Archival pigment print, printed in 2006 57,3 x 50 cm Signed, annotated and dated by the photographer in pencil in the margin and on the reverse, photographer's stamp on the reverse Bert Stern was not the first photographer who Marilyn Monroe posed for, but indeed the last one. In late June of 1962, the two had a shooting which would later be famously known as The Last Sitting. Marilyn had worked with countless photographers, but no one had captured photographs as direct, close and casual as Stern did. The famous shooting was commissioned by the American magazine Vogue. In order to have a special working environment, Stern rented suite no. 261 at the Los Angeles Bel-Air-Hotel, which he converted into an impromptu studio. Stern takes pictures in colour and in black-and-white, which turn out extremely lively and charismatic. Back in New York, the editors at Vogue love the photos but think they are too daring. They say Vogue needs more “black-and-white fashion pages”. So the Bel-air-Hotel is booked for another three days, this time even an entire bungalow. Four weeks later, Marilyn is dead. The photographs, which were originally intended as homage to the film star, are now published as a posthumous tribute in Vogue.
Archival pigment print, printed in 2006 57,3 x 50 cm Signed, annotated and dated by the photographer in pencil in the margin and on the reverse, photographer's stamp on the reverse Bert Stern was not the first photographer who Marilyn Monroe posed for, but indeed the last one. In late June of 1962, the two had a shooting which would later be famously known as The Last Sitting. Marilyn had worked with countless photographers, but no one had captured photographs as direct, close and casual as Stern did. The famous shooting was commissioned by the American magazine Vogue. In order to have a special working environment, Stern rented suite no. 261 at the Los Angeles Bel-Air-Hotel, which he converted into an impromptu studio. Stern takes pictures in colour and in black-and-white, which turn out extremely lively and charismatic. Back in New York, the editors at Vogue love the photos but think they are too daring. They say Vogue needs more “black-and-white fashion pages”. So the Bel-air-Hotel is booked for another three days, this time even an entire bungalow. Four weeks later, Marilyn is dead. The photographs, which were originally intended as homage to the film star, are now published as a posthumous tribute in Vogue.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
