amazing tales. Mr. Schulback had a long, technicolorful life, one so filled with drama that his Monroe story sometimes seemed like a footnote.

In 1938, Mr. Schulback had argued with his family in Germany that Adolf Hitler was much more dangerous than anyone thought. According to Ms. Siegler, his family believed that Hitler’s hate speech was simply rhetoric, and that he wouldn’t act on anything he was saying. Mr. Schulback, 25 at the time, urged them to pack their bags and leave Berlin with him. But they resisted, opting to wait and see how things developed, never imagining the horror that awaited them and millions of other European Jews.
Mr. Schulback was not taking any chances.

Mr. Schulback was a furrier by trade. He chronicled his family and the odd serendipitous moment in his neighborhood — such as Marilyn Monroe on location — with his 16-millimeter Bolex movie camera.

In 1938, Jews immigrating to the United States needed a sponsor, someone to take financial responsibility for them. Mr. Schulback sold everything he had, bought an expensive suit, booked passage on the Queen Mary, reserved a room at the Plaza and headed to America to find a sponsor for him and his wife, Edith, and their daughter Helen, who was then a toddler.

“He was like: ‘I’m your lost, rich relative. I won’t be a burden.’ But he had no money. He played it,” Ms. Siegler said. He secured a signature, then returned to collect his family, but was stopped trying to enter Nazi Germany by a suspicious border guard. Knowing the Germans were big fans of the 1934 Clark Gable hit, “It Happened One Night,” Mr. Schulback told the guard he was the distributor for Mr. Gable’s new movie. He claimed that if he couldn’t enter the country, neither would the film. “The guy was like, ‘Oh, we love Clark Gable,’ and waved him through,” Ms. Siegler said.

Mr. Schulback grabbed Edith and Helen, again imploring his other relatives to leave, and escaped back to the United States with a few suitcases, claiming to the Nazi immigration officers that his family was going on vacation. The date was Nov. 8, the day before Kristallnacht.

In Berlin, he had been a furrier, and his shop was destroyed that night. His remaining family — four sisters, parents and in-laws — would all perish in the Holocaust.
The United States was good to Mr. Schulback. He and his family lived a happy, successful life in New York, much of it preserved in his home movies.

As a child, Ms. Siegler loved going to her grandfather’s Upper East Side apartment not just because of his great stories and sense of humor, but also because he lived opposite the New York Doll Hospital. From his apartment window, she could see the buckets of doll eyes and doll arms. “It was really intense,” she said.

When Edith had a stroke in the 1970s, she was given only a few weeks to live. But Mr. Schulback, always a man of action, refused to let his wife die in the hospital and took her home. The couple moved into the ground-floor apartment of a building around the corner, and Mr. Schulback became her nurse. “Half her body was paralyzed, she couldn’t speak,” Ms. Siegler said. “But he loved her and took care of her for 26 years until she finally died.”

After 35 years in that same apartment, Mr. Schulback — who had been president of the 61st Street Block Association — was forced to leave. The Andrew W. Mellon Foundation had bought the townhouse where he lived and the one behind it and wanted to reconfigure the property. So Ms. Siegler and her husband, Jeff Scher, helped move her 92-year-old grandfather to a new place on the other side of Central Park.

 
Bonnie Siegler examines film of Ms. Monroe taken by Mr. Schulback,
who was her grandfather, over a light box in her studio.
Credit Ryan Christopher Jones for The New York Times 

In 2004, in the arduous packing up of Mr. Schulback’s home, the couple came across a big stash of film. It was stored in a back room that the family called “Opi’s fur room,” where Mr. Schulback had once assembled garments from animal pelts for his business. “No one ever wanted to go back there,” Ms. Siegler said. “But when we went in, we found this plastic bag filled with just tons of film, home movies, bought movies and everything mixed together.”

Ms. Siegler’s husband, an experimental filmmaker, couldn’t wait to screen the films. He was particularly interested in seeing whether Marilyn and the subway grate footage actually existed. “It was like this family myth,” Mr. Scher said. “So long rumored and never confirmed.”

The same was true for its source material. For decades, innuendo swirled around the Lexington Avenue shoot for “The Seven Year Itch.” Ms. Monroe and Mr. DiMaggio had married that January and had already had a bumpy ride, the Yankee Clipper enraged by her exhibitionism and by rumors of infidelity, according to Lois W. Banner, the author of the 2012 biography “Marilyn: The Passion and the Paradox.”
“She was having an affair with her musical director at the time, and everyone knew about it in the business,” said Dr. Banner, a professor emeritus of history and gender studies at the University of Southern California. So before he even arrived on set, there was tension. “DiMaggio,” Dr. Banner said, “was not happy with Marilyn.”

There are several theories as to why the footage from that night was never used. Some believe the Manhattan shoot was done purely as a publicity stunt, which was made even more sensational when Mr. DiMaggio showed up. Some biographers say the enthusiastic crowd was just too noisy, making the film unusable.
A third theory was that the footage was too risqué and Ms. Monroe wanted to shoot a more demure version, so as not to further infuriate her husband. There was even talk at the time that she wasn’t wearing any underwear. Mr. Wilder tried to put those rumors to rest in his biography. She had put on not just one, but two sets of underwear, he said.

  
Before the billowing-skirt scene, Mr. Schulback filmed Ms. Monroe in a terry robe
greeting fans and members of the press on the stoop of 164 East 61st Street.
Credit Jules Schulback, via Bonnie Siegler

Dr. Banner said all three reasons quite likely played into the final decision to reshoot. “But the photographs of that night had gone viral by the time the film was being put together,” she said, “and played a great role in her fame.” The skirt-blowing scene used in the finished film is incredibly brief and tame. The image many people have of that moment comes from the press shots and publicity stills in New York, and not from the finished movie.

Back in the pelt room of Mr. Schulback’s apartment, Mr. Scher excitedly gathered up the old metal film canisters. None were labeled, Mr. Scher recalled. Some of the film was off the reel and sitting there like big balls of spaghetti, as if there had been a projector mishap years ago.
Later that night in his studio in the couple’s apartment on West 16th Street, Mr. Scher slowly and carefully wound the film, since some of it was very brittle and in danger of breaking. He did a few repairs and then began looking at it using a light box, spooling it from reel to reel by hand. There were about 50 rolls of 16-millimeter film and around 75 rolls of 8 millimeter.
There were the family outings and parades. The birthdays and bar mitzvahs.
And there, amid the mundane scenes of precious everyday life, was Marilyn Monroe, in crisp, colorful Kodachrome. “This stuff just popped out,” Mr. Scher said. “It was real! Preserved like the home movies are, too. Just these moments in time.”
Mr. Scher could clearly see the actress’s dress billowing up. “Like a parachute with a pair of legs attached,” he said. “It was startling. Like seeing a myth materialize.”
It was a shadow version of lost footage amid home movies of a family that almost certainly wouldn’t have existed had the Schulbacks stayed in Germany.

 
Ms. Siegler zeroing in to Ms. Monroe by using a photographer’s loupe.
The Schulback footage has been seldom seen since it was taken in 1954.
Credit Ryan Christopher Jones for The New York Times

Mr. Scher called out to his wife: “It’s really here!” They watched all 3 minutes 17 seconds in amazement.
“There was something so magical about it,” Ms. Siegler said. “For years I didn’t know if it was real. I certainly didn’t believe it wholeheartedly. And there it was. It was like the end of the story.”
The film starts with a spliced-in intertitle that reads “World Premiere,” Mr. Schulback’s little inside joke.

And then there is Marilyn Monroe, in a white terry robe, coming down the stoop of a white-shuttered building at 164 East 61st Street, between Lexington and Third Avenues. It was the earlier scene — before the subway grate footage — that Mr. Schulback had shot. Cameramen and press photographers are gathered outside as the actress smiles and waves.

Cut to Ms. Monroe in a second-floor window wearing a slip and blow-drying her hair. Mr. Ewell walks down the street and into the building. The film cuts inexplicably to 30 seconds of what must be a Shriners parade in Manhattan, then jumps to another intertitle, which reads “Our Baby.”

And suddenly, there is Ms. Monroe again, this time on the subway grate in that famously fluttering white dress, holding a matching white clutch in her right hand and a red-and-white-striped scarf in her left.

Mr. Schulback was incredibly close, filming right behind Mr. Wilder’s shoulder, stopping to wind his hand-held camera every 25 seconds. Now and then, a silhouette of the director’s arm intrudes into Mr. Schulback’s crystal-clear shot. At one point Mr. Wilder, in a fedora, passes across the frame. Ms. Monroe gets into position and yawns, while the cinematographer sets up the camera. Through a gap in the film crew, Mr. Schulback captures just her face, looking off to the left, serious and unsmiling.

 
 Another skirt-goes-wild still from the Schulback footage.
Credit Jules Schulback, via Bonnie Siegler

Then Mr. Ewell is there, chatting with Ms. Monroe, who pushes him into position. The dress flutters again, Ms. Monroe holds it down, bending slightly, smiling and talking to Mr. Ewell, but it flutters up some more and she laughs, her head thrown back. It blows up again, but she doesn’t push it down this time, and it flies up over her head, clearly revealing two pairs of underwear that, because of the bright lights, do not protect Ms. Monroe’s modesty quite as much as she might have liked.

Then, as suddenly as she appeared, Marilyn is gone, and the film reverts to home-movie mode: Edith Schulback walking on the grass at a family outing in the country. It’s like being shaken from some crazy dream, back to reality.
Interest in that moment in film history from more than 50 years ago endures. The new movie musical starring Ryan Gosling and Emma Stone, “La La Land,” makes brief filmic reference to it in the opening number, with a young dancer’s yellow dress blowing up. And a Snickers commercial from the Super Bowl last year stars Willem Dafoe, Eugene Levy and a computer-generated Monroe on the famous set. “It’s that iconic image,” said Dr. Banner, the Monroe biographer. “People are still fascinated by the context in which it all happened.”

After screening the film with her husband, Ms. Siegler immediately told her grandfather that she had found the footage. “I was so excited about it — more for the reason that his story was true.” She shrugged. “But he never had any doubts.” Mr. Schulback moved in 2005 and died six months later.
Ms. Siegler and Mr. Scher made a print and screened it for about 100 people in 2004 at the upstate home of their friends Kurt Andersen and his wife, Anne Kreamer. The two couples had started a small film festival for neighbors and friends, hanging a sheet on the side of a barn and serving popcorn, ice pops and beer.

The people in the audience that summer night had no idea what they were in for.
“That scene is one of the most iconic scenes in American cinema,” said Mr. Andersen, an author, radio host and a founder of Spy magazine. “So to have film of it actually being shot, it’s like watching the Zapruder film. It’s just extraordinary.”
The crowd that evening sat in silence as Marilyn Monroe’s dress blew up on the side of the barn. “People were gob-smacked,” Mr. Andersen said. “They were like, ‘What did I just see ?’”

That was the only time anyone outside the family had seen the film. Until now.

