Norma Jeane poses here with another of her early photographers, Joseph Jasgur (includes his later inscription to a fan.)
SOLD for $1,024
“Original pages from Andre de Dienes’ manuscript that were used 17 years later to create Hollywood, the small soft cover book (with the black elastic band) included with the Taschen box set, Marilyn; approximately 180 pages, the document is typed with De Dienes’ black fountain pen, felt-tip, or ballpoint ink annotations throughout, exactly as they appeared in the miniaturized version that was released to the public; of particular interest are all the original print black and white photographs of Monroe that De Dienes glued to these pages as well as magazine cut-outs and other photographs he used to ‘decorate’ his manuscript; his black ink credit stamps can be seen on the versos of most of the photographs if the pages are held up to the light; frustratingly, the document starts with page 157 (just like the black booklet does) as this was all that was found after De Dienes’ death in 1985.”
SOLD for $3,200
“A standard design parasol made of crème-colored nylon with a wooden hook handle; used by the then-called Norma Jeane in 1949 when Andre De Dienes took photographs of her at Jones Beach and at Tobey Beach on Long Island in New York; saved by the photographer for the rest of his life.”
A candid snapshot of Marilyn holding a cocker spaniel on the Fox parking lot during her 1953 photo shoot with Alfred Eisenstadt for LIFE magazine.
Photo set SOLD for $896
“A collection of 6 color transparencies and 7 black and white negatives, all originals, all depicting Marilyn wearing her red bathing suit from the 1953 20th Century Fox film, How to Marry a Millionaire; shot at Harold Lloyd’s ‘Greenacres’ Beverly Hills home by the Air Force photographer Harold Davidson, who was likely working on the odd PSA commercial Marilyn filmed there where she purrs ‘I hate a careless man.'”
SOLD for $5,000
Framed print from Marilyn’s 1956 ‘Black Sitting‘ with photographer Milton Greene.
SOLD for $768
“An original Cecil Beaton print with a matte finish, depicting Marilyn in 1956 as she lays against a Japanese print holding a flower, mounted to a mat board which is signed by Beaton in red pencil in the lower right corner … according to MM lore, this was her favorite photograph …”
Founded in 1969, Andy Warhol’s Interview was the magazine to be seen in for nearly forty years. Although it ceased publication last year, Interview still has an online presence and earlier this week, a snippet from the past was discovered.
“As a notable admirer of Marilyn Monroe’s, Andy Warhol was sure to get some of the juiciest gossip in his celebrity circle. While he was still Editor-in-Chief of Interview, alongside Paul Morissey and Fred Hughes, he buried a drama bomb of information in the ‘Small Talk’ section of the June 1973 issue involving Marlene Dietrich and M.M herself. However, not one of the contributing editors took credit for the gossip; they instead chose to keep the source anonymous … According to the ‘Small Talk’ column, Dietrich attended a screening of one of Monroe’s earlier films and talked through every one of her scenes, mumbling: ‘So this is what they want now. This is what they call sexy.'”
Eve Arnold, who photographed Marlene at work in a recording studio for Esquire magazine in 1952, recalled that when she later met Marilyn, the subject of Dietrich came up: “Marilyn asked – with that mixture of naïveté and self-promotion that was uniquely hers – ‘If you could do that well with Marlene, can you imagine what you could do with me?'”
Another photographer who worked with Dietrich was Milton Greene, who later became Marilyn’s business partner. In 1955, he invited Marlene to a New York press conference to announce the formation of their new company, Marilyn Monroe Productions.
Like all stars (Marilyn included), Dietrich was naturally competitive. But although she may have briefly ‘thrown shade’ in Marilyn’s direction – to use a term that didn’t exist back then – there’s no sign of any rancour between them in these photographs.
In 1957, Marilyn was offered the lead role in a remake of The Blue Angel, which had made Marlene a global star many years before. That never came to pass, but a year later, Marilyn would recreate the character in her ‘Fabled Enchantresses’ photo session with Richard Avedon, although out of respect for Dietrich, she later asked the photographer to withdraw the images and they were not made public until long after Marilyn died.
