A pair of Marilyn’s white gloves will be on display as part of Pop! Icons of American Culture at the Smithsonian, at the D’Amour Museum of Fine Arts in Springfield, MA from this Friday, December 7, until February 24, 2019, as Ray Kelly reports for Mass Live. (And if you’re wondering why there aren’t more substantial Monroe artefacts in the Smithsonian collection, it’s because they’re too expensive. Donations, anyone?)
Photos of Marilyn – signed by photographers William Carroll, Laszlo Willinger, Kashio Aoki, Milton Greene, Bert Stern and George Barris – plus paparazzi shots from events such as Ray Anthony’s ‘My Marilyn’ party, are up for bids at an online sale at Julien’s Auctions on December 10. A bathroom tile from her final home is also on offer, with an estimate of $2,000-$2,5000. (And don’t forget the Essentially Marilyn auction at Profiles in History on December 11.)
Marilyn Monroe: Auction of a Lifetime, the documentary about the 2016 Julien’s sale (in which Marilyn’s ‘birthday dress sold for $4.8m) has been acquired by the Smithsonian Channel, and will be screened on December 23 at 9pm, as Daniele Alcinii reports for RealScreen. Originally produced by Oxford Film and Television and broadcast in the UK on Channel 4, the documentary has been renamed Marilyn Monroe For Sale. You can read my review here.
A treasure trove of correspondence to Marilyn will be auctioned today at Bonham’s in New York, as part of TCM’s Dark Side of Hollywood sale. Among the lots are an autographed napkin; notes to herself, jotted on the back of envelopes; letters from her mother Gladys, and members of Norma Jeane’s extended family, including Grace Goddard and Ana Lower; key figures in Marilyn’s later life, such as Joe Schenck and Elia Kazan; and other lesser-known acquaintances. Here are some of the highlights:
Thanks to Caren and Hannah at Marilyn Remembered
“San Jose, on ‘International Correspondence Schools’ letterhead and plain stationery. Norma Jeane was 12 years old when she received these letters from relatives of her guardian, Grace Goddard, and Grace’s aunt, Ana Lower. Though not related to her, they address themselves as Uncle Art and Aunt Allis, and in their separate letters to the child, they seem to know her well, calling her ‘Little Sweetheart’ and writing, ‘We all send love to our little girl.’ They often refer to their dog, Trinket, whom one may assume was adored by Norma Jeane, who had a soft spot for animals all her life. Despite the many difficulties Norma Jeane had to face as a foster child, it does seem that there were many caring people in her life, as Uncle Art writes, ‘I am sure you are happy because everyone there loves you, and wants you to be happy.'”
“In her first letter of 1942, Lower responds to 15-year-old Norma Jeane’s questions about her shyness: ‘Be your own sweet self and in time as you have more experience, you’ll be able to talk when you want to, and people will really pay attention to what you say because it will be something worthwhile.’ By 1946, Norma Jeane was obtaining a divorce from her first husband, James Dougherty (whom Lower adored) and was having financial difficulty. She had borrowed money from Lower, who was also allowing Norma Jeane’s mother, Gladys Baker, to live with her at the time. Her letter expresses disappointment in Norma Jeane’s decisions, quoting the Bible and giving advice. She also mentions that Gladys has been fired from her job at Griffith Park because she was ‘too melancholy to be around the patients.’ Lower gently but firmly warns Norma Jeane, ‘Well, precious, you may feel I am being severe, but it is not so meant. I love you dearly and you must not feel hurt because of this letter.'”
“Lower was extremely close to Dougherty, and in her letter, she expresses her concern about his joining up and what it means for Norma Jeane’s future. ‘Her welfare of course is uppermost in your thoughts. She is young and really needs to finish her education.’ Her love for the girl reveals itself often: ‘Norma is such a sweet dear girl. Everyone loves her.’ She also expresses gratitude for his caring ways: ‘I am grateful for your kindness to Norma and know she loves you as dearly as you do her.'”
“In 1945, Gladys went to Portland to attempt to live on her own with the help of her aunt, Dora. She had been living in institutions for 9 years, and the hope was that she would be able to care for herself. She writes of her transition: ‘I’ve only been here a few days [and] I am just getting acclimated to it. I’m taking it easy for a while.’ Gladys’ letter to Norma Jeane is surprisingly lucid and sweet. She is happy that Norma Jeane is married and hopes to meet her husband, James Dougherty (who was in the Merchant Marine at the time). She writes, ‘Seems only yesterday that you were just a wee tott [sic] & now you are married. I know you are very happy & perhaps some time soon I’ll see you.’ Norma Jeane was elated and eventually went to visit her with photographer Andre de Dienes. After leaving Portland, Gladys returned to Los Angeles and lived with Norma Jeane briefly but was ultimately forced to return to institutional life.”