Correction: January 13, 2017 
 An earlier version of this article misspelled the surname of the writer who screened the Marilyn Monroe home movie in his backyard. He is Kurt Andersen, not Anderson

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> captures dans les articles du blog:
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13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 2
13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 1
15/09/1954 NYC - Sur le tournage de The Seven Year Itch scène 11

Photographies - River of no Return
Photographs

Lot 207: MARILYN MONROE RIVER OF NO RETURN SNAPSHOTS
 Two vintage black and white snapshots from 1953 of Monroe during the production of River of No Return, one featuring Monroe posing with her stunt double.
5 by 3 1/2 inches
 Estimate: $300 - $500
  

Lot 208: MARILYN MONROE PROMOTIONAL PIECES
 A promotional proof for the release of the song "I'm Gonna File My Claim" from the film The River of No Return, together with a mock-up of the LP label for the same release.
Largest, 11 3/4 by 5 3/4 inches
 Estimate: $200 - $300
   

Lot 648: MARILYN MONROE ORIGINAL CANDID AND CONTACT SHEET PHOTOGRAPHS
 A group of nine original black and white photographs of Marilyn Monroe taken on the set of River of No Return (20th Century, 1954) in Canada, circa June 1953, appearing to have been cut from the original contact sheet, with seven of the photographs having writing consisting of "MM" together with a reference number. Monroe is shown with cast members from the film, including Robert Mitchum, going over musical numbers and on set preparing for filming. Some photographs from this lot are likely never before seen.
Largest, 2 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $500 - $700
 

Lot 649: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR RIVER OF NO RETURN
 A vintage archive of approximately 60 photos related to River of No Return (20th Century, 1954), including 45 movie stills and 15 publicity photographs.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
 

Lot 855: MARILYN MONROE RIVER OF NO RETURN BEHIND-THE-SCENES PHOTOGRAPH
 A vintage Marilyn Monroe snapshot taken in Jasper National Park in Canada. The photograph, taken in 1953, shows Monroe with an unknown crew member on the set of River of No Return (20th Century, 1954). Notation in pencil on verso reads "Jasper National Park/ Jan -1956." 1956 may refer to the year the photograph was developed.
3 1/2 by 4 inches
PROVENANCE Lot 168, "Property from the Estate of Marilyn Monroe," Julien's, Los Angeles, June 4, 2005
 Estimate: $2,000 - $4,000
 

Photographies - There's no Business
Photographs

Lot 51: THERE’S NO BUSINESS LIKE SHOW BUSINESS POSTER
 A rare original 1954 British quad poster for the Marilyn Monroe film There’s No Business Like Show Business (20th Century, 1954).
Framed, 33 1/2 by 43 1/2 inches
PROVENANCE Lot 190, “Vintage Film Posters,” Christie’s, London, Sale number 9689, September 19, 2003
 Estimate: $200 - $400
 

Lot 646: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR THERE'S NO BUSINESS LIKE SHOW BUSINESS
 A vintage archive of approximately 50 photographs related to There's No Business Like Show Business (20th Century, 1954), including approximately 45 movie stills and five publicity photographs.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
 

Lot 859: MARILYN MONROE THERE'S NO BUSINESS LIKE SHOW BUSINESS 3D SLIDES
 A pair of stereo viewer slides showing Marilyn Monroe in her role as Vicky Parker in the film There's No Business Like Show Business (20th Century, 1954). The stereo three-dimensional slides come from the collection of Ad Schaumer of Ad Schaumer, an Assistant Director active in Hollywood between 1928 and 1966. Each slide contains two pieces of film in a single mount.
Each, 1 5/8 by 4 inches
PROVENANCE From the Estate of Ad Schaumer
 Estimate: $400 - $600
  

Lot 860: MARILYN MONROE HOLLYWOOD RELATED STEREO 3D SLIDES
 A collection of nine boxes of Stereo 3D slides from the collection of Ad Schaumer, an assistant director active in Hollywood between 1928 and 1966. The boxes are labeled in an unknown hand: "Dean Martin/ Monty Clift/ Brando/ Young Lions" from the production The Young Lions (20th Century, 1958); "France/ * Might be the young lions"; "Young Lions" and "Young Lions/ Desert Scenes"; "Voyage To The Bottom of the Sea," Schaumer worked on both the 1961 film and the television series; "Lost World" presumably from the The Lost World (20th Century, 1960); "Mantz" and "Show Biz" from the film There's No Business Like Show Business; "3 weeks/ in Balloon/ Lion - Monkey/ Sherwood/ Forest" referencing the production of Five Weeks in a Balloon (20th Century, 1962); "'3 Weeks in A Balloon'/ Irwin Allen Prod."; "5 Weeks In Balloon"; "Japan - S.F." that appears to contain one slide of Marlon Brando in the film Sayonara (Warner Bros., 1957); "Japan/ Inland Sea"; and one box labeled "Miscellaneous." Not all of the slides have been viewed. Each box contains up to 28 slides. Each slide has two pieces of film in a single mount. Accompanied by seven boxes of additional slides that appear to be personal and travel related.
Slides, 1 5/8 by 4 inches
PROVENANCE From the Estate of Ad Schaumer
 Estimate: $400 - $600

Photographies - The Seven Year Itch
Photographs

Lot 651: MARILYN MONROE VINTAGE THE SEVEN YEAR ITCH PHOTOGRAPH ARCHIVE
 An archive of approximately 110 vintage photographs related to The Seven Year Itch (20th Century, 1955), including 40 publicity photos, 60 movie stills, and 10 sheets of photo reproductions of various photographs taken on the set of the film, collected by Frieda Hull.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
 

Lot 652: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPH
 An original color photograph of Marilyn Monroe and co-star Tom Ewell on the set for The Seven Year Itch (20th Century, 1955), filming the now famous skirt-blowing subway scene from the film, shot on September 15, 1954. Fans and photographers can also be seen in this photo. This photograph is likely never before seen.
4 3/4 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
 

Lot 653: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS
 A pair of Marilyn Monroe original color and black and white photographs, likely at the St. Regis Hotel in New York City on September 15, 1954, the same day she filmed the now famous subway skirt-blowing subway scene from The Seven Year Itch (20th Century, 1955). Monroe wears the iconic white halter dress costume from the film, together with what is likely the mink coat gifted to her by husband Joe DiMaggio. She holds the film's script in her left hand. This lot includes one color and one black and white photograph; the color photograph is likely never been seen.
Larger, 3 1/2 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
 

Lot 654: MARILYN MONROE VINTAGE PHOTOGRAPH
 A large, glossy black and white photograph of Marilyn Monroe during the subway grate scene for The Seven Year Itch in New York City, 1955.
14 by 11 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $800 - $1,200
 

Lot 655: MARILYN MONROE COLOR SLIDES
 A group of 10, possibly never before seen, color slides of Marilyn Monroe, some with co-star Tom Ewell, on the set of The Seven Year Itch (20th Century, 1955) from the September 15, 1954, filming of the now famous skirt-blowing subway scene. Fans and photographers can also be seen in these images.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $800 - $1,200
 

Lot 862: MARILYN MONROE BERNARD OF HOLLYWOOD SEVEN YEAR ITCH PHOTOGRAPH
 A limited edition candid color photograph of Marilyn Monroe taken by Bruno Bernard in 1954. The photograph was taken on the set of The Seven Year Itch (20th Century, 1955). Monroe seen is pictured standing with co-star Tom Ewell. The photograph is numbered 3/50 and signed by the estate of Bernard of Hollywood. This is the first time the photograph has been made available for sale.
20 by 24 inches
PROVENANCE From the Estate of Bruno Bernard
 Estimate: $2,000 - $4,000
   

Lot 863: MARILYN MONROE CONTACT SHEETS
 A pair of vintage Marilyn Monroe contact sheets. The first is a black and white contact sheet from the set of The Seven Year Itch (20th Century, 1955) with 25 frames showing Monroe and one frame of her co-star Tom Ewell. The second black and white contact sheet contains 15 frames, marked on verso "Credit Sam Shaw." Most of the images appear to have been taken at a 1957 photoshoot of Monroe with photographer Richard Avedon.
Each, 8 by 10 inches
 Estimate: $400 - $600
     

Photographies & Film - Bus Stop
Photographs & Film

Lot 52: MARILYN MONROE BUS STOP POSTER
 An original 1956 U.S. insert poster for the Marilyn Monroe film Bus Stop (20th Century, 1956) with a Dutch film censor stamp to the upper right corner.
39 by 17 inches, framed
PROVENANCE Lot 192, “Vintage Film Posters,” Christie’s, London, Sale number 9689, September 19, 2003
 Estimate: $150 - $300
  

Lot 53: MARILYN MONROE BUS STOP POSTER
An original 1956 British double-crown poster for the Marilyn Monroe film Bus Stop (20th Century, 1956), illustrated by Tom William Chantrell.
31 by 21 inches, framed
PROVENANCE Lot 88, “Vintage Film Posters,” Christie's, South Kensington, Sale Number 5424, September 17, 2008
 Estimate: $800 - $1,200
  

Lot 262: MARILYN MONROE BUS STOP SNAPSHOTS
 Four vintage color photographs on Pavelle color print paper. The images feature Monroe in costume posing with Don Murray, her co-star in the film Bus Stop. Together with two 35mm contact prints cut from a larger contact sheet with red wax pencil X's, featuring images of Monroe from the film.
2 3/4 by 1 7/8 inches
 Estimate: $300 - $500
     

Lot 731: MARILYN MONROE COLOR SLIDES
 A group of 39 slides, from the original preview/trailer for Marilyn Monroe's film Bus Stop (20th Century, 1956), together with the original "Mercury Jiffy Mask" box.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
   

Lot 732: MARILYN MONROE ORIGINAL CANDID PHOTOGRAPHS SOLD WITH COPYRIGHT
 A group of seven black and white original photographs of Marilyn Monroe on the set in Phoenix, Arizona, during the filming of Bus Stop (20th Century, 1956). Six of the images have handwritten annotations on verso, "MM sitting in stands waiting for filming to start"; "MM walking to stands to start working. Reminds me of her walk in 'Niagara'"; "MM with rodeo official"; "MM talking to director Josh Logan"; "Boy shaking hands with MM. He was also at the airport when she arrived. She picked him up and held him. When she saw him again, she remembered him from the airport"; and "Filming finished, MM and Milton H. Greene walk to her car. That evening she left Phoenix for Calif." All images are likely never before seen.
This item sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 4 1/2 by 3 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $5,000 - $6,000
 

Lot 734: MARILYN MONROE FILM TRAILER
 A reel of 35mm color film containing the film trailer for Marilyn Monroe's 1956 film Bus Stop (20th Century, 1956). The reel is in a cardboard box with Frieda Hull's address and telephone number written on the outside in green marker.
4 1/2 by 4 1/2 by 1 3/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $50 - $75
      

Lot 735: MARILYN MONROE VINTAGE BUS STOP PHOTOGRAPH ARCHIVE
 A vintage archive of approximately 180 photographs related to Bus Stop (20th Century, 1956), including approximately 150 movie stills and roughly 30 publicity photographs. Note: Several duplicate photographs are contained in this lot.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
  

Lot 736: MARILYN MONROE BUS STOP LOBBY CARD ARCHIVE
A collection of 18 lobby cards for Bus Stop (20th Century, 1956), one of which is signed by Eileen Heckart, Monroe's co-star in the film.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
 

Lot 876: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of five vintage negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Marilyn Monroe and others on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 1 1/2 by 4 1/2 inches
 Estimate: $1,000 - $2,000
  

Lot 877: MARILYN MONROE BUS STOP PHOTOGRAPHS AND SIGNATURE
 A group of three small photo books containing 26 vintage black and white photographs taken on the set of Bus Stop (20th Century, 1956). Marilyn Monroe appears in eight of the photographs and has signed the back of one image. The photographs come from an extra who worked on the film during the scenes shot at the Arizona State Fairgrounds. These photographs are believed to be unpublished.
Photographs, 3 1/2 by 3 1/2 inches
 Estimate: $4,000 - $6,000
   
 
 

Lot 879: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of four vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe in a robe on set during filming. Accompanied by the copyrights to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
1 1/2 by 6 inches
 Estimate: $1,500 - $2,000
 

Lot 880: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of four vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe, Don Murray, and others on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 1 1/2 by 3 inches
 Estimate: $1,000 - $1,500
 

Lot 881: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of three vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and others, including co-star Eileen Heckart, on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Each, 1 1/2 by 1 1/2 inches
 Estimate: $1,000 - $1,500
  

Lot 882: MARILYN MONROE BUS STOP STUDIO IMAGES
 A group of seven vintage studio images of Marilyn Monroe from the film Bus Stop (20th Century, 1956). Includes three color publicity photographs stamped "Theatre Poster Exchange" on verso and four black and white studio images from the film, including one taken by Milton Greene.
Most, 8 by 10 inches
 Estimate: $600 - $800
 

Lot 883: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of three vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and co-star Don Murray on set during filming in a bedroom. Murray has been quoted as saying that Monroe was nude under the sheets because she felt that was what her character would do. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 1 1/2 by 3 inches
 Estimate: $1,500 - $2,500
  

