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A ‘Collector’s Ransom’ for Marilyn

Over 50 Marilyn-related lots will go under the hammer at on December 17-19, as part of the Hollywood – A Collector’s Ransom auction at Profiles in History. Marilyn’s costumes from A Ticket to Tomahawk, Love Nest, and Don’t Bother to Knock, and her fishnet tights from Bus Stop – which went unsold at last year’s Essentially Marilyn event – are back for a second chance. (UPDATE: the brown skirt suit worn by Marilyn in Love Nest has been sold for $30,000 – but again, the other movie costumes went unsold.)

As Simon Lindley reports for Just Collecting, Marilyn’s personal annotated screenplay for The Seven Year Itch is also on offer, with a reserve of $60-80K. (The photo shown above, taken on location in New York, is sold separately.)

“In the film Monroe’s character is known simply as ‘The Girl’, an aspiring actress who serves as the object of the husband’s desires.

But behind her on-screen persona as the blonde sex symbol, Monroe’s extensive handwritten annotations reveal her dedication to her craft.

Throughout the script she has written notes to herself such as ‘Look first indecisive – pause – hesitation – little smile’ and ‘My body into his – sliding into him as if I want to sleep with him right then & there. Swing hips again’.

This preparation and complete understanding of the role in evident in her notes for the famous ‘Subway’ scene, which helped cement her place as a genuine Hollywood icon.

The energy and sexuality which Monroe portrays may seem effortless, but her script notes show she though very carefully about how to play the moment: ‘Child w/a woman. Direct & fem[inine]. Open… This is everything there is in the world. Light & easy. Everything flies out of her. Newborn – the baby looking at the moon for the first time.'”

Screenplay UNSOLD; photo sold for $200

And now, let’s take a closer look at what else is on offer…

“Vintage original 8 x 10 in. photograph taken of 13 year-old Norma Jeane on a trip to Yosemite with ‘Aunt’ Ana Lower and other family members. And sold separately, a vintage original 2-page printed 6.25 x 9 in. Ralph Waldo Emerson Junior High School Class of Summer 1941 commencement program. The printed program contains itinerary including music, speeches, and songs. Listed alphabetically in the ‘Graduating Class, June 1941 Girls’ roster of graduates is ‘Baker, Norma Jeane’.”

UNSOLD

“Vintage original gelatin silver 8 x 10 in. photograph of Marilyn with her junior high school glee club, smiling in the center of the group. The verso is copiously inscribed with messages to Norma Jeane by her girlfriends, including, ‘To a beautiful, sweet, charming, and darling, adorable Norma Jean’ and ‘I hope your ambition will come true – to stay an old maid all your life’.”

SOLD for $3,000

“A 2-page letter to ‘Cathy’ handwritten in pencil and signed, ‘Norma Jeane’. Written during a period of major transition in her life, Norma Jeane mentions a leave of absence from her job as a parachute inspector at Radioplane. She had recently been ‘discovered’ by US Army Air Force First Motion Picture Unit photographer David Conover while working at the plant, and through his connections, had been able to get freelance work as a pin-up model. She writes in full: ‘Thursday. My dearest Cathy, thank you for your sweet little note, why of course of course I like you dear very much, you know that. If I seem a little neglectful at times its because I’m so busy I don’t seem to have any time to catch up on my correspondence, but I promise after this, I shall, do better, honestly I will. Jimmie arrived about three weeks ago and you can imagine how thrilled I was. I only wish he didn’t have to go back. Jimmie and I went up to Big Bear Lake for a week and had a grand time I hope you and Bud will be down soon because I would love for you both to meet him. I’ve been on leave of absence from Radioplane. I shall tell you all about it when I see you honey or I shall write to you later. I have so many things I have to do so I had better close for now but I shall write soon. Tell Bud Hello for me. Love, Norma Jeane.'”

UNSOLD

Vintage original 8 x 10 in. cast & crew photo from Marilyn’s first movie, Scudda Hoo! Scudda Hay! She is in the third row, just above leading lady June Haver. SOLD for $1,500

“Vintage original gelatin silver 7 x 8.75 in. double weight matte photograph, inscribed and signed in black ink at lower right, ‘To Grace and Daddy Always Lovingly Norma Jeane 12/25/46′. The ‘daddy’ to whom Norma Jeanne inscribed this early headshot is Erwin ‘Doc’ Goddard, a research engineer and the husband of Norma Jeanne’s legal guardian, Grace Goddard.  And sold separately, two oversize glamour portrait photographs of Marilyn Monroe in character as ‘Miss Caswell’ in All About Eve. The first is credit stamped by Ray Nolan with studio snipe, and the other, seen at right, attributed to Ed Clark.” [A poster for the film, signed by Bette Davis, Joseph Mankiewicz, and Celeste Holm, is being sold separately.]