“In the summer of 1946, Norma Jeane Dougherty was establishing residency in Las Vegas in order to divorce her first husband, James Dougherty, who was in the Merchant Marine at the time. She had begun a love affair with photographer Andre de Dienes, one that was much more serious than previously thought. In her letters, Ana Lower, who was the most loving adult figure in Norma Jeane’s life, remarks on the reactions she receives when she shows friends Norma Jeane’s photographs: ‘Everyone thinks your pictures are lovely, and I tell them not half so lovely as you really are.’ As she is traveling during the writing of these letters, Lower describes her experiences, most notably her visit with Norma Jeane’s amour, de Dienes. She found him both lovable and ‘temperamental, as most artists are.’ In her closing paragraph, she writes of Andre: ‘I kissed your sweetheart good-bye and I will love him, too–we joked about my being his mother-in-law. I do hope Jimmie [Norma Jeane’s soon-to-be ex-husband, whom Ana adored] is not too hurt by all this.'”
“Grace reveals that her aunt, Ana Lower, who was also a loving caregiver to Norma Jeane, is too easy on Dougherty: ‘I know what a softie [Aunt Ana] is toward any male, old or young, who makes a fuss over her. As for me, Doc [Grace’s husband], and all the rest of us, we look at situations through eyes of love for you, justice, and repayment for you being such an angel all your life. You deserve more than Jimmy is capable of giving you.’ In closing, she makes a veiled reference to Norma Jeane’s relationship with photographer Andre de Dienes and writes, ‘Of course no one but Doc and me know of your future plans. I am so in hopes you will let your heart rule you this time and not let anything keep you from taking the happiness that is being offered you.'”
“In the summer of 1946, Norma Jeane was residing in Las Vegas to obtain her divorce from her first husband, James Dougherty. During this time, she was ill, experienced financial difficulties, and was having problems with her car. Goddard’s letter is sympathetic: ‘I am heartsick over you,’ but firm when she scolds, ‘I do wish you had listened to Doc [Goddard’s husband] about your car.’ Additional difficulty arose when Dougherty refused to sign the divorce papers once Norma Jeane was in Las Vegas. Goddard gets a final jab at Dougherty in her closing remarks (even though she arranged their marriage) when she writes, ‘I never did think Jim would keep his promise to sign the papers.'”
“Len Cormier was a young Navy pilot who dated Monroe (then Norma Jeane Dougherty) shortly after she divorced her first husband in 1946. They had at least 2 dates: one at Tommy Dorsey’s Casino Gardens in Santa Monica, and one where he took her flying (the only civilian he ever took up in a plane, he later recalled). In his letter from training camp, he writes, ‘I’ll have to admit that I don’t leave your picture out all the time, since nobody would get any work done if it were.’ He relays his experiences with flight operations and traveling, and ends his letter with a thoughtful message to his career-oriented friend: ‘I’ve still got my fingers crossed, hoping that all the breaks in the world come to you.'”
“Comprising a partial Autograph Letter Signed (‘Aunt Ana’), c.1947, to Marilyn Monroe, on plain stationery, discussing Christian Science. Together with 9 holiday cards, including a congratulatory wedding card celebrating her marriage to James Dougherty in which she writes, ‘To my dear / girl and boy / Love / Aunt Ana.'”
“Until these letters, little was known about film star Howard Keel’s relationship with Marilyn Monroe except that they had dated a few times. Keel had originally met Norma Jeane when she was 15 years old, as he relays in his letter: ‘I had quite a liking for you deep down inside but being a ripe old 22 or so I felt I was a little old for you.’ He is thrilled that they have reconnected and has a good laugh at seeing her crowned as ‘The Artichoke Queen’ in a publicity stunt. At some point between letters, the two got together, and Keel expresses his disappointment at not being able to see more of Monroe: ‘When I come home in June we’ll have to have some fun & find out what there is between us.’ Obviously, nothing came of the relationship, but Keel has sweet words about their reunion when he writes, ‘It was wonderful to find you the same sweet person I knew before.'”
