Le Milliardaire
Sur le tournage

 Pendant la scène
During the shooting scene

Marilyn Monroe

Marilyn Monroe & George Cukor
   

   

Marilyn Monroe & Agnes Flanagan
 
 

Marilyn Monroe & Hazel Washington
 

Marilyn Monroe & Jack Cole
 

George Cukor, Marilyn Monroe & Yves Montand
   
   

Marilyn Monroe & Yves Montand
 

Marilyn Monroe & Tony Randall
 
 

- photographies: Richard C Miller -

> Le 14/04/1960 

Sur le plateau
On the set

Marilyn Monroe et Gil, l'homme à tout faire de l'équipe:
il apporte tasse de café et encas ; il dirige le service artisanal
et devient ami avec Marilyn.
Elle lui signe une dédicace:
"A Gil, il n'y a rien comme ton café, Marilyn Monroe"
Marilyn and Gil, the handyman of the crew:
he brings cup of  coffee and snacks; he is head of craft services
and becomes a friend of Marilyn.
She writes to him on a photo:
"To Gil, there is nothing like your coffee, Marilyn Monroe". 
 

>  17/04/1960 - fête de Pâques avec George Cukor
1960, April, 17 - Easter celebration with George Cukor
   

- photographies: Laszlo J Willinger -

- crédit: John Bryson / Zinn Arthur -
 

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

Le Milliardaire
Sur le tournage

 Pendant la scène
During the shooting scene

Marilyn Monroe & Jack Cole
 

Sur le plateau
On the set

Marilyn Monroe et l'acteur Dick Dale
qui interprète Elvis Presley
Marilyn Monroe and the actor Dick Dale
who plays Elvis Presley
       
    

>  01/06/1960 - fête d'anniversaire pour les 34 ans de Marilyn Monroe
1960, June, 01 - Birthday party for the 34 years of Marilyn Monroe
      
   
 
   
   
     
    
      

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

Robe blanche à pois rouges
White Dress with Red Polka Dots

Cette robe a été conçue par la créatrice américaine Ceil Chapman, qui créa des robes de soirées très glamour portées par de nombreuses actrices d'Hollywood. Elle était l'une des créatrices préférées de Marilyn Monroe qui porta plusieurs de ses créations pour des soirées.
C'est apparemment une tenue de la garde robe personnelle de Marilyn Monroe: une robe d'été longue blanche au ton ivoire avec de grands pois rouges, au décolleté de forme carrée et à la jupe large et évasée, une coupe typique des robes des années 1950s. 

This dress was designed by American designer Ceil Chapman, who created very glamorous evening dresses worn by many Hollywood actresses. She was one of Marilyn Monroe's favorite designers who wore many of her designs for parties.
It is apparently an outfit from Marilyn Monroe's personal wardrobe: a summer long white ivory dress with large red polka dots, a square neckline and a wide, flared skirt, a cut typical of 1950s dresses.

   Marilyn la porte pour la première fois le 1er septembre 1952 pour rencontrer les femmes militaires à Atlantic City. C'est l'Etat qui avait demandé à Marilyn de poser avec des femmes de l'armée US afin d'offrir une publicité de recrutement.
Sur la robe, Marilyn y attache l'écusson de la parade qu'elle parraina à Atlantic City le lendemain pour le concours de beauté de Miss America. Aux pieds, elle porte les sandales noires qu'elle avait mise dans le film Niagara, tourné en juin 1952. 

Marilyn wears it for the first time on September 1, 1952 to meet the military women in Atlantic City. It was the State which has asked Marilyn to pose with women of the US army in order to offer recruitment advertising. 
On the dress, Marilyn attaches the badge of the parade she sponsored in Atlantic City the next day for the Miss America beauty contest. On her feet, she wears the black sandals she had put on in the film Niagara, shot in June 1952.

Mais la robe de Marilyn provoquera une controverse pour l'Armée: en effet, un photographe grimpe sur une chaise pour prendre ses clichés, si bien que l'angle de la prise de vue montre Marilyn avec un décolleté très plongeant: cela provoque un chahut dans l'assemblée. Ce à quoi Marilyn répliquera: "Vous pensiez que toutes les autres femmes gardent leur corps enfermés dans un coffre-fort".

But Marilyn's dress will cause controversy for the Army: indeed, a photographer climbs on a chair to take the photos, so that the angle of the shot shows Marilyn with a very plunging neckline: this causes a ruckus in the assembly. To which Marilyn will reply: "You would think all other women kept their bodies in vault".

Marilyn porte à nouveau la tenue à la fin de l'année 1952 , apparemment lors d'une interview avec la journaliste Louella Parsons.
Elle porte des boucles d'oreilles blanches.

Marilyn wears the outfit again at the end of 1952, apparently during an interview with journalist Louella Parsons.
She wears white earrings.

Marilyn réapparaît dans cette tenue l'année d'après, en 1953 , pour remettre le trophée du "Studio league Championship" d'un match de base-ball entre techniciens de la Fox.
Elle accessoirise la tenue en portant une chaîne avec un pendentif.

Marilyn reappears wearing the dress the following year, in 1953, to present the "Studio league Championship" trophy for a baseball match between Fox technicians.
She accessorizes the outfit by wearing a chain with a pendant.

La Robe portée par d'autres
The Dress worn by others

 L'actrice Jane Kean porte la robe lors de la fête d'anniversaire du journaliste Walter Winchell le 13 mai 1953  organisée au club Ciro's à Hollywood; fête où Marilyn Monroe est aussi invitée.

Actress Jane Kean wears the dress to journalist Walter Winchell's birthday party on May 13, 1953 at the Ciro's club in Hollywood; party where Marilyn Monroe is also invited.

Inspirations

Des robes d'été à pois
Polka dot summer dresses

- Gene Tierney -
 

- Ava Gardner -/- Vivien Leigh -
    

- Natalie Wood -
   

- Brigitte Bardot -/- Martine Carol -
   

- Elizabeth Taylor -
 

 - Grace Kelly -/- Sophia Loren -
   

Même style
Same style

La robe blanche aux cerises rouges de Jean-Louis
portée par Marilyn Monroe dans "Les Désaxés", 1961

Jean-Louis' white dress with red cherries
worn by Marilyn Monroe in "The Misfits", 1961

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

Enregistrer

La pêche au trésor

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

Genèse
Genesis

A l'origine, le film a été initié par Harpo Marx, qui souhaite se distancer de ses frères, à travers un film qui lui permettrait de se lancer par la suite en solo. Harpo suggère plusieurs titres pour son histoire (The Sidewalk -"Le trottoir" en français-, puis Sidewalk of New York, Diamonds in the Sidewalk et Diamonds in the Pavement - "Diamants dans le pavé" en français), confiant le scénario à Ben Hecht assisté du spécialiste en matière de gags, Frank Tashlin. Le projet faisant grand bruit, il attire Leo MacCarey comme potentiel réalisateur (il a déjà dirigé les Marx Brothers en 1933). Néanmoins, ils rencontrent des difficultés pour le financement et Tashlin, Hecht et Harpo reportent la faute au producteur Lester Cowan qui, pour eux, avait présenté un financement moins important aux studios pour être concrétisé. Dans une interview ultérieure, Tashlin racontera que Ben Hecht avait développé l'histoire originale autour de Harpo Marx, mais que le film "ne s'est jamais déroulé comme prévu... à cause d'un horrible producteur du nom de Lester Cowan qui l'a bâclé."

Le script original se retrouve réduit à néant et Ben Hecht se retire du projet qui se poursuit malgré tout à travers divers remaniements intitulés de plusieurs titres de travail provisoires: Blondes Up, Blonde Heaven et Hearts and Diamonds - pour finalement devenir Love Happy. Le scénariste Mac Benoff rejoint l'écriture aux côtés de Frank Tashlin, pour recadrer l'histoire et une narration qui tourne désormais aussi autour de Groucho Marx qui, avec Chico Marx, ont accepté de tourner le film pour soutenir leur frère Harpo qui souhaite désespérément mener à terme son projet de rêve (Chico ayant aussi besoin d'argent pour rembourser des dettes de jeu).
Ben Hecht étant boycotté au Royaume-Uni (à cause de sa critique ouverte de l'occupation britannique en Palestine), le film sera interdit au Royaume-Uni jusqu'en 1952, imposant souvent à Hecht à devoir travailler sans être crédité. Dans un article de presse du 18 octobre 1948, le représentant de l'Artists Alliance, Robert Armstrong, a répondu à une demande de renseignements sur la participation de Hecht au film Love Happy en déclarant que neuf scénaristes différents avaient travaillé sur le scénario (outre Harpo Marx, Ben Hecht, Frank Tashlin et Mac Benoff, sont aussi intervenus William Alland, Harry d'Abbadie d'Arrast et Ann Ronell) - seuls Tashlin et Benoff seront crédités au générique.

Originally, the film was initiated by Harpo Marx, who wanted to distance himself from his brothers, through a film that would allow him to later go solo. Harpo suggests several titles for his story (The Sidewalk, then Sidewalk of New York, Diamonds in the Sidewalk and Diamonds in the Pavement), giving the scenario to Ben Hecht assisted by the specialist in gags, Frank Tashlin. The project making a lot of noise, it attracts Leo MacCarey as a potential director (he already directed the Marx Brothers in 1933). Nevertheless, they ran into difficulties with funding and Tashlin, Hecht and Harpo blamed producer Lester Cowan who, for them, had presented smaller funding to the studios to materialize. In a later interview, Tashlin will relate that Ben Hecht had developed the original story around Harpo Marx, but that the film  "never came out the way it was planned...because of a dreadful producer by the name of Lester Cowan who botched it up."

The original script was scrapped and Ben Hecht withdrew from the project which continued regardless through various titled redesigns of several working titles: Blondes Up, Blonde Heaven and Hearts and Diamonds - eventually becoming Love Happy. Screenwriter Mac Benoff joins the writing alongside Frank Tashlin, to reframe the story and a narration that now also revolves around Groucho Marx who, along with Chico Marx, have agreed to shoot the film to support their brother Harpo who is desperate to complete his dream project (Chico also needing money to pay off gambling debts).
Ben Hecht being boycotted in the UK (because of his open criticism of the British occupation of Palestine), the film was banned in the UK until 1952, often requiring Hecht to work without being credited. In a press article published in October 18, 1948, Artists Alliance representative Robert Armstrong responded to an inquiry about Hecht's participation in the film by saying that nine different writers had worked on the script (besides Harpo Marx, Ben Hecht, Frank Tashlin and Mac Benoff, there are also William Alland, Harry d'Abbadie d'Arrast and Ann Ronell who intervened) - only Tashlin and Benoff will be credited.

   
Harpo Marx / Ben Hecht / Frank Tashlin / Mac Benoff

Ces aléas d'écriture et de financement ont perduré un certain temps et démontrent les difficultés rencontrées alors que le film n'était qu'à l'état de projet. Par ailleurs, c'est aussi à travers les correspondances épistolaires de Groucho Marx que l'on peut comprendre l'embourbement du projet et le choix progressif d'intégrer les autres frères Marx au film: dès le 20 juin 1947 (le tournage débutera plus d'un an après), Groucho écrit à sa fille Miriam où il mentionne un film que Ben Hecht écrivait pour Harpo et Chico. Une autre lettre (du 25 septembre 1947) mentionne le rôle d'invité de Groucho en tant que simple narrateur. Puis sa lettre du 18 octobre 1947 parle encore du film, le décrivant comme l'histoire que Hecht "a écrite pour Harpo, et finalement Chico y est inséré, puis je me suis soudainement retrouvé dedans pendant un bref instant". Au départ devant faire une minime apparition, le personnage interprété par Groucho s'étoffe tellement qu'il en devient un rôle à part entière, ouvrant et fermant le film. Lester Cowan n'a pas respecté l'accord initial décidé avec les frères Marx: le film ne devait s'articuler qu'autour du personnage de Harpo, mais Cowan est parvenu à faire intégrer petit à petit les autres frères Marx, présentant ainsi le film comme "un film des frères Marx", ce qui était contraire à l'accord initial.

These writing and financing hazards lasted for some time and demonstrate the difficulties encountered when the film was only in the planning stage. Moreover, it is also through Groucho Marx's correspondence that we can understand the bogging down of the project and the progressive choice to integrate the other Marx brothers into the film: from June 20, 1947 (filming will begin more than a year later), Groucho writes to his daughter Miriam where he mentions a film that Ben Hecht was writing for Harpo and Chico. Another letter (from September 25) mentions Groucho's guest role as a simply narrator. Then his letter of October 18, 1947 speaks again of the film, describing it as the story that Hecht "wrote for Harpo, and finally Chico got in it, and then I suddenly found myself in it for a brief bit." Initially having to make a small appearance, the character played by Groucho expands so much that it becomes a role in its own right,opening and closing the movie. Lester Cowan did not respect the initial agreement decided with the Marx brothers: the film was to revolve only around the character of Harpo, but Cowan managed to integrate the other Marx brothers little by little, thus presenting the film as "a Marx Brothers movie", which was contrary to the original agreement.

 
David Miller, Harpo Marx & Ben Hecht / Lester Cowan & Mary Pickford

Pour palier au budget du financement, le producteur Lester Cowan a l'idée d'introduire ce qu'on appelle aujourd'hui du "placement de produit" dans le film, ce qui était totalement inédit pour l'époque et qui lui sera reproché dans la presse (cf l'article du Harrison's report du 17 septembre 1949: Les critiques sur "Love Happy" ). C'est ainsi qu'un espace publicitaire est proposé, à travers les enseignes au néon sur le toit qui servaient de décor à la fin du film, faisant de la pub pour les montres Bulova et les cigarettes Kool.
La grande actrice du muet Mary Pickford, l'une des fondatrices de la société de production United Artists (créé en 1919 par Charlie Chaplin, Douglas Fairbanks, Mary Pickford et D. W. Griffith), rejoint le projet en tant que productrice (il s'agira du dernier film qu'elle produira). Et c'est finalement David Miller qui est en charge de la réalisation du film.
Lester Cowan travaille aussi en famille: il se fait assister de son frère Bob Cowan en tant que directeur de casting, et sa femme Ann Ronnell compose le thème musical. Cowan prend néanmoins une place bien trop importante dans la fabrication du film et sort largement de son rôle de producteur. Un article du magazine The Salt Lake Tribune explique en détail le rôle joué par Cowan sur le tournage du film: réunion de travail autour de l'écriture du film avec Harpo Marx et Ben Hecht, direction des acteurs sur le tournage, il tient aussi ces propos: "Je fais le montage tous les soirs. Si je n'aime pas une scène, je la fais refaire tout de suite", se subsituant ainsi au rôle de réalisateur.