Lot 884: MARILYN BUS STOP NEGATIVES AND COPYRIGHT
 A group of five vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and co-star Don Murray on set during filming in a bedroom. Murray has been quoted as saying that Monroe was nude under the sheets because she felt that was what her character would do. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arriving as a result of any imperfection in copyright given.
Each, 1 1/2 by 1 1/2 inches
 Estimate: $1,500 - $2,500
   

Lot 885: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of five vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and others on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
1 1/2 by 7 1/2 inches
 Estimate: $800 - $1,200
  

Lot 886: MARILYN MONROE MILTON GREENE NEGATIVE AND COPYRIGHT
 A vintage Marilyn Monroe negative produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe in costume as her character Chérie posing with the children of her co-star, Eileen Heckart. Accompanied by the copyright to the image.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
2 1/2 by 2 1/2 inches
 Estimate: $1,000 - $1,500
 

Lot 887: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of five vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and others on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Largest, 1 1/2 by 4 1/2 inches
 Estimate: $1,000 - $1,500
 

Lot 888: MARILYN MONROE BUS STOP NEGATIVES AND COPYRIGHT
 A group of four vintage Marilyn Monroe negatives produced by Milton Greene while on the set of Bus Stop (20th Century, 1956). The black and white images show Monroe and others on set during filming. Accompanied by the copyright to the images.
The seller confirms that this property is sold with copyright. Application for copyright has not been completed. It is the responsibility of the winning bidder to obtain proper copyright. Julien’s can accept no liability in relation to any matters arisiing as a result of any imperfection in copyright given.
Largest, 1 1/2 by 3 inches
 Estimate: $1,000 - $1,500
  

Photographies - The Prince and the Showgirl
Photographs

Lot 372: MARILYN MONROE PROGRAM FROM THE PRINCE AND THE SHOWGIRL PREMIERE
 A program from the June 13, 1957, premiere of The Prince and the Showgirl at Radio City Music Hall with a benefit and gala champagne supper-dance held at the Waldorf Astoria afterwards. The gala benefited of the Free Milk Fund for Babies Inc.
12 by 9 inches
 Estimate: $700 - $900
   

Lot 741: MARILYN MONROE PHOTOGRAPHS SIGNED BY LAURENCE OLIVIER
 A group of four vintage glossy black and white photographs of Marilyn Monroe and Laurence Olivier from the film The Prince and the Showgirl (Warner Bros., 1957) as well as from press events for the film. Each of the images is signed in red wax pencil "Laurence Olivier."
8 by 10 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $600 - $800 
  
   

Lot 744: MARILYN MONROE VINTAGE THE PRINCE AND THE SHOWGIRL PHOTOGRAPH ARCHIVE
 A vintage archive of 73 photographs related to The Prince and the Showgirl (Warner Bros., 1957), including 50 movie stills, 20 publicity photographs, and three original lobby cards, collected by Frieda Hull.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
  

Lot 745: MARILYN MONROE THE PRINCE AND THE SHOWGIRL LOBBY CARD ARCHIVE
 A nearly complete lobby card collection for The Prince and the Showgirl (Warner Bros., 1957). The series is missing card No. 9.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
 

Lot 920: MARILYN MONROE NEGATIVES FROM THE PRINCE AND THE SHOWGIRL
 A group of 12 negatives relating to Marilyn Monroe and The Prince and the Showgirl (Warner Bros., 1957) including four images taken by Milton Greene, images taken at publicity events for the film, and images taken on set.
Largest, 10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
 
  

Lot 923: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of 9 vintage photographs and four negatives of Marilyn Monroe produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe's person that should be retouched. The images were formerly housed in a folder marked on the cover "Kill" and on the interior "Not retouched to be app. by MM."
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
 

Lot 924: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of ten vintage photographs and six negatives of Marilyn Monroe produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe’s person that should be retouched. The images were formerly housed in a folder marked on the cover “Kill” and on the interior “Not retouched to be app. by MM.”
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 925: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of 10 vintage photographs and negatives of Marilyn Monroe produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe's person that should be retouched. The images were formerly housed in a folder marked "Kill" and are believed to have been rejected by Monroe. Note that not all photographs and negatives match.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 926: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of 10 vintage photographs produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe's person that should be retouched. The images were formerly housed in a folder marked "Kill" and are believed to have been rejected by Monroe. Note that not all photographs and negatives match.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 927: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of 9 vintage photographs and negatives of Marilyn Monroe produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe's person that should be retouched. The images were formerly housed in a folder marked "Kill" and are believed to have been rejected by Monroe. Note that not all photographs and negatives match.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 928: MARILYN MONROE FILM PHOTOGRAPHS AND NEGATIVES
 A group of 9 vintage photographs and negatives of Marilyn Monroe produced while on the set of The Prince and the Showgirl (Warner Bros., 1957) housed in glassine envelopes with markings. Some of the markings indicate areas on Monroe's person that should be retouched. The images were formerly housed in a folder marked "Kill" and are believed to have been rejected by Monroe. Note that photographs and negatives may not match.
10 by 8 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 929: MARILYN MONROE COLOR TRANSPARENCIES
 A group of approximately 40 color transparencies taken on the set of The Prince and the Showgirl (Warner Bros., 1957). Most of the images are of Marilyn Monroe and are in plastic sleeves. Some of the sleeves have been marked with red grease pencil. These transparencies were housed in an envelope that read "MM Color Rejects" and "Bad."
2 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
  

Lot 930: MARILYN MONROE COLOR TRANSPARENCIES
 A group of approximately 30 color transparencies taken on the set of The Prince and the Showgirl (Warner Bros., 1957). Most of the images are of Marilyn Monroe and are in plastic sleeves. Some of the sleeves have been marked with red grease pencil. These transparencies were housed in an envelope that read "MM Color Rejects" and "Bad."
2 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
 

Lot 931: MARILYN MONROE COLOR TRANSPARENCIES
 A group of approximately 35 color transparencies taken on the set of The Prince and the Showgirl (Warner Bros., 1957). Most of the images are of Marilyn Monroe and are in plastic sleeves. Some of the sleeves have been marked with black or red grease pencil. These transparencies were housed in an envelope that read "MM Color Rejects" and "Bad."
2 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
 

Lot 932: MARILYN MONROE COLOR TRANSPARENCIES
 A group of approximately 30 color transparencies taken on the set of The Prince and the Showgirl (Warner Bros., 1957). Most of the images are of Marilyn Monroe and are in plastic sleeves. Some of the sleeves have been marked with black or red grease pencil. These transparencies were housed in an envelope that read "MM Color Rejects" and "Bad."
5 by 4 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
 

Lot 933: MARILYN MONROE COLOR TRANSPARENCIES
 A group of 27 color transparencies taken on the set of The Prince and the Showgirl (Warner Bros., 1957). Most of the images are of Marilyn Monroe and are in plastic sleeves. Some of the sleeves have been marked with red grease pencil. Contained in an envelope that reads "MM Color Rejects" and "Bad."
2 1/2 by 2 1/2 inches
PROVENANCE From the Estate of Lois Weber
 Estimate: $1,000 - $2,000
   

Photographies - Some Like It Hot
Photographs

Lot 66: MARILYN MONROE SOME LIKE IT HOT POSTER
 An original 1959 U.S. half-sheet style B poster for the Marilyn Monroe film Some Like It Hot (20th Century, 1956).
28 1/2 by 36 1/2 inches, framed
PROVENANCE Lot 90, “Vintage Film Posters,” Christie’s, South Kensington, Sale number 5424, September 17, 2008
 Estimate: $800 - $1,200 
 

Lot 421: MARILYN MONROE SOME LIKE IT HOT ADVERTISEMENTS
 Three trade advertisement pieces promoting the film Some like It Hot saying "Hot Hit Ahead … Book it now for Easter!!" The ads also present some of the critical praise received during advance screenings of the film and present Monroe together with her co-stars Jack Lemmon and Tony Curtis throughout.
12 3/8 by 18 5/8 inches
 Estimate: $400 - $600 
   
 

Lot 422: MARILYN MONROE SOME LIKE IT HOT COVER PROOF
 A printer's proof of the front and back cover artwork for the paperback version of Some Like It Hot by Billy Wilder and I.A.L. Diamond published by the New American Library.
7 1/2 by 9 1/4 inches
 Estimate: $300 - $500
 

Lot 423: MARILYN MONROE SOME LIKE IT HOT POSTER
 An in-store promotional poster for the original motion picture soundtrack of Some Like It Hot from United Artists, featuring an image of Monroe with co-stars Jack Lemmon and Tony Curtis.
13 1/4 by 13 inches
 Estimate: $500 - $700
 

Lot 424: MARILYN MONROE SOME LIKE IT HOT POSTER
 An in-store promotional poster for the original motion picture soundtrack of Some Like It Hot from United Artists, featuring an image of Monroe's character playing the ukulele.
13 1/4 by 13 inches
 Estimate: $500 - $700
 

Lot 425: MARILYN MONROE SOME LIKE IT HOT CALENDAR
 A promotional poster created to promote the March 18, 1959, release date for Some Like It Hot. The calendar features four pages inside the staple-bound covers each featuring an image of Monroe from the film, one declaring March 18 as M-Day and the inside back cover featuring the poster artwork for the film.
11 by 8 1/2 inches
 Estimate: $500 - $700
    

Photographies - Let's Make Love
Photographs

Lot 444: MARILYN MONROE LET'S MAKE LOVE PHOTOGRAPHS
 Five vintage black and white photographs of Monroe on the set of Let's Make Love . Three feature Monroe celebrating her birthday with director George Cukor and co-star Yves Montand, one features Monroe receiving a card from the cast and crew, and the last is a glossy print of Monroe's hair and makeup for the film.
8 by 10 inches
 Estimate: $500 - $700
   
 

Lot 448: MARILYN MONROE PHOTOGRAPHS
 Three black and white photographs of Monroe with a young man on the set of Let's Make Love, 1960. The vintage matte finish prints are unmarked, but feature Monroe in one of her show-stopping gowns from the film.
8 by 10 inches
 Estimate: $800 - $1,200
  

Lot 449: MARILYN MONROE PROMOTIONAL POSTCARD
 A vintage promotional postcard for Monroe's film Let's Make Love, with facsimile message from Monroe on verso reading "Dear Friend - you will be seeing more of me soon in - 'Let's Make Love' Marilyn."
8 1/4 by 5 1/2 inches
 Estimate: $100 - $150
    

Lot 450: MARILYN MONROE TRADE ADS
 Two stapled magazine ads, each slightly different four-page ads, as they ran in the August 23, 1960, issue of The Hollywood Reporter and the August 24, 1960 issue of Variety .
12 1/4 by 9 1/4 inches
 Estimate: $300 - $500
 

Lot 768: MARILYN MONROE LET'S MAKE LOVE
 20th Century Fox, 1960 half-sheet film poster with heavy crease lines.
22 by 28 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $150
    

Lot 973: MARILYN MONROE LET'S MAKE LOVE PHOTOGRAPHS
 A pair of vintage black and white images of Marilyn Monroe on the set of Let’s Make Love (20th Century, 1960). Stamped on verso “Kindler Und Schiermeyer Verlag AG Archiv.”
Each, 9 1/2 by 12 inches
 Estimate: $400 - $600
   

Photographies - The Misfits
Photographs

Lot 67: MARILYN MONROE EVE ARNOLD SIGNED PHOTOGRAPH
 A framed black and white portrait of Marilyn Monroe on the set of The Misfits (United Artists, 1961) taken by Eve Arnold. Printed at a later date and signed by the photographer.
Framed, 14 by 17 inches
 Estimate: $1,000 - $2,000
 

Lot 509: MARILYN MONROE CONTACT SHEETS FROM THE MISFITS
 22 frames of Monroe posing for wardrobe test photos for The Misfits, 1961.
8 by 10 inches
 Estimate: $600 - $800
 