“Lower refers to Marilyn (who is now no longer called Norma Jeane, even by her family), as she writes: ‘I am glad the clothes can be used. Marilyn will probably have more later.’ Marilyn often gave her clothes to Berniece when she was finished with them. Lower closes the letter with, ‘All is well with me and with Marilyn’s career.’ Ana Lower would die 4 days after this letter was written.”
“At the time of his letters to Marilyn, she had just signed a 6-month contract with Columbia Pictures, a major breakthrough in her career, which Schenck addresses: ‘I hope you will get your chance at Col and make good.’ Several months later, he writes, ‘Am very pleased to know you have a good part in a picture. Stick to your work and you will make good. Make your career your first consideration.’ Schenck either had a sense of humor or spelling problems, as he incorrectly spells Monroe’s name twice, writing both ‘Maryline’ and ‘Marrylene’ in his salutations!”
“Provonsha was a commercial artist who painted a portrait of Monroe for a Dolly Madison wine advertisement during her modeling days.”
“Kazan and Arthur Miller called Monroe ‘Miss Bauer’ based on a prank they played on Columbia boss Harry Cohn in which Monroe posed as a secretary by that name. Two of the Kazan telegrams allude to this pseudonym, with one signed ‘Bauer’ and the other signed simply ‘B.’ Though Monroe had affection for Kazan, she fell hard for Miller and the Kazan relationship fizzled out. From his messages, however, it appears that they were close: ‘Darling Just sit tight where you are and I’ll call for you about nine thirty.'”
“Ross was a writer for Parade magazine whose brother, photographer Ben Ross, had photographed Monroe several times. Sid Ross fell head over heels in love with Monroe, who appears not to have returned his affection (or many of his letters, since his enclosed self-addressed stamped envelope for her convenience is still attached to his letter)! His letters are lyrical, poetic, and beautifully written, and he is clearly besotted: ‘The sheer joy of watching you–as you talk & sometimes crinkle up your brow … the sometimes pain in your voice and glance and gestures … the intensity that stirs not only you, but others.’ In April of 1952, Ross received a ‘Dear John’ letter from Monroe that he declared was ‘a blow. A terrific blow. It made me feel that the end of the world had come for me.’ He is clearly heartbroken and devastated. Interestingly, Ross closes one of his letters, ‘You may never be a “great” actress possibly but you’ll always be a so very beautiful girl…,’ a statement which may have been the very reason Monroe broke things off with Sid Ross.”
“Grace Goddard is clearly at the end of her rope, having spent the last 20 years trying to take care of Baker, and her exhaustion is palpable: ‘I have always loved her and her child, but I have a very bad heart condition brought on by a stroke caused by Gladys in Feb 1950. I have tried too many years to help her and I can no longer have her in my home.'”
UPDATE: Marilyn’s letter from Gladys sold for $2,750; and two letters from Ana (1942-46) sold for $2,500.
Marilyn’s 1962 Golden Globe – as World Film Favourite – was sold for $250,000 at the Julien’s Icons & Idols auction yesterday – making it the highest selling Golden Globe to go under the hammer, according to the Hollywood Reporter. Additionally, Marilyn’s black Ford Thunderbird sold for $490,000; the black silk blouse worn at her 1956 Los Angeles Airport press conference for $43,750; and her checked trousers, worn in an early photo shoot with Andre de Dienes, reached $31,250. Surprisingly, her white beaded dress from There’s No Business Like Show Business went unsold. (And you can check out my favourite auction picks here.)
After going unsold twice in the last year (as reported here), Marilyn’s Jewish prayer book has finally surpassed all expectations by selling for $26,000 at New York auctioneers J. Greenstein & Co. Widespread media coverage probably helped, as it became a viral story in the last month. At the 1999 Christie’s auction Marilyn’s ‘Siddur’ for $4,025, and this time around it was estimated to sell for $7,000 – $12,000 with a starting price of $4,600. The book, which contains annotations in pencil (though it is not confirmed that Marilyn made them – it could have been her Rabbi, Robert E. Goldburg) would probably be worth around $100 without the Monroe connection.
Thanks to Simone at Marilyn Remembered
A wide range of Marilyn-related items, including her 1956 Thunderbird, will be up for grabs at Julien’s Icons & Idols auction on November 17. Another high-profile item is the white beaded Travilla gown worn by Marilyn when she sang ‘After You Get What You Want, You Don’t Want It’ in There’s No Business Like Show Business, purchased at Christie’s in 1995; as yet it’s unclear whether this is the same dress listed at Julien’s in 2016.