To compensate for the financing budget, the producer Lester Cowan has the idea of introducing what is now called "product placement" in the film, which was completely new for the time and who will be reproached to him in the press. This is how an advertising space is offered, through the neon signs on the roof that served as the backdrop at the end of the film, advertising Bulova watches and Kool cigarettes.
The great silent actress Mary Pickford, one of the founders of the production company United Artists (created in 1919 by Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D. W. Griffith), joins the project as producer (this will be the last film she will produce).
It's finally David Miller who is in charge of the realization of the film.
Lester Cowan also works with his family: he is assisted by his brother Bob as casting director, and his wife Ann Ronnell composes the musical theme. Cowan takes nethertheless a place too important in the making of the film and goes far beyond his role as producer. An article from The Salt Lake Tribune magazine explains in detail the role played by Cowan on the set of the film: working meeting around the writing of the film with Harpo Marx and Ben Hecht, directing the actors on the set, he also says: "I cut my films every night. If I don't like a scene, I re-do it right away", thus replacing the role of a director.

      
The Salt Lake Tribune, 09/01/1949

Le résultat final, malgré une critique positive du New York Times et d'autres critiques majeures, restera une grande déception pour Harpo jusqu'à la fin de sa vie. Alors que le film devait permettre à Harpo de se démarquer, c'est finalement Groucho, qui joue le rôle du détective privé, qui se distinguera dans le film.
Love Happy est le dernier film qui réunit les trois frères Groucho, Chico et Harpo Marx, bien qu'ils n'ont jamais une seule scène les réunissant tous les trois. On les reverra ensemble encore une fois, dans L'Histoire de l'humanité, sorti en 1957, n'y faisant que des apparitions.
Quand le film sera édité en DVD, la durée est plus longue (91 min) que la version originale (85 min), incluant ainsi plusieurs scènes qui étaient restées jusqu'alors inédites.

The final result, despite positive reviews from The New York Times and other major critics, would remain a great disappointment for Harpo for the rest of his life. While the film was to allow Harpo to stand out, it is ultimately Groucho, who plays the role of the private detective, who will stand out in the film.
Love Happy is the last film that brings together the three brothers, Groucho, Chico and Harpo Marx, although they never have a single scene bringing them all together. We will see them together again, in The Story of Mankind, released in 1957, only making cameo apperances there.
When the film will be released on DVD, the duration is longer (91 min) than the original version (85 min), thus including several scenes which had remained unpublished until then.

Rôle de Marilyn
Role of Marilyn

Plusieurs versions et hypothèses ainsi que diverses dates existent sur les raisons pour lesquelles Marilyn aurait décroché le rôle:
Several versions and hypotheses as well as various dates exist on the reasons why Marilyn would have landed the role:

- 1ère hypothèse: C'est Johnny Hyde, l'impresario et amant de Marilyn, qui l'aurait présenté au producteur Lester Cowan, au moment où il travaillait comme co-producteur avec Mary Pickford sur une comédie qui devait relancer la carrière des Marx Brothers. Le réalisateur cherchait une blonde pour une courte séquence avec Groucho. Hyde aurait organisé une audition et c'est ainsi que Marilyn aurait été engagée. (cf "Marilyn Monroe la biographie" de Donald Spoto et "Marilyn Monroe, Private and Undisclosed" de Michelle Morgan qui situe l'événement au début de l'année 1949).
- 1st hypothesis: It was Johnny Hyde, the impresario and lover of Marilyn, who would have introduced her to producer Lester Cowan, when he was working as co-producer with Mary Pickford on a comedy that was to relaunch the career of the Marxes Brothers. The director was looking for a blonde for a short sequence with Groucho. Hyde would have organized an audition and that's how Marilyn would have been hired. (cf "Marilyn Monroe the biography" by Donald Spoto and "Marilyn Monroe, Private and Undisclosed" by Michelle Morgan which places the event at the beginning of the year 1949).

- 2ème hypothèse: C'est au drugstore Schwab au printemps 1949 que Marilyn aurait entendu par hasard qu'on recherchait une jolie fille pour le prochain film des Marx Brothers, conduisant à deux versions:
. Elle aurait soit contacté Lester Cowan et lui aurait dit: "J'ai appris que vous cherchiez une blonde sexy pour jouer avec les frères Marx. Aimeriez-vous me rencontrer ? Je suis blonde et je suis sexy." Puis une audition aurait été organisée soit par Harry Lipton (son agent en 1946 et 1947) ou Louis Shurr ou John Carroll (qui devient une sorte de manager avec sa femme Lucille Ryman entre 1947 et 1949; acteur, Carroll avait tourné dans un film des Marx Brothers Go West en 1940) ou encore Johnny Hyde (son agent à partir de 1949) (cf "Marilyn sa vie en images" de Martin Howard et "Marilyn Monroe L'Encyclopédie" d'Adam Victor);
. Ou elle aurait contacté directement les frères Marx et Groucho lui aurait fait ainsi passer l'audition en lui demandant de marcher. (cf "Les vies secrètes de Marilyn Monroe" d'Anthony Summers, et la période de début 1949 est référencée dans "Marilyn Monroe et les caméras").
- 2nd hypothesis: It was at the Schwab drugstore in the spring of 1949 that Marilyn would have heard by chance that a pretty girl was being sought for the next Marx Brothers film, leading to two versions:
. She allegedly either contacted Lester Cowan and said, "I heard you were looking for a sexy blonde to play with the Marx Brothers. Would you like to meet me? I'm blonde and I'm sexy." Then an audition would have been organized by Harry Lipton (her agent in 1946 and 1947) or Louis Shurr or John Carroll (who became a kind of manager with his wife Lucille Ryman between 1947 and 1949; actor, Carroll had starred in a Marx Brothers film Go West in 1940) or even Johnny Hyde (his agent from 1949)- (cf "Marilyn her life in pictures" by Martin Howard);
. Or she would have contacted the Marx brothers directly and Groucho would have made her pass the audition and asked her to walk. (cf "The Secret Lives of Marilyn Monroe" by Anthony Summers, and the early 1949 period is referenced in "Marilyn Monroe and the Cameras").

- La version de Marilyn: Marilyn racontera les circonstances qui l'ont amené à se retrouver à tourner dans le film (via des entretiens accordés à Ben Hecht en 1954 qui seront publées dans "Confessions inachevées"): "Quelqu'un que j'ai rencontré à un comptoir d'un snack m'a dit qu'on faisait de nouvelles prises de vues d'un film intitulé "Love Happy" et qu'on avait besoin d'une fille pour un petit rôle. Harpo et Groucho Marx étaient dans le film. Sur le plateau, je suis allée trouver le producteur aux commandes, Lester Cowan. Il m'a présenté Groucho et Harpo. (...) Ils m'ont regardé comme si j'étais une pâtisserie française. "C'est la jeune femme pour la scène du bureau", a déclaré M. Cowan. Groucho me regarda d'un air pensif: "Pouvez-vous marcher ?" m'a-t-il demandé. J'ai hoché la tête. "Ce rôle", a déclaré Groucho, "exige d'une jeune femme qui, en marchant à côté de moi, puisse éveiller ma libido âgée et à faire sortir de la fumée de mes oreilles." Harpo klaxonna du bout de sa canne et me sourit. J'ai marché comme Groucho le voulait. "Extrêmement bien fait", commenta-t-il, épanoui. Harpo a klaxonné trois fois et a donné un coup de sifflet perçant. "C'est Mae West, Theda Bara et Bo-Peep réunies", a déclaré Groucho. "Nous tournons la scène demain matin. Venez tôt. Et n'allez pas vous aventurer dans des quartiers non surveillés par la police", a déclaré Harpo. Je jouais le lendemain. Groucho me dirigeait."
Dans un entretien accordé à Immogene Collins (pour le magazine Modern Screen de novembre 1952), elle racontera que c'est en allant à Beverly Hills chez Doc Shurr (Louis Shurr, son agent qui représentait aussi Bob Hope et était au courant de tous les potins), que ce dernier lui appris que les frères Marx faisaient passer un casting et il l'envoya voir Groucho Marx.
- The Marilyn's version: Marilyn will recount the circumstances that led her to find herself shooting in the film (via interviews granted to Ben Hecht in 1954 which will be published in "My Story"): "Someone I met at a lunch counter, told me they were making retakes on a movie called "Love Happy" and needed a girl for a bit part. Harpo and Groucho Marx were in the movie. I went on the set and found the producer, Lester Cowan, in charge. He introduced me to Groucho and Harpo. (...) They both smiled at me as if I were a piece of French pastry. "This is the young lady for the office scene," said Mr. Gowan. Groucho stared thoughtfully at me. "Can you walk ?" he demanded. I nodded. "This role," said Groucho, "calls for a young lady who can walk by me in such a manner as to arouse my elderly libido and cause smoke to issue from my ears." Harpo honked a horn at the end of his cane and grinned at me. I walked the way Groucho wanted. "Exceedingly well done," he beamed. Harpo honked three times and blew a piercing whistle. "It's Mae West, Theda Bara, and Bo-Peep rolled into one," said Groucho. "We shoot the scene tomorrow morning. Be early." "And don't do any walking in any unpoliced areas," said Harpo."
In an interview given to Immogene Collins (for Modern Screen magazine in November 1952), she recounted that it was while going to Beverly Hills to Doc Shurr's (Louis Shurr, his agent who also represented Bob Hope and was aware of all the gossip), that the latter told her that the Marx brothers were having a casting and he sent her to see Groucho Marx.

  
Schwab's Pharmacy (Drugstore) 8024 Sunset Boulevard, Hollywood

- La vérité: C'est sans doute par hasard, alors qu'elle se trouve au comptoir du drugstore Schwab (lieu fréquenté par les acteurs et producteurs) fin octobre 1948 que Marilyn Monroe apprend qu'on recherche une jolie fille pour le prochain film des Marx Brothers. Elle se rend chez l'agent Louis Shurr (à cette époque, elle ne connaissait pas encore Johnny Hyde) qui aurait ainsi contacté le producteur Lester Cowan pour qu'il puisse la recevoir dans les studios. Il semble qu'après son entrevue avec Cowan, elle se soit entraînée plusieurs jours avec sa coach Natasha Lytess pour adopter cette fameuse démarche d'ondulation du corps qu'elle exécutera dans la scène du film. Cowan la recontacte donc quelques jours après pour passer une audition. 
- The truth: It is probably by chance, while she is at the counter of the Schwab drugstore (a popular hangout for movie actors and producers) at the end of October 1948 that Marilyn Monroe learns that a pretty girl is being sought for the next Marx Brothers film. She goes to the agent Louis Shurr (at that time, she didn't yet know Johnny Hyde) who would have contacted the producer Lester Cowan so that he could receive her in the studios. It seems that after her meeting with Cowan, she trained for several days with her coach Natasha Lytess to adopt this famous body undulation gait that she will perform in the scene of the film. Cowan therefore contacted her a few days later to audition.

 
Mae West / Theda Bara / Bo-Peep

- L'audition: Lester Cowan a selectionné trois candidates, dont Marilyn, pour passer l'audition devant Groucho Marx qui demande à chacune d'entre elles de faire quelque pas sous ses yeux. Groucho leur aurait dit: "Il me faut pour ce rôle, une jeune femme qui, en marchant devant moi, soit capable de réveiller ma libido déclinante et de me faire sortir de la fumée par les oreilles." Marilyn a été la seule à laquelle Groucho lui a demandé de recommencer et lui aurait chuchoté à l'oreillé: "Tu as le plus joli cul de la profession." Elle dira que "c'était un compliment et non une grossièreté". C'est à ce moment que Groucho aurait qualifié Marilyn de "Mae West, Theda Bara et Bo-Peep tout ça roulé ensemble", une citation qui sera reprise dans la presse et bon nombre de livres consacrés à Marilyn (nb: l'actrice blonde platine Mae West reste un sex-symbol des années 1930s, avec un franc-parler et une certaine gouaille qui lui ont permi d'être populaire auprès du public; l'actrice brune Theda Bara est l'une des premières vamps très populaire du cinéma muet; Bo-Peep est un personnage de fiction, une jeune et jolie bergère sortie d'une comptine pour enfants). Groucho étant immédiatement séduit par Marilyn, il aurait alors demandé au producteur Lester Cowan: "Comment avez-vous pu choisir quelqu'un d'autre que cette dernière ?" Le rôle initial devait être une simple figuration sans dialogue, mais Groucho est tellement impressionné qu'il décide d'écrire un peu de texte pour Marilyn (deux lignes de texte).
- The audition: Lester Cowan has selected three candidates, including Marilyn, to pass the audition in front of Groucho Marx who asks each of them to take a few steps under his eyes. Groucho reportedly told them, "I need for this role a young lady who can walk by me in such a manner as to arouse my elderly libido and cause smoke to issue from my ears." Marilyn was the only one Groucho asked her to do it again and allegedly whispered in her ear: "You have the prettiest ass in the business." She will say that "it was a compliment and not a rudeness". It was at this time that Groucho would have called Marilyn as "Mae West, Theda Bara, and Bo Peep all rolled into one!", a quote that would be used in the press and in a number of books devoted to Marilyn (nb: the actress platinum blonde Mae West remains a sex symbol of the 1930s, with an outspoken and bantering quality that made her popular with the public; brunette actress Theda Bara is one of the first popular vamps of the silent cinema; Bo-Peep is a fictional character, a young and pretty shepherdess from a children's nursery rhyme). Groucho being immediately seduced by Marilyn, he would then have asked the producer Lester Cowan: "How can you take anybody except that last girl ?" The initial role was to be a simple figuration without dialogue, but Groucho is so impressed that he decides to write a little text for Marilyn (two lines of text).