Signed photo SOLD for $30,000; poster SOLD for $6,000.

Two vintage calendars including a 1950 wall calendar measuring 8.5 x 14.5 in., and featuring paintings by Earl Moran, six featuring Marilyn, alongside cute, risque poems like, ‘What are little girls made of? Sugar and spice, Perfume that smells nice, Jewels and furs, To attract attention, And other good things Too obvious to mention’, and a wall calendar featuring unique topless ‘cowgirl’ images of Marilyn not seen elsewhere. Sold separately, a 16 x 32 in. pin-up 1952 wall calendar titled, ‘The Lure of Lace‘. Featuring Marilyn Monroe in her famous Tom Kelley nude kneeling pose, but with a black lace teddy ‘overprint’.” 

UNSOLD

“Two original studio production 8 x 10 in. negatives of Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes, each modeling wardrobe by designer William Travilla. [Russell wore a blonde wig to impersonate Marilyn in a courtroom scene.] Each includes within image a ‘shot-board’ documentation of production, scene, and change numbers. Also included are two original wardrobe documentation green pages detailing costumes [Monroe page describes a different costume, for the opening ‘Little Rock’ number.] At some point in time a positive copy print of the Monroe negative was made for archive continuity, but is not original to the production.”

UNSOLD

“11 x 14 in. portrait by Ed Clark of Marilyn in the gold lame gown from Gentlemen Prefer Blondes for LIFE magazine. Signed in black ink on Marilyn’s skirt by the photographer, ‘Edmund Clark Life’.” 

SOLD for $300

“Photo of Marilyn at the Photoplay Awards in 1953, part of a 1750-image archive for celebrity snapper J.B. Scott. And sold separately, an award plaque presented to Marilyn by a County Fair ‘Sugar Queen’, engraved, ‘To the Sweetest Girl in Motion Pictures, Marilyn Monroe, 20th Century-Fox Films Star Presented by 1953 Yolo County Fair Sugar Queen’.” 

Photo archive SOLD for $95,000; award plaque UNSOLD.

“Elois Jenssen costume sketch for Lucille Ball as ‘Lucy Ricardo’ as ‘Marilyn Monroe’ from I Love Lucy. Elois Jenssen was Lucille Ball’s designer of choice, who is credited with creating the ‘Lucy Look’. This dress design was created for the I Love Lucy Episode: ‘Ricky’s Movie Offer’, which aired on Nov. 8th, 1954. In the episode, ‘Lucy’ transforms herself into Marilyn Monroe to try to win a role in Ricky’s (Desi Arnaz) new Hollywood film. This costume was then repurposed into a showgirl costume for two subsequent episodes.” [Elois Jenssen’s costume sketches for Marilyn in We’re Not Married are being sold separately.]

UNSOLD

“Ten 8 x 10 in. photographs of Marilyn Monroe in scenes from films, including the earliest title which depicts her on any of its publicity, Dangerous Years. Other highlights include Ladies of the Chorus, The Asphalt Jungle, Right Cross [to our knowledge, this still is the only original release paper to depict Marilyn], Let’s Make it Legal, and [shown above] Bus Stop.

SOLD for $225

“A set of fourteen 7 x 8.5 in. to 8 x 10 in. photographs, a mix of portraits, candids, and scenes, including stills from The Seven Year Itch and Let’s Make Love [at left] and a candid by Al Brack [at right], showing Marilyn on location for Bus Stop in Sun Valley, Idaho.”

UNSOLD

“Two exhibition photos signed by Marvin Scott, of Marilyn performing at a circus benefit in 1955; and sold separately, another set including this photo of Marilyn arriving at Los Angeles in 1958 for the filming of Some Like It Hot.

UNSOLD

“A candid photo taken by Milton Greene at Marilyn’s wedding to Arthur Miller; and sold separately, two address books from her estate, including typed and annotated entries for contacts including Actor’s Studio, Jack Benny, Eve Arden, George Cukor, Montgomery Clift, Jack Cardiff, Joe DiMaggio, Henry Fonda, John Huston, Hedda Hopper, Designers, makeup artists, Ben Gazzara, Gene Kelly, Jack Lemmon, Yves Montand, Arthur Miller, Robert Montgomery, Jane Russell, Jean Negulesco, Lee and Paula Strasberg, David Selznick, Carl Sandburg, Frank Sinatra, Eli Wallach, Shelley Winters, Clifford Odets, Peter Lawford, JAX, Richard Avedon, Louella Parsons, and more. Annotations not attributed to Monroe.”

