Contents and Arrangement
Online

Subseries 3A: Sculpture and Artwork, 1975-2006

10 boxes

Collection Overview

Collection Description & Creator Information

Scope and Contents

This subseries is further organized into three divisions:

Bronzes and Commissions contains contracts, correspondence, invoices, clippings, research, technical information and receipts relating to the commission, design, shipping, installation and critical and public reception of those sculptures and artworks that were commissioned by various parties. This division is notable for the inclusion of a number of files on Segal's most famous and most often controversial public sculptures. These include Abraham and Isaac - In Memory of May 4, 1970, Gay Liberation, The Holocaust, and the Franklin Delano Roosevelt Memorial with its three sculptures: Depression Breadline, Fireside Chat, and Appalachian Farm Couple 1936.

Folder titles are arranged alphabetically by sculpture or name of artwork, along with the persons or corporate body responsible for the commission when known.

Projects, Editions and Proposals contains files that are concerned with the production of artwork that is either not rendered in Segal's usual figurative style or proposals for such sculptures that were rejected or otherwise did not come to fruition. Projects and editions are typically small ideas of interest that appealed to Segal but that did not form a large part of his oeuvre, while the proposals were ideas for public commissions or private portraits that for various reasons were not created.

Technical Files are comprised of subject files of detailed information on casting and patination as provided by foundries, records of repair performed on various sculptures, and the records pertaining to Segal's molds and casts at the Johnson Atelier. Researchers seeking casting or repair records of a particular sculpture should note that documentation along these lines is included elsewhere in the collection and are therefore encouraged to reference relevant subject files in Subseries 3A: Sculpture and Artwork, Subseries 3C: Business Correspondence by Subject, and Subseries 3D: Exhibitions.

Arrangement

Arranged alphabetically by title and subject.

Collection History

Custodial History

Files, photographs, and artwork were gathered from the Segal home, office, and studio.

Appraisal

Personal family photographs were returned to the Segal family.

Processing Information

The contents of Series 1: Artwork underwent sterilization via ozone to address mildew and bacterial concerns. The materials were then flattened, sleeved, enclosed, and/or matted as appropriate for their medium and/or format.

This collection was processed by Valerie Addonizio in January-July 2009 and January 2010, with assistance from Ayse Gursoy and Christine Call. Finding aid written by Valerie Addonizio in 2009; updated with new material in 2010 and 2012.

The 2019 accession was processed and added to the finding aid by Kelly Bolding in November 2019. Materials in this accession were intellectually integrated into the existing arrangement of the collection, namely into Series 3: Business Files and Subseries 9A: Catalogs. At this time, materials from the 2012 accession (formerly Series 11: Additional Material) were also intellectually integrated into Series 3: Business Files.

Access & Use

Conditions Governing Access

The collection is open for research.

Conditions Governing Use

Works of art rendered in any medium (including ink, pencil, and crayon) and on any support (including sketchbooks, paper, board) and in any form (including doodles and illustrated assignments), as well as photographs by George Segal and any art works by George Segal depicted in photographs are copyright The George and Helen Segal Foundation. Photoduplication for personal scholarly use is permitted. Reproductions for the purpose of publication, whether in print or electronic media, must be authorized in writing by The George and Helen Segal Foundation or its licensing VAGA (Visual Artists and Galleries Association), New York City. Rights and permissions of the Donald Lokuta photographs are retained by the creator. Photoduplication is permitted for personal scholarly use only. Reproductions for the purpose of publication, whether in print or electronic media, must be authorized in writing by Donald Lokuta or his licensing agent VAGA (Visual Artists and Galleries Association), New York City. Beyond Segal and Lokuta, the library has no information on the status of literary rights in the collection and researchers are responsible for determining any questions of copyright. Single photocopies may be made for research purposes. No further photoduplication of copies of material in the collection can be made when Princeton University Library does not own the original. Inquiries regarding publishing material from the collection should be directed to RBSC Public Services staff through the Ask Us! form.

Physical Characteristics and Technical Requirements

For preservation reasons, original analog and digital media may not be read or played back in the reading room. Users may visually inspect physical media but may not remove it from its enclosure. All analog audiovisual media must be digitized to preservation-quality standards prior to use. Audiovisual digitization requests are processed by an approved third-party vendor. Please note, the transfer time required can be as little as several weeks to as long as several months and there may be financial costs associated with the process. Requests should be directed through the Ask Us Form.

Credit this material:

Subseries 3A: Sculpture and Artwork; George Segal Papers, C1303, Manuscripts Division, Department of Special Collections, Princeton University Library

Location:
Firestone Library
One Washington Road
Princeton, NJ 08544, USA
(609) 258-3184
Storage Note:
  • Firestone Library (mss): Boxes 38-45; 70; 112