- VIDEO extrait de Groucho Marx au Today Show du 08/11/1962 -

- Le tournage: C'est sans doute à l'issue de l'audition qu'elle signe le contrat le 25 octobre 1948, pour tourner la scène le lendemain à cinq heures. Groucho a affirmé que la robe de Marilyn était si décolletée qu'il en a oublié le dialogue. 
Le tournage de sa scène ne dure qu'une demie journée pour laquelle Marilyn aurait perçu la somme de 500 Dollars plus un cachet supplémentaire de 300 Dollars pour les portraits publicitaires pris en studio (Groucho Marx dira qu'elle a touché 100 Dollars ainsi qu'un extra de 25 Dollars pour poser pour des photos publicitaires dans une station service juste après sa scène -cf son interview dans le Today Show de 1962). Elle dépensera une bonne partie de la somme pour faire des cadeaux à la famille Karger, dont une montre en or à Fred qu'elle achète à crédit et des cadeaux au couple Carroll. Après le tournage, elle se retrouvera à nouveau au chômage.
Le réalisateur David Miller évoquera Marilyn dans des termes peu élogieux lors d'une interview retrospective sur sa carrière: "Ilona Massey était notre blonde, mais nous avions aussi besoin d'une idiote. Marilyn est entrée pour une entrevue et Groucho a crié: "Vous êtes embauchée." Elle ne riait jamais à aucune de ses blagues, ce qui signifiait que nous pouvions tout faire dès la première prise. Il était profondément épris d'elle. (...) Elle avait 23 ans, avait les ongles sales, ne se lavait jamais et donc son cou était sale. Elle avait l'air perplexe et ça coinçait. Elle exsudait juste le sex-appeal."
- The shooting: It was probably after the audition that she signed the contract on October 25, 1948, to shoot the scene the next day at five o'clock. Groucho claimed that Marilyn's dress was so low-cut that he forgot the dialogue.
The filming of her scene lasts only half a day for which Marilyn would have received the sum of 500 Dollars plus an additional fee of 300 Dollars for publicity portraits taken in the studio (Groucho Marx will say that she received 100 Dollars as well as an extra 25 Dollars to pose for publicity photos in a gas station just after her scene -cf his interview in the Today Show of 1962). She will spend a good part of the sum on gifts for the Karger family, including a gold watch for Fred which she buys on credit and gifts for the Carroll couple. After the shooting, she will again find herself unemployed.
The director David Miller will evoke Marilyn in not very flattering terms during a retrospective interview about his career: "Ilona Massey was our blonde, but we needed a dumb one, too. Marilyn walked in for an interview and Groucho shouted, “You’re hired.” She never laughed at any of his jokes, which meant we could do everything on the first take. He was mightily smitten with her. (...) She was 23, had dirty fingernails, never washed, so her neck was dirty. She looked bewildered and that stuck. She just oozed sex appeal."

 
Portraits publicitaires de Groucho Marx & Marilyn Monroe

Lester Cowan lui fait la promesse de la prendre sous contrat. Là encore, Marilyn racontera (extrait de "Confessions inachevées"): "Ce n'était guère plus que de la figuration, mais M. Cowan, le producteur, a dit que j'avais l'étoffe d'une star et qu'il allait faire quelque chose à ce sujet. Quand on est fauchée et inconnue et qu'un homme vous dit cela, il devient un génie à vos yeux. Mais il ne s'est rien passé pendant une semaine. Puis un matin, j'ai trouvé mon nom dans le titre d'une colonne de potins sur les films d'Hollywood. J'étais tellement excitée que j'en suis tombée du lit. Le titre disait que Lester Cowan m'avait mise sous contrat pour jouer dans un prochain film."
Lester Cowan promises to take her under contract. Again, Marilyn will tell (excerpt from "My Story"): "It was hardly more than a walk-on, but Mr. Cowan, the producer, said I had the makings of a star and that he was going to do something about it. When you're broke and a nobody and a man tells you that, he becomes a genius in your eyes. But nothing happened for a week. Then one morning I found my name in the headline of a Hollywood movie-gossip column. I was so excited I fell out of bed. The headline said Lester Cowan had put me under contract to star in a forthcoming movie."

  - Cet article de presse dont fait référence Marilyn a été écrit par la commère à potins Louella Parsons, dans l'une de ses colonnes parue le 13 novembre 1948 (Los Angeles Examiner): "Marilyn Monroe, qui, je l'ai dit il y a presque un an après l'avoir rencontrée un soir lors d'un dîner, va avoir une chance de prouver sa perspective. Lester Cowan m'a dit qu'il lui a signé un contrat à long terme après qu'elle ait fait "Love Happy" avec le clan Marx. "Elle se démarque comme une lumière", a déclaré Lester. Puis il a poursuivi en me parlant de Marilyn qui est née en Californie, et orpheline, et qui a été pupille de la nation pendant 18 ans. "Je crois", a-t-il dit, "qu'elle n'ira jamais à Hollywood, parce qu'elle est reconnaissante pour toute la chance qui se présente à elle." Son prochain rôle dans "Le client a toujours raison" lui donne une excellente chance, et nous la surveillerons tous et espérons que tout ce que Lester croit d'elle sera vrai."
 - This press article Marilyn refers to was written by gossip Louella Parsons, in one of her columns published on November 13, 1948 (Los Angeles Examiner): "Marilyn Monroe, who, I said almost a year ago after meeting her at a dinner one night, is going to get a chance to prove its prospect. Lester Cowan tells me he signed her on a long-term contract after she made "Love Happy" with the Marx clan. "She stands out like a light," Lester said. Then he went on to tell me about Marilyn who was born in California, and orphaned, and was a ward of a state for 18 years. "I believe," he said, "That she will never 'go Hollywood", because she's grateful for all the good luck that comes her way." Her next role "The Customer's Always Right" gives her an excellent chance, and we will all watch for her and hope that all the things Lester believes of her will be true."

En fait, Cowan ne lui fait pas signer de contrat, mais il l'utilisera pour faire la publicité du film: "Je lui ai dit que j'avais lu pour le contrat. J'ai même suggéré que je reçoive cent dollars par semaine. "Nous verrons," répondit M. Cowan. "Rentrez chez vous et attendez d'avoir de mes nouvelles. Je vous contacterai". Il a tenu parole et m'a contacté. Il ne pouvait pas encore m'utiliser comme une star. Mais il aimerait m'engager pour exploiter le film 'Love Happy'".
In fact, Cowan didn't sign her to a contract, but he will use her to advertise the film: "I told him I'd read about getting a contract. I even suggested I get a hundred dollars a week. "We'll see," Mr. Cowan replied. "Just go home and wait till you hear from me. I'll send for you."
He kept his word and sent for me. He wasn't ready to use me as a star. But he would like to engage me to exploit the movie "Love Happy."

Rôle de Marilyn: Bien que sa scène ne dure que 40 secondes dans le film, elle est tout de même mentionnée à part dans le générique du film avec cette petite phrase: "and Introducing (...) Marilyn Monroe".
Role of Marilyn: Although her scene only lasts 40 seconds in the film, she is still mentioned separately in the credits of the film with this little sentence: "and Introducing (...) Marilyn Monroe".

Itinéraire d'un film et tournée promo
Film itinerary and Tour promo

• La production a débuté à la mi-juillet 1948 et bien que les registres indiquent une fin de production au 10 septembre 1948, le nombre de jours de tournage est resté fixe jusqu'au 20 août 1948. Le tournage se situe à Los Angeles: d'abord dans des studios loués à la RKO (3 500 Dollars par jour) puis au General Service Studios - 1040 N. Las Palmas à Hollywood; mais des scènes en extérieur sont aussi tournées à New York. Des prises seront faites et ajoutées fin octobre et début novembre 1948 dans les studios de Los Angeles, correspondant notamment à la scène tournée par Marilyn.
  Production begin in mid-July 1948 and although the records indicate an end of production on September 10, 1948, the number of shooting days remained fixed until August 20, 1948. Filming took place in Los Angeles: first in studios rented from the RKO (3,500 Dollars a day) then at General Service Studios - 1040 N. Las Palmas in Hollywood; but outdoor scenes are also shot in New York. Takes will be made and added at the end of October and beginning of November 1948 in the Los Angeles studios, corresponding in particular to the scene shot by Marilyn.

• Début septembre 1948: Dans les rubriques news cinéma de la presse, les chroniqueurs parlent du film; Louella Parsons ne semble pas très bien renseignée, elle indique dans sa colonne du 05 septembre que le film porte le titre de "The Customer is always Right" (en français: "Le client a toujours raison"); tandis que d'autres articles indiquent dès le 03 septembre que le titre de "Blondes Up" a été modifiée en "Love Happy"; et bien que le tournage soit presque fini, des scènes avec Groucho Marx doivent encore être tournées. 
  Beginning of September 1948: In the cinema news sections of the press, the columnists talk about the film; Louella Parsons doesn't seem very well informed, she indicates in her column of September 05 that the film bears the title of "The Customer is always Right"; while other articles indicate from September 03 that the title of "Blondes Up" has been changed to "Love Happy"; and although filming is almost done, scenes with Groucho Marx have yet to be shot.

 
1/ The Fort Worth Star Telegram du 05/09/1948, article de Louella Parsons
2/ The Evening News du 03/09/1948
3/ The Bakersfield Californian du 25/09/1948

• 25 octobre 1948: Marilyn passe l'audition. Elle est selectionnée et signe le contrat pour sa demie journée de tournage (l'annonce est publiée dans la presse dès le lendemain).
  October 25, 1948: Marilyn passes the audition. She is selected and signs the contract for her half day of filming (the news is published in the press the next day).

 
The Los Angeles Evening Citizen New du 26/10/1948

• Début novembre 1948: Marilyn tourne sa scène. Le tournage se déroule en une après-midi.
  Beginning of November 1948: Marilyn shoots her scene. Filming takes place in one afternoon.

• 13 novembre 1948: Louella Parsons annonce dans la presse que Marilyn a signé un contrat avec Lester Cowan. N'étant pas au courant, Marilyn se rend au bureau de Cowan, qui lui promet de la rappeler. Une semaine après, il l'informe vouloir l'engager pour faire la promotion du film.
  November 13, 1948: Louella Parsons announces in the press that Marilyn has signed a contract with Lester Cowan. Not being aware, Marilyn goes to Cowan's office, who promises to call her back. A week later, he informs her that he wants to hire her to promote the film.

• Début 1949 (vers février) - Marilyn pose pour les portraits publicitaires du film pour lesquels elle est payée 300 Dollars. Cowan utilise son filon des espaces publicitaires dans la presse pour promouvoir le film à travers Marilyn: elle fait de la pub pour un concours de manteau de fourrure (publié le 08 mai en Oregon) ou encore pour des pillules d'amaigrissement (publié fin août dans plusieurs journaux) et où ses photos sont légendées avec la mention du film "Love Happy".
  Beginning of 1949 (circa February) - Marilyn poses for the publicity portraits of the film for which she is paid 300 Dollars. Cowan uses his cunning of advertising space in the press to promote the film through Marilyn: she advertises for a fur coat contest (published on May 8 in Oregon) or for weight loss pills (published at the end of August in several newspapers) and where her photos are captioned with the mention of the film "Love Happy".
  - Blog: 05/1949 - Marilyn mannequin et Publicité Kyron, 1949 (USA)

 
Encarts publicitaires de produits et du film dans la presse locale 

• Juin / Juillet 1949: Lester Cowan envoie Marilyn à travers différentes villes des Etats-Unis pour faire la tournée de promotion pour "Love Happy"- comme il est malin, cette tournée se déroule en parallèle de la tournée caricative annuelle de Base Ball "Movie Stars World Series" (dont les fonds sont reversés à l'association "City of Hope") et pour laquelle des starlettes des studios de cinéma participent aux lancements de match de base-ball à travers les grandes villes américaines faisant office de "batgirls". 
  June / July 1949: Lester Cowan sends Marilyn across different cities of the United States to do the promotional tour for "Love Happy" - how clever he is, this tour takes place in parallel with the annual charity tour of Baseball "Movie Stars World Series" (whose funds are donated to the "City of Hope" association) and for which movie studio starlets take part in baseball match launches across major American cities acting as "batgirls".

 
MOVIE STARS WORLD SERIES - 1949 Tour
Photo de droite: Eddie Bracken, Virginia O Brian, Virginia Grayson

Pour la mise en place de la promotion au niveau local, Lester Cowan avait transmis aux services de presse une petite biographie de Marilyn, décrivant son enfance à l'image de ce qui avait été rapporté par l'article de Louella Parsons. Ainsi, elle est présentée comme "l'orpheline d'Hollywood". Marilyn racontera, dans son entretien avec le journaliste Georges Belmont en 1960 : "C'était un petit rôle qu'il m'offrait, ce M. Cowan, mais il tenait à m'avoir sous contrat. Donc, il téléphone. J'etais encore très jeune et il me dit qu'il voulait parler à mon père et à ma mère. Je lui dis : "Impossible." - "Pourquoi?" insiste-t-il. Je lui ai expliqué alors brièvement la chose : "Je n'ai jamais vécu avec eux." C'était la vérité et je ne vois toujours pas ce que cela avait de sensationnel. Mais il téléphona à la chroniqueuse Louella Parsons et lui raconta toute l'histoire. Cela parut dans la "colonne" de Louella."

