Although she isn’t named, the lovely lady shown on this box of Belgian chocolate, illustrated by Jaak De Koninck of the Leuven-based interior design company, Starbrook Airlines (and spotted at Brussels Airport), looks very Marilyn-inspired – don’t you agree?
The touring retrospective, Remembering Sam Shaw: 60 Years of Photography, including some of the legendary shutterbug’s most famous shots of Marilyn among many other iconic images, is now on display at the Brandts Museum in Odense, Denmark until January 21, 2018.
This rare and lovely photo, framed with an inscription from Marilyn to Arthur Miller, is featured in the Heritage Auctions Entertainment Signatures sale, set for November 11. Marilyn has written a heartfelt message in red wax pencil to her husband, ‘I know when I am not there for you – !!!‘, followed several ‘x’s or ‘m’s (this part is hard to decipher.) The photo was consigned from the estate of Marilyn’s lawyer, Aaron Frosch, and was likely passed on to him when the Millers’ marriage ended.
The auction also features a number of rare photos by Jean Howard, many never seen, from their 1954 portrait session (see above), plus stills from the set of How to Marry a Millionaire, and the famous shot of Marilyn dancing with Clark Gable at Romanoff’s.
Among the Monroe-related documents on offer is this certificate from the Exhibitor Laurel Awards, citing The Seven Year Itch as the best film of 1955.
Vintage website Flashbak has compiled transcripts of Marilyn’s poetry, as well as a list of the 430 books she owned (first posted here on ES Updates, of course!) They have also included a quote from the English novelist Jeannette Winterson about Eve Arnold’s famous photos of Marilyn reading Ulysses.
“This is so sexy, precisely because it’s Marilyn reading James Joyce’s Ulysses. She doesn’t have to pose, we don’t even need to see her face, what comes off the photo is absolute concentration, and nothing is sexier than absolute concentration. There she is, the goddess, not needing to please her audience or her man, just living inside the book. The vulnerability is there, but also something we don’t often see in the blonde bombshell; a sense of belonging to herself. It’s not some Playboy combination of brains and boobs that is so perfect about this picture; it is that reading is always a private act, is intimate, is lover’s talk, is a place of whispers and sighs, unregulated and usually unobserved. We are the voyeurs, it’s true, but what we’re spying on is not a moment of body, but a moment of mind. For once, we’re not being asked to look at Marilyn, we’re being given a chance to look inside her.”
“Designer Tommy Hilfiger has a slew of celebrity fans and frequently references pop culture in his designs, so it shouldn’t surprise you to find out that he’s got an enormous collection of memorabilia worn by some of the most iconic celebrities of all time … A pair of Foremost JCP Co. blue jeans worn by Monroe in the 1954 film River of No Return are available and can be yours if you’ve got a ton of disposable income just lying around (they’re estimated to sell up to $40,000). Hilfiger previously owned two other pairs of the jeans worn by Monroe, but gifted them to Britney Spears and Naomi Campbell (#nobigdeal).”
The annual ‘Icons & Idols’ sale, set for November 17 at Julien’s, includes a number of interesting Marilyn-related items. Chief among them is this black fur coat, with an interesting back story – and further evidence of Marilyn’s generosity.
“A mid-1940s black colobus coat worn by Marilyn Monroe to the 1948 film premiere of The Emperor Waltz (Paramount, 1948). The coat has broad shoulders, a cordé collar, a satin lining, and a Jerrold’s Van Nuys, Calif. label. Although the black colobus is currently on the endangered species list, it was quite fashionable in the 1940s. Monroe wrote in a letter to Grace Goddard dated December 3, 1944, ‘I found out that its [sic] possible to buy a Gold Coast Monkey Coat. I shall write to you about it later.’ The coat was gifted from Monroe to Jacquita M. Rigoni (Warren), who was the great-niece to Anne Karger, mother of Monroe’s voice coach, Freddie Karger. Monroe had a close relationship with the family, and the coat has remained in their possession. Accompanied by a letter of authenticity from Jacqui Rigoni detailing the family’s relationship to Monroe and the history of the coat.
(The monkey species used to make this Marilyn Monroe monkey fur coat is on the Endangered Species list.)”