UNSOLD

And finally, a set of nine photos from Marilyn’s last completed film, The Misfits (1961.) SOLD for $4,500

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Marilyn at Julien’s: In the Beginning

Goodman Basil Espy III, M.D. was “a true Southern gentleman.” He began collecting memorabilia for his beloved Georgia Tech, and sports in general. He was also a Marilyn Monroe fan, and his collection – which includes original photos and important documents plus key fashion items – enables us to review her life in a unique way. One of the auction’s four catalogues is devoted solely to Marilyn (you can order the entire set for $150 plus shipping here.)

Marilyn Southern Gentleman’s Collection will go under the hammer at Julien’s Auctions next Thursday, November 14. In the first of several posts, I look at items relating to Marilyn’s childhood and family background. (You can read all posts about this sale here.)

“An original print with a semi-gloss finish, depicting five young women in the 1920s standing in front of a Spanish-style building, Norma Jeane’s penciled annotation on the verso reading ‘Mother, second from End on Right / with her girl friends;’ also included are two other snapshots: another 1920s-era original print with a glossy finish, depicting Gladys Baker and two girlfriends, and a 1940s-era original print with a glossy finish, depicting a middle-aged Baker standing on a street in Reno, Nevada.” [Marilyn would later film The Misfits in Reno.]

SOLD for $768

“An original childhood snapshot with a glossy finish, depicting a six or seven year-old Norma Jeane crouching outside of someone’s house in rural-looking 1930s Los Angeles, a pre-printed decorative black border has an Olympic theme showing images of the Coliseum plus two bears displaying the initials ‘LA,’ thus seeming to date the photograph to 1932 or thereabouts. And sold separately, a set of two letters; the first a single page, now yellowed with age, typed, dated ‘December 4, 1935,’ sent to ‘Mrs. Dewey’ of the Los Angeles Orphans Home (later known as Hollygrove) by Grace Goddard, outlining how Goddard didn’t want Ida Bolender to see the 9 year-old Norma Jeane anymore ‘as her visits seem to upset the child,’ though Goddard does allow that many others can visit including ‘Elsie or Harvey Giffin, / Maude, George or Nell Atkinson, or her Aunt, Olive / Monroe, or Mrs. Martin, Olive’s Mother’ but poor Ida was banned; the second is a single page of letterhead from the Los Angeles Orphans Home Society, typed, dated ‘Dec. 6, 1935,’ Mrs. Dewey’s response to Goddard, reading in part ‘I’ll do as you request. We want to do all we can to / make Norma happy, and to please you’ — interesting documents illustrating some of the early childhood strife Norma Jeane went through.”

Photo SOLD for $2,187.50; letters SOLD for $2,812.50

“A group of seven though only one is annotated, original prints with a glossy finish, taken circa 1942-1944, four show a small house at 6707 Odessa Avenue in Van Nuys, CA, and three show its interior; one has Norma Jeane’s penciled annotation on the verso reading ‘6707 Odessa Ave / Van Nuys, Calif. / Where I lived when I first / ment [sic] Jimmy’ [Dougherty, her first husband]. Interestingly, this house was owned by Ana Lower, the paternal aunt of Grace Goddard, Gladys Baker’s best friend and on-and-off guardian of the child Norma Jeane. Grace seemed to use this house of her aunt’s as a temporary crash pad from time to time, such as in the early 1940s when she moved there with her third husband, ‘Doc’ Goddard, his children (including Eleanor ‘Bebe’ Goddard), and a teen-aged Norma Jeane Baker.”

SOLD for $1,000

“A set of two snapshots taken circa 1942-1944; the first depicts Ana Lower [Grace Goddard’s paternal aunt and sometime guardian of the child Norma Jeane] in front of the house she owned at 6707 Odessa Avenue in Van Nuys, CA, with Norma Jeanes penciled annotation on the verso reading ‘Aunt Ana;’ the second depicts Ana standing next to four others, NJs penciled annotation on the verso reading Taken at Aunt Alices & Uncle / Arts wedding / Aunt Ana, John, U. Art, A. Alice, Opal — interesting to see that NJ did have a family growing up, albeit a non-blood one. And, sold separately, a single sheet of onion skin paper, no date but circa 1944, penciled on the front and back with a number of tenets and quotes about the Christian Science religion such as ‘Thank God I’m not a mortal; / living in a material world subject / to a material law; But I am / an Immortal living in a spiritual / world subject to a spiritual law’ and the like, ending with ‘He who gets much out of Christian Sciences / puts much into it’ and ‘Am going to make a book on good / thoughts and helpful things in C.S.;’ likely an assignment for the young Norma Jeane from her ‘aunt’ Ana Lower who was a strict practitioner of the religion as was Monroe’s mother, as much as she could be.”