Marilyn owned several pairs of checked trousers, wearing them repeatedly throughout her career. This pair, seen in one of her earliest modelling shoots, was purchased from Sak’s Fifth Avenue.
A number of photos owned by Marilyn herself are also on offer, including this picture with US troops, taken on the set of Gentlemen Prefer Blondes; a set of publicity photos for Love Nest; a photo of Joe DiMaggio in his New York Yankees uniform; and Roy Schatt‘s 1955 photo of Marilyn and Susan Strasberg at the Actors Studio.
A postcard from the Table Rock House in Niagara Falls was signed by Marilyn and her Niagara co-stars, Jean Peters and Casey Adams, in 1952.
This publicity shot from River of No Return is inscribed, ‘To Alan, alas Alfred! It’s a pleasure to work with you – love & kisses Marilyn Monroe.’
Also among Marilyn’s personal property is this ad for There’s No Business Like Show Business, torn from the December 24, 1954 issue of Variety.
Marilyn’s hand-written poem inspired by Brooklyn Bridge is also on sale.
Among Marilyn’s assorted correspondence is a latter dated August 22, 1954, from childhood acquaintance Ruth Edens:
“I have long intended to write you this letter because I have particularly wanted to say that when you used to visit me at my Balboa Island cottage, you were a shy and charming child whose appeal, it seems to me, must have reached the hearts of many people. I could never seem to get you to say much to me, but I loved having you come in and I missed your doing so after you’d gone away. I wondered about you many times and was delighted when I discovered you in the films. I hope the stories in the magazines which say you felt yourself unloved throughout your childhood, are merely press-agentry. In any case, I want you to know that I, for one, was truly fond of you and I’m proud of you for having developed enough grit to struggle through to success … I hope you are getting much happiness out of life, little Marian [sic]. I saw so much that was ethereal in you when you were a little girl that I fell sure you are not blind to life’s spiritual side. May all that is good and best come your way!”
Marilyn’s loyalty to the troops who helped to make her a star is attested in this undated letter from Mrs. Josephine Holmes, which came with a sticker marked ‘American Gold Star Mothers, Inc.‘
“My dear Miss Monroe, I was so happy to hear from Mr. Fisher about your visit to the Veterans Hospital. When I spoke to Mr. Alex David Recreation he said the veterans would be thrilled, probably the best present and tonic for them this holiday and gift giving season. I am sure it will be a wonderful memory for you, knowing you have brought happiness to so many boys, many have no one to visit with them. Thank you, and may God bless you and Mr. Miller for your kindness.”
Marilyn wore this hand-tailored black satin blouse for a 1956 press conference at Los Angeles Airport, as she returned to her hometown after a year’s absence to film Bus Stop. When a female reporter asked, ‘You’re wearing a high-neck dress. … Is this a new Marilyn? A new style?’ she replied sweetly, ‘No, I’m the same person, but it’s a different suit.’
Paula Strasberg’s annotated scripts for Bus Stop, Some Like It Hot, Let’s Make Love, and her production notes for The Misfits are available; and a book, Great Stars of the American Stage, inscribed “For Marilyn/With my love and admiration/ Paula S/ May 29-1956” (the same day that Marilyn finished work on Bus Stop. )
Letters from Marilyn’s poet friend, Norman Rosten, are also included (among them a letter warmly praising her work in Some Like It Hot, and a postcard jokingly signed off as T.S. Eliot.)
File under ‘What Might Have Been’ – two letters from Norman Granz at Verve Records, dated 1957:
“In the September 5, 1957, letter, Granz writes, ‘I’ve been thinking about our album project and I should like to do the kind of tunes that would lend themselves to an album called MARILYN SINGS LOVE SONGS or some such title.’ In the December 30, 1957, letter, he writes, ‘… I wonder too if you are ready to do any recording. I shall be in New York January 20th for about a week and the Oscar Peterson Trio is off at that time, so if you felt up to it perhaps we could do some sides with the Trio during that period.'”
Also in 1957, Marilyn received this charming card from the Monroe Six, a group of dedicated New York teenage fans, mentioning her latest role in The Prince and The Showgirl and husband Arthur Miller’s legal worries:
“Marilyn, We finally got to see ‘Prince and the Showgirl’ and every one of us was so very pleased. We are all popping our shirt and blouse buttons. Now we will be on pins and needles ‘til it is released to the general public. You seemed so relaxed and a tease thru the whole picture and your close ups, well they were the most flawless ever. You should be real pleased with yourself. No need to tell you what we want for you to know now is that we hope everything comes out all right for Mr. Miller and real soon too. Guess what we are working on now. We are trying to scrape up enough money for the necessary amount due on 6 tickets to the premiere and the dinner dance afterwards. Well again we must say how happy we are about T.P.+T.S. and we wanted you to know it. Our best to you.”
