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This subseries consists of works that clearly date to Segal's formative years as both a student and an artist, but which generally lack dates that would inform a more specific consideration. It is possible to roughly date individual works and sketchbooks on an item-by-item level by comparing the subject, medium, style, and theme to other works that are dated, assignments that Segal may have been following as part of his education, or by observing creative trends in his style. As is the case with most of the material in this series, artwork dates primarily from the 1940s.
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Series 1: Artwork, 1940s-2000

17.0 linear feet 15 boxes
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This series contains works of art created by George Segal in a variety of mediums (ink, watercolor, tempera, pencil, charcoal, conté crayon) and on a variety of supports (paper, board, cloth) dating principally from the time of his education in the 1940s, but including works rendered over the course of his entire life until his death in 2000. Artwork is comprised mainly of loose, single sheets of paper, bound sketchbooks, or compiled illustrated assignments. There are also multiple prints produced from single, original engravings. The bulk of the work dates from Segal's time as a student at Cooper Union, Rutgers University, Pratt Institute, and New York University, from 1941 to 1949.
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This subseries consists of business correspondence, financial records including ledgers and sales records, interviews and writings about Segal, gallery advertisements and catalogs, and other material relating to the sale and marketing of Segal's art from the 1950s through the 1990s. Most of these materials are related to the Sidney Janis Gallery, the Hansa Gallery, and the Green Gallery, though relationships with other galleries and museums are also represented. Contents are similar to those located in other subseries within the Business Files series but comprise materials that were found after the initial donation.
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Series 3: Business Files, 1940s-2006

23 linear feet 45 boxes
This series consists of correspondence, invoices, contracts, receipts, photographs, clippings, and sketches relating to the commissioning of sculpture and artwork, production of sculpture and artwork, arrangement of exhibitions, and participation in organizations and events.
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Series 4: Writings, 1943-2003

1.0 linear foot 4 boxes
This series is a collection of articles, essays, catalog texts, papers, dissertations, and book drafts written either by Segal (usually on the work of others) or on Segal by noted critics, art historians or people otherwise interested in his work.
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Series 5: Photographs, 1940s-2002

4.0 linear feet 10 boxes
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This series is comprised of photographic prints, negatives, slides and transparencies of Segal, Segal's sculpture and artwork, Segal at work in his studio, exhibition installations and gallery photographs, studio tours, and friends and family. The files range from a single subject, such as sitting portraits of Segal, to multiple subjects, events, and people.
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This subseries contains notebooks, transcripts, syllabi, correspondence, a yearbook, papers and projects corresponding to Segal's education at P.S. 70 in the Bronx and at Stuyvesant High School in Manhattan from 1930 to 1941, Cooper Union School of Art from 1941 to 1942, Rutgers University (part-time) from 1942 to 1946, Pratt Institute of Design from 1947 to 1948, New York University from 1948 to 1949, and Rutgers University (Master of Fine Arts) from 1961 to 1963. The bulk of the material dates to Segal's time at New York University from 1948 to 1949.
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This subseries consists of materials that are related to Segal's education and early career, but not directly to the subject matter he was studying or the application of that knowledge. Instead, these materials were collected by Segal as ephemera or as source materials for assignments and projects.
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This series contains material related to Segal's formative years as a student and an educator at a number of New York and New Jersey institutions. Materials include assignments, syllabi, projects, lesson plans, transcripts and ephemera accumulated over the course of Segal's primary, secondary, college-level and post-graduate studies as well as his experiences teaching from 1958 to 1964.
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Personal photographs of the Gelman and Burichson families. Includes photographs of Gelman's two children, Marcelo and Nora Gelman, his daughter-in-law, María Claudia Irureta Goyena, and his grandchildren Macarena Gelman and Jorge Pedregosa.
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This series features materials about Gelman that include his awards, certificates, seminars and events about Gelman's work, bibliographic and biographic materials, newspaper clippings, scholarly articles and texts about Gelman, and printed materials. This series also includes Gelman's personal documents like his address books, passports, and visas.
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Juan Gelman Papers, 1927-2014