Photos SOLD for $437.50; Essay SOLD for $3,200

“A two pager on plain stationery, penned in blue fountain pen ink on both sides, addressed to ‘Dear Norm,’ dated ‘May 25, 1942,’ sent to a 15 year-old Norma Jeane from Grace Goddard’s step-daughter, Eleanor ‘Bebe’ Goddard, who had just moved to Virginia; Bebe blathers on about mundane goings-on but does mention NJ’s pending nuptials ‘…I know / that you’ll be very happy. I hope the / first one is a boy,’ and interestingly, she does mention a number of people the two young girls both knew such as Grace [Goddard, NJ’s mother’s best friend and her on-and-off childhood guardian], Enid [Knebelkamp, Grace’s sister], Sam [Knebelkamp, Enid’s second husband], ‘Daddy’ [Ervin Silliman Goddard aka ‘Doc,’ Grace’s third husband], Mrs. Dougherty [Ethel, NJ’s soon to be mother-in-law], and others such as Mrs. Watson, Bub, Diane, and Pat, ending with ‘give the Doughertys our love / Love / Bebe’ — a sweet letter to an unknown teenager who would become world famous less than a decade later.”

SOLD for $640

“A 12 page booklet titled ‘Our Wedding Day‘ noting a 1938 copyright date, on page 7 someone filled in the blank spaces in blue fountain pen ink that related to the event, noting the details ‘Nineteenth / June / 1942 / James Edward Dougherty / of Van Nuys / Norma Jeane Mortenesor [sic] / of Westwood / 432 South Bentley, Westwood / California,’ three witnesses’ names are evident but only one is legible: ‘Marion C. Dougherty,’ brother of the groom, and coincidentally with the same first name as Norma Jeane’s maternal uncle. And sold separately, a snapshot depicting James Dougherty wearing sweats, inscribed in blue fountain pen ink on the verso by his then wife ‘Jimmie in his gym / clothes, also these are the / work clothes of the Physical / Training Instructors. This was / taken at the Catalina Ball / Park where he works.’ (Both items are water damaged.)”

Photo SOLD for $640; wedding card SOLD for $2,812.50

A framed modelling photo of Norma Jeane by Andre De Dienes; and sold seperately, two love letters sent by Norma Jeane to Andre in 1946. The first is on a single page of stationery, no date but circa 1946, penciled on one side in full ‘Darling W.W. [Worry Wart, a nickname NJ gave to De Dienes], I’m writing today / I miss you. I love you with all / my heart and only you;’ and penned in blue fountain pen ink on the other in full ‘Dear Andre, / I’m not doing anything / much except just existing. / Darling there is absoltly [sic] / no one but you. Please / believe me. Absolutly [sic] / absolutely;’ most likely never sent as the then called Norma Jeane was figuring out how to spell the word ‘absolutely’ which she finally got on the last try. The second is penned in black and blue fountain pen ink, dated ‘June 4th, 1946‘ when Norma Jeane had just turned 20 years old, addressed to ‘My Dearest W.W.’ [Worry Wart – a nickname NJ gave to AD], reading in part ‘I’m so much in love with / you, Andre my darling…Don’t worry W.W. I’m being / a good girl. I wouldn’t for / the world be insincere toward / you… / all I / think about is Andre, Andre, / Andre. When will he ever get / here’ — a true love letter penned by a very smitten young girl,” seeming to prove De Dienes’ assertion that the two did indeed have a love affair.

Photo SOLD for $1,280; Letters SOLD for $2,187.50 and $5,625, respectively

Two telegrams and a love letter from Andre De Dienes, dated 1946-47; together with a snapshot of Norma Jeane and a man described as ‘possibly De Dienes’, but actually another photographer, Richard C. Miller. Sold separately, a 1946 model release form signed by Miller and Norma Jeane.

Correspondence SOLD for $750; model release form SOLD for $8,750

“A set of two letters from Jim Dougherty, then serving abroad in the Merchant Marines; the first on a single sheet of stationery, penned in blue fountain pen ink on both sides, dated ‘May 23, 1946,’ basically imploring his wife to write him, ending with ‘I get Mom’s letters O.K. but none / from you / …P.S. No Mail No Souvenirs,’ signed ‘Love / Jim;’ the second a birthday card probably from the same year as the letter, signed in black fountain pen ink ‘All my Love / Jimmie’ — little did poor Jimmie know he’d be divorced just four months later.”

