Monday, November 22, 2010

November 22, 1963: Death of the President

On the 6:25 from Grand Central to Stamford, CT, November 22, 1963
Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963


By the fall of 1963, President Kennedy and his political advisers were preparing for the next presidential campaign.


Senator John F. Kennedy Campaigning with his Wife in Boston (Time, Inc.)

Carl Mydans: Senator John F. Kennedy Campaigning with his Wife in Boston , 1958


Although he had not formally announced his candidacy, it was clear that JFK was going to run and he seemed confident—though not over-confident— about his chances for re-election.

At the end of September, the President traveled west speaking in nine different states in less than a week. While the trip was meant to put a spotlight on natural resources and conservation efforts, JFK also used it to sound out themes -- such as education, national security, and world peace -- for his run in 1964. In particular, he cited the achievement of a limited nuclear test ban, which the Senate had just approved and which was a potential issue in the upcoming election. The public’s enthusiastic response was encouraging.


A month later, the President addressed Democratic gatherings in Boston and Philadelphia. Then, on November 12, he held the first important political planning session for the upcoming election year. At the meeting, JFK stressed the importance of winning Florida and Texas and talked about his plans to visit both states in the next two weeks. Mrs. Kennedy would be accompanying him on the swing through Texas, which would be her first extended public appearance since the loss of their baby, Patrick, in August.

On November 21, the President and First Lady departed on Air Force One for the two-day, five-city tour of Texas. JFK was aware that a feud among party leaders in Texas could jeopardize his chances of carrying the state in 1964, and one of his aims for the trip was to bring Democrats together. He also knew that a relatively small but vocal group of extremists was contributing to the political tensions in Texas and would likely make its presence felt—particularly in Dallas, where UN Ambassador Adlai Stevenson had been physically attacked a month earlier after making a speech there. Nonetheless, JFK seemed to relish the prospect of leaving Washington, getting out among the people and into the political fray.

The first stop was San Antonio. Vice President Lyndon B. Johnson, Governor John B. Connally and Senator Ralph W. Yarborough led the welcoming party and accompanied the President to Brooks Air Force Base for the dedication of the Aerospace Medical Health Center. Continuing on to Houston, he addressed a Latin American citizens’ organization and spoke at a testimonial dinner for Congressman Albert Thomas before ending the day in Fort Worth.

A light rain was falling on Friday morning, November 22, but a crowd of several thousand stood in the parking lot outside the Texas Hotel where the Kennedys had spent the night. A platform had been set up and the President, wearing no protection against the weather, came out to make some brief remarks. “There are no faint hearts in Fort Worth,” he began, “and I appreciate your being here this morning. Mrs. Kennedy is organizing herself. It takes longer, but, of course, she looks better than we do when she does it.” He went on to talk about the nation’s need for being “second to none” in defense and in space, for continued growth in the economy and “the willingness of citizens of the United States to assume the burdens of leadership.” The warmth of the audience response was palpable as the President reached out to shake hands amidst a sea of smiling faces.

Back inside the hotel the President spoke at a breakfast of the Fort Worth Chamber of Commerce, focusing on military preparedness. “We are still the keystone in the arch of freedom,” he said. “We will continue to do…our duty, and the people of Texas will be in the lead.”

The presidential party left the hotel and went by motorcade to Carswell Air Force Base for the thirteen-minute flight to Dallas. Arriving at Love Field, President and Mrs. Kennedy disembarked and immediately walked toward a fence where a crowd of well-wishers had gathered, and they spent several minutes shaking hands. The First Lady was presented with a bouquet of red roses, which she brought with her to the waiting limousine. Governor John Connally and his wife, Nellie, were already seated in the open convertible as the Kennedys entered and sat behind them. Since it was no longer raining, the plastic bubble top had been left off. Vice President and Mrs. Johnson occupied another car in the motorcade.

The procession left the airport and traveled along a ten-mile route that wound through downtown Dallas on the way to the Trade Mart where the President was scheduled to speak at a luncheon. Crowds of excited people lined the streets waving to the Kennedys as they waved back. The car turned off Main Street at Dealey Plaza around 12:30 p.m. As it was passing the Texas School Book Depository, gunfire suddenly reverberated in the plaza. Bullets struck the President’s neck and head and he slumped over toward Mrs. Kennedy. The Governor was also hit in the chest.