Lot 510: MARILYN MONROE CONTACT SHEETS FROM THE MISFITS
 Three vintage black and white contact sheets featuring 26 frames of Monroe sitting for hair and makeup test photos for The Misfits, 1961. One frame captures famed Hollywood hairstylist Sydney Guilaroff and an assistant fixing Monroe's hair.
8 by 10 inches
 Estimate: $800 - $1,200
  

Photographies - Something's Got to Give
Photographs

Lot 579: MARILYN MONROE HAIR TEST PHOTOGRAPHS
 A group of five color snapshots of Monroe taken during preparation for the unfinished film Something's Got To Give, 1962.
4 1/2 by 3 3/4 inches
 Estimate: $300 - $500
 

Lot 784: MARILYN MONROE PHOTOGRAPHS COLLECTED BY FRIEDA HULL
 A group of four reproduction color photographs of Marilyn Monroe taken on the set of her final film Something's Got To Give on or around May 7, 1962.
Largest, 4 3/4 by 3 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
 

Lot 983: MARILYN MONROE VINTAGE SOMETHING'S GOT TO GIVE PHOTOGRAPHS
 A pair of Marilyn Monroe vintage black and white photographs taken by Lawrence Schiller on the set of Something’s Got To Give in 1962. The images show Monroe seated at the side of a pool wearing only a nude bikini bottom. Both are stamped on verso “Times” and “Copyright Camera Press LTD.” with additional handwritten notations. Accompanied by a snipe providing information about the photographs and additionally crediting photographer William Read Woodfield.
Larger, 12 by 9 1/2 inches
 Estimate: $800 - $1,200
    

Photographies - Divers Films
Photographs - Various Movies

Lot 43: MARILYN MONROE NIAGARA POSTER
 An original 1953 U.S. linen-backed one-sheet poster for the Marilyn Monroe film Niagara (20th Century, 1953).
47 by 33 1/2 inches, framed
PROVENANCE Lot 84, “Vintage Film Posters,” Christie's, South Kensington, Sale number 5424, September 17, 2008
 Estimate: $600 - $800
  

Lot 45: MARILYN MONROE INSCRIBED PHOTOGRAPH
A photograph of Marilyn Monroe with her arm around a man on a film set of Gentlemen Prefer Blondes (20th Century, 1953) inscribed "To Paul/ I love you/ friend/ Marilyn Monroe."
10 by 8 inches
PROVENANCE Lot 57, “Rock & Roll and Entertainment Memorabilia,” Christie's, New York, Sale number 1438, December 17, 2004
 Estimate: $4,000 - $6,000
   

Lot 605: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR EARLY FILMS, 1947-1952
An archive of 168 movie stills and publicity photographs related to the early films in Monroe's career from 1947 to 1952, including Dangerous Years (two photographs), Ladies of the Chorus (17 photographs), Scudda Hoo! Scudda Hay! (one photograph), Love Happy (four photographs), A Ticket to Tomahawk (14 photographs), All About Eve (six photographs), Right Cross (one photograph), The Asphalt Jungle (20 photographs), Love Nest (three photographs), Let's Make It Legal (10 photographs), Home Town Story (four photographs), As Young As You Feel (13 photographs), O. Henry's Full House (two photographs), Clash by Night (15 photographs), Monkey Business (30 photographs), and We're Not Married (26 photographs).
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $600
 

Lot 608: MARILYN MONROE PRESS BOOKS
 A group of five exhibitor's campaign books for Monroe's films including As Young As You Feel, 1951; Let's Make It Legal, 1951; Niagara, 1953; Gentlemen Prefer Blondes, 1953; and The Misfits, 1961.
Largest, 18 by 14 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
    

Lot 610: MARILYN MONROE SIGNED PUBLICITY PHOTOGRAPH
 A black and white publicity headshot of Marilyn Monroe taken for her film Clash By Night (RKO,1952). Signed in blue ink in lower right "Marilyn Monroe." Some creases and minor tears to edges.
8 by 10 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $4,000 - $6,000
 

Lot 611: MARILYN MONROE VINTAGE PUBLICITY IMAGE ARCHIVE
 An archive of approximately 50 vintage black and white publicity images and publicity stills featuring Marilyn Monroe.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
 

Lot 612: MARILYN MONROE VINTAGE PUBLICITY IMAGE ARCHIVE
 An archive of approximately 50 vintage black and white publicity images and publicity stills featuring Marilyn Monroe.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
  

Lot 621: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR DON'T BOTHER TO KNOCK
 A vintage archive of approximately 45 photographs related to Don't Bother to Knock (20th Century, 1952), including 45 movie stills and five publicity photographs.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
  

Lot 628: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR NIAGARA
 A vintage archive of approximately 20 photographs related to Niagara (20th Century, 1953), including movie stills and publicity photographs.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $50 - $100
  

Lot 637: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR GENTLEMEN PREFER BLONDES
 A vintage archive of approximately 60 photographs related to Gentlemen Prefer Blondes (20th Century, 1953), including approximately 45 movie stills and roughly 15 publicity photographs. Note: Several duplicate photographs are contained in this lot.
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
 

Lot 641: MARILYN MONROE RELATED PROGRAMS
 A nine-page color souvenir program from the Marilyn Monroe 1953 film How To Marry a Millionaire (20th Century, 1953), together with a program from the American Newspaper Publishers Association convention held at the Waldorf Astoria on April 26, 1955. The program features the menu for the evening as well as the entertainers slated to appear, including Monroe.
12 by 8 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $100 - $150
   

Lot 642: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR HOW TO MARRY A MILLIONAIRE
 A vintage archive of approximately 80 movie stills from How to Marry a Millionaire (20th Century, 1953).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $100 - $200
  

Lot 723: MARILYN MONROE VINTAGE PHOTOGRAPH ARCHIVE FOR LATER FILMS, 1959-1961
 An archive of 14 movie stills and publicity photographs related to the later films in Marilyn Monroe's career from 1959 to 1961, including Some Like It Hot (four photographs), Let's Make Love (eight photographs), and The Misfits (two photographs).
PROVENANCE From the Estate of Frieda Hull
 Estimate: $200 - $300
 

Lot 815: MARILYN MONROE STUDIO PUBLICITY PHOTOGRAPHS
 A group of nine Marilyn Monroe studio photographs. The black and white images include a publicity photograph from Some Like It Hot (UA, 1959); Monroe's famous subway grate photograph taken on the set of The Seven Year Itch (20th Century, 1955) by Sam Shaw; an image of Monroe and Jane Russell from Gentlemen Prefer Blondes (20th Century, 1953); an image of Monroe from River of No Return (20th Century, 1954); an image of Monroe from We're Not Married (20th Century, 1952); and an image from There's No Business Like Show Business (20th Century, 1954) along with three other studio publicity images.
Each, 8 by 10 inches
 Estimate: $800 - $1,200
 

Lot 982: MARILYN MONROE PUBLICITY AND PRESS PHOTOGRAPHS
 A group of eight Marilyn Monroe photographs from The Misfits (Seven Arts, 1961) and Something's Got To Give ( 20th Century). Five of the images are studio publicity photographs. The three remaining images are from the pool scene Monroe shot for Something's Got To Give. One of these images is stamped "Approved by the Advertising Code Administration of New York." Another is stamped by United Press International Photo.
Most, 8 by 10 inches
 Estimate: $800 - $1,200
 

Lot 1005: MARILYN MONROE MARILYN PUBLICITY STILLS
 A group of three Marilyn Monroe studio publicity photographs from the documentary Marilyn (20th Century, 1963). The documentary was a compilation of clips from Monroe's career. The images are from three of Monroe's films.
Each, 8 by 10 inches
 Estimate: $400 - $600
 

Presse  & Autres
Press & Others

Lot 42: MARILYN MONROE COLLECTION OF VINTAGE MAGAZINES
 A collection of approximately 20 vintage magazines dating from 1952 to 1964, all featuring Marilyn Monroe on the cover. Some titles: Reg, Life, Cine Monde, Look, Jours De France, and Photoplay.
 Estimate: $800 - $1,200
 

Lot 73: MARILYN MONROE MAGAZINES
 A January 16, 1962, special issue of Look magazine featuring content about "The Next 25 Years" with predictions by John F. Kennedy, Dr. Martin Luther King and others. Together with a March 1961 issue of Esquire magazine featuring an eight-page cover article on Marilyn Monroe, Arthur Miller, John Huston and the film The Misfits. A full-page ad for this issue of Esquire, as it appeared in the February 24, 1961, copy of the New York Times, is also present, tucked inside the magazine. The ad used a quotation from the feature article that criticized Monroe for being too high maintenance and out of control.
Largest, 13 1/4 by 10 1/2 inches
PROVENANCE From the Estate of Lee Strasberg
 Estimate: $500 - $700 
 
 

Lot 102: MARILYN MONROE PIN-UPS MAGAZINE
 A copy of the 1953 special magazine printed by the Maco Magazine Corporation. The special edition cost 35 cents and featured fifteen pages of color and black and white images of Monroe, some rare images. Each image is accompanied by "facts" about Monroe, many of which are incorrect but they fit the studio's narrative of their star at this time, including the fact that she does not drink. The booklet also carries a three page spread of black and white images showing Monroe exercising and tells how she stays in shape.
11 by 8 1/2 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
 

Lot 247: MARILYN MONROE CUSTOM-BOUND ESQUIRE MAGAZINE
 A copy of the July 1953 issue of Esquire magazine, custom-bound in gilt green boards with Monroe's name on the lower right corner of cover. The issue featured a four-page article titled "The 'altogether girl" by Bennett Cerf featuring a number of images.
13 1/2 by 10 1/2 inches
 Estimate: $800 - $1,200
   
 

Lot 419: MARILYN MONROE’S COLLECTION OF SOME LIKE IT HOT PRESS CLIPPINGS
 Original 1959 newspaper clippings from various newspapers across the country with reviews of Some Like It Hot and of Monroe’s performance, contained in the original file, labeled “Clippings/Some Like It Hot,” from Monroe’s filing cabinets. Some reviews outlined in red wax pencil.
 Estimate: $800 - $1,000
  

Lot 606: MARILYN MONROE SCRAPBOOK COLLECTION
 A group of seven three-ring binders, each containing approximately 100 pages of newspaper and magazine clippings as well as photographs and some ephemera items like the original booklet that held Frieda Hull's tickets to Marilyn Monroe's famous appearance astride a pink elephant at the circus in New York City on March 30, 1955. The books are an extraordinary archive of Monroe's public persona and career. The books appear to run through 1955.
11 1/2 by 9 3/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,500 - $2,500
 
   

Lot 609: MARILYN MONROE RECORDS
 A group of 13 LPs and 45s, all featuring songs from Marilyn Monroe including: Some Like It Hot soundtrack LP and 45 rpm records; Gentlemen Prefer Blondes original cast album; two copies of Let's Make Love original soundtrack recording, one still sealed; Italian River of No Return 45 rpm record; 20th Century Fox Records 45 rpm River of No Return record; Gems from the archive of 20th Century Fox compilation album with "ready to frame" picture of Monroe; motion picture compilation soundtrack album; and four later compilation albums remembering Marilyn.
12 by 12 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $500 - $700
 

Lot 622: 1950s MAGAZINES FEATURING MARILYN MONROE
 A group of 10 vintage magazines featuring Marilyn Monroe, including a special 1954 Marilyn magazine written by Sidney Skolsky, Movie World, Photoplay, Screen Stories, Rave, Hollywood Stars, Movie Mirror, Filmland and Screen Stars. Most date to 1956, together with one magazine from 1953.
8 1/2 by 11 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $400 - $600
 

Lot 623: MARILYN MONROE POSTCARD
 A vintage oversize postcard printed by Tichnor Bros. Inc. of Boston featuring an early 1950s pin-up image of Marilyn Monroe in a yellow bikini.
6 by 9 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $80 - $120
   

