An archive of over 200 negatives taken during filming of Niagara by Canadian photographer Jock Carroll in 1952 has been sold with copyright for $61,866.25 at RR Auctions. Also in the Fine Autographs and Artifacts (Entertainment) sale, a December 1961 letter from Marilyn to Lee Strasberg was sold for $18,750 – more on the auction here.
An archive containing more than 200 negatives from the filming of Niagara, part of the late photographer Jock Carroll’s estate, are will go under the virtual hammer this Wednesday, March 4th, at RR Auctions (with copyright), TMZ reports. Bidding starts at $10,000, but the online auctioneers hope it will sell for much more.
Carroll’s stunning book about the shoot, Falling For Marilyn, was posthumously published in 1996 and includes his interviews with Marilyn. His novel, The Shy Photographer (1964), is also said to have been inspired by this memorable encounter. (You can view more of Carroll’s photos here.)
A number of other Monroe-related items will be auctioned, including her December 1961 letter to Lee Strasberg detailing her unrealised plans to expand the Actors Studio and Marilyn Monroe Productions.
“The pics — 227 total, 198 of which depict Marilyn — were snapped by Canadian journalist and photog Jock Carroll in 1952, while she was preparing for her first top billing as Rose Loomis in the noir thriller.
The set of photos is mostly comprised of black-and-white negatives but includes some color positive transparencies. And, along with shots of Monroe, there are several of the sets, scenery and of course … Niagara Falls.
The negatives could become much more than just a collector’s item too … because they include the copyright to the images. Carroll signed the rights over to his son [Angus Carroll] before he died, and the son will grant them to the buyer.
This means the highest bidder at the auction will have the right to print and even sell copies from the negatives, which could lead to big bucks. Commercial use requires permission from Monroe’s estate, however.”
UPDATE: The Josh Carroll archive has been sold for $61,866.25 – more details on the auction here.
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
Film historian Rudy Behlmer has died aged 92, Variety reports.
“Behlmer was among the most widely respected historians of Golden Age Hollywood, in part because of his insistence upon researching ‘primary source material’ and not relying on faulty memories or exaggerated press accounts of the time.
Memo From David O. Selznick, which Behlmer edited from thousands of Selznick’s private letters, telegrams and memoranda, was a best seller in 1972. Behlmer first interviewed the Gone With the Wind producer for a 1963 article for Films in Review, one of dozens of magazine pieces he wrote over the decades.
Other books followed: Hollywood’s Hollywood: The Movies About the Movies (with co-author Tony Thomas, 1975), Inside Warner Bros. 1935-1951 (1985), Behind the Scenes: The Making Of… (1989) and Memo from Darryl F. Zanuck (1993).
But essays and journalism were only part of Behlmer’s life. He enjoyed a lively and successful career in television and advertising throughout the 1950s and ’60s … He was director on ABC’s Ray Anthony Show, featuring the big-band leader and his orchestra, during the 1956-57 season, and served as executive producer and director for KCOP from 1960 to 1963, overseeing various shows including his own Movies’ Golden Age. “
In Memo From Darryl F. Zanuck: The Golden Years at Twentieth Century Fox, which is still in print after a quarter of a century, Behlmer offered insights into Marilyn’s prickly relationship with her studio boss, including this letter he sent to her North Crescent Drive address in December 1951, regarding her leading role in Don’t Bother to Knock and her insistence on having her dramatic coach Natasha Lytess on the set. (This was a battle Zanuck ultimately lost: Natasha continued working with Marilyn – much to the annoyance of her co-workers – until she was replaced by Paula Strasberg in 1956.)
“… I think you are capable of playing this role without the help of anyone but the director and yourself. You have built up a Svengali and if you are going to progress with your career and become as important talent-wise as you have publicity-wise then you must destroy this Svengali before it destroys you. When I cast you for the role I cast you as an individual …”
This memo from September 1952 reveals Zanuck’s vision for Gentlemen Prefer Blondes, in which Marilyn would play Lorelei to Jane Russell’s Dorothy – making clear that he recognised how crucial their friendship was to the movie. (This memo was addressed to producer Sol Siegel, director Howard Hawks and writer Charles Lederer.)
“There are two things which I consider vital to the telling of the story, and which I want to emphasise in the script. These are (1) The love story between Dorothy and Malone [Elliott Reid]; (2) Dorothy’s genuine affection for Lorelei.
This is not a satire. It is a solid and honest comedy … We must be completely sold on Dorothy’s love for Malone, or we won’t be able to accept her taking him back. And we must be sold on her real affection for Lorelei or we won’t be able to understand her sticking her neck out for her in the courtroom scene.
In order to accomplish these two things we must be willing, if necessary, to sacrifice comedy in these particular scenes …”
In March 1953, Zanuck contacted writer Nunnally Johnson, director Jean Negulesco and others involved with How to Marry a Millionaire, to express his satisfaction at how CinemaScope technology was enhancing the movie.