The car sped off to Parkland Memorial Hospital just a few minutes away. But there was little that could be done for the President. A Catholic priest was summoned to administer the last rites and at 1:00 p.m. John F. Kennedy was pronounced dead. Governor Connolly, though seriously wounded, would recover.

The President’s body was brought to Love Field and placed on Air Force One. Before the plane took off, a grim-faced Lyndon B. Johnson stood in the tight, crowded compartment and took the oath of office, administered by U.S. District Court Judge Sarah Hughes. The brief ceremony took place at 2:38 p.m. Less than an hour earlier, police had arrested Lee Harvey Oswald, a recently-hired employee at the Texas School Book Depository. He was being held for the assassination of President Kennedy as well as the fatal shooting, shortly afterward, of Patrolman J.D. Tippit on a Dallas street.

On Sunday morning, the 24th, Oswald was scheduled to be transferred from police headquarters to the county jail. Viewers across America watching the live TV coverage suddenly saw a man aim a pistol and fire at point blank range. The assailant was identified as Jack Ruby, a local nightclub owner. Oswald died two hours later at Parkland Hospital.

That same day, President Kennedy’s flag-draped casket was moved from the White House to the Capitol on a caisson drawn by six grey horses, accompanied by one riderless black horse. The cortege and other ceremonial details were modeled on the funeral of Abraham Lincoln at Mrs. Kennedy’s request. Crowds lined Pennsylvania Avenue and many wept openly as the caisson passed. During the 21 hours that the President’s body lay in state in the Capitol Rotunda, about 250,000 people filed by to pay their respects.


John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background.
Stan Stearns: John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background


On Monday, November 25, 1963 President Kennedy was laid to rest in Arlington National Cemetery. The funeral was attended by heads of state and representatives from more than 100 countries, with untold millions more watching on television. Afterward, an eternal flame was lit at the grave site by Mrs. Kennedy and her husband’s brothers, Robert and Edward. Perhaps the most indelible images of the day were the salute to his father given by little John F. Kennedy, Jr. (whose third birthday it was), daughter Caroline kneeling next to her mother at the President’s bier, and the extraordinary grace and dignity shown by Jacqueline Kennedy.


John F. Kennedy laid to rest, Arlington, 1963
Bob Gomel: John  F. Kennedy Laid to Rest, Arlington National Cemetery, November 25, 1963


As people throughout the nation and the world struggled to make sense of a senseless act and to articulate their feelings about President Kennedy’s life and legacy, many recalled these words from his inaugural address which had now acquired new meaning:

"All this will not be finished in the first one hundred days, nor in the first one thousand days, nor in the life of this administration. Nor even perhaps in our lifetime on this planet. But let us begin."

 

Sunday, November 21, 2010

Art Price Index 1: Photography 1985-2010

From the Financial Times:

"The mainstream of the photography market [central 80%] peaked in September 2008 then fell by 21% in the 18 months to March 2010. The top 10% of the market, where prices routinely climb steeply in good times, also peaked in September 2008, but by March 2010 this top sector had almost halved. All sectors of the market are now recovering fast and the long-term growth of 7% - 8% once again seems like a good bet."

More with charts here.

Related: Thoughts on the record fall auctions 

Friday, November 19, 2010

BORN ON NOVEMBER 20, 1925: ROBERT F. KENNEDY


Eighty-Five years ago, on November 20, 1925, Robert F. Kennedy was born.

The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968
Bill Eppridge: The Kennedy campaign travels through the Watts section of Los Angeles on the last day before the primary, 1968

"Each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current which can sweep down the mightiest walls of oppression and resistance.”

Robert F. Kennedy, Capetown, June 6th 1966

Robert F. Kennedy Campaign, California, 1966
Steve Schapiro: Robert F. Kennedy Campaign, California, 1966



 "On this generation of Americans falls the full burden of providing the world that we really mean it when we say all men are created free and equal before the law. All of us might wish at times that we lived in a more tranquil world, but we don't. And if our times are difficult and perplexing, so are they challenging and filled with opportunity." (Speech, Law Day Exercises of the University of Georgetown Law School, May 6, 1961).



Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends:  former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones
Bill Eppridge: Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones
 
 
 
 
The Robert F. Kennedy Center


Wednesday, November 17, 2010

Louis-Jacques-Mandé Daguerre (1787–1851) and the Invention of Photography



On November 18, 1787 Louis-Jacques-Mandé Daguerre was born, and he would later create a process that would revolutionize the art world.