To set up the promotion at the local level, Lester Cowan had transmitted to the press services a short biography of Marilyn, describing her childhood like what had been reported by Louella Parsons' article. Thus, she is presented as "the orphan of Hollywood". Marilyn will tell, in her interview with the journalist Georges Belmont in 1960: "He offered me a small part, this Mr. Cowan; but he was interested in putting me under contract. So he called. I was still very young, and he said he wanted to speak to my father and mother. I told him, "Impossible. ""Why?" he insisted. So I briefly explained the situation: "I never lived with them." That was the truth, and I still don't see what was so unusual about it. But then he called Louella Parsons and told her the whole story, and it all appeared in Louella's column."
(- blog: 1960 - Interview de Marilyn par Georges Belmont -)

Cowan lui accorde un cachet hebdomadaire de 100 Dollars pendant 5 semaines, en plus des frais de représentation, et elle est envoyée en tournée dans différentes villes des Etats-Unis pour assurer la promotion du film sous bonne escorte [San Francisco (Californie), Rockford (Illinois), New York, Detroit (Michigan), Chicago et Oak Park (Illinois), Newark (New Jersey), Cleveland (Ohio), Milwaukee (Wisconsin)]. Marilyn le racontera (extrait de "Confessions inachevées"): "Je ne sais pas comment exploiter un film," dis-je (à Cowan). "Vous n'avez pas besoin de savoir", a répondu M. Cowan. "Tout ce que vous aurez à faire, c'est d'être Marilyn Monroe." Il m'a expliqué que je voyagerai de villes en villes, que je logerai dans les meilleurs hôtels, que je rencontrerai la presse, que je donnerai des interviews et que je poserai pour les photographes. M. Cowan a accepté de payer mes frais de déplacement et de me donner un salaire de cent dollars par semaine."
Elle ajoutera: "J'étais à l'écran moins de 60 secondes, mais j'avais 5 semaines de travail... partant en tournée pour faire la promotion du film dans 8 grandes villes. Je me sentais coupable d'apparaître sur scène alors que j'avais un rôle aussi insignifiant dans le film, mais les gens dans le public ne semblaient pas s'en soucier."

Cowan grants her a weekly fee of 100 Dollars for 5 weeks, in addition to performance fees, and she is sent on tour to various cities in the United States to promote the film under good escort [San Francisco (California), Rockford (Illinois), New York, Detroit (Michigan), Chicago and Oak Park (Illinois), Newark (New Jersey), Cleveland (Ohio), Milwaukee (Wisconsin)]. Marilyn will tell it (excerpt from "My Story"): "But I don't know how to exploit a picture," I said (to Cowan). "You don't have to know," Mr. Cowan replied. "All you have to do is to be Marilyn Monroe." He explained that I would travel from city to city, put up at the finest hotels, meet the Press, give out interviews, and pose for photographers. Mr. Cowan agreed to pay my travelling expenses and give me a salary of a hundred dollars a week."
She will add: "I was on screen less than 60 seconds, but I've got 5 weeks work... going on the PA tour, which promoted the film in 8 major cities. I felt guilty about appearing on the stage when I had such an insignificant role in the film, but the people in the audiences didn't seem to care."

Avant de partir en tournée, Marilyn s'aperçoit qu'elle a peu de vêtement et rien dans sa garde-robe n'est assez convenable pour être en représentation publique. Elle contacte Cowan qui lui donne 75 Dollars pour qu'elle puisse s'acheter de nouveaux vêtements au grand magasin May Company, conseillée par sa coach Natasha Lytess et Johnny Hyde qui est devenu son agent depuis mars 1949. Elle dira "J'ai acheté trois tailleurs en laine pour 25 dollars chacun. J'ai acheté des vêtements en laine parce que je me souvenais que New York et Chicago étaient dans le Nord." Elle ne savait pas qu'en fait les étés à New York et Chicago étaient très chauds.

Before leaving on tour, Marilyn notices that she has few clothes and nothing in her wardrobe is suitable enough to perform in public. She contacts Cowan who gives her 75 Dollars so that she can buy new clothes at the May Company department store, advised by her coach Natasha Lytess and Johnny Hyde who has become her agent since March 1949. She will say "I bought three woollen suits for 25 dollars apiece. I bought woollen suits because I remembered that New York and Chicago were in the North." Little did she know that the summers in New York and Chicago were actually very hot.

 
Marilyn et des hommes de la Marine (Navy)

Pendant plusieurs semaines, elle prend des bains de foule et signe des autographes, se fait photographier en studio, à l'extérieur, en maillot de bain, fait de la publicité, rencontre des élus locaux, assiste à des projections en avant-première du film et autres soirées de gala ou événements publics, constamment entourée d'une équipe d'assistant l'empêchant de toute liberté. Elle se distance de cette promotion publique en visitant des orphelinats et hôpitaux pour enfants, ainsi que des cliniques, mais ses initiatives ne sont pas suivies par les reporters, car bien trop éloignées de l'image de rêve et de glamour à vendre dans la presse.

For several weeks, she takes walkabouts and signs autographs, has her photograph taken in the studio, outdoors, in a bathing suit, advertises, meets local elected officials, attends preview screenings of the film and other gala evenings or public events, constantly surrounded by a team of assistants preventing her from any freedom. She distances herself from this public promotion by visiting orphanages and children's hospitals, as well as clinics, but her initiatives are not followed by reporters, as it is too far from the dream image and glamor to sell in the press.

Tournée promo pour "Love Happy"
Tour promo for "Love Happy"

• Du 12 au 16 juin 1949: Tournée "Love Happy" à Rockford - ILLINOIS
  Marilyn arrive dans la soirée du 12 juin; le lendemain 13 juin, elle se promène en ville puis pose en maillot de bain à la piscine; elle défile dans la ville le 14 juin pour la "journée du drapeau" et visite un orphelinat.
  Le film est présenté en avant-première au cinéma State Theatre l'après-midi du 14 juin; elle est en promotion dans le hall du cinéma le 15 et le 16 juin.
  From June 12 to 16, 1949: "Love Happy" Tour in Rockford - ILLINOIS
  Marilyn arrives on the evening of June 12; the next day, June 13, she walks in town then poses in a swimsuit at the swimming pool; she parades through the city on June 14 for "flag day" and visits an orphanage.
  The film is presented in preview at the State Theater cinema on the afternoon of June 14; she promotes the film in the theatre lobby on June 15 and 16.
  (- blog: Du 12 au 16/06/1949, Rockford - Tournée Promo "Love Happy" -)

  
Du 12 au 16 juin: ROCKFORD

• 19 juin 1949 - Match de Base-Ball de la tournée "Movie Stars World Series" au Wrigley Field de Los Angeles - les fonds sont reversés au sanatorium Duarte. Parmi les batgirls: Virginia O Brien. Marilyn n'est pas présente car elle est partie de Los Angeles depuis une semaine.
  June 19, 1949 - Baseball Game of "Movie Stars World Series" Tour at Wrigley Field in Los Angeles - funds go to Duarte Sanitarium. Among the batgirls: Virginia O Brien. Marilyn is not present because she left Los Angeles a week ago.

• Du 20 juin à la fin du mois:  Tournée "Love Happy" à New York
  Marilyn arrive par le train à la gare Grand Central le 20 juin vêtue de son tailleur en laine noire alors qu'il fait une chaleur étouffante. On l'amène au Sherry-Netherland Hotel, où elle y loge pendant son séjour New-Yorkais et où elle pose en maillot de bain pour une séance photos (les photographies restent à ce jour inconnues).
  Marilyn dira (extrait de "Confessions inachevées"): "Toutes sortes de personnes sont venues m'interviewer. J'ai posé des questions sur la Statue de la Liberté, quels étaient les meilleurs spectacles à voir et les cafés les plus huppés où sortir. Mais je n'ai rien vu et je ne suis allée nulle part." (...) J'en avais assez de transpirer dans l'un de mes trois tailleurs en laine. "Je devrais avoir quelque chose de plus attrayant à porter le soir", ai-je dit aux représentants du studio. Ils m'ont acheté une robe en coton chez un grossiste. Elle avait un col décolleté et des pois bleus."
  Elle prend le train le lendemain (vêtue de la robe d'été en coton) avec les acteurs Don Defore, Donald Buka et Lon McAllister pour passer la journée du 21 juin à Warrensburg, chargés par le magazine Photoplay de participer à la remise du prix du concours "La Maison de Rêve" organisé par le magazine. Ils passent tous la nuit à l'hôtel Colonial Arms et retournent à New York le 22 juin. Il semble qu'elle passe la dernière semaine du mois de juin à New York.
  Le 27 juin, le chroniqueur Sidney Fields du New York Daily Mirror écrit: "Marilyn est une actrice ravissante et relativement inconnue. Mais donnez lui quelques temps et vous entendrez parler d'elle. Elle est encore très jeune."
  From June 20 to the end of the month: "Love Happy" tour in New York
  Marilyn arrives by train at Grand Central Station on June 20 wearing her black wool suit in the sweltering heat. She is taken to the Sherry-Netherland Hotel, where she stays during her stay in New York and where she poses in a swimsuit for a photo shoot (the photographs remain unknown to this day).
  Marilyn will say (excerpt from "My Story"):"All sorts of people came to interview me. I asked questions about the Statue of Liberty, and what were the best shows to see and the most glamorous cafes to go to. But I saw nothing and went nowhere. (...) I got tired of sitting around perspiring in one of my three woollen suits. "I ought to have something more attractive to wear in the evenings," I told the studio representatives. They bought me a cotton dress at a wholesale shop. It had a lowcut neck and blue polka dots."
  She takes the train the next day (wearing the cotton summer dress) with actors Don Defore, Donald Buka and Lon McAllister to spend the day of June 21 in Warrensburg, sent by Photoplay magazine to participate in the award ceremony of the "Dream Home" contest organized by the magazine. They all spend the night at the Colonial Arms Hotel and return to New York on June 22. It seems she's spending the last week of June in New York.
  On June 27, columnist Sidney Fields from New York Daily Mirror wrote "Marilyn is a lovely and relatively unknown actress. But give her some time and you'll hear about her. She's still very young."
  (- blog: 20/06/1949, Gare Grand Central de New York -)
  (- blog: 21/06/1949, Warrensburg - Concours "Dream Home" -)

 
Du 20 juin à la fin du mois: NEW YORK

• Début juillet 1949: Tournée "Love Happy" à Détroit - MICHIGAN
  Marilyn arrive par avion à l'aéroport Willow Run; elle loge à l'hôtel Book Cadillac (le 01er juillet) et participe à une publicité pour une bière locale.
  Beginning of July 1949: "Love Happy" tour in Detroit - MICHIGAN
  Marilyn arrives by plane at the Willow Run airport; she stays at the Book Cadillac hotel (the July 1st)  and participates in an advertisement for a local beer.
  (- blog: Début Juillet 1949, Detroit - Tournée Promo "Love Happy" -)

 
Début juillet: DETROIT

• 09 juillet 1949: Match de Base-Ball de la tournée "Movie Stars World Series" au stade de Wrigley de Chicago - Marilyn Monroe,  Virginia O Brien et Belita font parties des batgirls, ces jolies starlettes qui ramassent les balles pendant le match. Marilyn est même filmée pour un reportage local.
  Elle a posé pour des portraits promotionnels pour sa participation au match mais aussi pour le journal local (le Chicago Sunday Tribune). Marilyn et l'acteur Roddy McDowall passent la soirée au club Ricketts.
  July, 09, 1949: Baseball game of the "Movie Stars World Series" tour at Wrigley Stadium in Chicago - Marilyn Monroe, Virginia O Brien and Belita are among the batgirls, these pretty starlets who pick up the balls during the game. Marilyn is even filmed for a local report.
  She posed for promotional portraits for her participation in the game but also for the local newspaper (Chicago Sunday Tribune). Marilyn and the actor Roddy McDowall spend the evening at the Ricketts club.
  (- blog: 09/07/1949, Chicago - Tournée Promo "Love Happy" -)

 
Le 09 juillet à CHICAGO

A Oak Park (Illinois, à côté de Chicago), elle se rend dans un pensionnat d'orphelinat et à Newark (New Jersey), elle rencontre des infirmes placés en institut spécialisés. Ces visites n'entraient pas dans le cadre de sa promotion et n'intéressaient pas les reporters qui ne l'ont pas accompagnée.
Elle avait l'habitude de porter une chaîne à sa cheville, qu'elle assimilera à une chaîne d'esclavage, déclarant "Je l'ai portée parce que je n'appartenais à personne même si j'en avais envie."
Elle est épuisée mentallement et physiquement et souhaite rentrer chez elle. De Chicago, elle téléphone à Bill Pursel (son petit-ami de Las Vegas) et lui tient des propos perturbants: il racontera qu'elle pleurait, disant vouloir s'asperger le visage d'acide pour que les photographes arrêtent de la prendre en photos, n'ayant plus d'intimité et devant toujours en donner plus aux photographes. Il la console, la rassure en lui disant de jouer le jeu, et que si cela va trop loin, qu'elle contacte immédiatement son agent pour mettre un terme aux agissements de ces "loups" prédateurs. Il lui propose de venir à Chicago mais elle refuse car elle n'y restait que quelques jours puis elle finit par se calmer.

In Oak Park (Illinois, near Chicago), she goes to to an orphanage institute and in Newark (New Jersey) she meets invalids placed in specialized institutes. These visits didn't fall within the framework of her promotion and didn't interest the reporters who didn't  accompany her.
She used to wear a chain on her ankle, which she would liken to a slavery chain, stating "I wore it because I didn't belong to anyone even though I felt like it."
She is mentally and physically exhausted and wants to go home. From Chicago, she telephones Bill Pursel (her boyfriend from Las Vegas) and makes disturbing remarks to him: he will say that she was crying, saying that she wanted to splash acid on her face so that the photographers would stop taking her in photos, no longer having privacy and always having to give more to the photographers. He consoles her, reassures her by telling her to play the game, and that if it goes too far, that she immediately contacts her agent to put an end to the actions of these predatory "wolves". He suggets to come to Chicago but she refuses because she only stayed there for a few days and then she calms down.

• 10 juillet 1949 - Match de Base-Ball de la tournée "Movie Stars World Series" au Municipal Stadium de Cleveland. Parmi les batgirls: Belita, Laura Elliott, Virginia O Brien. Marilyn n'y participe pas bien que Cleveland fait partie des villes de sa tournée de "Love Happy".
  July, 10, 1949 - Baseball game of the "Movie Stars World Series" tour at Municipal Stadium in Cleveland. Among the batgirls: Belita, Laura Elliott, Virginia O Brien. Marilyn doesn't take part even though Cleveland is one of the cities on her "Love Happy" tour.