Lot 624: MARILYN MONROE VINTAGE PIN-UP POSTER
 A life-size poster issued by Pin-ups of Boston, Massachusetts. The posters were advertised in the August 1953 issue of Popular Science magazine, where customers could order Marilyn Monroe in a red and white striped bikini or in a blue and white striped bikini for the bargain price of $2.00 per poster. This lot features Monroe in a red and white striped bikini. A small two-inch vertical tear is along the lower edge of this poster that is otherwise in excellent condition.
64 by 22 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $1,000 - $1,500
 

Lot 625: MARILYN MONROE POCKET MAGAZINES AND PIN-UPS
A copy of That Girl Marilyn! by Jane Russell featuring 60 candid photographs and published by Affiliated Magazines Inc. and a copy of The Marilyn Monroe Story # 3 - A Candid Profile, 1955, from Screen Publications Inc. Together with 11 loose 1950s magazine covers torn from their respective magazines and two loose pin-up pages featuring Monroe.
Largest, 13 1/4 by 10 1/2 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $200 - $300 
 

Lot 785: 1960s AND 1970s MAGAZINES FEATURING MARILYN MONROE
 A group of 17 magazines: two from 1960, six from 1961, two from early 1962, and seven from the 1970s. Titles include Movie Mirror , TV Radio Album , Screen Stories , Hollywood Tattler , Modern Screen , Photoplay and other gossip magazines.
8 1/2 by 11 inches
PROVENANCE From the Estate of Frieda Hull
Estimate: $400 - $600
 

Lot 786: MAGAZINES FEATURING MARILYN MONROE FROM 1962
 A group of six vintage magazines, among them TV and Movie Screen , Hush - Hush , Movie Mirror , and others, including a special French souvenir album put out by Cine magazine on August 8, 1962. The magazines date from between August and December 1962, paying tribute and speculating about the circumstances surrounding Marilyn Monroe's death.
Largest, 13 3/4 by 10 1/4 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $300 - $500
   

Lot 787: MARILYN MONROE FOREIGN LANGUAGE MAGAZINES
 A group of thirteen magazines and newspapers featuring Marilyn Monroe on the cover including nine Italian titles, one Spanish, two French newspapers, and a Danish magazine all dating to August 1962 in reaction to Monroe's tragic death.
Largest, 23 3/4 by 17 inches
PROVENANCE From the Estate of Frieda Hull
 Estimate: $500 - $700
 

Lot 842: MARILYN MONROE ITEMS
 A group of assorted Marilyn Monroe items: a limited edition Playboy anniversary poster signed by Hugh Hefner and numbered 136/200; a hardcover copy of the Christie's Personal Property of Marilyn Monroe auction catalog from 1999; a giclée print of Monroe entertaining the troops, signed by Victoria Fuller and numbered 273/350; a "Golden Dreams" wall calendar from 1955; four prints of Monroe in a portfolio published by Special Editions Limited; a framed series of 10 magazine cover reproductions featuring Monroe; a 1992 Monroe calendar; five framed inkjet photographs of Monroe posing nude; a 1974 Playboy Marilyn Monroe date book; and a 1974 Playboy Marilyn Monroe calendar.
36 by 24 inches, largest
 Estimate: $300 - $500
     

Lot 843: MARILYN MONROE PLAYBOY FIRST ISSUES SIGNED
 A collection of the first 14 issues of Playboy magazine, all cased and graded, including the first two issues of Playboy , volume 1 number 1 with Marilyn Monroe, and volume 2 number 2, both signed on the cover by Hugh Hefner. Also includes the Summer 1982 issue of Playboy's VIP magazine, cased and graded.
9 1/2 by 13 7/8 by 9 5/8 inches, overall
 Estimate: $5,000 - $7,000
 

Lot 844: MARILYN MONROE PREMIERE ISSUE OF PLAYBOY MAGAZINE
 A copy of the first issue of Playboy magazine that features Marilyn Monroe on the cover. Monroe also appears on the interior of the premiere issue in an article on pages 17 and 18 titled "What Makes Marilyn" and a color pin-up of Monroe taken by Tom Kelley during the 1949 Red Velvet session on page 19. Monroe is called "Sweetheart of the Month," which evolved into Playmate of the Month. No date appears on the cover because Hugh Hefner has stated that he didn't know if there would be a second issue. The magazine hit newsstands in December 1953 and sold for 50 cents. Accompanied by a copy of a magazine titled Marilyn Monroe Pin - Ups released by Maco Magazine Corporation in 1953.
11 by 8 1/2 inches, each
 Estimate: $3,000 - $5,000
 

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Photographies

Lot 89009 -  A Marilyn Monroe Signed Black and White Photograph, 1955.
An original print with a glossy finish, an enlarged snapshot depicting the star wearing a white evening gown and a white fur coat, signed in blue ballpoint ink in the lower right corner "To Jim / Love & Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); included is a black and white photograph of Collins: an original print with a matte finish, depicting Collins as a teenager in 1955 standing at a typewriter that was set up outside of a shop on an NYC street, verso is stamped in part "Life Magazine / ...Photo by Michael Rouger / ... Apr 13 1955;" Collins remembers that this photograph of him actually ran in the magazine with a caption noting what he had just typed which was "Marilyn Monroe is a beautiful girl." (Please note the photograph of MM is heavily wrinkled on the lower margin and has a 1 1/2" tear in same area which somewhat affects her signature; the photograph of Collins is heavily wrinkled with two lower corners missing.)
10" x 8"  
More Information:
"Marilyn Monroe is a beautiful girl!" were the words I was typing when as a 17 year-old, this picture of me was shot by a photographer from LifeMagazine in 1955. The photo, which actually appeared in the magazine a couple of months later, launched my own collection of Marilyn Monroe photos taken overseveral years by me and fivefellow teenage fans who became known as "The Monroe 6." During Marilyn's time in New York, I and the others photographed herin various locations around the city. We would then run to the drugstore to get our snapshots developed in multiples so that all of us could have all the shots we had taken of her (thus the reason for the different shapes and sizes of the photos my collection). In the era before Google and GPS and TMZ and smartphones, we were alerted to Marilyn's appearancesand whereabouts by sources ranging fromVariety Magazinetoher Upper East Side hairdresser. Marilyn got to know the six of us well as we journeyed around the city with her and I remember her always being gracious and friendly. We wanted nothing from her except the opportunity to take her picture or to get her autograph - and often times she would sign on the very photographs we had just taken of her the day before. After Marilyn died, I put these photographs in a closet for many decades, though over the last few years, I have posted a few of them on the Internet for fans to see. I am now ready to let others have my original 1950s-era snapshots of the movie star I had the luck and pleasure to see many times up close and in the flesh - Miss Marilyn Monroe! And she did not disappoint - she was absolutely beautiful as all these photos clearly indicate. When you saw her in person, shewas THE movie star, no doubt about it!
James Collins
New York City, 2016  
     

Lot 89010 -  A Marilyn Monroe Signed Black and White Photograph, Circa 1955.
An original print with a matte finish, an enlarged snapshot showing the smiling star, signed in blue fountain pen ink on the right side "Love & Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); also included with an identical photograph but not signed. (Please note the ink is slightly faded but still legible and there are a number of creases throughout which somewhat detract from the image.)
7" x 5" 
 

Lot 89011 -  A Marilyn Monroe Signed Black and White Photograph, 1955.
An original print with a matte finish, depicting an enlarged snapshot of the star standing next to her business partner, Milton Greene, as the two attend the New York City premiere of the James Dean film, "East of Eden," on March 9, 1955, signed in brown fountain pen ink on the lower left side "Love & / Kisses / Marilyn Monroe;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is slightly faded but still legible and there are a number of creases throughout but they don't detract from the overall image.)
9 3/4" x 7 3/4" 
 

Lot 89012 -  A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is noticeably smudged from the time when it was signed.)
3 1/2" x 3 1/2"  
   

Lot 89013 -  A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is somewhat smudged from the time when it was signed.)
3 1/2" x 3 1/2" 
   

Lot 89014 -  
An original print with a glossy finish, depicting the star outside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat, signed in blue fountain pen ink in the lower center right "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note the ink is somewhat smudged from the time when it was signed.)
3 1/2" x 3 1/2" 
   

Lot 89015 -  A Marilyn Monroe Signed Color Snapshot, 1955.
An original print with a glossy finish, depicting the star inside the Gladstone Hotel in NYC (where she briefly lived) wearing a black gown, black gloves, and a white fur coat (with two men seen in the background), signed almost illegibly in blue fountain pen ink in the upper right "Marilyn Monroe," verso has stamp reading in part "This is a / Kodacolor Print / ...Week Ending Mar. 12, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note much of signature is invisible as the pen MM was using evidently ran out of ink.)
3 1/2" x 3 1/2" 
   

Lot 89016 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Twenty-one total, all original prints with a glossy finish, depicting the star wearing a gold lamé gown, a black fur coat, and black gloves as she arrives with Milton Greene at the Waldorf Astoria Hotel in NYC to attend a Friar's Club dinner on March 11, 1955 (which honored Jerry Lewis and Dean Martin), MM is seen either alone or among others (including Milton Berle), some snapshots are clear, others are out of focus, in three different sizes; though these images have been seen, these are the original snapshots developed and printed in 1955; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
5" x 3 1/2"; 3" x 3"; 3 1/2" x 2 1/2"  
   

Lot 89017 -  A Marilyn Monroe Group of Rare Black and White Snapshots, Circa 1955-1956.
Twenty-seven total, all original prints with a glossy finish, three different sizes, each a candid shot depicting the star as she was out and about in NYC, sometimes in casual wear, other times in cocktail attire, many showing her surrounded by others (including business partner Milton Greene, photographer Sam Shaw, and super-fans Jimmy Collins and James Haspiel, to name a few); from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some have slight wrinkles but overall, all are still in very good condition.)
3 1/2" x 5"; 3 1/2" x 3 1/2"; 2 1/2" x 3 1/2"  
 

Lot 89018 - A Marilyn Monroe Group of Rare Black and White Snapshots, 1955-1956.
Twenty-two total, all original prints with a glossy finish, four different sizes, all showing the star in evening wear on about five different occasions (judging from her different dresses), many depict others with MM such as Joe DiMaggio, business partners Milton and Amy Greene, and fans; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some are slightly wrinkled but overall, all are in very good condition.)
5" x 3 1/2"; 3 1/2" x 4 1/2"; 3 1/2" x 3 1/2"; 2 1/2" x 3 1/2" 
 

 Lot 89019 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955-1957.
Twenty-two total, all original prints with a glossy finish (except one), four different sizes, all depicting the star at various public events she attended including seven showing her with then-husband, Arthur Miller; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some have evident wrinkling due to age.)
10" x 8" (one only); 5" x 3 1/2"; 3 1/2" x 3 1/2"; 3 1/2" x 2 1/4" 

Lot 89020 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Twelve total, all original prints with a glossy finish, three different sizes (with four slightly trimmed from their original size), all depicting the star next to others (including her business partners, Milton and Amy Greene) as she wears a brocade evening gown and matching cape at the March 9, 1955 NYC premiere of the James Dean film, "East of Eden" ; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
5" x 3 1/2"; 3" x 3"; 3 1/2" x 2 1/2" 
 

Lot 89021 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Ten total, all original prints with a glossy finish, all sequentially shot as Marilyn goes from a NYC street into a parking garage and then takes off in a car while wearing white pedal pushers, a polka-dotted shirt, white flats, and a white summer coat, five are stamped on the right side margin "Jun 55," super-fan James Haspiel appears in one (as do a few others); all originally housed in a mint green "Photo Book" from "Berkey / Photo Service;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note one photo is severely creased across MM's face.)
3 1/2" x 3 1/2" 
    

Lot 89022 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Seven total, all original prints with a glossy finish, each depicting the star wearing a lamé dress and a white fur coat as she sits in the lobby of The Hotel 14 in NYC while others surround her (including Milton Berle); from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs); Collins recalls that on this night he waited for MM and her group (which included her date, Milton Berle) to come out of the Copacabana night club which was located upstairs in the same building as The Hotel 14 at 14 East 60th Street in Manhattan -- his patience paid off when he was able to snap these great candid photos of the star as well as pose next to her in one (top row, center). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
4 1/2" x 3 1/4" 
 

