Contents and Arrangement

Series 2: Fine Photography, 1966-2010

21.0 linear feet

Collection Overview

Collection Description & Creator Information

Scope and Contents

This series contains prints, negatives, slides and transparencies of Segal's fine photography spanning thirty years, with the bulk of the series dating to a period of focused activity from 1984 to 1999. The series can be considered the result of two distinct periods in Segal's creative life: a long-time interest in fine photography without a disciplined or specific approach, from 1966 to 1983; and an active and informed pursuit of the subject, from 1984 to 2000.

Segal's early interest in photography influenced the creation of certain environments used in his early sculpture. These themes include highway and industrial scenes from around his home in South Brunswick, New Jersey and are represented by the earliest materials in this series. While Segal long had an interest in photography it was not until 1984 that Segal began to engage in it as an art form. Segal was displeased with the prints of his photographs taken in Egypt and Israel in 1983, and sought the advice of Donald Lokuta, Professor of Photography at Kean University. The original and subsequent experimental prints are included in this series and mark a turning point in the artist's focus. Until the time of his death in 2000, Segal went on to produce the bulk of this series, an estimated 5,000-6,000 prints and 10,000 negatives in collaboration with Lokuta who continued to photograph with him, share insights, and make archival-quality prints of Segal's photographs.

Researchers should note that the photography of Segal's collaborator make up Series 10: Donald Lokuta Photographs, and many prints are present in that series of Segal making the photographs that are included in this series.


This series is arranged into three subseries.

Collection History

Custodial History

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


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:

Series 2: Fine Photography; George Segal Papers, C1303, Manuscripts Division, Department of Special Collections, Princeton University Library

Firestone Library
One Washington Road
Princeton, NJ 08544, USA
(609) 258-3184
Storage Note:
  • Firestone Library (mss): Boxes 9-37; 113; 37a