Letters SOLD for $768

Handwritten letter from Norma Jeane to her half-sister Berniece, undated but from 1943; photo of Berniece with her husband Paris included. And sold separately, a single piece of plain paper, no date but July 1946 by postmark, penned in black fountain pen ink, a newsy letter from Berniece Miracle, sent to Norma Jeane (though Berniece leaves off the final ‘e’), reading in part ‘Your picture was in / the paper…I’m so / proud of you’ and ‘I was sorry to hear / about you & Jimmie,’ ending with ‘Tell Grace & Doc “hello”;’ with its original transmittal envelope addressed to ‘Norma Jean Dougherty’ at her ‘11348 Nebraska Ave’ address in Los Angeles but also addressed to her temporary Las Vegas address where she was staying during her divorce proceedings from James Dougherty.”

Norma Jeane’s letter SOLD for $12,500; Berniece’s letter SOLD for $1,125

“Two mysterious notes from Norma Jeane (or as she would soon be known, Marilyn), sold separately: firstly, a small gift card from Bullock’s Los Angeles, penned in black fountain pen ink, ‘Heres [sic] a little salt / for someone who is / “The salt of the earth” / Love, / Norma Jeane;’ included with its envelope but it’s not addressed so we’ll never know who NJ bought this gift for or what it was! By contrast, the second is a cryptic handwritten note, penciled on the front side ‘Do Not Call me / Neither on the Phone nor / in person do not want / to go into any explainations [sic] / this is absolutely final.’ — seems like she was breaking it off with some overzealous suitor, but who was it?”

Notes SOLD for $2,560 and $12,500, respectively

Four books, including three purchased in ‘an obscure Butterfield’s auction’, described as belonging to Norma Jeane and possibly passed on by family members: “1) Hammond’s Handy Atlas of the World by C.S. Hammond & Company, printed in 1933, signed in pencil on the front free end page ‘Hollywood, Cal. / Columbia Studio / Grace McKee / Dec. 29th 1933;’ 2) The Female Impersonators by Ralph Werther, printed in 1922, signed in green fountain pen ink on the front free end paper ‘Property of / John G. Eley M.D. / Fellow College of Phys / Physo-Gyn-Diseases;’ 3) Male and Female by Jack Woodford, printed in 1946; and 4) Illegitimate by Jack Woodford, printed in 1946, with dust jacket.” [John Eley was the bigamous third husband of Norma Jeane’s mother Gladys.]

SOLD for $2,500

“A group of eight pieces given to Norma Jeane during her childhood by her beloved guardian. ‘Aunt Ana’ Lower including: 1) a partial two page letter penned by Lower in blue fountain pen ink to ‘My darling,’ dated ‘June 1st 1947’ [NJ’s 21st birthday], reading in part ‘A girl needs a father, mine / was never a help, so you and / I are alike in that respect,’ last pages now missing; 2) a single sheet of paper with notes penciled by Grace Goddard [Lower’s niece] about the history of her friend’s [Gladys Baker, though she’s never mentioned] mental breakdowns from 1935 to the early 1950s; 3) a prayer card inscribed on the verso by Lower in blue fountain pen ink ‘To Norma Jeane / With love / Aunt Ana / June 10, 1940;’ 4) a 1947 Christian Science pamphlet; 5) a 1947 schedule for a Christian Science meeting; 6) two pages removed from a prayer book; 7) two of Ana Lower’s business cards plus an envelope flap printed with her name and famous address of ‘11348 Nebraska Avenue / West Los Angeles, 25, California;’ and 8) a 1943 newspaper clipping about Mary Pickford adopting a son. And sold separately, a letter from Gladys Baker, dated ‘May 30, 1948,’ addressed to ‘Grace and all’ [Goddard, Gladys’ best friend and Norma Jeane’s on-and-off guardian], a newsy yet somewhat sad letter written to her old friend, Gladys references how she’s in debt for the first time in her life and how she hates it, she further writes ‘…why didn’t / you let me know of / Aunt Ana’s passing away? / Didn’t you have my address? / Or what?!’, and then she briefly mentions her daughter as an afterthought (even though NJ’s 22nd birthday was just two days away) with ‘By the way how is / Norma Jeane getting / along(?)’ Gladys oddly signs off as ‘Gladys V. Baker’ as if Grace wouldn’t know who she was if she had just written her first name; included with its original transmittal envelope addressed to Grace at her Van Nuys address and coincidentally with a postmark of ‘June 1, 1948.'”

Anna’s correspondence SOLD for $896; Gladys’ letter SOLD for $768

“A single page of small lined notebook paper, with penciled scribblings by Marilyn, reading in full ‘We can only / merge spiritually / never physically – no matter / contact your partner / focus your look / your thought on the partner;’ evidently some musings on her religion; also included is a small black and white cheesecake photograph of MM.”