As the accompanying letter explains, Jacquita is the granddaughter of Effie ‘Conley’ Warren, who was Anne Karger’s sister. They had performed together in vaudeville as the Conley Sisters. Jacqui was a teenager when Marilyn dated her uncle, Fred Karger, for several months in 1948. Accepted as part of the family (long after the affair ended), Marilyn would often take Jacqui to her apartment and gave her clothes on numerous occasions. Fred and Marilyn also visited Jacqui’s parents, Jack and Rita Warren, at home. By the early 1950s, Marilyn was still regularly visiting Anne Karger with gifts including the monkey fur coat which she requested that Anne give to Jacqui. She also attended Jacqui’s wedding with Anne, while Fred brought his new wife, actress Jane Wyman.
Two intriguing photos are included in this lot. One shows a young Marilyn sitting at the piano with Fred. Never before seen, it is the only known photo documenting one of her most intense relationships. The second shows Marilyn in 1961 with Anne and another lady, perhaps Effie Warren. A cropped version has been published before, but the whole version is extremely rare.
Another item which sheds new light on Marilyn’s life is a letter from ‘Uncle Art’, a relative of her legal guardian, Grace Goddard. Sent to the teenage Norma Jeane, ‘So glad you are making satisfactory progress in school. I advise that you be particularly diligent in the cultural subjects … sad is the fate of the young woman who has not the ambition to so model and mold her language and conduct as to have [illegible] herself to the point where she can mingle with cultured people inconspicuously.‘ The letter is written on International Correspondence Schools of Scranton, Pennsylvania stationery, undated and signed ‘Devotedly Yours, Uncle Art.’ One wonders if this high-minded gentleman might have inspired Marilyn in her lifelong quest for self-improvement.
This photo (available in negative) was taken by Joseph Jasgur on the Fox studio back lot during the early days of Marilyn’s acting career, in 1947.
A signed check for $500, made out to The Christian Community, is dated October 11, 1954 – just six days after Marilyn announced her separation from husband Joe DiMaggio. And this photo of Marilyn, taken by Manfred Kreiner on her arrival in Chicago to promote Some Like It Hot in March 1959, is inscribed in red pen by Marilyn herself with the words ‘Kill kill’ – indicating that the photo should not be published.
The auction also includes photos attributed to Bruno Bernard, and some items that appeared in previously last year’s dedicated auction at Julien’s (including Marilyn’s copy of the Breakfast at Tiffany’s script, and her typed skincare regime from the Ernst Laszlo Institute.) And finally, she is featured alongside various other celebrities – including Jacqueline Kennedy Onassis, Carol Channing, and future president Donald Trump – in an Al Hirschfield caricature from 1988.
The first review has already been posted on Amazon by Fraser Penney:
“An absolutely amazing book on Marilyn’s and Milton Greene’s photo sessions. This book has many unpublished and alternate shots of the classic images we’ve all come to know. There’s also some funny ones of Marilyn clowning in front of camera in a playful way, showing the warmth the two shared during their years of friendship.
The book is a joy from start to finish with a few pages of text by Joshua Greene, film producer Jay Kanter and another of Marilyn’s photographers, Douglas Kirkland.
With a brief introduction to each of the 50 sessions, offering an insiders insight, it’s the most spectacular homage to Marilyn and Milton’s collaboration, friendship and professional relationship.
In the words of Marilyn’s assistant (how she’s described in book) Pat Newcomb, writes, ‘This is a truly authentic look into Monroe’s life, and the best collection of photographs of the world’s most glamorous star by someone who really knew her.'”
“‘The first time I released unseen images was in 1993, with Milton’s Marilyn. It was our early days of restoration, and if you go through that book, the color work is really inconsistent,’ he explains. “We also ran images to look like contact sheets, so many were very small, and it just wasn’t impactful. I was really disappointed in the outcome of that project. This time around, I wanted to make sure that what had happened there would never happen again.’