©Malcolm Daniel

Department of Photographs, The Metropolitan Museum of Art


On January 7, 1839, members of the French Académie des Sciences were shown products of an invention that would forever change the nature of visual representation: photography. The astonishingly precise pictures they saw were the work of Louis-Jacques-Mandé Daguerre (1787–1851), a Romantic painter and printmaker most famous until then as the proprietor of the Diorama, a popular Parisian spectacle featuring theatrical painting and lighting effects. Each daguerreotype (as Daguerre dubbed his invention) was a one-of-a-kind image on a highly polished, silver-plated sheet of copper.


Daguerre's invention did not spring to life fully grown, although in 1839 it may have seemed that way. In fact, Daguerre had been searching since the mid-1820s for a means to capture the fleeting images he saw in his camera obscura, a draftsman's aid consisting of a wood box with a lens at one end that threw an image onto a frosted sheet of glass at the other. In 1829, he had formed a partnership with Nicéphore Niépce, who had been working on the same problem—how to make a permanent image using light and chemistry—and who had achieved primitive but real results as early as 1826. By the time Niépce died in 1833, the partners had yet to come up with a practical, reliable process.


Not until 1838 had Daguerre's continued experiments progressed to the point where he felt comfortable showing examples of the new medium to selected artists and scientists in the hope of lining up investors. François Arago, a noted astronomer and member of the French legislature, was among the new art's most enthusiastic admirers. He became Daguerre's champion in both the Académie des Sciences and the Chambre des Députés, securing the inventor a lifetime pension in exchange for the rights to his process. Only on August 19, 1839, was the revolutionary process explained, step by step, before a joint session of the Académie des Sciences and the Académie des Beaux-Arts, with an eager crowd of spectators spilling over into the courtyard outside.

The process revealed on that day seemed magical. Each daguerreotype is a remarkably detailed, one-of-a-kind photographic image on a highly polished, silver-plated sheet of copper, sensitized with iodine vapors, exposed in a large box camera, developed in mercury fumes, and stabilized (or fixed) with salt water or "hypo" (sodium thiosulphate). Although Daguerre was required to reveal, demonstrate, and publish detailed instructions for the process, he wisely retained the patent on the equipment necessary to practice the new art.

From the moment of its birth, photography had a dual character—as a medium of artistic expression and as a powerful scientific tool—and Daguerre promoted his invention on both fronts. Several of his earliest plates were still-life compositions of plaster casts after antique sculpture—an ideal subject since the white casts reflected light well, were immobile during long exposures, and lent, by association, the aura of "art" to pictures made by mechanical means. But he also photographed an arrangement of shells and fossils with the same deliberation, and used the medium for other scientific purposes as well. The journalist Hippolyte Gaucheraud, in a scoop that appeared the day before daguerreotypes were first shown to the Académie des Sciences, wrote of having been shown the image of a dead spider photographed through a solar microscope: "You could study its anatomy with or without a magnifying glass, as in nature; [there is] not a filament, not a duct, as tenuous as might be, that you cannot follow and examine." Even Arago, director of the Observatoire de Paris, was reportedly surprised by a daguerreian image of the moon.

Neither Daguerre's microscopic nor his telescopic daguerreotypes survive, for on March 8, 1839, the Diorama—and with it Daguerre's laboratory—burned to the ground, destroying the inventor's written records and the bulk of his early experimental works. In fact, fewer than twenty-five securely attributed photographs by Daguerre survive—a mere handful of still lifes, Parisian views, and portraits from the dawn of photography.

Source: Daguerre (1787–1851) and the Invention of Photography
Thematic Essay
Heilbrunn Timeline of Art History
The Metropolitan Museum of Art

Related: The Daguerreian Society

Tuesday, November 16, 2010

THOUGHTS ON THE RECORD FALL ART AUCTIONS

We reported on the numerous record-setting and exuberant sales in this Fall's art auctions on our Twitter feed, which scrolls on the right side of this page. Now that the dust has settled, the "experts" are trying to make sense of the extraordinary results.

The just-completed Contemporary sales totaled over $1 BILLION dollars in sales (with Andy Warhol accounting for over $200 million alone); the Impressionist/Modern sales about another half - BILLION; and almost as an afterthought a Qianlong-dynasty vase sold for $85.9 MILLION dollars.


The Fall photo auctions in New York brought in $16 million.



We are often asked, "what does the broader art market have to do with the photography market?". In our judgement, a lot. It wasn't long ago that the argument existed whether photography was "art" or not. At least we are beyond that phase!