SOLD for $576

“A small group of seven items all sent to Norma Jeane/Marilyn ranging in date from the mid-1940s to about 1952, though sadly all are severely water damaged; including: 1) a two page letter handwritten in blue fountain pen ink from her half-sister Berniece Miracle; 2) a birthday card also from her sister; 3) a black and white snapshot of Berniece and her daughter, Mona Rae; 4) a black and white snapshot of Berniece and her husband, Paris Miracle; 5) a black and white snapshot of a good-looking young man; 6) a completely damaged black and white snapshot with a partial inscription on the verso reading in part ‘Bill;’ and 7) an early 1947 fan letter sent to MM at 20th Century Fox from someone in Italy.”

SOLD for $384

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Letters to Marilyn at Bonham’s

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

Letters from Uncle Art and Aunt Allis, 1938-39

“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.'”

Family photo, 1946: with Berniece Miracle and daughter Mona Rae; Grace Goddard; Marilyn and Ana Lower; and Marilyn’s mother Gladys

Letters from Ana Lower, 1942-46

“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.'”

Letters from Ana Lower to Jim Dougherty, 1943-45

“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.'”

Letter from Gladys Baker, 1945

“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.”

Norma Jeane with husband Jim Dougherty, 1946

Letters from Ana Lower, 1946

“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.'”

Letter from Grace Goddard, 1946

“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.'”

Letters from Grace Goddard, 1946

“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.'”

Letter from Len Cormier, 1947

“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.'”

Holiday cards from Ana Lower, 1941-47

“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.'”

Letters from Howard Keel (‘Harry’), 1947-48

“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.'”

Letter from Ana Lower to Berniece Miracle, 1948

“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.”

Letters from Joe Schenck, 1948

“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!”

Marilyn as Dolly Madison, 1948

Letter from Gordon Provonsha, 1948

“Provonsha was a commercial artist who painted a portrait of Monroe for a Dolly Madison wine advertisement during her modeling days.”

Telegrams from Elia Kazan, 1951

“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.'”

Letters from Sid Ross, 1952

“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.”

Correspondence Regarding Gladys Baker, 1935-52 

“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.

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Marilyn at Julien’s: Childhood and Family

Norma Jeane as a young model, photographed by Andre de Dienes

In the first of a new series, I’m looking at items from the upcoming auction at Julien’s relating to Marilyn’s family and her early life as Norma Jeane. This photo shows her mother Gladys as a child with brother Marion.

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He would later accompany Gladys and her baby daughter on a trip to a Los Angeles beach. However, Marion disappeared sometime afterwards, and was never heard of again. Norma Jeane would live with his wife and children for a few months after Gladys was committed to a psychiatric hospital.

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Between the ages of nine to twelve, Norma Jeane collected stamps. The fact that she kept hold of the album until she died suggests it brought back calmer memories of what was often an unsettled childhood.

Ana Lower was the aunt of Grace Goddard, who had become Norma Jeane’s legal guardian after Gladys fell ill. Norma Jeane lived with Ana, a devout Christian Scientist, for two years. By then Ana was in her fifties, but this photo shows her as a younger woman.

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Marilyn considered Ana to be one of the most important influences in her life. This letter, written while Norma Jeane was visiting her half-sister for the first time, shows that the affection was mutual.

“My precious Girl,” Ana wrote, “You are outward bound on a happy journey. May each moment of its joyous expectations be filled to the brim. New places, faces and experiences await you. You will meet them all with your usual sweetness and loving courtesy. When you see your sister you will truly both receive a blessing.”

These photos of Marilyn’s first husband, James Dougherty, were found behind the portrait of Ana. He is wearing his Merchant Marine’s uniform.

By the late 1940s, Gladys had been released from hospital, but her condition quickly deteriorated.  She suffered from severe delusions, and disapproved of Norma Jeane’s ambition to act. However, there were still tender moments between mother and daughter, as this card from Gladys reveals.

“Dear One,” she wrote, “I am very grateful for all the kindness you’ve shown me and as a Loving Christian Scientist (my pencil broke) I hope our God will let me return some goodness to you with out doing myself any harm. For I know good is reflected in goodness, the same as Love is reflected in Love. As a Christian Scientist I remain very truly your Mother.”

As Marilyn’s fame grew, she tried her best to shield family members from unwanted publicity. Grace Goddard, who had retained guardianship of Gladys throughout her long illness, wrote an anxious letter to Marilyn in August 1953. Gladys had recently been admitted to a private rest-home, and Marilyn would pay for her mother’s care until she died.

“Such a burden for a delicate little girl like you to hear,” Grace wrote. Marilyn, then filming River of No Return in Canada, sent her money transfer for $600. Grace, who had cancer, passed away weeks later.

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Alan Young 1919-2016

Alan Young, who played Wilbur Post on Mister Ed – the classic 1960s TV sitcom about a talking horse – has died aged 96 at the Motion Picture and Television Home in Woodland Hills, California, reports The Guardian.