- captures ecran Match de Cleveland - video sur chicagofilmarchives.org
     
     

• 11 ou 13 juillet 1949 - Match de Base-Ball de la tournée "Movie Stars World Series" au Shilbe Park de Philadelphie. Marilyn n'y participe pas.
  June 11 or 13, 1949 - Baseball Game of "Movie Stars World Series" Tour at Shilbe Park in Philadeplphia. Marilyn doesn't participate.

• Début juillet 1949: Tournée "Love Happy" à Milwaukee - WISCONSIN
  Marilyn se rend vers le 14 juillet dans le bâtiment du journal local (The Milwaukee Journal) pour donner une interview et poser en photos pour des portraits dans le studio du journal.
  Beginning of July 1949: "Love Happy" tour in Milwaukee - WISCONSIN
  Marilyn goes around July 14 to the building of the local newspaper (The Milwaukee Journal) to give an interview and pose for portraits in the studio of the newspaper.

 
Début juillet -vers le 14-: MILWAUKEE

•  21 juillet 1949 - Match de Base-Ball de la tournée "Movie Stars World Series" au Forbes Field de Pittsburgh (Pennsylvannie). Parmi les batgirls: Virginia O Brien et Laura Elliott. Quelques jours avant, Marilyn y est annoncée dans la presse locale (dans le Pittsburgh Sun-Telegraph du 19 juillet 1949 ci-contre) mais elle n'y participe pas. D'autres matchs de la tournée ont lieu à Detroit, Cincinnati, New York et Washington, D.C. mais apparemment sans la participation de Marilyn.
• Elle était attendue à la première de "Love Happy" le 21 juillet au Palms Theatre (anciennement State Theatre) de Détroit (Michigan) mais n'y est pas allée. Lester Cowan, Harpo Marx et Vera-Ellen se sont rendus à Détroit, participant à la promotion du film les jours précédents la première.

July, 21, 1949 - Baseball game of the "Movie Stars World Series" tour in Pittsburgh (Pennsylvannie) , Forbes Field. Among the batgirls: Virginia O Brien and Laura Elliott. A few days before, Marilyn is quoted in the local press (in the Pittsburgh Sun-Telegraph of July 19, 1949 opposite) but she will not participate. 
Other matches take place in Detroit, Cincinnati, New York and Washington, D.C. but apparently without Marilyn's participation.
She was expected at the premiere of "Love Happy" on July 21 at the Palms Theater (formerly State Theatre) in Detroit but did not attend. Lester Cowan, Harpo Marx and Vera-Ellen are in Detroit, helping to promote the film in the days before the premiere.

 
Le 21 juillet 1949 Premiere de "Love Happy à DETROIT:
1- Vera-Ellen & Lester Cowan
2- Harpo Marw & la "Miss Soda Jerk" de Detroit
3- article du Showmen's Trade Review du 09/07/1949

• De mi-juillet à la fin juillet 1949: Retour à à New York pour la  Tournée "Love Happy"
  Marilyn décide de mettre fin au périple de voyage et retourne à New York. Elle retrouve le Sherry Netherland Hotel (au 14ème étage). Le soir, elle reste à l'hôtel à lire des romans et essais (Proust, Wolfe, Freud) et téléphone à son agent Johnny Hyde et surtout discute des heures avec sa coach d'art dramatique Natasha Lytess, restée à Los Angeles, pour lui faire part de ses réflexions que lui ont suscité ses lectures.
  Elle rencontre par hasard à son hôtel André De Dienes, le photographe de ses débuts, qui l'amène le samedi 23 juillet 1949 faire une séance sur la plage de Tobey Beach à Long Island. De Dienes lui a acheté un maillot de bain blanc et des accessoires (deux parapluies et un foulard). Le photographe, qui avait vécu une passion amoureuse avec Marilyn par le passé (en 1945), tente de la séduire à nouveau, mais elle ne succombe pas à sa séduction.
  Le dimanche 24 juillet, elle est interviewée au Sherry Netherland par le chroniqueur Earl Wilson pour le journal Daily News qui remarque que Marilyn ne porte pas de sous-vêtements. Elle avait préparé en amont cette interview, souhaitant évoquer ses goûts littéraires et autres activités en dehors du cinéma. Mais les questions sont insipides et Marilyn tente d'aborder des sujets plus sérieux, sans que le journaliste n'en tienne compte; dans son article il la qualifiera de "Mmmm Girl", ce qui en fera le titre de son article (une expression qu'il a en fait reprise via d'autres articles de presse: le 28 juin 1949, un chroniqueur l'avait déjà qualifié de "Mmmm Girl"). Wilson racontera l'avoir trouvé "ennuyeuse" et pour écrire son article, il ne fera que consulter les archives de son journal. Il s'excusera plus tard de son attitude et deviendra un ami et un appui dans la presse de la Côte Est pour sa carrière.
  Ce serait Earl Wilson qui l'aurait emmené un soir au club très chic El Morroco de New York où elle y rencontre le couturier Henry Rosenfeld, qui deviendra un ami pour la vie.
  Pendant sa dernière semaine de juillet, elle prend la pose à la piscine de Jones Beach de Long Island pour le photographe Weegee (parution des photos dans la presse dès la mi août).
  From mid-July to the end of July 1949: Return to New York for the "Love Happy" Tour
  Marilyn decides to put an end to the journey and goes back to New York. She returns to the Sherry Netherland Hotel (on the 14th floor). In the evening, she stays at the hotel reading novels and essays (Proust, Wolfe, Freud) and telephones her agent Johnny Hyde and above all talks for hours with her drama coach Natasha Lytess, who has remained in Los Angeles, to share her reflections about her readings.
  She meets by chance at her hotel André De Dienes, the photographer of her debut, who brings her on Saturday July 23, 1949 to do a session on the beach of Tobey Beach in Long Island. De Dienes bought her a white bathing suit and accessories (two umbrellas and a scarf). The photographer, who had lived a romantic passion with Marilyn by the past (in 1945), tries to seduce her again, but she does not succumb to his seduction.
  Sunday July 24, she is interviewed at Sherry Netherland by columnist Earl Wilson for the Daily News newspaper who notices that Marilyn is not wearing underwear. She had prepared this interview in advance, wishing to discuss her literary tastes and other activities outside the cinema. But the questions are insipid and Marilyn tries to approach more serious subjects, without the journalist taking it into account; in his article he will call her "Mmmm Girl", which will make it the title of his article (an expression which he has in fact taken up via other press articles: on June 28, 1949, a columnist had already referred to as "Mmmm Girl"). Wilson will say he found her "boring" and to write his article, he will only consult the archives of his newspaper. He would later apologize for his attitude and become a friend and support in the East Coast press for her career.
  It would be Earl Wilson who would have taken her one evening to the very chic El Morroco club in New York where she met fashion designer Henry Rosenfeld, who would become a friend for life.
  During her last week of July, she posed at the Jones Beach swimming pool in Long Island for photographer Weegee (photos appeared in the press in mid-August).
  (- blog: article Earl Wilson 14/08/1949, Daily News -)
  (- blog: Juillet 1949, Jones Beach pool par Weegee -)

 
Le 23 juillet , Tobey Beach, Long Island - séance d'Andre De Dienes

 
Fin juillet , Jones Beach, Long Island - séance de Arthur Fellig (alias Weegee)

Avoir mis un terme à cette tournée éprouvante provoque la colère de Lester Cowan, d'autant qu'il ne lui fait pas signer le contrat qu'il lui avait tant promis. De son séjour elle n'en retient rien de bon, ayant le sentiment d'être exploitée (extrait de "Confessions inachevées"): "C'était la même histoire à chaque fois. J'ai été emmenée dans un hôtel, mise d'urgence dans un maillot de bain, on me donnait un ventilateur, et des photographes arrivaient pour prendre plus de photos "pin-up" de moi. La chose la plus sexy du cinéma se rafraîchissait encore et encore. (...) J'en avais assez vu du monde. En plus, en raison de mes déplacements continuels, je n'avais reçu aucun salaire. En conséquence, je n'avais pas cinquante centimes à dépenser pour moi pendant ma grande tournée. J'ai dit à l'attaché de presse que j'aimerais retourner à Hollywood."
Having put an end to this trying tour angered Lester Cowan, especially since he didn't make her sign the contract he had promised her so much. From her stay she retains nothing good, having the feeling of being exploited (excerpt from "My Story"): "It was the same story at each. I was taken to a hotel, rushed into a bathing suit, given a fan, and photographers arrived to take more "cheesecake" pictures of me. The hottest thing in pictures was cooling off again. (...) I had seen enough of the world. Also, due to my moving around continually I had not received any salary. As a result I didn't have fifty cents to spend on myself during my grand tour.  I told the Press agent that I would like to return to Hollywood."

De retour à Hollywood début août 1949, Johnny Hyde parvient à lui faire décrocher une audition pour ce qui sera son prochain film: "Le petit train du Far West", un western musical tourné en technicolor (elle fait les essayages des costumes le 05 août 1949 - sur le blog film 1950 - A Ticket to Tomahawk ).
En octobre 1949 le magazine Photoplay publie une double page de mode où Marilyn pose en modèle de vêtements. L'article la présente en ces termes "Marilyn Monroe, blonde et belle feuille pour les Marx Brothers dans le film d'United Artists 'La pêche au trésor'".
Le 12 octobre 1949, le film est présenté en avant-première au Macys de San Francisco en la présence de Harpo Marx et Marion Hutton; mais la sortie nationale du film est encore repousée suite à des problèmes de distribution et de financement.
Finallement, la sortie nationale se déroule le 03 mars 1950, présenté au Criterion Theatre sur Times Square à New York.

Back in Hollywood at the beginning of August 1949, Johnny Hyde managed to get her an audition for what would be her next film: "A Ticket to Tomahawk", a musical western shot in Technicolor (she did the costume fittings on August 05 1949).
In October 1949, Photoplay magazine publishes a double fashion page where Marilyn poses as a clothing model. The article introduces her in these terms "Marilyn Monroe, blonde and lovely fail for the Marx Brothers in United Artists 'Love Happy''”.
On October 12, 1949, the film premiered at the Macys in San Francisco in the presence of Harpo Marx and Marion Hutton; but the national release of the film is still postponed due to distribution and financing problems.
Finally, the national release took place on March 3, 1950, presented at the Criterion Theater on Times Square in New York.

Sources:

Livres
-"Confessions Inachevées", des entretiens de Marilyn avec Ben Hecht, dont des extraits avaient été publiés en 1955 dans "The Australian Women Weekly" - Blog: 19/01/1955, The Australian Women's Weekly: "This is my story" (part 3)
-"Marilyn Monroe" de Maurice Zolotow
-"Marilyn Monroe La Biographie" de Donald Spoto
-"Les vies secrètes de Marilyn Monroe" d'Anthony Summers
-"Marilyn Monroe Private and Undisclosed" de Michelle Morgan
-"Marilyn Sa vie en images" de James Spada, George Zeno
-"Marilyn sa vie en images" de Martin Howard
-"Marilyn Monroe et les caméras"
-"Marilyn, the passion and the paradox" de Lois Banner
-"Marilyn, l'Encyclopédie" d'Adam Victor

Web
-presse d'époque sur newspapers.com
-article complet sur la genèse du film sur le site Marxology
-article "the rise and fall of the Marx Brothers" sur le blog Holy Bee of Ephesus
-interview David Miller sur The Columnists 
-anecdotes et lieux de tournage sur imdb et sur AFI Catalog
-la page du film sur wikipedia 

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

 Enchères "Hollywood & Entertainment Signature"
22 & 23 juillet 2022
- 45 lots avec Marilyn Monroe -

> 22/07/2022, Heritage, "Hollywood & Entertainment Signature": Catalogue

Photos Andre De Dienes x 35

Lot 89013: Marilyn Monroe Photograph Enjoying the Sun by Andre de Dienes (1946).
Vintage original silver gelatin, borderless semi-gloss, double weight 10.5" x 12" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955.(...)
Sold: -
 

