Halsman/Marilyn
Portfolio
Halsman/Marilyn
1952–1959
Portfolio with gelatin silver prints, printed ca. 1981
Overall: 53 x 42.5 x 5 cm
Gift of Neikrug Photographica Ltd., 1984
1984.1205.0001-0010
Inscriptions recto (letterpressed in black): HALSMAN / MARILYN [portfolio box]
recto (letterpressed in black): HALSMAN / MARILYN [opening folder]
verso (letterpressed in black): THE NEIKRUG PRESS / presents Halsman / Marilyn, a portfolio of ten pho- / tographs by Philippe Halsman. Edited and pro- / duced by the Neikrug Press. Printed by Stephen / Gersh under the supervision of Yvonne Halsman. / The edition consists of two hundred fifty copies / plus ten artist proofs. The prints are eleven by / fourteen inches and are archivally fastened and / matted with sixteen by twenty inch Museum Rag / Board. Encased in a Callaway portfolio box bound / in Dutch linen. Graphic design by Lance Hidy. / This is portfolio number 33/250 / [illegible] Halsman [interior of opening folder]
(letterpressed in black): IT HAS OFTEN BEEN OBSERVED that the work of / the actor is molded out of snow which melts and leaves little / trace. It is not so much that-in the words of Shakespeare, "the / evil that men do lives after them, the good is often interred with / their bones,"-but that the images the actor leaves in the performances / he createscan never captrue more than a part of his being and his / character. The movies do not alter this fact, for what the audience / sees at the movie is not the totality of what the actor has created, but / only that part of it that has been deemed presentable. Marilyn / Monroe seems in some strange way to have been aware of this. In / some intuitive sense, she must have anticipated this, for she paid as / much attention to a session during which she was photographed as she did to the work on a scene. She was nervous and concerned with / the details of her appearance and the impression it would make. But / because of the absence of stage directions, she was much freer, more / vital and alive, more spontaneous and truer to her own self. Photo- / graphs therefore give a more diverse and multi-faceted image than the / roles that she played. She would in time have revealed greater aspects / of her talent. But even they would not offer us the opportunity to see / her as we are privileged to observe her through the lens of such a / talent as the present collection represents. / Lee Strasberg [interior of opening folder]
recto (letterpressed in black): HALSMAN / MARILYN [opening folder]
verso (letterpressed in black): THE NEIKRUG PRESS / presents Halsman / Marilyn, a portfolio of ten pho- / tographs by Philippe Halsman. Edited and pro- / duced by the Neikrug Press. Printed by Stephen / Gersh under the supervision of Yvonne Halsman. / The edition consists of two hundred fifty copies / plus ten artist proofs. The prints are eleven by / fourteen inches and are archivally fastened and / matted with sixteen by twenty inch Museum Rag / Board. Encased in a Callaway portfolio box bound / in Dutch linen. Graphic design by Lance Hidy. / This is portfolio number 33/250 / [illegible] Halsman [interior of opening folder]
(letterpressed in black): IT HAS OFTEN BEEN OBSERVED that the work of / the actor is molded out of snow which melts and leaves little / trace. It is not so much that-in the words of Shakespeare, "the / evil that men do lives after them, the good is often interred with / their bones,"-but that the images the actor leaves in the performances / he createscan never captrue more than a part of his being and his / character. The movies do not alter this fact, for what the audience / sees at the movie is not the totality of what the actor has created, but / only that part of it that has been deemed presentable. Marilyn / Monroe seems in some strange way to have been aware of this. In / some intuitive sense, she must have anticipated this, for she paid as / much attention to a session during which she was photographed as she did to the work on a scene. She was nervous and concerned with / the details of her appearance and the impression it would make. But / because of the absence of stage directions, she was much freer, more / vital and alive, more spontaneous and truer to her own self. Photo- / graphs therefore give a more diverse and multi-faceted image than the / roles that she played. She would in time have revealed greater aspects / of her talent. But even they would not offer us the opportunity to see / her as we are privileged to observe her through the lens of such a / talent as the present collection represents. / Lee Strasberg [interior of opening folder]
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