Lot 89023 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Eight total, two different sizes, all original prints with a glossy finish, depicting the star sitting in the lobby of the Gladstone Hotel (where she briefly lived) as she wears a black dress, black jacket, and black fishnet gloves, verso of all faintly stamped "Kodak / Velox / Paper;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook.)
3 1/2" x 3 1/2" and 3 1/2" x 2 1/2" 
 

Lot 89024 -  A Marilyn Monroe Group of Rare Black and White Snapshots, 1955.
Eight total, all original prints with a glossy finish, three different sizes (two being trimmed from their original size), all depicting the star wearing a white cocktail dress and white fur as she and her date, Joe DiMaggio, attend the June 1, 1955 premiere of "The Seven Year Itch" (which was also MM's 29th birthday); most images are out of focus but still of interest as this is a now-historic event in film history; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and the largest one has a 1" tear on the center right side.)
6 1/2" x 5"; 3 1/2" x 5"; 3 1/2" x 2 1/2" 
 

Lot 89025 -  A Marilyn Monroe Group of Rare Color Snapshots, Mid-1950s.
Thirty-eight total, all original prints with a glossy finish, seven different sizes, depicting the star at various times over a number of years, most are candid shots though many appear to have been taken by professional photographers due to their clarity, four have stamps on the verso reading in part "This is a / Kodacolor Print / ...Week Ending July 2, 1955;" from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when they were in a scrapbook and some are slightly wrinkled due to age.)
5" x 3 1/2" biggest; 2 3/4" x 1 3/4" smallest  
 

Lot 89026 -  A Marilyn Monroe Rare Black and White Snapshot, 1955.
An original print with a glossy finish, depicting the star wearing her famous 'white dress' with a fur coat thrown over her shoulders and a script in her hand as she leaves the St. Regis hotel in New York City, getting ready to promote a film (likely "The Seven Year Itch"); though this image has been seen, this is the original snapshot developed and printed in 1955; from the personal collection of James Collins, one of the 'Monroe Six' -- the group of young kids who followed Marilyn around NYC so often that the star ended up knowing them all by name and allowing them special access to her (like letting them take countless pictures and giving them numerous autographs). (Please note there is black paper remnants on the back from when this was in a scrapbook and there are slight creases on the surface seen in raking light only.)
3 1/2" x 3 1/2"  
   

Film Footage

Lot 89027 -  A Marilyn Monroe Never-Before-Seen Piece of Color Film Footage from Korea, 1954.
Shot on 8mm, approximately 1 minute and 21 seconds long, footage shows MM walking outside with a soldier escort (as she wears pants and a bomber jacket) while dozens of other soldiers surround her (to take her photograph), then it shows her getting into a car, then it (briefly) shows her performing on stage (as she wears the purple spaghetti-strapped sequined dress); shot by the current owner's father when he was stationed in Korea, he had close access to the star during the walking sequences, but was farther away when she was on stage; the original 1954 film was on three separate reels as the soldier shot tons of footage that didn't include MM (it's of the Korean people, the landscape, and fellow American soldiers) but it has now been spliced together and put on one modern-day plastic reel; the three 1954-era metal reels are still included as is a DVD transfer so the footage can be viewed.
Plastic Reel: 7"; Metal Reels: 5" 
 
 

>> source gifs sur tumblr eternal marilyn

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

 Photographies de Joe Jasgur

(Day 2) Lots 1104, 1105, 1107, 1108, 1109, 1110. Marilyn Monroe early color photographs by Joseph Jasgur. (1946)
Young Norma Jeane Dougherty a few years before her metamorphosis into Marilyn Monroe.
Estimate: $200 - $600

Lot 1104:
     
  
      

Lot 1105:
   
   

Lot 1106:
     
 

Lot 1107:
     
   
   

Lot 1108:
   
   
    

Lot 1109:
     

Lot 1110:
   
    

Photographies de Marilyn en Corée

(Day 2) Lot 1162. Marilyn Monroe Korean tour (7) vintage original candid photographs. (1954) Vintage gelatin silver glossy 5 x 8 in. prints (7) of Marilyn Monroe posing and performing on her 1954 Korean War tour for the American troops. Fine to very fine.
Estimate: $200 - $300
   
   
     

(Day 2) Lot 1163. Marilyn Monroe Korean tour (5) vintage original candid photographs. (1954) Vintage gelatin silver double-weight matte 5 x 7 in. prints (5) of Marilyn Monroe posing, dining, and performing on her 1954 Korean War tour for the American troops. Fine to very fine.
Estimate: $200 - $300
     
   

(Day 2) Lot 1164. Marilyn Monroe Korean tour (7) vintage original candid photographs. (1954) Vintage gelatin silver glossy approx. 5 x 7 in. prints (6) of Marilyn Monroe posing and performing, and (1) of Joe DiMaggio in audience (trying to avoid camera) on her 1954 Korean War tour for the American troops. (1) includes military-press text and photographer’s credit on verso. Occasional creasing and minor handling; very good to fine.
Estimate: $200 - $300
     
   
    

(Day 2) Lot 1165. Marilyn Monroe mixed lot of (14) vintage original photographs from Korean tour. (1954) Vintage gelatin silver glossy (3), semi-gloss (10) and double-weight matte (1) prints, ranging from 5 x 7 to 5 x 8 in., of Marilyn Monroe posing and performing (6), soldiers reactions (7), and travel partner Jean O’Doul (1) on Marilyn’s 1954 Korean War tour for the American troops. (1) includes “Pan Asia News” credit on verso. Occasional creasing and minor handling; very good to fine.
Estimate: $200 - $300
   
   

 Photographies de "There's no business..."

(Day 2) Lot 1166. Marilyn Monroe (4) vintage original photographs with Donald O’Connor for There’s No Business Like Show Business. (TCF, 1954) Vintage (4) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe with Donald O’Connor. Each is from a special portrait series highlighting these two in their most glamorous costumes from this film. (3) bear keybook punch-holes and are in vintage fine condition, and the 4th bears studio text and publication stamps on verso, with marginal wear, therefore good only.
Estimate: $400 - $600
   
   

(Day 2) Lot 1167. Marilyn Monroe vintage original photograph with hair stylist for There’s No Business Like Show Business. (TCF, 1954) Vintage gelatin silver 8 x 10 in. double-weight matte photograph of Marilyn Monroe. Behind the scenes candid of Marilyn in her most glamorous costume from this film having her hair perfected before filming. With “Photofest” agency sticker on verso. In vintage fine condition.
Estimate: $200 - $300
 

 Photographies de "The Seven Year Itch"

(Day 2) Lot 1169. Marilyn Monroe vintage original oversize photograph from The Seven Year Itch. (TCF, 1954)
Vintage gelatin silver oversize double-weight glossy 11 x 14 in. production photographic portrait of Marilyn Monroe posed seductively on a staircase on the set. Clean pinhole in the upper blank boarder and minor corner bumping. In vintage fine condition.
Estimate: $600 - $800
  

(Day 2) Lot 1171. Marilyn Monroe (3) vintage original photographs from The Seven Year Itch. (TCF, 1955)
Vintage (3) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe alone and with Tom Ewell. Includes an exceptional rarely-seen portrait of Marilyn in bathrobe waving out her apartment window. In vintage fine condition.
Estimate: $300 - $500
   
 

(Day 2) Lot 1172. Marilyn Monroe (6) vintage original keybook glamour photographs for fantasy number in The Seven Year Itch. (TCF, 1955)
Vintage (6) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe in a special fantasy-number glamour series. We have never before encountered these exceptionally sexy photos of her from this special “D” and “E” coded series. All have keybook punch-holes in margin, and some have minor toning and handling; in vintage very good condition.
Estimate: $1,000 - $1,500
     
     

(Day 2) Lot 1173. Marilyn Monroe (13) vintage original candid photographs for The Seven Year Itch. (TCF, 1955/circa 1972)
Vintage (13) gelatin silver 8 x 8 in. glossy photographs (shot 1955, printed circa 1972) of Marilyn Monroe behind the scenes with director Billy Wilder, producer Charles K. Feldman and co-stars Tom Ewell and Robert Strauss. We are not aware of any of these remarkable candid shots surfacing before in the marketplace, and each bears the credit stamp of [Helene] Roger-Viollet in Paris. Overall in vintage fine condition.
Estimate: $600 - $800
     
     
   
     
    

(Day 2) Lot 1174. Marilyn Monroe (10) vintage original photographs for The Seven Year Itch including original news photo of the subway scene. (TCF, 1955) Vintage (10) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe alone and with Tom Ewell. Includes a rarely-seen news photo of the movie camera filming Marilyn in bathrobe waving out her apartment window, a lovely publicity portrait in nightgown with toothbrush (to spend the night) and a rare news photo with snipe and stamps of the legendary subway scene. Subway photo is creased, handled, and dampstained at corner; remainder are in vintage very good to fine condition.
Estimate: $600 - $800  
   
   
     
     

 Photographies de "The Misfits"

(Day 2) Lot 1195. Henri Cartier-Bresson vintage original print of Marilyn Monroe and Arthur Miller for The Misfits. (UA, 1961)
Vintage gelatin silver 6.3 x 9.4 in. double-weight semi-gloss photograph of Marilyn Monroe and Arthur Miller on location. With Cartier-Bresson’s “Magnum” agency credit-stamps (which also forbids trimming for publication). Just a trace of marginal handling, in vintage fine condition.
Estimate: $1,000 - $1,500
  

(Day 2) Lot 1196. Henri Cartier-Bresson vintage original print of Marilyn Monroe in The Misfits. (UA, 1961)Vintage gelatin silver 6.2 x 9.25 in. double-weight semi-gloss photograph of Marilyn Monroe on location set. With Cartier-Bresson’s “Magnum” agency credit-stamps (which also forbids trimming for publication). Just a trace of marginal handling, in vintage fine condition.
Estimate: $1,000 - $1,500
 

 (Day 2) Lot 1197. Henri Cartier-Bresson vintage original print of Marilyn Monroe and Kevin McCarthy in The Misfits. (UA, 1961)
Vintage gelatin silver 6.25 x 9.3 in. double-weight semi-gloss photograph of Marilyn Monroe and Kevin McCarthy. With Cartier-Bresson’s “Magnum” agency credit-stamps (which also forbids trimming for publication). In vintage very fine condition.
Estimate: $1,000 - $1,500
 

(Day 2) Lot 1198. Marilyn Monroe (2) vintage original photographs with Clark Gable at Kay Spreckels’ birthday party. (UA, 1961)
Vintage gelatin silver 8 x 10 in. double-weight glossy photographs of Marilyn Monroe and Clark Gable attending Kay Spreckels’ (Gable’s wife) birthday party. One also includes director John Huston seated aside Marilyn. Her look toward Gable in both photos is one of a young woman totally enamored with this rugged handsome older man. In vintage fine condition.
Estimate: $300 - $500
   

 Photographies Diverses

(Day 1) Lot 248. Female bombshells of the 1950s (250+) vintage photographs including Marilyn Monroe and others. (ca. 1950s) Large collection of (250+) gelatin silver single-weight and double-weight glossy and matte approx. 8 x 10 in. portrait and production photographs of female bombshells including Raquel Welch, Kim Novak, Sophia Loren, Natalie Wood, Ann-Margret, and others. Includes a number of Marilyn Monroe images. In generally good to fine condition. Interested bidders are encouraged to view this lot in person by appointment at our offices.
Estimate: $300 - $500
   
   
   
   

(Day 1) Lot 334. Studio (17) vintage negatives of Marilyn Monroe, Audrey Hepburn, Carroll Baker and Janet Leigh. (ca. 1950s) Collection of (17) vintage original approx. 8 x 10 in. camera negatives including glamour portraits and production images of Marilyn Monroe, Audrey Hepburn, Carroll Baker, and Janet Leigh. With some exhibiting photographer retouching including handwritten India ink captions and codes. All with minor handling. Generally in vintage fine condition.
Estimate: $200 - $300
   