Lot 89014: Marilyn Monroe Fun in Malibu Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 16" x 17.25" photo of Marilyn Monroe at Tobey Beach Long Island by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1949, printed later. (...)
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Lot 89015: Marilyn Monroe Photograph on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.25" x 10" composite photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES with 2/2 and 0153-B and 10/10 IN PENCIL on verso, 1946, printed no later than 1955. (...)
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Lot 89016: Marilyn Monroe Photograph "Irradiance of Life" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 8" x 10" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, signed "A. Dienes" in black felt on recto lower right, with red and black rubber stamps PHOTO ANDRE DIENES and cropping notation in pencil on verso, 1946, printed no later than 1955. Notations by Dienes "(she has no make up on! Only cream on her face)" and "JOY" "IRRADIANCE OF LIFE" AND "BLISS" in black ink on verso.
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Lot 89017: Marilyn Monroe Photograph on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 8" x 9.5" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955.
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Lot 89018: Marilyn Monroe Photograph "Premonition" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless semi-gloss, double weight 8.75" x 9.5" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "PREMONITION" and "A never before published photo of Marilyn Monroe" and "Death" and "The end of everything" In blue felt on verso.
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 Lot 89019: Marilyn Monroe Photograph "Peace of Mind" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "MARILYN MONROE CAPTION FOR PHOTO:" "TRYING TO BE OUTSIDE OF ALL MATERIAL SELFHOOD" and "PEACE OF MIND" and "SOMETIMES LIFE IS BEST SUMMERISED DURING ITS GREAT QUIESCENCIES" in blue ink and ½ and 0732-A 9/11 in pencil on verso.
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Lot 89020: Marilyn Monroe Photograph "Sorrow" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "MARILYN MONROE" "SORROW" and "AS FOR MAN, HIS DAYS ARE AS CRASS AS A FLOWER OF THE FIELD, SO HE FLORISHETH. FOR THE WIND PASSETH OVER IT, AND IT IS GONE; AND THE PLACE THEREOF SHALL KNOW IT NO MORE" and "from the Scripture" In blue ink on verso.
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 Lot 89021: Marilyn Monroe Photograph "Meditation" on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9.5" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Marilyn Monroe interprets:" and "MEDITATION" and "LET NEITHER FEAR NOR DOUBT OVERSHADOW YOUR CLEAR SENSE AND CALM TRUST" in blue ink on verso.
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 Lot 89022: Marilyn Monroe Photograph Profile on Malibu Beach by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9" x 10" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES and 2/2 and 734-B 9/10 in pencil on verso, 1946, printed no later than 1955.
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Lot 89023: Marilyn Monroe Photograph "Wisdom and Serenity" by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 9.5" x 11" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Wisdom" and "Serenity" and "Absorption into Nature" and "Truth and Love rejoice in the real man" and "... to all mankind, and in every hour, divine Love supplies all good..." in blue felt on verso.
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Lot 89024: Marilyn Monroe Photograph "Death" by Andre de Dienes (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 12" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed no later than 1955. Notations by Dienes "Death" and "Marilyn shows what death looks like to her" in blue felt and 1/6 and PET5 034 in pencil on verso.
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Lot 89025: Marilyn Monroe Lamb Photograph by Andre de Dienes.
vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn Monroe with lamb by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89026: Marilyn Monroe in North Hollywood Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn Monroe on Highway 101 in North Hollywood by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89027:Marilyn Monroe Malibu Composite Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 16" x 20" photo of Marilyn in Malibu Beach by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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 Lot 89028: Marilyn Monroe Photograph at Residence by Andre de Dienes. (1946).
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 10.5" photos (3) of Marilyn Monroe residence at 12305 5th Helena Drive by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1962, printed later. Notation by Dienes "The entrance door to Marilyn Monroe's house" in black felt on verso of one.
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Lot 89029: Marilyn Monroe Photograph in Polka Dot Dress by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 13.5" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965. Paper caption Marilyn Monroe from the exhibit, The Legend and the Truth © 1973, Alskog, Inc. on verso.
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Lot 89030: Marilyn Monroe Early Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later. Notation DD 082 in pencil on verso.  
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Lot 89031: Marilyn Monroe Early Western Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation AD138 in pencil on verso.
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Lot 89032: Marilyn Monroe Western Photograph by Andre de Dienes.
 Vintage original silver gelatin, borderless glossy, double weight 10.75" x 13.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation DD113 in pencil on verso.
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Lot 89033: Marilyn Monroe at the Bel Air Hotel Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 10.5" photo of Marilyn Monroe on the patio of her bungalow at the Bel Air Hotel, Los Angeles, 1953, by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1953, printed later.
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 Lot 89034: Marilyn Monroe Barn Door Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless matte, double weight 10.75" x 14" photo of Marilyn Monroe in Malibu Beach by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later.  
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 Lot 89035: Marilyn Monroe "Norma Jeane" Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.75" x 13.75" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965. Notation by Dienes "Norma Jeane" and "1945 19 years old, she just started modeling" in black felt on verso.
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Lot 89036: Marilyn Monroe Photograph Barefoot in Polka Dot Dress by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with red and black rubber stamps PHOTO ANDRE DIENES on verso, 1945, no later than 1965.
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 Lot 89037: Marilyn Monroe Photograph at the Bel Air Hotel by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double-weight 8.5" x 13.5" photo of Marilyn Monroe on the patio of her bungalow at the Bel Air Hotel, Los Angeles, 1953 by Andre de Dienes, with red ink stamp PHOTO ANDRE DIENES on verso, 1953, no later than 1965. Notation 0464-A 8 1/2/13 1/2 in pencil on verso.
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 Lot 89038: Marilyn Monroe Early Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.25" x 10" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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 Lot 89039: Marilyn Monroe Playing in the Snow Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 10.5" x 13.25" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notation 0250 and 1/1 in pencil and 1945 Oregon on verso.
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 Lot 89040: Marilyn Monroe Malibu Beach Photograph by Andre de Diene.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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 Lot 89041: Marilyn Monroe Water Fountain Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless glossy, double weight 11" x 14" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1945, printed later. Notations 2/2 and 0339-B in pencil on verso. 
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Lot 89042: Marilyn Monroe Highway 101 Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 10.5" x 13.5" photo of Marilyn Monroe on Highway 101 in North Hollywood by Andre de Dienes, with blue rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89043: Marilyn Monroe in Doll Dress Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 11" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89044: Marilyn Monroe on Rock Edge Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 9.75" x 11" photo of Marilyn Monroe by Andre de Dienes, with red rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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  Lot 89045: Marilyn Monroe Fence Post Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 11" x 13" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamp PHOTO ANDRE DIENES on verso, 1945, printed later.
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Lot 89046: Marilyn Monroe Calm at Malibu Beach Photograph by Andre de Dienes.
Silver gelatin, borderless semi-gloss, double weight 9.5" x 10.75" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1946, printed later.
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Lot 89047: Marilyn Monroe Soda Fountain Photograph by Andre de Dienes.
Vintage original silver gelatin, borderless semi-gloss, double weight 11" x 10.5" photo of Marilyn Monroe by Andre de Dienes, with black rubber stamps PHOTO ANDRE DIENES on verso, 1953, printed later.
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Photos Films x 2

Lot 89048: Photograph of Marilyn Monroe in Somethings Got to Give by William Read Woodfield (20th Century-Fox, 1962).
Vintage original silver gelatin matte, borderless double weight photograph (11" X 9.5") of Marilyn Monroe from Nude scene in Somethings Got to Give (unfinished) by William Read Woodfield, 1962; with Photograph by WILLIAM READ WOODFIELD black rubber stamp on verso. Printed 1962. In 1962 Woodfield - along with Lawrence Schiller and Jimmy Mitchell - gained fame when Marilyn Monroe extended an invitation to photograph her on a protected set at the Twentieth Century Fox studio lot for publicity. In one shot, Woodfield managed to capture Monroe as she shed her bathing suit by the swimming pool. The photos created headlines around the country and appeared worldwide on the covers of leading magazines.
Sold: - 
 

Lot 89050: Collection of (800+) Classic Movie Photos.
A monumental collection of vintage original 8" x 10" photographs, ranging from behind the scenes, studio portraits, contact sheets, production photographs and promotional materials. This lot ranges from early serials, action adventure, war, comedy, swashbucklers, film noir and westerns. Includes a film negative of Rita Hayworth from Salome. Notable stars include Gene Kelly, Janet Leigh, Spencer Tracy, Sidney Poitier, Judy Garland, and Charlton Heston. Exhibiting age, handling, corner bumps and edgewear. 
Sold: - 
   

Croquis Costumes Jenssen x 3

 Lot 89218: Marilyn Monroe "Annabel Jones Norris" Wedding Dress Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink and gouache on 12.5" x 15.75" artists vellum visible through 28" x 20.25" mat. With pencil annotation in the lower corners including, "Marilyn Monroe" and other production information. Signed to the lower right of art, "Elois Jenssen." Exhibiting age, wear, chipping, spot paper loss, tearing and wrinkling with one tear traveling through left lower of artwork.
Sold: - 
   

 Lot 89219: Marilyn Monroe "Annabel Jones Norris" Bikini Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink, and gouache on 11" x 15.5" artists vellum visible through 28" x 20.25" mat.
Sold: - 
   

Lot 89220:Marilyn Monroe "Annabel Jones Norris" Pageant Costume Sketch by Elois Jenssen for We're Not Married! (TCF, 1952).
Vintage original costume sketch accomplished in pencil, ink and gouache on 11" x 15.5" artists vellum visible through 28" x 20.25" mat.
Sold: - 
   

Autres x 5

Lot 89087: All About Eve Revised Final Draft Shooting Script by Joseph L. Mankiewicz (TCF, 1950).
Vintage original studio bound and bradded 180-page Revised Final Shooting Script from the Twentieth Century-Fox Studio stenographic department. Retaining original red covers printed with studio logo, movie title, and dated "April 5, 1950." Ink stamped "309" on the upper left front cover and upper right corner above "Revised Final," number "2422." The department loan coupon page is intact and stamped "218." The interior title page bears the Joseph L. Mankiewicz writing credit. Praised by critics at its release, All About Eve earned a record fourteen Academy Award nominations and took home six trophies, including Best Picture. It is the only film in Oscar history to receive four female acting nominations, including Bette Davis as "Margo" and Anne Baxter as "Eve" for Best Actress and Celeste Holm as "Karen" and Thelma Ritter as "Birdie" for Supporting Actress. The script covers exhibit age, handling, edge wear, chipping, and creasing. Contents remain in vintage Very Good to Fine condition. Presented in a 12" x 10.25" x 1.75" red board and cloth custom clamshell case, with gold gilt embossed text on the cover and spine, including script title, author, and other info.
Sold: - 
   
    

Lot 89217:Extremely Rare "The Models Blue Book" Featuring Marilyn Monroe's Early Appearance (1945).
Vintage original printed 90-page casting book of models, dated 1945-1946. Published by Emmeline Snively of the Bluebook Modeling Agency who is acknowledged to have discovered a very young Marilyn Monroe (then "Norma Jean Dougherty") working on an assembly line at a Radioplane factory. Snively was one of Monroe's earliest professional mentors with a great belief in the young model, and one who guided Monroe toward a career that would ultimately make her a legendary superstar. Marilyn appears on page-25 of the 8.5" x 5.5" book with her stats and a portrait photo by David B. Conover, who met Marilyn when she was working on the Radioplane assembly line in Van Nuys, California. Conover had been sent by the U.S. Army Air Force''s First Motion Picture Unit to shoot morale-boosting pictures of female workers and Marilyn immediately impressed him. She quit working at the factory in January 1945 and began modeling for Conover. Defying her deployed husband, she signed a contract with the Blue Book Model Agency in August 1945. The book exhibits age, handling with chipping and peeling to cover, spine, some cracking and spidering to the cover surfaces.
Sold: - 
     

Lot 89221: Marilyn Monroe Nude "Golden Dreams" Pin-Up Calendar (1954).
Vintage original printed color 34" x 16" pin-up wall calendar. Featuring Marilyn Monroe in her legendary nude pose as photographed early in her career by Tom Kelly in 1949. This 1954 printing of the calendar includes a 6.5" x 10.5" paper flyer with biographical information as well as many quotes from Marilyn regarding the Tom Kelly session. The tear-off calendar pad is detached but present, unused, and in vintage Fine condition. The rolled poster of the calendar retains the metal tinning at the top and the bottom and heavy paper hanging hoop at the top.
Sold: - 

Lot 89222: Marilyn Monroe "Cherie" Black Fishnet Tights from Bus Stop (TCF, 1956).
Vintage original black fishnet tights with elastic waistband, retaining internal 20th Century-Fox bias label handwritten in black ink, "M. Monroe" and other production info. Two of the signature looks Monroe wore as the ambitious, small-town singer featured this iconic costume element, which showcased her legendarily shapely legs to best advantage, and resulted in some of her most indelible Hollywood glamour portraits. Exhibiting some loss of elasticity from age and production wear. Otherwise, in Very Good condition. Provenance: Profiles in History Auction 6, June 26, 1999, Lot 121.
Sold: -  
   
   

Lot 89439: An Original Run of (100+) Playboy Magazines 1953-1990 Including the Iconic Issue #1 Graded 7.5.
Vintage original run of (100+) Playboy magazines with 1953 to 1980 issues housed in binders, approx. 6-magazines per. With additional 30+ duplicates. This collection includes some of the most iconic issues of the magazine including Jan. 1959's Ron Vogel photos of Virginia Gordon, Oct. 1971 with Darine Stern becoming the first African-American cover girl, Jan. 1972, which marked Playboy's first foray into full-frontal nudity, Nov. 1972's 7.16 million copy seller featuring Lenna Sjööblom's cover photo with a gumball machine, Nov. 1980's controversial "Women of the U.S. Government" cover, and more! The crown jewel of the collection is a slabbed volume 1, issue 1 of Playboy magazine published on December 15, 1953, CGC Graded 7.5. The first-ever, 42-page issue features Marilyn Monroe on the cover as well as a spread with a full-page color nude photo (taken by Tom Kelley in 1949) titled the "Sweetheart of the Month", which would ultimately evolve to become "Playmate of the Month". Only 54,000 copies of this landmark magazine were printed, as legendary publisher Hugh Hefner was unsure of the market's reception.
Sold: -

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

Enchères "Icons and Idols: Hollywood"
17 décembre 2022
- 201 lots avec Marilyn Monroe -
- Partie 2 : Effets Personnels

> 17/12/2022, JULIEN'S "Icons and Idols: Hollywood": Vente

Cheveux & Maquillage
Hair & MakeUp

Lot 265: MARILYN MONROE: HAIR PIN BOX AND HOTEL ST. REGIS MATCHBOOK
A partial cardboard box printed with the words "Scoldy Lox / Glamour Guards" and stamped with the word "Blonde" once contained hair pins and belonged to Marilyn Monroe. Together with a matchbook from the Hotel St. Regis, where Marilyn was photographed in 1954. 2 x 2.5 inches
PROVENANCE Partial lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 272: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Michel logo on the top of the outer case, with the word "Michel" around the lower part of the cap, the bottom reads in part "Winter White / Michel Cosmetics" and features the original and used lipstick inside. Height 2.25 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 273: MARILYN MONROE: EYE SHADOW POT
A plastic pot of eye shadow that belonged to Marilyn Monroe. The pot is debossed under the top with "Leichner" and on the bottom is a sticker that reads "4 oz. min. net. wt." The pot is still filled with the original and used eye shadow, which appears to be a shade of grey. 1.25 x 2.75 x 1 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 274: MARILYN MONROE: BOX OF FALSE EYELASHES
A pink box with the Elizabeth Arden logo on the lid containing one pair of false eyelashes that belonged to Marilyn Monroe.
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots. 2.5 x 2.5 x .75 inches
PROVENANCE Partial lot 266, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
    