Marilyn would take a leaf out of Marlene’s playbook again in 1962, asking costumer Jean Louis to recreate the beaded ‘nude’ dress he had made for Dietrich to wear during nightclub performances. Monroe’s version became immortalised that May, when she sang ‘Happy Birthday Mr President’ to John F. Kennedy at Madison Square Garden.
Whatever Marlene’s initial thoughts on Marilyn may have been, she would remember her admiringly, writing in her 1987 memoir: “Marilyn Monroe was an authentic sex symbol, because not only was she ‘sexy’ by nature but she also liked being one – and she showed it.”
Diahann Carroll, the pioneering African-American singer and actress, has died aged 84 after a long battle with cancer. She was born in the Bronx, and studied at the LaGuardia High School for Music and Arts before modelling for Ebony magazine at fifteen. She later attended New York University, majoring in sociology.
At eighteen, she got her big break as a contestant on TV’s Chance of a Lifetime, where her performance of Rodgers and Hammerstein’s ‘Why Was I Born’ began a four-week victory lap. She then worked as a nightclub singer, making her film debut opposite Dorothy Dandridge in Carmen Jones (1954.) She later appeared in Paris Blues (1961), a jazz film produced by photographer Sam Shaw. Originally offered to Marlon Brando and Marilyn Monroe, the lead roles were played by Paul Newman and his wife Joanne Woodward.
In 1962, Diahann was part of the all-star line-up performing at Madison Square Garden in a birthday tribute to President John F. Kennedy. She met Marilyn backstage, and also sang for guests at the gala’s after-party. (In 2016, Diahann would host an opening party for Some Like It Hot, an exhibition featuring Milton Greene’s photos of Marilyn.)
“‘It was a very exciting night. Everybody in the world was there,’ Diahann remembered. ‘Marilyn was hysterical, but very good. It was good to watch her at work. I think we all enjoyed it.’ As for Kennedy, ‘he was extremely pleasant,’ she said. ‘He was a very entitled human being, but you had to forgive him for that.’
Diahann Carroll was previously interviewed by J. Randy Taraborrelli for his 2009 book, The Secret Lives of Marilyn Monroe, telling him of her first encounter with MM in 1960, while singing at the Mocambo Club in Los Angeles.
Diahann was then pregnant with her daughter Suzanne, and knew of Marilyn’s struggle to have children. “I took her hand and put it on my stomach and said, ‘You pat right there, sweetheart, and say a prayer and a wish, and I hope with all my heart that your dream comes true.’ She looked at me with tears in her eye, and said, ‘Oh, I do, too. I do, too.’”
They met again in Mac Krim’s apartment in 1962. ‘It’s certainly her beauty I remember most,’ she told Taraborrelli. ‘As I sang, I distinctly remember being somewhat distracted by her gaze. Her tragic beauty, so vulnerable … so lost.’”
In 1969, Diahann won a Golden Globe for her role as a widowed nurse in Julia, a television sitcom which ran for three seasons. Back on the big screen, she would earn an Oscar nomination for the romantic comedy Claudine (1974), playing a struggling single mother.
Her later TV roles included the glamorous Dominique Devereaux on TV’s Dynasty and its spin-off, The Colbys. She joined an all-black cast in the acclaimed Eve’s Bayou (1997), and recreated Gloria Swanson’s role as fading star Norma Desmond in a Canadian production of Andrew Lloyd-Webber’s stage musical based on Billy Wilder’s Sunset Boulevard.
Her four husbands included singer Vic Damone, and she was also romantically linked to Sidney Poitier and David Frost. She was a founding member of the Celebrity Action Council, a volunteer group serving vulnerable women in Los Angeles.
A final post (for now) on the Julien’s Legends series, in advance of the auction on June 13-14. As well as Marilyn’s bathrobe from How to Marry a Millionaire (see here) her costume from A Ticket to Tomahawk (1950) is also on offer. She wore it to perform ‘Oh, What A Forward Young Man You Are’ with Dan Dailey and her fellow chorines.
As well as an archive of material by Manfred ‘Linus’ Kreiner (see here), several other photographers are also represented.
UPDATE: I have now added the final bids for each item.