C1511 72 boxes 3575 digital files
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Juan Gelman (1930-2014) was an Argentine poet, translator, journalist, and human rights activist. His papers contain handwritten, typewritten, and printouts of his writings, correspondence, notes, research files, awards and certificates, and personal photographs. A significant portion of the papers feature analog and born-digital investigative files relating to human rights investigations and campaigns Gelman conducted with his spouse, Mara La Madrid, on the forced kidnapping and death of his son and pregnant daughter-in-law, Marcelo Gelman and María Claudia García Irureta Goyena. Also included are files on his search to find his missing granddaughter, Macarena Gelman. Additional materials consist of original drafts and documents related to Juan Gelman's writing; letters; publishing contracts; documents about Juan Gelman's work as a translator; materials related to the campaign to lift the ban on Juan Gelman's entry into Argentina and his return to Buenos Aires; newspaper and magazine clippings related to the ban on Juan Gelman's entry into Argentina, as well as celebrating his return; materials related to Marcelo and Paulina, including photographs of Gelman and the family; works by other writers; and audio cassettes.
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This series consists of William Jovanovich's files on nearly two hundred authors and publishers with whom he worked. Author files consist of correspondence with authors, their agents, and Harcourt Brace Jovanovich editors, as well as originals and copies of early manuscripts and drafts of writings, press clippings, book jacket proofs, recordings, and other editorial materials, although not all files contain both correspondence and writings. While author files primarily exist for authors whose work was published by Harcourt Brace Jovanovich, there are also files on authors whose works Jovanovich was considering publishing before a contract fell through, those like Ambrose Bierce and Hart Crane whose works he was interested in reprinting, and authors he did not publish but to whom he otherwise provided guidance or kept up correspondence. Publisher files consist largely of correspondence and include a significant amount of material related to Helen Wolff, of the Kurt and Helen Wolff Book imprint of Harcourt Brace Jovanovich, a collaboration that began in 1961. Author files on Edward Dahlberg, T. S. Eliot, Vane Ivanović, Marshall McLuhan, and Carl Sandburg are particularly extensive.
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The bulk of this subseries consists of William Jovanovich's editorial drafts of chapters for Charles Lindbergh's Autobiography of Values, including several working versions of each chapter, along with setting copies, outlines, and plans for the book, notes, page proofs, and galley proofs. These materials document the transformation of Lindbergh's fragments into a completed whole heavily mediated by Jovanovich. A much smaller group of drafts, book jacket proofs, notes, and photographs related to the 1970 publication of The Wartime Journals of Charles A. Lindbergh is also present, as are long essays Lindbergh wrote in response to Kenneth Davis and Walter Ross's books about him and his corrections on John Nance's draft for The Gentle Tasaday, for which he also wrote the forward.
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This subseries includes photographs of Charles A. Lindbergh, his family, and his home in Hawaii, including images collected by William Jovanovich and his staff in preparation for the publication of Autobiography of Values and The Wartime Journals of Charles A. Lindbergh. Many of the older photographic materials are reproductions from originals held by Yale University or negatives made from Lindbergh family photographs by Harcourt Brace Jovanovich staff.
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This series consists of editorial correspondence, writings by and about Charles A. Lindbergh and Anne Morrow Lindbergh, photographs, clippings, and other research materials. The contents reflect William Jovanovich's role as the primary editor and compiler of Charles Lindbergh's Autobiography of Values, as well as his role as the executor of Lindbergh's literary estate. Shortly before Charles Lindbergh died in 1974, he called William Jovanovich to his hospital room, handed over a suitcase containing almost 3,000 pages of drafts written over three decades, and asked Jovanovich to shape them into a publishable autobiography. With the help of Judith A. Schiff, an archivist at Yale University, Harcourt Brace Jovanovich published the heavily edited Autobiography of Values in 1978. While Lindbergh's original drafts reside at Yale, this series includes Jovanovich's working drafts for Autobiography of Values throughout the editorial process, as well as related correspondence, photographs, and research materials. Some drafts, notes, and other editorial materials pertaining to The Wartime Journals of Charles A. Lindbergh, which Harcourt Brace Jovanovich published in 1970, are also present.
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This subseries consists of correspondence that Jovanovich filed chronologically, including both personal and business correspondence. For the years 1948 to 1952, correspondence consists of photocopies rather than the original letters, and there is a gap in correspondence during the mid-1950s. Correspondence for the late 1990s and 2000s is increasingly personal in nature.
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This series contains William Jovanovich's general correspondence, with the exception of author and publisher correspondence, which can be found in Series 1: Author and Publisher Files and Series 2: Charles A. and Anne Morrow Lindbergh Files. Correspondence in this series spans personal and professional topics, following three different original filing systems: alphabetical by correspondent name, chronological, and topical. Correspondence regards Harcourt Brace Jovanovich's publishing activities, Jovanovich's own writings, and personal relationships with fellow professionals and former employees, among other subjects.
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This series consists of drafts, proofs, notes, research files, and source materials for Jovanovich's own writings and lectures, along with related correspondence, reviews, and clippings. Materials span his written works in nonfiction and fiction, as well as lectures and speeches on various topics related to publishing and writing, although some works are documented much more thoroughly than others. Jovanovich's nonfiction books, essays, and speeches largely revolve around the publishing industry, textbook publishing, the value of education, Serbian history, and creative writing. Writings represented in this series include Jovanovich's novels Madmen Must (1978), The Last Place (1978) and The World's Last Night (1990), his collection of essays Now, Barabbas (1964), and his memoir The Temper of the West (2003). While major works comprise their own files, there is also an alphabetical run of shorter essays and speeches, containing typescripts and clippings. Also included are several files regarding lectures Jovanovich gave at various colleges and universities, as well as some related correspondence.
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This subseries consists of clippings, photographs, correspondence, printed materials, and legal documents regarding personal and family matters. Contents include correspondence with Jovanovich's immediate family, as well as with distant relatives in Yugoslavia and Poland, documents about his father's estate, family photographs, a collection of materials from Serbia and Montenegro and from Jovanovich's service during World War II. Of note is a small group of manuscripts collected by Jovanovich regarding the Vivian family and the Battle of Waterloo.
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This series documents William Jovanovich's personal and family life and career history. Transcriptions and recordings of interviews with Jovanovich, articles focusing on his biography and career trajectory, publicity materials, and correspondence related to his many honorary degrees and awards reflect Jovanovich's public life, while personal and family memorabilia, correspondence, and a collection of materials related to Serbia and Montenegro document his private interests, collecting habits, and family history.