Lot 275: MARILYN MONROE: FALSE EYELASHES BOX
A black cardboard box embossed on the top with gold lettering that reads "Martha Lorraine / Eyelashes" that belonged to Marilyn Monroe. The front of the lid has a label that reads "Close Black" and the bottom of the box has a Saks Fifth Avenue price tag that reads "4.00." The false eyelashes and small tube of glue are missing. Under the lid is gold lettering that reads in part "Martha Lorraine / Real Hair / Eyelashes / Natone Co. Distributers, Los Angeles 17. California." 3.5 x 2.5 x .25 inches
PROVENANCE Partial lot 266, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 276: MARILYN MONROE: EYE LASH CURLER
A metal eye lash curler that belonged to Marilyn Monroe. 4 x 2.5 inches
PROVENANCE Partial lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 277: MARILYN MONROE: EYE PENCIL
A pink eye pencil embossed with the words "Elizabeth Arden / DK Brown" in gold lettering and a twisting mechanism on the top that personally belonged to and was used by Marilyn Monroe. Length 4.75 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 278: MARILYN MONROE: EYE SHADOW POT
A round glass and gold-tone pot of eye shadow that belonged to Marilyn Monroe. The pot has a gold-tone metal lid, the top features a floral pattern beneath a raised plastic cover, the bottom is embossed with the Leichner brand name beneath a sticker with words that are illegible and is still filled with eye shadow, which is a shade of light blue. 1.25 x .5 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
     
  

Lot 279: MARILYN MONROE: LIQUID EYE SHADOW BOTTLE
A bottle of liquid eye shadow that personally belonged to Marilyn Monroe. The plastic bottle, which still contains a portion of eye shadow, is printed with the words "Liquid Eye Shadow / Elizabeth Arden" and the gold-tone cap has a sticker printed with the words "Pearly Blue." Height 2.75 inches
PROVENANCE Partial Lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 280: MARILYN MONROE: HAIR COMB
A gold-tone plastic hair comb belonged to Marilyn Monroe. 1.75 x 1.5 inches
PROVENANCE Partial lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 281: MARILYN MONROE: HAIRSPRAY CAN
A miniature can of hairspray that personally belonged to and was used by Marilyn Monroe. The can, which still contains a reduced quantity of hairspray, is pink with a gold cap. The front of the can features the words "Arrive Beautiful / Hair Spray / Concentrate" in gold lettering. The back reads in part "300 Metered Sprays / (50 Rescues)."  Height 3.25 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 282: MARILYN MONROE: HIGHLIGHTING TUBE
A gold-tone metal highlighting tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the outer case, has a label on the bottom that reads "Highlight by Lilly Dache / White" and features the original used highlighting stick inside. Height 2.5 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 283: MARILYN MONROE: PARTIAL HAIR PIECE
A braided blonde partial hairpiece belonged to Marilyn Monroe. The long thin braid is braided with blonde-colored twine on one end and is believed to have been used to wrap around natural hair to add dimension. 36 inches
PROVENANCE Partial lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 284: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the outer case, has a label on the bottom that reads "L.S. / 7-22 / N. I." and features the original used lipstick inside. Height 2.5 inches
PROVENANCE Partial Lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 307: MARILYN MONROE: LIPSTICK TUBE
A gold-plated metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Elizabeth Arden logo on the top of the outer case, with the words "18 Carat Gold Plated" on one side, has a label on the bottom that reads "Elizabeth Arden / Pink Spark" and features the original and used lipstick inside. Height 2.25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 308: MARILYN MONROE: EYE SHADOW POT
A pink plastic pot of eye shadow that belonged to Marilyn Monroe. The pot has a sticker on the bottom with the words "Profile Symmetry Salon / Distributor N.Y. / Fuschia" and is still filled with the original and used eye shadow. 1.25 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 309: MARILYN MONROE: BOX OF FALSE EYELASHES
A black cardboard box embossed on the top with gold lettering that reads "Martha Lorraine / Eyelashes" that belonged to Marilyn Monroe. The front of the lid has a label that reads "Close Black." Inside the box is a set of brownish-black false eyelashes. The small tube of glue is missing. Under the lid is gold lettering that reads in part "Martha Lorraine / Real Hair / Eyelashes / Natone Co. Distributers, Los Angeles 17. California." The bottom of the box features a sticker from Christie's Auctions with "239 / 4/17" written in black ink.
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots. 3.5 x 2.5 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 310: MARILYN MONROE: FALSE EYELASHES BOX
A black cardboard box embossed on the top with gold lettering that reads "Martha Lorraine / Eyelashes" that belonged to Marilyn Monroe. Under the lid is gold lettering that reads in part "Martha Lorraine / Real Hair / Eyelashes / Natone Co. Distributers, Los Angeles 17. California." The bottom of the box features a Saks Fifth Avenue price tag that reads in part "4.00." 3.5 x 2.5 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 311: MARILYN MONROE: EYE PENCIL
A brown eye pencil embossed with the words "Dark Brown / Glorene of Hollywood" and a gold-colored cap that personally belonged to and was used by Marilyn Monroe. Length 5.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 312: MARILYN MONROE: EYE SHADOW POT
A round glass and gold-tone pot of eye shadow that belonged to Marilyn Monroe. The pot has a gold-tone metal lid, the top features a floral pattern beneath a raised plastic cover, the bottom is embossed with the Leichner brand name beneath a sticker that reads "Mauve / Made in England / Min. Weight 1/8 Oz." and is still filled with used eye shadow. 1.25 x .5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 313: MARILYN MONROE: LIQUID EYE SHADOW BOTTLE
A bottle of liquid eye shadow that personally belonged to Marilyn Monroe. The plastic bottle, which still contains a portion of eye shadow, is printed with the words "Liquid Eye Shadow / Elizabeth Arden" and the black cap has a sticker printed with the words "Pearly Silver." Height 2.75 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 314: MARILYN MONROE: EYE SHADOW TUBE
A gold-tone metal tube of eye shadow that personally belonged to Marilyn Monroe. The bullet-shaped tube is etched with the Elizabeth Arden logo on the top of the cap and features a sticker on the bottom with the words "Bleu Lavande." The inside is filled with the used eye shadow. Height 3 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
   

Lot 315: MARILYN MONROE: MASCARA AND BRUSHES CONTAINER
A plastic container with a tube of mascara and three brushes that belonged to Marilyn Monroe. The container is embossed on the front with the words "Waterproof Mascara / Black / Helena Rubinstein" and the top of the lid with "Black / $1.25." Inside are three brushes with black bristles and clear handles embossed with "Helena Rubinstein" and a white aluminum tube of mascara printed with the words "Waterproof Mascara / Black / Helena Rubinstein" and instructions on the back. 1.25 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 316: MARILYN MONROE: MASCARA AND BRUSH
A pink box with the Elizabeth Arden logo on the lid and the words "No. 2202 Mascara refill / Black" on the bottom contains a rectangular cake of mascara and a mascara brush that belonged to and was personally used by Marilyn Monroe. The cake of mascara is black and embossed with "Elizabeth Arden." The brush bristles are black and the handle is clear and embossed with "Helena Rubinstein." 2.5 x 2.5 x .75 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 317: MARILYN MONROE: ROUGE POT
A dark red round plastic pot of cream rouge that belonged to Marilyn Monroe. The pot has stickers on the top that reads "1249 / Rouge Brunette / Dorin, Inc. / Distributor New York" and the bottom with the words "This Hand Made Rouge is also available in a larger size No. 19 suitable for boudoir use / Dorin, Inc. / Distributor New York" and is still filled with the original well-used rouge and puff which has the brand name printed in gold lettering on one side. 1.75 x .75 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
   
    

Lot 318: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the outer case, has a label on the bottom that reads "L.S. / 7-22 / N. I." and features the original used lipstick inside. Height 2.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 333: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the top of the outer case, has a label on the bottom that reads "7-22 Max Factor Hollywood, U.S.A. / Color Fast" and features the original used lipstick inside. Height 2.25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 334: MARILYN MONROE: EYE SHADOW POT
A plastic pot of eye shadow that belonged to Marilyn Monroe. The pot is embossed on the top with "Leichner / London" and on the bottom are stickers that read "Light Green" and "4 oz. min. net. wt." The pot is still filled with the original and used eye shadow. 1.25 x 2.75 x 1 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 335: MARILYN MONROE: BOX OF FALSE EYELASHES
A black cardboard box embossed on the top with gold lettering that reads "Martha Lorraine / Eyelashes" that personally belonged to and was used by Marilyn Monroe. The front of the lid has a label that reads "Close Black" and the bottom of the box has a Saks Fifth Avenue price tag that reads "4.00." Inside the box is a set of brownish-black false eyelashes and a sheet printed with application instructions. The small tube of glue is missing. Under the lid is gold lettering that reads in part "Martha Lorraine / Real Hair / Eyelashes / Natone Co. Distributers, Los Angeles 17. California."
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots. 3.5 x 2.5 x .25 inches
PROVENANCE Partial lot 266, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 336: MARILYN MONROE: FALSE EYELASHES BOX
A pink box embossed on the top of the lid with the Elizabeth Arden logo and on the bottom with "No. 1433 Brown / False eyelashes" that belonged to Marilyn Monroe. The box is empty, but the bottom of the lid is printed with detailed instructions for applying Ardena Eye Lashes.
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots. 2.5 x 2.5 x .25 inches
PROVENANCE Partial lot 266, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 337: MARILYN MONROE: LIQUID EYE LINER BOTTLE
A glass bottle of liquid eye liner with a round black cap that belonged to Marilyn Monroe. The bottle features a label that reads in part "Liquid eye liner makes eyes glamourous" followed by instructions and the word "Grays." Height 2.25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 338: MARILYN MONROE: EYE PENCIL
A brown eye pencil embossed with the words "Dark Brown / Glorene of Hollywood" that personally belonged to and was used by Marilyn Monroe. Length 5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 339: MARILYN MONROE: MARILYN MONROE: EYE SHADOW POT
A round glass and gold-tone pot of eye shadow that belonged to Marilyn Monroe. The pot has a gold-tone metal lid, the top features a floral pattern beneath a raised plastic cover, the bottom is embossed with the Leichner brand name beneath a sticker that reads "Gold Mauve / Made in England / Min. Weight 1/8 Oz." and is still filled with used eye shadow. 1.25 x .5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 340: MARILYN MONROE: LIQUID EYE SHADOW BOTTLE
A glass bottle of liquid eye shadow that belonged to Marilyn Monroe. The bottle gold-tone plastic lid and a label across the center that reads in part "Starry Eyes / Lilly Dache / Liquid Eye Lustre." Another label near the bottom reads " Lumino Violette de Parme." The bottle is still half-filled with the used eye shadow. Height 2.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005.
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 341: MARILYN MONROE: EYE SHADOW TUBE
A gold-tone metal tube of eye shadow that personally belonged to Marilyn Monroe. The bullet-shaped tube is etched with the Elizabeth Arden logo on the top of the cap and features a sticker on the bottom with the words "French Gray." The inside is filled with the used eye shadow. Height 3 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005.
Estimate: $1,000 - $2,000 / Sold: $ -
   
    

Lot 342: MARILYN MONROE: MIRRORED MASCARA COMPACT
A plastic mascara case that personally belonged to and was used by Marilyn Monroe. The turquoise-colored case is embossed with the words Aziza Waterproof Mascara on the top opens to reveal a mirror beneath the top and a cake of black mascara and a brush with black bristles and a turquoise handle embossed with Aziza. Please note: the mirror is loose. 3.25 x 2.5 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005.
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 344: MARILYN MONROE: LIQUID MASK BOTTLE
A glass bottle with a teal-colored plastic lid, featuring a label on the front that reads in part "Liquid Mask by Anatole Robbins / $3.00 / Hollywood, Calif." that personally belonged to and was used by Marilyn Monroe. The back of the bottle features a sticker with directions.
Robbins was a Hollywood makeup artist who had a line of cosmetics sold in department stores across the United States.
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 345: MARILYN MONROE: LIP GLOSS POT
A round white glass pot of lip gloss that belonged personally to Marilyn Monroe. The pot has a black metal lid, the glass pot has a label around it that reads "Mehron / Gloostone / Stage-line / A product of Nehron Inc., New York, N.Y." and one on the bottom that reads in part "126 / Glosstone / 50." The pot is still filled with a pink-hued lip gloss. 1.75 x .75 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 368: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the outer case and has a label on the bottom that reads "L.S. / 7-22" and features the original used lipstick inside. Height 2.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 369: MARILYN MONROE: RETRACTABLE LIP BRUSH
A retractable lip brush personally owned and used by Marilyn Monroe. The plastic case is pale aqua color and features a marble-like design and a clear knob on one end that when pushed opens the other end to reveal a brush. A gold-tone ring around the container reads "Martha Lorraine U.S.A. /Patino / 2591537." Height 2.5 inches
PROVENANCE Lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 370: MARILYN MONROE: LIQUID EYE LINER BOTTLE
A bottle of liquid eye liner that personally belonged to and was used by Marilyn Monroe. The glass bottle has a round gold-tone lid and a label that reads "Diedre' Liqua-Liner / Another Diedre' Original / To Make Your Eyes Lovelier" with application directions beneath. The bottle still contains a portion of the original eyeliner.
Height 2 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 371: MARILYN MONROE: EYE SHADOW TUBE
A gold-tone metal tube of eye shadow that personally belonged to Marilyn Monroe. The bullet-shaped tube is etched with the Revlon logo on the side of the cap and features a sticker on the bottom with the words "Violet / E168." The inside is filled with the used eye shadow. Height 2.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
     
 

Lot 372: MARILYN MONROE: BOX OF FALSE EYELASHES
A black cardboard box embossed on the top with gold lettering that reads "Martha Lorraine / Eyelashes" that belonged to Marilyn Monroe. The front of the lid has a label that reads "Close Black" and the bottom of the box has a Saks Fifth Avenue price tag that reads "4.00." Inside the box is a set of brownish-black false eyelashes. The small tube of glue is missing. Under the lid is gold lettering that reads in part "Martha Lorraine / Real Hair / Eyelashes / Natone Co. Distributers, Los Angeles 17. California."
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots.
3.5 x 2.5 x .25 inches
PROVENANCE Partial lot 266, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $800 - $1,200 / Sold: $ -
      