‘I look at this as the last hurrah, because I would like to retire,’ says Joshua, who’s 63. Of the book’s 284 images, 160 are — you guessed it — never before seen. ‘I started working on this about five years ago, originally with about 600 images,’ Joshua says. ‘The restoration work is very tedious; some photos took as much as 60 hours per frame. I would love to have included more images, but we also did what was best for the layout and formatting of this book.’
Joshua believes his father would approve of both the choice and quality of the images. ‘Milton was a maverick in the darkroom; nobody knew printing techniques better than he did,’ he says. ‘I started working with him in the darkroom when I was 11 years old. If the old man was alive today, I know he would have embraced today’s digital technology.’
Also key to the selection was to convey the ease and intimacy of his father’s friendship with an enigmatic woman who continues to captivate the public’s imagination. ‘They were very comfortable with each other, and she trusted him, and you see that in these photos,’ Joshua notes. ‘Ultimately he’d be thrilled with what we’ve created this time around. I’ve kept this fire burning for a long time, but with this, I know he’d be proud.'”
Cinema Through the Eye of Magnum, a new documentary about the legendary photo agency, will be screened for the first time in the UK tonight at 10pm on BBC4. This image, captured by Ernst Haas, shows fellow Magnum photographer Elliott Erwitt among the cast and crew of The Misfits.
“The Misfits was a pivotal moment in photographers’ relationship with cinema. Lee Jones, Magnum’s head of special projects in New York, decided that the film’s dream cast deserved special attention. Nine different photographers took turns over 3 months of the shoot to capture the ‘total chaos’ on what would be Marilyn Monroe’s last film.
Eve Arnold, Magnum’s first woman member, was Monroe’s trusted collaborator. Having previously worked with Marlene Dietrich and Joan Crawford, she started photographing Monroe when they were both relatively unknown. She spent two months on the set of the John Huston movie.
Photographer Bruce Davidson remarked, ‘Marilyn is really in torment – this was the movie where it all collapsed. And the hidden homosexuality, total neurosis, drugs, the whole works (on set). This film is a turning point, and the photographs document the disintegration of a system.’
Clark Gable had a heart attack the day after filming wrapped on The Misfits and died a few days later.”
This lovely portrait of Marilyn – based on Milton Greene’s so-called ‘graduation sitting’, taken during hair tests for The Prince and the Showgirl – has a ‘sculptural quality,’ notes artist Ileana Hunter. Check out her Etsy store here.
Jack Cardiff – the legendary cinematographer who befriended Marilyn on the set of The Prince and the Showgirl – is the subject of a new play, Prism, at the Hampstead Theatre in London, as Holly Williams reports for the Telegraph. The play is written and directed by Terry Johnson, author of Insignificance – the surrealist fantasy featuring a Marilyn-inspired character, which became a successful movie in 1985 – and Cardiff is played by the popular English actor, Robert Lindsay. Prism runs until October 14 – more info here.
“In a garage in Ely, Cambridgeshire, hangs a portrait of Marilyn Monroe. On it she has written: ‘My darling Jack, if only I could be how you made me look.’ Cardiff called Monroe ‘as near perfect as any cameraman could wish for’. She in turn called him the best cinematographer in the world.
The seed was planted seven years ago, shortly after Cardiff’s death following a struggle with Alzheimer’s. The youngest of his four sons, Mason – a film writer/director, named after James Mason – met Robert Lindsay in a local pub, and as their friendship developed, the actor became fascinated by stories of how Alzheimer’s had suspended Cardiff in his glory days as a cinematographer.
Mason showed Lindsay the garage where the family kept all the film memorabilia they’d surrounded Cardiff with in his final years. And when Lindsay spied that signed portrait – and then heard how the frail Cardiff had become convinced that one young care assistant was, in fact, Marilyn Monroe – he knew they had a show. The pair took Johnson to lunch to discuss writing the script; by pudding, he was convinced too.
Cardiff also adored her, admiring with a cameraman’s eye her beauty. ‘She had a classically sound bone structure,’ he once said. ‘But I had to be careful about her nose, so delightfully retroussé. For if the key light was too low, a blob would show up on the tip.’ Prism shows the pair getting close during a photo shoot – ‘art’, as Cardiff also liked to say, ‘is an intimate thing’, although in reality their relationship probably never went beyond mutual affection.”