(Day 2) Lot 1111. Marilyn Monroe (8) black & white and color photographs including an early Joseph Jasgur swimsuit pose. (1946-1955; majority printed later) Gelatin silver and RC (7) plus color (1) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe on beach in striped bikini, though not stamped, is by Joseph Jasgur and is one of the earliest images created for teenage Norma Jeane. Very fine.
Estimate: $200 - $300
     
   
     

(Day 2) Lot 1113. Marilyn Monroe (8) black & white and color photographs, including (1) with Cecil Beaton and (1) with Bob Beerman credits. (1948-1956; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe, at home on Doheny Drive, 1953 is stamped on verso with Bob Beerman credit, and melancholy portrait against wallpaper is later-sniped with Cecil Beaton credit and Camera Press Ltd. Stamp. Very fine.
Estimate: $200 - $300
     
     
   

(Day 2) Lot 1114. Marilyn Monroe (8) black & white and color photographs including uncommon early cheesecake images. (1946-1957; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe. (3) images are later prints of remarkable and uncommon early cheesecake poses. Very fine.
Estimate: $200 - $300
       
    
     

(Day 2) Lot 1116. Marilyn Monroe extraordinary early signed and inscribed oversized photograph, also signed by Laszlo Willinger. (ca, 1949) Vintage gelatin silver 9.4 x 13.8 in. double-weight photograph of Marilyn Monroe in white one-piece swimsuit and heels posed perfectly against black background, shot by Laszlo Willinger. Neatly and floridly inscribed by Marilyn to her agent in white ink against the black background, “To Ferdinand, Many thanks for your encouragement and friendship. Sincerely, Marilyn Monroe”. Also signed by Willinger in black ink in lower right margin. Accompanied by 1974 sales receipt from Hollywood Book Service on Hollywood Blvd. Easily the most spectacular signed Marilyn Monroe photograph we have ever encountered. Very minor creasing and handling at corners and occasionally through background, in vintage very good condition.
Estimate: $50,000 - $70,000
 

(Day 2) Lot 1117. Marilyn Monroe (8) black & white photographs including (1) with Eve Arnold/ Magnum Photos credit. (1948-1960; majority printed later) Gelatin silver and RC (8) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe topless from back for The Misfits bears Eve Arnold/ Magnum Photos credit. Very fine.
Estimate: $200 - $300
     
     
   

(Day 2) Lot 1118. Marilyn Monroe (7) vintage original photographs by Bruno Bernard. (circa 1949) Vintage (7) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe by Bruno Bernard, each with either his credit stamp, studio sticker, or both. A nice mix of early swimsuit and sweater-girl poses, plus a charming shot of young Marilyn towering over pint-sized powerhouse agent Johnny Hyde dancing at a party. Most, if not all, are likely printed later by Bernard in the 1960s from his own negatives. Only occasional signs of handling or loss, overall in vintage fine condition.
Estimate: $600 - $800
   
     
 

(Day 2) Lot 1119. Marilyn Monroe (8) black & white and color photographs including (1) with Cecil Beaton and (1) with Charles Varon credits. (1949-1961; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe at microphone with Arthur Miller is crayon marked with Charles Varon credit, and girlish portrait with bird is later-sniped with Cecil Beaton credit and Camera Press Ltd. Stamp. Very fine.
Estimate: $200 - $300
     
     
    

(Day 2) Lot 1120. Marilyn Monroe (8) black & white and color photographs including (1) with Burt Glinn/Magnum Photos credit. (1949-1962; majority printed later) Gelatin silver and RC (7) plus color (1) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe at a banquet for Nikita Krushchev is sniped on verso with Burt Glinn/ 1962 Magnum Photos credit, and image from River of No Return is later-sniped with John Swope credit. Very fine.
Estimate: $200 - $300
   
    
     

(Day 2) Lot 1121. Marilyn Monroe (8) black & white and color photographs including a remarkable Bert Stern portrait. (1949-1962; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe. Soft-focus portrait appears to be vintage, and is attributed to Bert Stern. Very fine.
Estimate: $200 - $300
     
     
   

(Day 2) Lot 1125. Marilyn Monroe and Anne Baxter vintage original photograph behind the scenes on All About Eve by Frank Powolny. (TCF, 1950) Vintage gelatin silver 8 x 10 in. double-weight matte photograph of Marilyn Monroe and Anne Baxter behind the scenes by Frank Powolny, with his credit stamp on verso. The two ladies are smiling in conversation as Baxter has her hair touched-up. Exceedingly rare early candid moment for Marilyn. In vintage very fine condition.
Estimate: $400 - $600
  

(Day 2) Lot 1126. Marilyn Monroe (4) vintage original photographs for All About Eve, one by Andre de Dienes. (TCF, 1950) Vintage (4) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe as general publicity, one of which is credit-stamped by Andre de Dienes (later prints have stamp with zip code on recto, which these do not), arguably her most influential early photographer. Two bear original CBS NEWS credit stamps that have been obscured by “Photofest” agency stickers. In vintage fine condition.
Estimate: $400 - $600
   
   

(Day 2) Lot 1128. Marilyn Monroe vintage original photograph seductive pose in the grass. (TCF, 1951) Vintage gelatin silver 8 x 10 in. glossy photograph of Marilyn Monroe posing seductively in the grass. Verso stamp indicates publishing in “Film Comment” magazine #102. Also bears “Photofest” agency sticker. One light corner crease, otherwise in vintage fine condition.
Estimate: $200 - $300
  

(Day 2) Lot 1129. Marilyn Monroe (4) vintage original photographs for River of No Return and Hometown Story. (TCF, 1951/1954) Vintage (4) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe, (1) Home Town Story seductive sweater-pose with “Photofest” agency sticker, and (3) River of No Return showgirl and candid poses, one of which bears Frank Powolny’s credit-stamp. Minor to moderate handling including a corner crease, overall in vintage very good to fine condition.
Estimate: $300 - $500
   
   

(Day 2) Lot 1131. Marilyn Monroe (6) vintage original publicity photos with Chicago White Sox players. (TCF, 1952) Vintage gelatin silver glossy 4 x 5 in. studio “fan” prints (5) of Marilyn Monroe in short-shorts and tight sweater, posing with team members of the Chicago White Sox, plus (1) in one-piece bathing suit and acrylic high-heels. Scarce images, most of which we have previously never seen. Fine.
Estimate: $200 - $300
     
     

(Day 2) Lot 1132. Marilyn Monroe (4) vintage original photographs in revealing and seductive poses. (TCF, 1952) Vintage (4) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe, (1) Love Nest seductive close-up, (1) lingerie pose for Don’t Bother to Knock with “Photofest” agency sticker, and (2) general publicity seductive portraits. Trace of handling, in vintage fine condition.
Estimate: $400 - $600
   
   

(Day 2) Lot 1133. Marilyn Monroe (4) vintage original photographs perfecting her makeup. (Columbia, 1952) Vintage (4) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from a make-up session originally from Ladies of the Chorus and recycled here for its 1952 reissue. In vintage fine condition.
Estimate: $600 - $800
   
   

(Day 2) Lot 1134. Marilyn Monroe (8) small vintage original keybook photographs for Monkey Business. (TCF, 1952) Vintage (8) gelatin silver 4 x 5 in. keybook photographs each depicting Marilyn Monroe with one or more of her co-stars in Monkey Business. (2) of them nicely depict Marilyn with the 1952 MG TD which this company sold in part I of the historic Debbie Reynolds prop and costume collection. With keybook punch-holes in left margins, otherwise in vintage very fine condition.
Estimate: $400 - $600
     
     
   

(Day 2) Lot 1135. Marilyn Monroe (5) vintage original photographs including Monkey Business and Some Like it Hot. (Various, 1950-1959) Vintage (5) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from A Ticket to Tomahawk, Monkey Business, There’s No Business Like Show Business, and Some Like it Hot. In vintage fine condition.
Estimate: $300 - $500
     
   

(Day 2) Lot 1138. Marilyn Monroe (8) black & white and color photographs, including (1) with Eve Arnold/ Magnum Photos credit. (1952-1961; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe in white cherry dress with dog for The Misfits bears Eve Arnold/ Magnum Photos credit. Very fine.
Estimate: $200 - $300
     
     
    

(Day 2) Lot 1139. Marilyn Monroe (8) black & white and color photographs, including (1) with Phil Stern and (1) with Frank Edwards credits. (1952-1962; majority printed later) Gelatin silver and RC (6) plus color (2) approx. 8 x 10 in. photographs of Marilyn Monroe. Image of Monroe with Jack Benny is stamped on verso with Phil Stern/ Globe Photos credit, and sleepy-eyed close portrait is later-stamped with Frank Edwards/ Fotos International credit. Very fine.
Estimate: $200 - $300
 
     
     
 

(Day 2) Lot 1140. Marilyn Monroe (6) vintage original proof prints majority stamped by Milton Greene. (1953) Vintage gelatin silver double-weight semi-gloss 5 x 7 and 5 x 8 in. proof prints (5) of Marilyn Monroe by Milton Greene, with his credit stamp on each verso. All are from the 9/2/53 “Balalaika” sitting, one of the earliest between Monroe and Greene. Plus vintage 3.5 x 4.5 in. double-weight matte print by Greene (not stamped) of Marilyn playing “dress-up” with Marlon Brando for Actors’ Studio benefit event. Occasional handling including minor creases, overall fine.
Estimate: $200 - $300
   
     
 

(Day 2) Lot 1141. Marilyn Monroe (5) vintage original photographs with white fur boa. (TCF, 1953) Vintage (5) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from her general publicity series (though appear to be circa Gentlemen Prefer Blondes), wearing a white fur boa. (3) bear Frank Powolny’s TCF credit stamp on verso, and (1) bears a “Photofest” agency sticker. Occasional toning and minor handling, in vintage very good to fine condition.
Estimate: $400 - $600
     
    

(Day 2) Lot 1142. Marilyn Monroe (3) vintage original photographs in bathing suit for July 4th publicity. (TCF, 1953) Vintage (3) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from her general publicity series (circa How to Marry a Millionaire) in one-piece swimsuit and acrylic platform shoes, as a 4th of July promotion. Minor toning, otherwise in vintage fine condition.
Estimate: $400 - $600
     

(Day 2): Lot 1143. Marilyn Monroe (6) vintage original photographs in low-cut gowns. (TCF, 1953) Vintage (6) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from her general publicity series, each with her wearing various low-cut gowns. (3) bear “CBS NEWS” verso stamps, of which two have been obscured by “Photofest” agency stickers. (1) with marginal dampstain, remainder in vintage fine condition.
Estimate: $400 - $600
     
     

(Day 2) Lot 1144. Marilyn Monroe (4) vintage original photographs in bathing suit poses. (TCF, 1953) Vintage (4) gelatin silver approx. 8 x 10 in. glossy photographs of Marilyn Monroe from her general publicity series (one is production-coded for River of No Return), each with her wearing various bathing suits. (2) bear “Photofest” agency or other stickers which obscure older credit stamps. (1) with background dampstain and lower margin trim, (1) with 2 in. corner crease, overall in vintage very good to fine condition.
Estimate: $400 - $600
   
   

(Day 2): Lot 1145. Marilyn Monroe (2) vintage original transparencies for Niagara. (TCF, 1953) Vintage (2) studio-produced 8 x 10 in. double-image transparencies of Marilyn Monroe posed against Niagara Falls. Created with double image to facilitate faster print-reproduction for general publicity. In vintage fine condition.
Estimate: $200 - $300
   

(Day 2): Lot 1146. Marilyn Monroe (9) vintage original unpublished candid negatives attending formal events. (circa 1953) Vintage candid unpublished (9) camera negatives of Marilyn Monroe attending formal events, of which (5) are 620 format 2.25 x 3.75 in. and (4) are 120 format 2.25 x 2.25 in.; (1) is somewhat unfocused, remainder very fine.
Estimate: $200 - $300
     
     
     