“A group of seven color slides, all showing Marilyn performing for U.S. troops in Korea in 1954. Four slides show Monroe wearing a purple spaghetti-strapped dress on stage, three show her wearing a bomber jacket and pants in the camp, and one has a further handwritten annotation in black fountain pen ink reading in part ‘6 Feb 54 – A little/ closer this time.'” (SOLD for $448)
“An original clipping from a Mexican newspaper detailing Marilyn’s visit to the National Institute for the Protection of Children on March 1, 1962, and her donation of $1,000.00 to the institute. Also included is a document translating the article, reading in part, ‘The American actress Marilyn Monroe yesterday visited the National Institute for the Protection of Children where she greeted the president of that organization, Mrs. Eva Samano de Lopez Mateos, to whom she gave 12,500 pesos – one thousand dollars – for the needy children.'” (SOLD for $768)
“An unsigned carbon-copy of a letter, likely from May Reis, Marilyn Monroe’s secretary, to hairdresser Kenneth, dated July 16, 1958. The letter reads in part, ‘Thank you for sending on Miss Monroe’s chignon but I am sorry it has not turned out as she had ordered it so it is being returned to you under separate cover.'” (SOLD for $192)
“A one-page handwritten letter from press agent Patricia Newcomb to Marilyn, dated June 2, 1956. The letter reads in part, ‘Enclosed is a copy of your eye perscription (sic) which I got this morning from Lee Seigel. I am also sending you another bottle, in case you might be running short.’ Also, ‘I mailed your records and hair dryer today, so they should arrive by the end of the week.'” (SOLD for $1,125)
“A one-page typed letter to Marilyn from Nunnally Johnson, dated February 1, no year specified (but probably sent after their 1962 meeting at the Beverly Hills Hotel, to discuss Something’s Got to Give.) The letter reads in part, ‘This is to put it on paper that I’ve rarely had a merrier evening. There’s no question about it, the only way to discuss business is over a bottle or two of champagne, with occasional reflections on sex to keep everything in balance. And if ever the occasion rises you may cite me as a bloke who also likes to sit and talk with you.’ The letter is hand-signed. A well-known screenwriter, Johnson worked on a number of projects related to Monroe, including We’re Not Married, and How to Marry a Millionaire.” (SOLD for $2,240)
“Two letters from the Actors’ Studio, dated January 10 and 12, 1961, regarding the Actors’ Studio Benefit scheduled for March 13, 1961. The January 10 letter announces, ‘Marilyn Monroe will be one of the stars who will draw the lucky tickets for our door prizes and for the Dance Contests.’ The letter is signed by Lee Strasberg, Cheryl Crawford and Elia Kazan (facsimile signatures). The second letter, sent by the benefit’s coordinator, asks Marilyn if it would be possible to take a photo of her wearing a fur coat that will be raffled as a door prize. The letter further requests that Marilyn write to executives at United Artists asking them to reserve tables at the event.” (SOLD for $768)
“Three letters, all dated in January of 1961, referencing possible film projects for Marilyn’s consideration. The January 3 letter from George Chasin is on MCA letterhead and references Touch of Mink, written by Stanley Shapiro (later filmed with Doris Day.) The January 26 letter, also on MCA letterhead, references a screenplay entitled The Notorious Lady, and is signed by Marvin Birdt with a copy to Chasin (later filmed with Kim Novak as The Notorious Landlady.) The January 31 letter is on Twentieth Century-Fox Film Corporation letterhead and references A Lost Lady, and is signed by Frank McCarthy, Director of Public Relations at the studio. (Based on one of Marilyn’s favourite novels (according to her friend and masseur, Ralph Roberts), and previously filmed as Courageous with Barbara Stanwyck in 1934, but dissatisfied with the result, author Willa Cather had banned all movies based on her work.) In this same letter McCarthy writes, ‘Congratulations again on The Misfits and I hope it will achieve the great success it deserves.'” (SOLD for $512)
“A small notecard to Marilyn from producer Buddy Adler. The notecard reads, ‘Darling, It’s wonderful having you home again. Best wishes, Buddy Adler.’ Adler was the producer of Bus Stop, released in 1956. This card is likely in reference to Marilyn’s return to Hollywood in 1956 after having spent the entirety of 1955 in New York City.” (SOLD for $640)