Among the lots is assorted correspondence from Xenia Chekhov, widow of Marilyn’s acting teacher, Michael Chekhov, dated 1958. In that year, Marilyn sent Xenia a check which she used to replace her wallpaper. She regretted being unable to visit Marilyn on the set of Some Like It Hot, but would write to Arthur Miller on November 22, “I wanted to tell you how much your visit meant to me and how glad I was to see you and my beloved Marilyn being so happy together.”
In April 1959, Marilyn received a letter from attorney John F. Wharton, advising her of several foundations providing assistance to children in need of psychiatric care, including the Anna Freud Foundation, which Marilyn would remember in her will.
This telegram was sent by Marilyn’s father-in-law, Isidore Miller, on her birthday – most likely in 1960, as she was living at the Beverly Hills Hotel during filming of Let’s Make Love. She was still a keen reader at the time, as this receipt for a 3-volume Life and Works of Sigmund Freud from Martindale’s bookstore shows.
After Let’s Make Love wrapped, Marilyn sent a telegram to director George Cukor:
“Dear George, I would have called but I didn’t know how to explain to you how I blame myself but never you. If there is [undecipherable due to being crossed out] out of my mind. Please understand. My love to Sash. My next weekend off I will do any painting cleaning brushing you need around the house. I can also dust. Also I am sending you something but it’s late in leaving. I beg you to understand. Dear Evelyn sends her best. We’re both city types. Love, Amanda Marilyn.”
Here she is referencing her stand-in, Evelyn Moriarty, and Amanda Dell, the character she played. “Dearest Marilyn, I have been trying to get you on the telephone so I could tell you how touched I was by your wire and how grateful I am,” Cukor replied. “Am leaving for Europe next Monday but come forrest [sic] fires come anything, I will get you on the telephone.”
There’s also a June 30, 1960 letter from Congressman James Roosevelt (son of FDR), asking Marilyn to appear on a television show about the Eleanor Roosevelt Institute for Cancer Research, to be aired in October. Unfortunately, Marilyn was already committed to filming The Misfits, and dealing with the collapse of her marriage to Arthur Miller.
In 1961, movie producer Frank McCarthy praised Marilyn’s performance in The Misfits:
Rather touchingly, Marilyn owned this recording of ‘Some Day My Prince Will Come,’ sung by Adriana Caselotti. The record copyright is from 1961, but Disney’s Snow White and the Seven Dwarfs was originally released in December 1937, when Marilyn was just eleven years old.
This pen portrait was sketched by George Masters, who became Marilyn’s regular hairdresser in the final years of her life.
On July 5, 1962, Hattie Stephenson – Marilyn’s New York housekeeper – wrote to her in Los Angeles:
“My Dear Miss Monroe: How are you! Trusting these few lines will find you enjoying your new home. Hoping you have heard from Mr. and Mrs. Fields by now. Found them to be very nice and the childrens [sic] are beautiful. Got along very well with there [sic] language. How is Maff and Mrs. Murray? Miss Monroe, Mrs. Fields left this stole here for you and have been thinking if you would like to have it out there I would mail it to you. Miss Monroe Dear, I asked Mrs. Rosten to speak with you concerning my vacation. I am planning on the last week of July to the 6th of August. I am going to Florida on a meeting tour. Trusting everything will be alright with you. Please keep sweet and keep smiling. You must win. Sincerely, Hattie.”
Hattie is referring to Marilyn’s Mexico friend, Fred Vanderbilt Field, who stayed with his family in Marilyn’s New York apartment that summer. She also alludes to Marilyn’s ongoing battle with her Hollywood studio. Sadly, Hattie never saw Marilyn again, as she died exactly a month later. Interestingly, the final check from Marilyn’s personal checkbook was made out to Hattie on August 3rd.
After Marilyn died, her estate was in litigation for several years. Her mother, Gladys, was a long-term resident of Rockhaven Sanitarium, which had agreed to waive her fees until her trust was reopened. In 1965, Gladys would receive hate mail from a certain Mrs. Ruth Tager of the Bronx, criticising her as a ‘hindrance’ due to her unpaid bills. This unwarranted attack on a sick, elderly woman reminds one why Marilyn was so hesitant to talk about her mother in public.