Two observations:

Richard Prince’s “Marlboro Man" (Untitled, Cowboy), below, set a record for a photograph when it sold for $3,401,000 at Sotheby’s in New York in 2007. Prince’s “Cowboy” series consisted of old Marlboro cigarette print ads that he re-photographed. And the Marlboro man was based on a LIFE magazine cover of a photograph by Leonard McCombe of a real cowboy.







The $63.36 million realized on last Monday at Phillips, de Pury by Andy Warhol's “Men in Her Life?” was done in silk-screen technique: the dark black and white picture endlessly repeats a photographic image published in LIFE magazine on April 13, 1962.





The prices for the "masters" of photography are a fraction of the prices for the masters of art. 

Photography's impact, relevance, influence, and relationship to the broader fine art field is still in its infancy.

Monday, November 15, 2010

BORN NOVEMBER 15, 1887: GEORGIA O'KEEFFE

John Loengard: Abiquiu, New Mexico, 1967

Georgia O'Keeffe
Born on November 15, 1887


Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. Born near Sun Prairie, Wisconsin, O'Keeffe was a major figure in American art from the 1920s.

Georgia O'Keeffe visited Northern New Mexico in 1917 and fell in love with it then. But it was not until 1934 that she decided to make Ghost Ranch her summer home. She would spend her summers hiking, exploring and painting the area and in the winter go to New York. One summer she convinced the owner to sell her a small part of Ghost Ranch, which was a house and 7 acres. After her husband, Alfred Stieglitz, died, Georgia made Abiquiu (about an hour and a half north of Santa Fe) her permanent home.


Georgia O'Keeffe may be the most photographed artist in history, given the artistic ardor of her photographer husband, Alfred Stieglitz. Beautiful at every age and serene in the camera's gaze, on the occasion of Georgia O'Keeffe's 80th birthday in 1967 Life magazine dispatched photographer John Loengard to her home in New Mexico to document a day in the life of the pioneering American artist.

Georgia O'Keeffe died on March 6, 1986



Related: The Georgia O'Keeffe Museum

               Image and Imagination: Georgia O'Keeffe by John Loengard

Sunday, November 14, 2010

"THE MAN WHO SHOT THE SEVENTIES"


Mick Rock Exposed: The Faces of Rock 'n' Roll


Mick Rock's photo career began with him sneaking his camera into rock shows; it ignited when he started shooting a practically unknown David Bowie in 1972 and then went on to document the rise and fall of Ziggy Stardust. Since then Mick's become a legend himself, shooting a who's who of rock, punk, and pop icons and capturing the images of stars right as they became part of the pop firmament. Exposed collects 200 of his best photos across nearly 40 years, including unforgettable images of Syd Barrett, Lou Reed, Blondie, Queen, Iggy Pop, the Sex Pistols, the Yeah Yeah Yeahs, the Killers, Lady Gaga, U2, and many more. Featuring a revealing introduction, narrative captions, and an illuminating foreword by playwright Tom Stoppard, Exposed is a gorgeous visual celebration for music fans.

Michael David Rock was born in west London and earned a scholarship to Cambridge where he studied modern languages, graduating in the late sixties. It was the expressive seduction of subversive poets of yore rather than finite imagery that encouraged Rock to explore his own creative expression. "I discovered the lives and works of the great Bohemian poets, like Baudelaire, Rimbaud, and Nerval. They were my heroes".


"London in the late sixties and early seventies was a hotbed of creative interchange. The prevalent hippie philosophy united all manner of artists, musicians, film makers, models, designers, actors, writers, and photographers into a unique and fertile community. My timing was excellent. Curiosity and circumstance drew me into the flame of rock ‘n’ roll." -- Mick Rock

Rock became intensely interested in the artists and performers at the cutting edge of their time who were not afraid to cross the line. This was the atmosphere in which Mick Rock began his collaborations with the artists of the new decade. The first band Rock photographed was the Pretty Things in 1969; soon he was photographing the likes of Syd Barrett, David Bowie, Lou Reed, Queen, Roxy Music and Iggy Pop, emerging artists who would rapidly become international stars. “They were all special people to me. They weren’t “stars” when I first met them. To me, they were free spirited visionaries. I was in the right place at the right time, you can't plan that. That's just something you can't prescribe in life.”

He was soon traveling back and forth between London and New York, on tour with emerging artists such as David Bowie and Iggy Pop and capturing the music scene in all its decadent glory. Rock was instrumental in creating many key rock 'n' roll images of the time, such as Lou Reed's Transformer, Iggy Pop's Raw Power and Queen's Queen II, leading to his being called “The Man Who Shot The Seventies”.