“A two-page typed letter on Algonquin Hotel letterhead to Marilyn from photographer John Bryson, dated August 6, 1960, in reference to the August 15, 1960 issue of LIFE magazine, in which his photos of Marilyn on the set of Let’s Make Love were published. The letter reads in part, ‘I am very happy, however, to report that we close with a larger than full page of the picture of Arthur swabbing off your back after a hard day’s rehearsal. I think the little girl look in this is the best picture I ever took of you.’ The letter goes on to read, ‘Anyway, it is done and I hope you like it. If you do or do not I would like for you to remember that I think you are one of the best women I have ever known and if you ever need a friend for anything just call day or night. I do not say such things casually.'” (SOLD for $1,280)
“A Western Union telegram from Mary Leatherbee of LIFE magazine dated June 26, 1958, regarding photos of Marilyn taken by Richard Avedon in which she recreated images of famous actresses for a spread entitled ‘Fabled Enchantresses.'” (SOLD for $640)
“A one-page typed letter to Marilyn from Emmeline Snively, dated July 31, 1958. Snively was the owner and manager of the Bluebook Modeling Agency. Marilyn, still Norma Jean at the time, signed with the agency in 1945, and Snively is believed to have assisted her in transforming into Marilyn Monroe. The letter reads in part, ‘We have been following your steady progress over the years, and our students at Blue Book Models regard your success and constant development as an inspiration.’ Included with this letter is a torn portion of the original mailing envelope with Snively’s typed mailing address. Pencil scribbles are visible on the envelope fragment, possibly written in Marilyn’s own hand. It is interesting to note that Snively attempted to stay in contact with Marilyn throughout the star’s career. In fact, she was one of a very few guests from Marilyn’s inner circle who was invited to her funeral.” (SOLD for $640)
“Six documents referencing an agreement, and the dissolution thereof, between Marilyn Monroe and Ben Hecht regarding his authoring her life story. Included is a facsimile copy of the originally signed agreement between Monroe and Hecht, dated March 16, 1954, in which the terms of the agreement are exceedingly clear. Three unsigned carbon copies of this same agreement are included. Also included is a facsimile copy of a two-page letter sent to Hecht by Marilyn’s attorney Lloyd Wright, Jr., in which he demands that Hecht ‘surrender to us on behalf of our client, Miss Marilyn Monroe, all, and I repeat all, copies of any material concerning Miss Marilyn Monroe written by Mr. Ben Hecht, pursuant to his contract of March 16, 1954 with Marilyn Monroe, or otherwise.’ Marilyn partnered with Hecht to write her life story, stating specifically that the article could be published only in the Ladies’ Home Journal magazine.” (SOLD for $640)
“A two-page typed memo from Robert H. Montgomery, Jr. to John F. Wharton regarding ‘Proposed settlement of dispute between Milton H. Greene and Marilyn Monroe. The document clarifies that Monroe will pay Greene $50,000.00 for his stock in Marilyn Monroe Productions, Inc. in five equal annual installments, and also that she will sell to Greene her stock in Milton Greene Studios.’ The document further states, ‘all agreements existing between them are cancelled and of no further force and effect.’ A second two-page original document outlines the distribution of furniture and equipment, including paintings, rugs, a vacuum cleaner, a lamp, a chair and a sofa, typewriters, and other items.” (SOLD for $1,000)
One of the world’s greatest fashion designers, Yohji Yamamoto, has teamed up with Marilyn’s estate, creating a special tribute for his capsule collection, Project Y, based on two of Monroe’s most memorable photo shoots – her 1949 nude calendar, and the 1956 ‘Black Sitting’, as Jake Silbert reports for Hypebeast.
“The opportunity to work with the estates of Tom Kelley and Milton Greene, two photographers famous for their intimate imagery of Monroe, reads like a match made in heaven.
Drawing from Kelley’s ‘Red Velvet Series’ and Greene’s photographic archive, the collection emblazons a blouson jacket, cloak, gown, shirt and cut-and-sew with lush prints of ‘the world’s most photographed woman.’ Nude snapshots of Monroe take center stage, printed at the chest of the shirt and jacket and rear of the gown and mantle cloak. With Yamamoto’s preferred all-black palette at the core of the designs, the imagery is granted extra emphasis, ensuring that each image is unforgettably bold.