UPDATE: See results here
This elegant black shift dress with a chiffon midriff launched a fashion craze when Marilyn wore it at London’s Savoy Hotel, quipping that while the dress was not her idea, her midriff was. Writing for the Hollywood Reporter, Vince Boucher notes that the couturier – the subject of a new exhibition at Drexel University in Philadelphia – was James Galanos, who went on to dress First Lady Nancy Reagan in the 1980s.
“Hollywood is represented in a brown-tweed suit from the fifties from Rosalind Russell with a portrait collar and empire-effect belt with trapunto stitching and in a violet jacketed gown similar to one that Diana Ross wore to the Academy Awards. And in a group of black dresses, there is a 1993 mini with a sheer midriff, a motif the designer returned to again and again, all the way back to a black sheath with chiffon inset worn by Marilyn Monroe at her 1956 press conference for The Prince and the Showgirl, as shown in the exhibition catalog.”
In the late 1940s, Galanos was hired as a sketch assistant by Columbia Pictures’ costumier, Jean Louis (who would also design for Marilyn.) By the 1950s, Galanos was designing collections for Saks Fifth Avenue in Beverly Hills, and Neiman Marcus in New York. He later settle in Los Angeles, and was known as the ‘master of chiffon.’
Marilyn’s wool crepe cocktail dress was purchased at Bergdof Goodman department store in Manhattan, and was sold at Christie’s in 1999. It was also featured in ‘A Short History of the Little Black Dress’, an article posted on the Real Simple website in 2011.
“A few decades ago, a woman who worked as a cleaner at the Westwood Village Memorial Park Cemetery in Los Angeles was given the original marker used to identify Marilyn Monroe’s grave.
It was being replaced and nobody had any real use for it. The cleaner – who was a Monroe fan herself – kept it as a personal memento.
Eventually, she decided to sell the marker and approached Julien’s Auctions in Beverly Hills. It was expected to fetch from $2,000 to $4,000 dollars (£1,525 to £3,050).
That proved to be something of an underestimate. An anonymous overseas bidder paid $212,500 when it went under the hammer in June 2015. ‘The woman was in tears, she said it changed her life,’ said Darren Julien, founder of Julien’s Auctions.
While there is money to be made from memorabilia, expecting to reap vast riches would be a mistake, argued Giles Moon, of Heritage Auctions.
‘The number one thing I say to people is they should be buying because they are passionate and love the pieces, not as an investment. I don’t know of too many people who are buying as an investment, but it does happen.’
The trick is to find the stars who are not just fashionable now but will be popular forever, said Mr Moon. “The market has been falling away from major stars from the Fifties, like Elvis.’
‘There are certain artists who will increase in value and are pretty bulletproof …When it comes to movies, the best investments are Marilyn Monroe and Audrey Hepburn. They are true icons and they will always be sought after.’
But virtually every expert named Monroe as the icon whose personal effects will attract the highest bids.
[A replica of] the subway dress she wore in The Seven Year Itch [will be] sold at auction in Beverly Hills later this year. Also under the hammer is her annotated script from the 1955 film, the yellow and black sequinned costume from Gentlemen Prefer Blondes and a signed picture in which she reveals who came up with her stage name.”
With thanks to Fraser
A Jewish prayer book or ‘Siddur’ acquired and personally annotated by Marilyn during her 1956 conversion will be auctioned at J. Greenstein & Co in Cedarhurst, New York on November 12, with an estimated price of $5,000 – $8,000, as Anthea Gerrie reports for the Jewish Chronicle. (Originally purchased at Christie’s in 1999, it went unsold at another New York auction last November.)
“The Siddur, being sold on behalf of an Israel-based American who bought it directly from the star’s estate in 1999, bears the imprint of the Avenue N Jewish Center in Brooklyn.
This was the shul of playwright Arthur Miller, Monroe’s third husband, and Jonathan Greenstein, New York’s prime auctioneer of Judaica, says a current member of the congregation has ambitions to return it to the synagogue: ‘He will be bidding on it himself, as he says it is known that Marilyn and Arthur Miller attended services there.’
It was not where the star studied for her conversion. Her mentor was Connecticut-based Rabbi Robert Goldburg, who married the couple in 1956 and later presided over Seders they attended.
History suggests she was driven to convert not only by her love for Miller, but rejection of the Christian fundamentalism practised by her foster parents … But despite keeping her Siddur close, playing the Hatikvah from time to time on her menorah and maintaining a mezuzah on her doorpost, Monroe did not get a Jewish burial.”