Born in Northumberland to Scottish parents in 1919, Young emigrated to Canada as a child. During his high school years he hosted a CBC radio show. He married in 1940 and had two children, before moving to New York in 1944, where he began hosting The Alan Young Show on NBC Radio.

In December 1946, the now-divorced Young met a young Marilyn Monroe when she promoted his show in highland dress on a Rose Bowl float in Los Angeles. They later went on two dates, as he recalled in a 2012 interview with Scotland’s Daily Record.

Alan Young (left) with Marilyn in 1946

He was also interviewed by Michelle Morgan, author of Marilyn Monroe: Private and Undisclosed. He remembered taking her to the Brown Derby club after the parade; but as neither of them liked alcohol, they decided to go elsewhere and sip cocoa instead. “She seemed like a frightened rabbit at first,” he said, “and I didn’t realise she had been raised without parents. I really liked her.”

On their first date, Young picked her up from the house where she was living with family friend Ana Lower. He remembered that Ana seemed ‘suspicious’ of his intentions. Norma Jeane (as she still called herself then) explained that Ana was a devout Christian Scientist – a faith she and Alan also shared.

Their second date ended in disaster, as Alan tried to kiss Norma Jeane as she was turning her head away, and ended up kissing her ear instead. “I was so embarrassed about it that I never phoned her again,” he admitted.

He made his screen debut in Margie (1946), at Marilyn’s home studio of Twentieth Century Fox, and later appeared alongside Clifton Webb in Mr Belvedere Goes to College (1949.) He married Virginia McCurdy in 1948, and they had two children. In 1950, The Alan Young Show moved to television.

By the early 1950s, Marilyn was also a major star. “I was working at the studio when a blonde girl rushed up and yelled ‘Alan!'” he told Michelle Morgan. “She kissed me and asked about my parents and asked me to give her a call. After she had gone the make-up man asked how long I’d known Marilyn Monroe and I answered, ‘About two minutes!’ That was the last time I ever saw her.”

In 1955, Young would star opposite Jane Russell in Gentlemen Marry Brunettes, a sequel to  Monroe’s 1953 smash hit, Gentlemen Prefer Blondes. After Marilyn declined to reprise her role, Jeanne Crain took her place as Lorelei Lee. He later starred in the classic sci-fi movie, The Time Machine (1960.)

Young’s most famous role, in TV’s Mister Ed, began in 1961 and ran for five years. Afterwards, he continued making guest appearances in numerous television shows, movies and as a voice actor for cartoons and video games.

After nearly fifty years together, Young and McCurdy were divorced in 1995. He married Mary Chipman shortly afterwards, but they divorced two years later. He returned to the stage in a 2001 revival of Show Boat, and his final credit was in 2015, as the voice of Scrooge McDuck in a series of Mickey Mouse shorts.

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‘Marilyn Forever’: The Critics’ Verdict

The Long Beach premiere of Gavin Bryars’ opera, Marilyn Forever, has attracted a lot of media coverage. Poet Marilyn Bowering, who wrote the libretto, spoke to the Hollywood Reporter:

“Back in the late-1980s, Bowering was approached by a TV producer, who also happened to be named Marilyn, about collaborating on an unspecified project. Nothing ever came of it until the producer finally said, ‘My name’s Marilyn. Your name’s Marilyn. What about Marilyn Monroe?’ Out of that partnership came Anyone Can See I Love You, a series of Monroe’s interior monologues dramatized for BBC Radio and later reworked as a collection of poems.

Apart from being blessed with acting talent and ethereal beauty, Monroe had an intangible quality that made an indelible mark on the popular psyche. Bowering thinks it may have to do with a period in her adolescence spent living with her aunt Ana Lower, who introduced Monroe to the Church of Christian Science, where she remained a follower for eight years.

‘That teaching, which kind of puts you in charge of how you see the world and the world is made of love, had a real influence on her and made her this unusual person who didn’t seem to feel guilt about her sexuality,’ says Bowering. ‘It fed into this kind of idealism about love. There was an absolute kind of love, which would never be achievable and would turn out disastrously in real life, but there’s a sense she was always searching for these kind of ideals.’

Drawing on his early days as a jazz bassist, Bryars (who will sit in on bass for the March 21 performance) incorporates mid-century jazz melodies in his opera, sometimes referencing pop songs of the era. ‘Marilyn was a product of popular film and music,’ says Bryars about creating what director Andreas Mitisek calls ‘a meta-world reflecting on her life, career and relationships.’

‘My initial take is that’s really interesting,’ says Bowering about director Mitisek’s novel approach. ‘I think the whole process has just reminded me of the essential aspects of it, the bits. That’s poetry basically, the things that deal with human emotions. That is really what matters. And a lot of the other stuff, in any art form but particularly mine, can fall away and it doesn’t matter. But these things, which really are about how people feel, are all that matters.'”