“… Almost in all instances the composition has been vastly improved over previous material. The full figure shot of [Lauren] Bacall on the bed and the big closeup filling the screen of Monroe were unique examples of the new medium.
I am still opposed to too much camera movement. I fully believe that while we have to occasionally move the camera we should put the emphasis on moving the actors …”
In 1954, Zanuck mooted the idea of a torrid biblical epic, The Queen of Sheba. It was never made, although United Artists would later produce Solomon and Sheba, starring Gina Lollobrigida.
“In a nutshell, this should be the story of a glamorous but evil temptress … As you know, confidentially, I have even flirted with the idea of Marilyn Monroe as Sheba. I think it might be one of the biggest box-office combinations of all time …”
And in 1955, Zanuck revealed that he had been offered I’ll Cry Tomorrow, the sensational biopic about alcoholic singer Lillian Roth, as a potential vehicle for Marilyn (then involved in a contractual dispute with Fox.) After Zanuck passed on it, the film was produced at MGM.
“This is a very interesting, solid, downbeat story and, while it has an outstanding performance by Susan Hayward, I considered it to be overrated … We turned down I’ll Cry Tomorrow, frankly because we were all afraid of the subject matter and of the fact that Lillian Roth was not a really famous personality. [Producer Julian] Blaustein wanted it but only if he could get Marilyn Monroe for the role …”
Zanuck left Fox to become an independent producer in 1956. By the time he returned in 1962, the studio was fighting bankruptcy. Reportedly, it was Zanuck who argued for Marilyn to be re-hired for Something’s Got to Give, although she would pass away before her final studio battle was concluded.
In 1960, columnist Hedda Hopper asked Zanuck why he had left Hollywood. His response makes it clear that he had anticipated the demise of the studio system…
“I just got well fed up with being an executive and no longer being a producer. That’s what the job became. Actors are now directing, writing, producing. Actors have taken over Hollywood completely with their agents. They want approval of everything … scripts, stars, still pictures. The producer hasn’t got a chance to exercise any authority! … What the hell, I’m not going to work with them!”
Letters From Hollywood: Inside the Private World of Classic American Film-Making – compiled and edited by Rocky Lang and Barbara Hall, with an introduction by Peter Bogdanovich – is the latest coffee table book from Abrams, the publisher who brought us MM – Personal and more recently, Hollywood Book Club. Marilyn’s own correspondence isn’t included (although she was featured in another anthology, Dear Los Angeles.)
However, Letters From Hollywood does include a reference to the night in 1956 when Marilyn met Queen Elizabeth II in a letter from Joan Crawford, also present at the London gala. Clearly Joan hadn’t changed her opinion of Marilyn’s revealing attire since publicly slating her in 1953 (see here.) And once again, her censorious tone does seem rather hypocritical – maybe she was triggered by Marilyn’s gold lamé…
“The book includes her handwritten 1956 note to Hollywood biographer and novelist Jane Kesner Ardmore about a royal premiere in London. After gushing about meeting Queen Elizabeth, Crawford included a few jabs at sex symbols Marilyn Monroe and Anita Ekberg.Los Angeles Times
‘I was presented to the Queen last night — nearly died of excitement and fear,’ Crawford wrote. ‘Of course, I was not too happy about being presented with that group of people representing the Motion Picture Industry, such as Marilyn you-know-who, and Anita Ekberg. Incidentally, Marilyn and Anita were howled at because of their tight dresses — they could not walk off the stage. It was most embarrassing.'”
Surprisingly, Marilyn’s 1961 letter to Lee Strasberg failed to reach the $20,000 estimate at the RR Auctions Hollywood sale on Thursday, May 23. A Marilyn-owned black velvet belt, possibly worn in As Young As You Feel, sold for $7,837.50; while her copy of Something To Live By, a self-help book by Dorothea S. Kopplin, fetched $7,730. You can find out more about the winning Marilyn-related lots here; and the full list is over here.
Dear Los Angeles: Letters and Diaries 1542-2017, edited by David Kipen, is a new anthology featuring two missives from Marilyn herself among its assorted diary entries and correspondence. The first – dated February 2nd, 1962 – is extracted from a letter to her stepson, Bobby Miller, recounting her meeting with the Attorney General, Robert F. Kennedy during a dinner party at Peter Lawford’s home. (You can read it in full by clicking on the images below.)
The second – which she wrote just over two weeks later, on February 17 – is a brief note to the German Consul, Mr. Volkmar von Fuehlsdorff.
Marilyn was also mentioned by director Elia Kazan (her friend and former lover) in a tongue-in-cheek letter dated July 27, 1955. It’s unclear who Kazan was addressing, but his words are clearly in jest (Marilyn was in New York at the time.)
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.
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