Lot 373: MARILYN MONROE: FALSE EYELASHES BOX
A black cardboard box containing eight false eyelashes that personally belonged to and were used by Marilyn Monroe. The lid of the box is marked with the brand name "Martha Lorraine Eyelashes and the side contains a sticker that reads "Close Black."
Monroe was well-known for wearing false eyelashes throughout her film career and for public appearances and photo shoots.
3.5 x 2.5 x 1 inches
PROVENANCE Partial lot 266, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 374: MARILYN MONROE: EYE SHADOW TUBE
A gold-tone metal tube of eye shadow that personally belonged to Marilyn Monroe. The bullet-shaped tube is etched with the Elizabeth Arden logo on the top of the cap and features a sticker on the bottom with the words "Opal Blue." The inside is filled with the used eye shadow.
Height 3 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
   
    

Lot 375: MARILYN MONROE: MIRRORED MASCARA COMPACT
A gold-tone metal mirrored mascara compact that personally belonged to Marilyn Monroe. The top of the compact is stamped with the words "Lilly Dache" in black lettering and the letters "ME" in a black circle. The bottom is etched with the words "Lilly Dache / New York / Sole Distributors" and has a sticker printed with the word "Black." The compact is opened by pressing a latch in the center. A mirror is contained beneath the top of the compact and the bottom contains a tray with a used cake of black mascara and a small brush with a clear handle and black bristles.
2.75 x .5 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
   
    

Lot 376: MARILYN MONROE: MIRRORED LIPSTICK COMPACT
A round jade-colored plastic and gold-tone metal container of lip color that belonged to Marilyn Monroe. The top of the lid is embossed with the House of Westmore Hollywood logo. The container features a mirror beneath the lid and the tray is still filled with used lip color, which is a shade of red.
1.5 x .25 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
   
    

Lot 377: MARILYN MONROE: LIPSTICK TUBE
A gold-tone metal lipstick tube that personally belonged to Marilyn Monroe. The bullet-shaped tube is engraved with the Max Factor Hollywood logo on the outer case, has a label on the bottom that reads "L.S. / 7-22 / N. I." and features the original used lipstick inside.
Height 2.5 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ - 
    

Lot 417: MARILYN MONROE: ULTRASOL HAIR BATH
A bag containing a packet labeled "Ultrasol .33 Hair Bath" and dry powder that belonged to Marilyn Monroe. Marilyn's checkbook shows that she paid $108 to Ultrasol on August 18, 1961. 4 x 3.5 x 1 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ - 
 

Mode & Bijoux
Mode & Jewels

Lot 266: MARILYN MONROE: OPERA CAPE
A black velvet opera coat from the personal collection of Marilyn Monroe. The coat features three-quarter batwing sleeves, a high shawl collar, and a black satin interior lining. No sizes or maker labels present. After wrapping filming on The Seven Year Itch (Charles K. Feldman Group, 1955) and going through the devastating divorce from her second husband Joe DiMaggio, Monroe decided to take a break from the sunshine of the west coast and stay in New York in order to reinvent herself and her career. Monroe was often photographed wearing coats and furs of a similar style while living in New York, circa 1954-1955.
PROVENANCE Lot 816B, "Icons and Idols 2014," Julien's Auctions, Beverly Hills, December 5, 2014
Estimate: $20,000 - $30,000 / Sold: $ -
     
    

Lot 285: MARILYN MONROE: BLACK COCKTAIL DRESS (WITH PHOTOS)
A black wool dress with spaghetti straps and back zipper; worn in several photographs shot by her friend and business partner Milton Greene on January 28, 1955; in excellent condition. Included are images of Marilyn wearing this dress.
PROVENANCE Lot 19, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005.
Estimate: $40,000 - $60,000 / Sold: $ - 
   
 

Lot 290: MARILYN MONROE: "THE SEVEN YEAR ITCH" FILM-WORN BLACK EVENING GOWN (WITH BOOKS)
A Mae West-inspired black "cellophane effect" evening gown, worn by Marilyn Monroe during the filming of The Seven Year Itch (Twentieth Century Fox, 1955) starring Monroe and Tom Ewell. The quarter-length sleeved gown features a plunging v neck, black hook and eye closures down the front, a left leg slit and long train. An interior wardrobe label reads in handwritten black ink, "1-81-1 - 1231 M. Monroe A-734-05."
In the film, costume designer William Travilla designed the gown for one of the film's dream sequences imagined by director Billy Wilder. In this particular scene, which was later cut from the film, Richard Sherman (played by Tom Ewell) envisions his neighbor, "the Girl," impersonating Mae West in this costume, pairing the dazzling gown with green-tipped black ostrich feather boa, a pair of red marabou feather accented mules, and a cigarette holder - the West signature.
Although Monroe and West never ended up crossing paths in real life, West was later quoted as saying, "The only gal who came near to me in the sex appeal department was pretty little Marilyn Monroe. All the others had were big boobs."
Includes a copy of the book The Films of Marilyn Monroe (Pubns Intl Ltd, 1989), as well as a copy of Marilyn Monroe, les images d'une vie (VERLHAC, 2007).
Estimate: $20,000 - $40,000 / Sold: $ - 
     
 
     

Lot 300: MARILYN MONROE: SUNDRESS WORN FOR PHOTO SHOOT (WITH BOOK)
A white textured cotton sleeveless sundress with decorative trim around the neck and arms; with a back zipper and a back kick pleat; significant staining on back evident, broken zipper; eyelet trim frayed; worn by Marilyn in the series of photographs taken of her and Arthur Miller in New York City in 1956. Included is the book Marilyn (Skira, 2012), featuring four photos of Marilyn wearing this dress.
PROVENANCE Lot 27, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $40,000 - $60,000 / Sold: $ -
   
      

Lot 390: MARILYN MONROE: "LET'S MAKE LOVE" PROTOTYPE HALTER DRESS
A pearl gray silk dress with the top portion being a fitted halter top and the skirt portion being three layers of gathered silk chiffon; interior label reads: "designed by Jax;" dress was well worn, as discoloration appears under arms and other staining is evident on interior lining.
Marilyn only owned a total of four dresses in this style designed by Jax, documented as one of her favorite designers. This dress was personally owned by Marilyn and was a prototype for the dress made for her film Let's Make Love (20th Century Fox, 1960). Evidently a favorite dress of the star's, she also wore it in numerous press photographs as well as off-set during the production of her last film, The Misfits (Seven Arts, 1961).
Interestingly, a triangle-shaped stain appears on the right-breast area and this same exact stain is evident in a photograph showing Marilyn sitting next to co-star Yves Montand. Two Christie's tags still pinned to garment as it was originally intended to be sold there in 1999. Included are reprinted images of Marilyn wearing this dress.
PROVENANCE: Lot 111, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $60,000 - $80,000 / Sold: $ -
   
  

Lot 407: MARILYN MONROE: OWNED WOOL SKIRT
A black straight skirt with a side zipper and eye-hook closures, with back kick pleat. Hand tailored for Marilyn Monroe. No label or size tag present.
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $8,000 - $10,000 / Sold: $ -
    

Lot 408: MARILYN MONROE: TRIFARI COSTUME NECKLACE
A silver tone metal necklace featuring a single strand of small round rhinestones with a double circle clasp design signed, "Trifari" belonged to Marilyn Monroe.
The necklace is from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate.
15 inches
PROVENANCE Lot 229, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $10,000 - $20,000 / Sold: $ -
  

Lot 409: MARILYN MONROE: WALLET
A gold mesh bill and coin wallet with a snap closure and a pink satin lining that belonged as a personal item to Marilyn Monroe.
3.75 x 3.25 x .25 inches
PROVENANCE Lot 278, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $8,000 - $10,000 / Sold: $ -
      

Lot 425: MARILYN MONROE: EAR CLIPS
A pair of silver tone metal ear clips signed "Japan" with faux pearls and round cut faux diamonds in a floret design belonged to Marilyn Monroe. The clips are contained in a yellow felt-covered case. The ear slips are from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate. Case 2.75 x 2.75 x 1.5 inches
PROVENANCE Lot 462, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $4,000 - $6,000 / Sold: $ - 
      

Lot 426: MARILYN MONROE: OWNED BROWN SKIRT
A hand-tailored unfinished brown skirt with stitching still evident at the waistband and hem, side zipper, and back kick pleat belonged to Marilyn Monroe. Size is unknown.
PROVENANCE Lot 381, "From the Archives of Marilyn Monroe's Personal Property," Julien's Auctions, Los Angeles, November 16, 2018
Estimate: $8,000 - $10,000 / Sold: $ - 
  

Lot 427: MARILYN MONROE: POINSETTIA HANDKERCHIEF
A white handkerchief featuring a border with a recurring poinsettia design and a larger poinsettia in the center belonged to Marilyn Monroe.
Please note the handkerchief has two small tears on one side and a small spot of mild staining. 11.25 x 12.5 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $300 - $500 / Sold: $ - 
  

Lot 431: MARILYN MONROE: PERSONALLY OWNED CUTLERY HOLDER
A green and pink felt cutlery bag, having decorative embroidery and scalloped edges was personally owned by Marilyn Monroe. It accommodates 12 knives. 26 x 11 inches
PROVENANCE Lot 238, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $500 - $700 / Sold: $ - 
     
  

Objets divers
Various objects

 Lot 294: MARILYN MONROE: HOME MOVIE REEL
A vintage home movie reel featuring Marilyn Monroe at multiple locations. June 29, 1956, Monroe, soon-to-be husband Arthur Miller, and Miller's parents are seen at a press conference at Miller's farm in Roxbury, Connecticut. Monroe and Miller were married later this day. This scene from the film is approximately 23 seconds. Note that parts of this scene are repeated at the end of the film. Various footage from 1956 shows Monroe at airports traveling to and from Los Angeles to film Bus Stop (20th Century, 1956). These scenes from the film are approximately 40 seconds in length. Total length: one minute, 37 seconds. 4 x 1 inches
PROVENANCE Lot 727, "From the Estate of Frieda Hull," Julien's Auctions, November 17, 2016
Estimate: $3,000 - $4,000 / Sold: $ -
      

Lot 343: MARILYN MONROE: FACE-SLIMMING MASK
A beige fabric mask used for used for face slimming and chin-tightening that belonged to Marilyn Monroe. The mask features stitching down the nose and around the entire front and elastic bands that are stitched together in the back. Both sides of the mask feature light makeup and powder stains from usage.
Diameter 18 inches
PROVENANCE Partial lot 263, "Property From the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
    

Lot 378: MARILYN MONROE: EAR STOPPLES
A box of anti-noise ear stopples used by Marilyn Monroe. The cardboard box is printed on the top with the words "Flents / Anti Noise / Ear Stopples / Shut Out Noise /Help You Sleep." The bottom of the box features printed instructions for use. The box contains eight of the original twelve ear stopples, with the other four presumably having been used by Marilyn. 3.75 x 2 x 1 inches
PROVENANCE Partial Lot 251, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $1,000 - $2,000 / Sold: $ -
      

Lot 406: MARILYN MONROE: PERSONALLY OWNED "THE MISFITS" SOUNDTRACK ALBUM
A soundtrack album for the film The Misfits (United Artists, 1961) that was personally owned by Marilyn Monroe. The drama, which would be the last film Monroe completed before her death in 1962, costarred Clark Gable and Montgomery Clift, was directed by John Huston from a screenplay by Monroe's husband Arthur Miller. The score was composed by Alex North. The second side of the LP features other soundtrack themes. 12.5 x 12.5 inches
PROVENANCE From the Archives of Marilyn Monroe's Personal Property
Estimate: $200 - $300 / Sold: $ -
      

Lot 428: MARILYN MONROE: GORHAM STERLING RETICULATED HEART DISH
A sterling silver Gorham brand reticulated heart dish with scrolling bows and ribbons, marked "Sterling" that belonged to Marilyn Monroe. 1.50 troy oz.
The dish is from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate. 4.5 x 5 x 1 inches
PROVENANCE Lot 589, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $2,000 - $3,000 / Sold: $ -
      

Lot 429: MARILYN MONROE: ETCHED GLASS DECANTER
A double-gourd shaped bottle with all over etched floral decoration and a sterling rim with marks for Birmingham, 1911-12. (Lacking stopper).
The decanter is from the estate of Lee Strasberg, Marilyn's acting coach and close friend, and to whom she left the bulk of her own estate. Height, 11 inches
PROVENANCE Lot 361, "Property From the Estate of Lee Strasberg," Julien's Auctions, Los Angeles, November 17, 2016
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 430: MARILYN MONROE: GROUP OF VINTAGE COPPER HOLLOWWARE
A group of four vintage copper hollowware items, including a coffeepot with a wood handle marked "Majestic," a teapot marked "Old Dutch," an unmarked pitcher, and a pot marked "Bazar Francais."
See Lot 401 for pots from the same set, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27 & 28, 1999
Tallest, 11 inches
Estimate: $2,000 - $3,000 / Sold: $ -
  

 Lot 432: MARILYN MONROE: CHROME JUICE-O-MAT TILT-TOP JUICER
A vintage juicer with a mechanical hand crank that personally belonged to Marilyn Monroe. The brand is Juice-O-Mat and the model number is NJ-848. 6.5 x 8 x 6 inches
PROVENANCE Lot 240, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $2,000 - $3,000 / Sold: $ - 
     

Médical
Medical

Lot 444: MARILYN MONROE: SCHWAB'S PHARMACY BOX
A two-piece blue and white cardboard box with the words "Schwab's Pharmacy / Hollywood / Beverly Hills" printed in white letters across two sides that belonged to Marilyn Monroe. 1.5 x 4.5 x 1.5 inches
PROVENANCE Partial lot 263, "Property From The Estate of Marilyn Monroe" Julien's Auctions, Beverly Hills, June 4, 2005.
Estimate: $1,000 - $2,000 / Sold: $ -
  

Lot 445: MARILYN MONROE: PILL BOTTLE
An empty prescription bottle of Seconal belonged to Marilyn Monroe. The brown glass bottle with a white twist-off plastic lid features a label from Schwab's Pharmacy in Beverly Hills and the prescription is made out to Mrs. Arthur Miller (Monroe's playwright ex-husband) by Dr. Engelberg. The label features prescription number B366320 and reads "Seconal / Take as directed." The prescription is dated August 13, 1960. / 1.25 x 2.25 inches.
Estimate: $1,000 - $2,000 / Sold: $ -
   

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