(Day 2) Lot 1151. Marilyn Monroe (4) vintage original photographs in showgirl costume for Gentlemen Prefer Blondes. (TCF, 1953) Vintage (4) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe. Each is from a special portrait series highlighting one of Marilyn’s most attractive costumes from this film. (2) bear keybook punch-holes in top margin, otherwise in vintage fine condition.
Estimate: $600 - $800
   
   

(Day 2) Lot 1152. Marilyn Monroe vintage original transparency for Gentlemen Prefer Blondes. (TCF, 1953) Vintage studio-produced 8 x 10 in. double-image transparency of Marilyn Monroe and Jane Russell in their short showgirl outfits. Created with double image to facilitate faster print-reproduction for general publicity. In vintage fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1158. Marilyn Monroe (14) vintage original photographs by Phil Stern. (1953/ printed later) Vintage gelatin silver custom-fiber 8 x 10 in. photographs of Marilyn Monroe by Phil Stern (printed and credit-stamped by him later from circa 1953 shots) including a number of the most iconic portraits ever taken of Marilyn. All but one bear photographer’s and “Globe Photos” agency stamps. In very fine condition.
Estimate: $600 - $800
     
   
   
   
   
     

(Day 2) Lot 1159. Marilyn Monroe (18) vintage original photographs by Darlene Hammond. (TCF, 1953/printed later) RC paper 8 x 10 in. photographs of Marilyn Monroe by Darlene Hammond (printed and credit-stamped by her later from circa 1953 shots) including many remarkable and seldom-seen candid shots of Marilyn with Jack Benny, Danny Kaye, Danny Thomas, Ken Murray, and most notably with Jane Russell for the Chinese Theater ceremony (one of these is a double). All but one bear photographer’s credit-sticker, and several are also signed on verso by photographer as well. In very fine condition.
Estimate: $600 - $800
     
     
   
     
     
   
     

(Day 2) Lot 1160. Marilyn Monroe (9) 2.25 inch vintage original candid transparencies on location for River of No Return. (TCF, 1954) Vintage 2.25 x 2.25 transparencies (9) loose in original cardboard mounts of Marilyn Monroe on location in Banff, Canada for River of No Return. All are candids either alone or with cast and crew members, and (5) depict Monroe in camisole lingerie worn in numerous scenes throughout the film. Also depicted is her ankle injury incurred during filming. All have shifted toward pink due to ephemeral nature of the film stock, though this is easily corrected for printing. Aside from color shift, all appear fine and remarkably well-preserved.
Estimate: $400 - $600
     
     
     

(Day 2) Lot 1161. Marilyn Monroe (2) vintage original candid photographs for River of No Return premiere by Bruno Bernard. (TCF, 1954) Vintage (2) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe from the premiere of River of No Return by Bruno Bernard. The portrait of Marilyn with Robert Mitchum bears Bernard’s credit stamp on verso. Minor handling, in vintage very good to fine condition.
Estimate: $400 - $600
   

(Day 2) Lot 1178. Marilyn Monroe (4) vintage original unpublished candid negatives wearing stylish sunglasses. (circa 1955)
Vintage candid unpublished (4) camera negatives of Marilyn Monroe out in public wearing remarkable stylish sunglasses, signing autographs. All are 620 format 2.25 x 3.75 in.; (1) is slightly unfocused, remainder very fine.
Estimate: $200 - $300
 
     

(Day 2) Lot 1179. Marilyn Monroe (2) vintage original photographs with gossip columnist Sidney Skolsky. (circa1955)
Vintage (2) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe in her apartment with gossip-columnist Sidney Skolsky at the time of The Seven Year Itch. The two are discussing favorite books and Marilyn’s childhood photos. Minor dampstain on one, otherwise in vintage very good to fine condition.
Estimate: $300 - $500
   

(Day 2) Lot 1180. Marilyn Monroe (2) vintage original photograph and contact sheet by Carl Perutz. (1958/ circa 1972)
Vintage gelatin silver 8 x 10 in. double-weight semi-gloss photograph of Marilyn Monroe, plus gelatin silver 8.5 x 11 in. glossy contact print with (7) 2 ¼ frames from same session (though not including this exact frame) by Magnum photographer Carl Perutz, believed to be for a “Cosmopolitan” magazine spread. Printed circa 1972 for the “Photoreporters Inc.” image agency, with their credit stamps, one of which is obscured by “Photofest” agency sticker. Contact sheet displays some marginal handling, otherwise in vintage very good to fine condition.
Estimate: $400 - $600
    

(Day 2) Lot 1182. Marilyn Monroe vintage original candid photograph for Bus Stop. (TCF, 1956)
Vintage gelatin silver 7.5 x 9.3 in. double-weight semi-gloss candid photograph of Marilyn Monroe by William Read Woodfield. With Woodfield’s credit-stamp, plus “Globe Photos” agency stamp and snipe on verso. Very minor handling, in vintage fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1183. Marilyn Monroe (2) vintage original candid portrait photographs on location for Bus Stop. (TCF, 1956)
Vintage (2) gelatin silver 8 x 10 in. glossy candid photographs of Marilyn Monroe on location. Includes a wonderful smiling Marilyn in sunglasses, deplaning for the Idaho location shoot with co-star Don Murray, and a rare behind the scenes café or nightclub set with studio light looming over Marilyn’s shoulder, credited to Al Brack of Sun Valley. In vintage fine condition.
Estimate: $200 - $300
    

(Day 2) Lot 1185. Marilyn Monroe (2) vintage original classic glamour wire-photos. (1953, 1962)
Vintage original (2) gelatin silver approx. 8 x 10 in. glossy wire-service news photographs of Marilyn Monroe. Earlier shot is from Gentlemen Prefer Blondes of Marilyn with her current stand-in, and later shot is of a totally ethereal and effervescent sequined Marilyn out and about with her Mexican lover Jose Bolanos, about whom she declared her “best lover ever”. Both bear wire-service agency stamps on verso; in vintage fine condition.
Estimate: $200 - $300
   

(Day 2) Lot 1187. Marilyn Monroe (5) vintage original photographs for The Prince and the Showgirl. (Warner Bros., 1957)
Vintage (5) gelatin silver 8 x 10 in. glossy photographs of Marilyn Monroe. (1) bears studio snipe with text referring to The Sleeping Prince, the film’s working title. Occasional handling, in vintage very good condition.
Estimate: $200 - $300
     
    

(Day 2) Lots 1188-1189-1190. Richard Avedon’s “Marilyn Monroe as Lillian Russell / Clara Bow / Jean Harlow” poster. Signed by Avedon. (Life Magazine, 1958/1972)
Vintage 20 x 28 in. first-edition poster print (released for 10th anniversary of Marilyn’s death) of Marilyn Monroe as Lillian Russell, Clara Bow and Jean Harlow, originally for a “Life” magazine spread by Richard Avedon. Signed above title by Avedon. Unfolded, in vintage very fine condition.
Estimate each: $300 - $500
     

(Day 2) Lot 1191. Marilyn Monroe candid vintage original photograph with Arthur Miller at Hotel del Coronado for Some Like it Hot. (UA, 1959)
Vintage gelatin silver glossy 7.75 x 10 in. candid photograph of Marilyn Monroe on location walking on the beach with husband Arthur Miller, Hotel del Coronado in the background. Pencil note on verso mentions Mary Pickford’s close friend at United Artists Tess Michaels as the original source of this photo to the publication that has stamped its credit. Just a trace of handling, in vintage fine condition.
Estimate: $200 - $300
 

(Day 2) Lot 1200. Marilyn Monroe vintage original photograph singing ‘Happy Birthday’ to John F. Kennedy. (1962)
Vintage (2) gelatin silver 7.25 x 9 in. glossy press photograph of Marilyn Monroe viewed from behind, singing “Happy Birthday” to President Kennedy in May, 1962. A fair amount of general handling, with multiple “Photofest” and other agency stickers and notations on verso. In vintage very good condition.
Estimate: $400 - $600
 

(Day 2) Lot 1201. Marilyn Monroe (3) vintage original contact-sheets attending 1962 Golden Globes Awards by Sylvia Norris. (Hollywood Foreign Press, 1962)
Vintage (3) gelatin silver 8.5 x 11 in. glossy contact-sheets with (110) [visible] 35mm frames shot by Sylvia Norris at the 1962 Hollywood Foreign Press “Golden Globes” ceremony, majority of which feature Marilyn Monroe. She is featured principally with her Mexican filmmaker lover Jose Bolanos, as well as talking with Rock Hudson, who presented her with “World’s Film Favorite” award. Other stars pictured include Judy Garland (a nominee), Maximilian Schell (winner), Glenn Ford (winner), George Chakiris (winner), Janet Leigh, Joan Crawford, Barbara Stanwyck and others. Just one portrait frame of Marilyn has been grease-pencil marked for presumed publication, and all three sheets bear photographer’s credit stamp on verso. Vast majority of these remarkable Marilyn images have not likely appeared anywhere else in publication. Very minor handling, in vintage fine condition.
Estimate: $600 - $800
     

(Day 2) Lot 1203. Marilyn Monroe (4) vintage original photographs for Something’s Got to Give. (TCF, 1962)
Vintage gelatin silver (3) 8 x 10 in. and (1) 7 x 9 in. glossy photographs of Marilyn Monroe for her uncompleted final film. In each of them Marilyn is proudly showing off her newly slimmed-down figure, a far cry from her zaftig look in Let’s Make Love and Some Like it Hot. Each bears “Photofest” agency stickers and various notations on verso. In vintage fine condition.
Estimate: $400 - $600
   
   

(Day 2) Lot 1204. Marilyn Monroe (5) vintage original photographs signed by George Barris. (1962/ circa 1972)
Vintage (shot 1962, printed circa 1972) gelatin silver 7.8 x 9.8 in. double-weight matte custom-print photographs of Marilyn Monroe at home and in her car by George Barris, each signed in lower image area by Barris. All but one retain display-mount tagboard or remnant thereof, and all are rarely-seen candid moments of Marilyn looking absolutely fabulous just weeks before her death. Apart from display-mountings, in vintage fine condition.
Estimate: $600 - $800
   
     

(Day 2) ot 1205. Marilyn Monroe (8) vintage original photographs at the Beverly Hills Hotel by Eric Skipsey. (1962/1978)
RC-paper 8 x 10 in. photographs (shot 1962, printed 1978) of Marilyn Monroe at the Beverly Hills Hotel by Eric Skipsey, whose credit-sticker displays on each verso. All depict an apparently happy Marilyn, some with her beloved dog “Maf” (named for Frank Sinatra and his purported mafia connections). Just a trace of handling, in very fine condition.
Estimate: $400 - $600
     
     
    

(Day 3) Lot 1265: George Christy’s (13,000+) personal career archive of celebrity photographs.
Comprising many thousands (13,000+) of primarily gelatin-silver and RC 8 x 10 in. glossy photographs, almost without exception genuine studio or press agency-generated publicity portraits and scenes depicting Hollywood, music, literary and arts celebrities, plus high-society socialites and European aristocrats. Includes photos stamped and signed by Helmut Newton, and many more major photographers. Personalities include Jean Harlow, Marilyn Monroe, Jacqueline Bisset, Roy Lichtenstein, Bob Dylan, Truman Capote, Audrey Hepburn, Tennessee Williams, Harper Lee, Monica Lewinsky, Judy Garland, Elizabeth Taylor, Charlie Chaplin, Michael Jackson, Steven Spielberg, George Lucas, Barbra Streisand, Grace Kelly, Woody Allen, Farrah Fawcett and countless more; films Mildred Pierce, The Shop Around the Corner, Gone With the Wind (roadshow 1st-run keybook portrait), The Postman Always Rings Twice, Grand Hotel, The Third Man, Baby Doll, Citizen Kane, The Wages of Fear, Dumbo, La Dolce Vita, Pather Panchali, Los Olvidados, Rome Open City, etc. Vast majority in very fine condition.
Estimate: $1,000 - $1,500
 
   

 Documents papiers

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

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

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

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

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

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

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

 Objets Divers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



 

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

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