Subseries 2A: Prints and Slides
more than 24 boxes
This collection is stored at Firestone Library.
Requests will be delivered to Manuscripts Division, RBSC Reading Room
Collection Creator: Segal, George, 1924-2000..
Extent: more than 24 boxes
The collection is open for research.
This subseries is comprised of photographic prints and slides that
represent not only Segal's fine photography but the selective process he
used to cull his best work. Descriptions given in the notes reflect the
rating and grouping of these prints according to Segal's own estimation,
including "very good" and "bad." These selections eventually culminated
in the 1994 exhibition "Sequence: New York / New Jersey, 1990 – 1993" at
the Howard Greenburg Gallery, which went on to France and
Some main themes include portraits taken at The Training School at
Vineland, photographic studies of slaughtered veal, still-lifes, hands,
urban scenes (storefront windows, graffiti, the homeless), the Jersey
Shore, diner scenes, friends and family. Identifiable portraits include
Helen Segal, Rena Segal, Jeffrey Segal, Pierre Restany, Donald Lokuta,
Matteo Lorenzelli, Leon Bibel and Carroll Janis. Many of these prints
became pastel sketches in the 1990s and the 1990s:
Loose Photographs files have original context that suggest
they were used in Segal's other artwork.
Urban and Jersey Shore environments include New Brunswick, South River,
Asbury Park, Newark (Ironbound Section), Elizabeth, Seaside Heights and
Keansburg, New Jersey ; other scenes from the neighborhoods and boroughs
of Manhattan (Times Square, East Village, SoHo, Port Authority Bus
Terminal), Brooklyn (Coney Island) and the Bronx, New York. Other cities
and countries include Moscow, Russia; Berlin, Germany; Venice, Italy;
London, England; Cairo, Giza, Aswan, Egypt; Jerusalem, Galilee, Tel
It should be noted that the arrangement of these photographs within
Segal's studio was a bit chaotic; original selections and groupings may
have become disorganized over time. Folder titles are derived from
handwritten information left by Segal on photograph boxes and the prints
themselves; where dates were grossly in error the folder titles will
contradict the hand-written information.
Many photographs have date or technical information handwritten on the
back, along with captions; most are unlabeled. Very few folder titles
will completely and accurately describe the contents of the group. Segal
moved and sorted most prints into discreet groups based on subjective
decisions rather than concrete dates, locations, subjects or themes.
For additional dating and context information of a particular year or
photographic group, reference Subseries 2C: Sleeved
Negatives and Contact Sheets.
Physical notes: Photographs are bound between
layers of archival board and preservation mylar. Researchers are
asked to take care when returning materials to their folder that the
mylar sheets are placed between the stack of photographs and the
archival board, on top of the first print and beneath the last
print. Secure the ribbon with a simple bow.
Subseries 2A: Prints and Slides; 1966-1999; George Segal Papers, Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library.