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 California.
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 Aviv, Israel.
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
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.