Writing for the Long Beach Press Telegram, Timothy Mangan described the production in detail:

“The production and direction is by the company’s artistic director, Andreas Mitisek, and he took the liberty of dividing the lead role, Monroe, in two. Thus, we get a Marilyn in her bedroom, drinking, taking pills, recalling her life on one side of the stage, and a ‘public’ Marilyn, re-enacting those memories on the other. A single male role, Rehearsal Director, transforms into her several lovers (including Arthur Miller and Joe DiMaggio, though they are never named). A male duo, the Tritones, serves as chorus, commenting (sparingly) on the action.

Mitisek added live video, as well as some documentary footage, to the mix, all projected on scrims draped across the stage, creating an effective dream world. The division of Monroe worked well enough, but may not have been necessary. The part doesn’t always seem clearly split between the public and private character.

At any rate, soprano Danielle Marcelle Bond played the more private Monroe in a recognizable way, sensuous, nervous, making love to the camera. She sang sumptuously, expressively. Jamie Chamberlin gave the public Monroe a nice star-struck vulnerability, in shimmering tones, comfortable with the jazz. Lee Gregory sang the male parts with a fresh eloquence. Robert Norman and Adrian Rosales were the capable Tritones.”

Mark Swed reviewed Marilyn Forever for the Los Angeles Times:

“Live video projected large did help make each Marilyn more present, but the video also amplified the contrast between standard-issue upbeat and downbeat doppelgäangers. Watching the 80-minute performance, I kept thinking that the operatic Marilyn was given exactly the kind of typecasting that the real Monroe was trying to escape.

But Bryars’ score is her exit route…Bryars’ eloquent score has an overriding melancholic quality with an effortless flow between onstage jazz and the more symphonic style of the pit band. Vocal lines are all flowing melody, mostly unresolved. Period-style pop songs in the style that Marilyn might have sung emerge in and out of the general musical material, as though moods of Marilyn, although Bowering’s pop lyrics miss the Tin Pan Alley zing by a mile.

The maudlin Marilyn here dims the light of the bright Marilyn. The true Marilyn was both, and her allure wasn’t, as it feels with this text and this staging, mimickry. With the help of Bryars’ bluesy wonder, very good singing throughout and Bill Linwood’s expert conducting, Marilyn struggles to come alive. Just as she did so sadly, yet so wondrously, in real life.”

Writing for L.A. Weekly, Christian Hertzog was more critical:

“Marilyn Forever sounds like the title of a campy revue at the Cavern Club, but Long Beach Opera’s production at the Warner Grand Theatre in San Pedro is a morose meditation on stardom, sex and self-destruction.

Unfortunately, this U.S. premiere never comes together. Is it the fault of Marilyn Bowering’s vague libretto, a jumble of half-factual, half-imagined episodes from Monroe’s life? Could it be 80 nonstop minutes of Gavin Bryars’ brooding, amorphous music? Is it director Andreas Mitisek’s unclear telling of the story, or his bizarre decision to split the role of Marilyn between two singers?

Bowering’s libretto is a memory play. Monroe lies dying on her bed, incidents from her life oozing through the barbiturate fog — a late arrival at a studio, an inability to sing (or act?), a boudoir scene with a man (possibly Arthur Miller), a mysterious booty call.

Is the libretto too ambiguous for its own good, or does it have latent possibilities for creative staging? Hard to tell here, as Mitisek’s design and direction either disregarded the libretto’s instructions or did a poor job rendering them comprehensible.

Mitisek divides the single role of Marilyn into two separate parts: overdose-suicide Marilyn (portrayed by Danielle Marcelle Bond) and past-memories Marilyn (Jamie Chamberlin). This drains the lead part of its bipolar showmanship. The role should spotlight a singer’s acting skills as she bounces back and forth from woozy, dying Marilyn to sex symbol or troubled wife.

The libretto uses familiar iconography: Monroe as an insecure woman whose radiant sexuality blinded men to her other traits. Bryars gives Marilyn’s part no compelling melodies, and the musical differentiation between her dying and lively personas is too subtle. To do justice to this character requires a singer with a dazzling, oversized voice and a magnetic stage presence.

Chamberlin possessed a firm, focused voice, but there was no brilliance to it. Her acting didn’t exaggerate enough the feminine qualities of Marilyn, winding up a mere simulacrum of Marilyn’s potency instead.

Bond’s voice had a bit more oomph, and she sold us on the pathetic, fading Marilyn, but it’s unclear if she could shift dramatically and vocally into the powerful movie star, if she were to one day inhabit the full role.”