In 1977, Rock moved permanently to New York, and quickly immersed himself in the burgeoning underground new wave scene, capturing the nihilistic spirit of the music of the Ramones, Blondie and the Talking Heads. As rock and roll has evolved, Rock has continued to capture the essence of the fresh and new. Mick Rock has been instrumental in creating many key visual images of the last three decades. His photographs have been called as significant as Andy Warhol’s paintings in constructing the images we hold in our minds of the larger-than-life figures of our popular culture. Rock’s accomplishments extend beyond photography and include art direction, music video production and three Grammy nominations.

In recent years, Rock also has published several books, including A Photographic Record. Recently released is his retrospective of the Glam Rock scene titled Blood & Glitter; a retrospective of Syd Barrett photographs titled Psychedelic Renegades; Moonage Daydream, a co-collaboration with David Bowie of the Ziggy Stardust era; and Killer Queen, with a foreword written by Queen guitarist Brian May.

“Many years ago, I noted in my diary: ‘I am not in the business of documenting or revealing personalities. I am in the business of freezing shadows and bottling auras.’ I still like the sound of that” -- Mick Rock

Mick Rock's photographs have helped define the image of rock 'n' roll, and have been featured on numerous album covers and in solo exhibitions around the world. Monroe Gallery is pleased to represent Mick Rock's iconic photography, and was instrumental in his re-emergence in the late 1990's - organizing his first gallery exhibition in New York in 1997.

Friday, November 12, 2010

STEVE SCHAPIRO: TAXI DRIVER


Just published by Taschen:

Steve Schapiro, Taxi Driver


You talking to me?


Blood and guns in post-Vietnam America

Taxi Driver has long been regarded as a cinematic milestone, and Robert DeNiro's portrait of a trigger-happy psychopath with a mohawk is widely believed to be one of the greatest performances ever filmed. Time magazine includes the film in its list of 100 Greatest Movies, saying: "The power of Scorsese's filmmaking grows ever more punishing with the passage of time."

Steve Schapiro—whose photographs were featured in TASCHEN's Godfather Family Album—was the special photographer on the set of Taxi Driver, capturing the film's most intense and violent moments from behind the scenes. This book—more than a film still book but a pure photo book on its own—features hundreds of unseen images selected from Schapiro's archives, painting a chilling portrait of a deranged gunman in the angry climate of the post-Vietnam era.

This edition is limited to 1,000 copies, numbered and signed by Steve Schapiro. Also available in two Art Editions of 100 copies each, with a signed and numbered original photographic print.

Steve Schapiro is a distinguished journalistic photographer whose pictures have graced the covers of Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People, and are found in many museum collections. He has published four books of his work, American Edge, Schapiro's Heroes, The Godfather Family Album and Taxi Driver. In Hollywood he has worked on more than 200 motion pictures; his most famous film posters are for Midnight Cowboy, Taxi Driver, Parenthood, and The Godfather Part III.

Ordering information here.



Related: JUST PUBLISHED BY TASCHEN: THE GODFATHER FAMILY ALBUM
 
             STEVE SCHAPIRO: HISTORY THROUGH THE LENS

JOHN F. KENNEDY: NOVEMBER, AND PHOTOGRAPHY

On November 8, 1960, John F. Kennedy was elected in the 44th American presidential election.

Alfred Eisenstaedt: Vice President-elect Lyndon Johnson chatting with President-elect John Kennedy and his wife Jackie at the president's inaugural ball, Washington, DC, January 1961



On November 22, 1963, John F. Kennedy was assassinated in Dallas, Texas.

Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963


On November 25, 1963, he was laid to rest at Arlington National Cemetery in Virginia.

John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background

John F. Kennedy laid to rest, Arlington, 1963
Bob Gomel: John F. Kennedy laid to rest, Arlington, 1963


John F. Kennedy was the first American president to understand the power of the image and photography, and he also understood the opposite impact of the wrong image. As recounted in the book The John F. Kennedys: A Family Album (Rizzoli):

"John spend hours looking at photographs of himself and his family. That was neither narcissism nor pride to Jack Kennedy, but recognition of polities as a show of fleeting images. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words. One enduring image, say a photograph of the young senator walking away from the camera through Hyannis Port dunes to the sea, might have the political impact of a small war. Selecting the right image at the right time was at the heart of winning the elusive twin goddesses the man pursued, power and history.

This photograph by Mark Shaw was said to have been John F. Kennedy's favorite photograph of himself


The man who would be president also understood the opposite impact of the wrong image. That same year, Life's sister magazine, Time, assigned one of its most talented young writers, Hugh Sidey, to write about Kennedy, to get to know him. On second meeting, Sidey and Kennedy were walking near the short subway that connects the U.S. Capitol with the Senate Office Building. They bumped, almost literally, into Kennedy's buddy Senator George Smathers of Florida, who was posing for a Senate photographer with a small claque of pretty young women from his state. All laughing, they pulled the handsome young senator from Massachusetts into the group and he smiled for the birdie.

Waving goodbye to the gigglers, Kennedy said to Sidey, "Get hold of that photographer and destroy the negative."

Sidey did it.

President Kennedy had learned the power of the image, of the visual, from his father, who was for a time a power in the movie business. Joseph P. Kennedy was the first, or among the first, to merge the creation and marketing of the celebrity trade, the tricks of public relations, to the business of politics and governing. With politics aforethought, the founding father had created an archive—still and moving pictures of his children—ready to be used to entice a nation into a cause in the same way they were pulled into movie theaters."

John Kennedy's campaign, presidency, and tragic assassination resulted in countless photographic images, many now considered to be iconic. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words.


Related: 50 Years Ago: the Kennedy Nixon Debates

             Marilyn Monroe, Kennedys Recalled in White House Archive Sale

Wednesday, November 10, 2010

Marilyn Monroe, Kennedys Recalled in White House Archive Sale

Bloomberg.com
By Katya Kazakina



©Nov. 10 (Bloomberg) -- An image of Marilyn Monroe in a skin-tight, pearl-encrusted dress flanked by President John F. Kennedy and his brother Robert, then U.S. attorney general, used to be kept in an envelope tagged “Sensitive material.”

Part of a lot estimated at $4,000 to $6,000, the photograph will be sold at Bonhams in New York as part of the 12,000-image archive of Cecil Stoughton, the first official White House photographer.

Timed to coincide with the 50th anniversary of Kennedy’s election, the sale is expected to fetch as much as $250,000 on Dec. 9, 2010.

She is wearing an outrageous dress,” said Matthew Haley, historical photograph specialist at Bonhams, in a telephone interview. “We believe it’s the only picture where the three of them appear together.”

The actress, who died less than three months after the picture was taken, was romantically linked to both Kennedy brothers.

Kennedy was the first president to create an official position for a White House photographer.

Some images show Kennedy “playing golf, swimming, sailing, smoking cigars,” said Haley. “The next image would be of him addressing the Senate or the United Nations.”

Dark Day

The black-and-white Monroe photograph was taken on May 19, 1962, the day she sang “Happy Birthday, Mr. President” to Kennedy at the packed Madison Square Garden in New York.


Bill Ray: Marilyn Monroe Singing "Happy Birthday" to President John F. Kennedy, Madison Square Garden, NY, 1962



Bill Ray: President John F. Kennedy at his birthday party after Marilyn Monroe Sang "Happy Birthday", Madison Square Garden, NY, 1962

Another print shows Kennedy and his children John Jr. and Caroline playing in the Oval Office. The black-and-white image bears an inscription: “For Captain Stoughton -- who captured beautifully a happy moment at the White House / John F. Kennedy.” The lot has an estimated range of $7,000 to $9,000.

In other pictures, the children are “making faces, playing or sitting at a conference table where you normally expect to see statesmen and ambassadors,” said Haley.

Stoughton was traveling in the motorcade on the day Kennedy was murdered in Dallas on Nov. 22, 1963. His documentation of the day includes the hospital where Kennedy was rushed.

Within hours of the assassination, Stoughton took a historic shot of Lyndon B. Johnson’s swearing-in ceremony aboard Air Force One, with Jackie Kennedy, looking shell-shocked, by his side. The print’s estimated to take in $5,000 to $7,000.

“He didn’t even wait until he got to Washington to be sworn in,” said Haley. “Cecil was the only photographer present for the occasion.”

To contact the reporter of this story: Katya Kazakina in New York at kkazakina@bloomberg.net.

To contact the editor responsible for this story: Manuela Hoelterhoff at mhoelterhoff@bloomberg.net.

Related: 48 Years Ago, Marilyn Monroe Sings "Happy Birthday" to President John F. Kennedy