Contents and Arrangement

Toggle
Online

Series 8: Scrapbook, 1950s-2000

7.0 linear feet
Collection Creator:
Segal, George (1924-2000)
Dates:
1950s-2000
Extent:
7.0 linear feet, 10 boxes
Languages:
English
Scope and Contents

This series contains articles, reviews, photograph reproductions, interviews and casual mentions of George Segal's artwork, sculpture, participation, celebrity, awards or curiosities from newspapers, magazines, journals, pamphlets and other printed formats. The name of the series reflects its original title and not format; instead the series consists of clippings in folders. It is the result of Helen Segal's effort to keep a meticulous record of Segal's entire career, which was bolstered by friends, family members and business and art associates sending clippings from all over the world. The series is a record of George Segal's activities (both professional and casual), opinions, celebrity and notoriety, and the public and critical opinion of his oeuvre from the early 1950s until the year of his death in 2000.

The materials range from editorial cartoons to major articles in important or widely-circulated publications. In some cases, especially after international exhibitions, the museum staff responsible for the exhibit would gather clippings from news agencies. In other cases, long-time friends would send the Segals small bits of interest or curiosity, often with hand-written notations or underlining. Segal lent or referenced some of these files for the writing of several monographs about his life, whereupon they were arranged into bibliographies.

The range of material is broad and rich in content. Languages include German, Swedish, French, Dutch, Spanish, Japanese, and Korean; major English language publications include The New York Times, Time, LIFE, Vogue, Art International, Newsweek, Art Journal, Art in America, Studio International, The New Yorker, Harper's Bazaar, and Playboy.

Some correspondence accompanies materials including letters from William Benson, André Emmerich, Billy Klüver, Jan van der Marck, Germain Viatte, Gordon Hyatt, and Helmut von Effra. The series includes articles written by notable art historians and critics including John Canaday, Grace Glueck, Thomas B. Hess, Jill Johnston, Allan Kaprow, Hilton Kramer, Valdi S. Maris, John Perreault, Barbara Rose, David Shapiro, and Sidney Tillim.

It should be noted that clippings related to high-profile or controversial events, exhibitions or commissions appear elsewhere in the collection (3A: Sculptures and Commissions; 3D: Exhibitions). For clippings on specific sculptures or events, researchers are advised to also reference relevant subject files noted in the subseries above.

Arrangement notes: For those years divided by month, articles without dates are placed at the end of the last folder in that year. Those years without a Foreign Publications file may still have foreign publications but not so many as to be divided.

Arrangement

This series is arranged chronologically.

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.

Credit this material:

Series 8: Scrapbook; George Segal Papers, C1303, Manuscripts Division, Department of Special Collections, Princeton University Library

Storage Note:
Firestone Library (mss)
Boxes 89-98
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.

Custodial History

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

Collection Overview

Collection Description & Creator Information

Scope and Contents

This series contains articles, reviews, photograph reproductions, interviews and casual mentions of George Segal's artwork, sculpture, participation, celebrity, awards or curiosities from newspapers, magazines, journals, pamphlets and other printed formats. The name of the series reflects its original title and not format; instead the series consists of clippings in folders. It is the result of Helen Segal's effort to keep a meticulous record of Segal's entire career, which was bolstered by friends, family members and business and art associates sending clippings from all over the world. The series is a record of George Segal's activities (both professional and casual), opinions, celebrity and notoriety, and the public and critical opinion of his oeuvre from the early 1950s until the year of his death in 2000.

The materials range from editorial cartoons to major articles in important or widely-circulated publications. In some cases, especially after international exhibitions, the museum staff responsible for the exhibit would gather clippings from news agencies. In other cases, long-time friends would send the Segals small bits of interest or curiosity, often with hand-written notations or underlining. Segal lent or referenced some of these files for the writing of several monographs about his life, whereupon they were arranged into bibliographies.

The range of material is broad and rich in content. Languages include German, Swedish, French, Dutch, Spanish, Japanese, and Korean; major English language publications include The New York Times, Time, LIFE, Vogue, Art International, Newsweek, Art Journal, Art in America, Studio International, The New Yorker, Harper's Bazaar, and Playboy.

Some correspondence accompanies materials including letters from William Benson, André Emmerich, Billy Klüver, Jan van der Marck, Germain Viatte, Gordon Hyatt, and Helmut von Effra. The series includes articles written by notable art historians and critics including John Canaday, Grace Glueck, Thomas B. Hess, Jill Johnston, Allan Kaprow, Hilton Kramer, Valdi S. Maris, John Perreault, Barbara Rose, David Shapiro, and Sidney Tillim.

It should be noted that clippings related to high-profile or controversial events, exhibitions or commissions appear elsewhere in the collection (3A: Sculptures and Commissions; 3D: Exhibitions). For clippings on specific sculptures or events, researchers are advised to also reference relevant subject files noted in the subseries above.

Arrangement notes: For those years divided by month, articles without dates are placed at the end of the last folder in that year. Those years without a Foreign Publications file may still have foreign publications but not so many as to be divided.

Arrangement

This series is arranged chronologically.

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.

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 8: Scrapbook; 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
Ask Us a Question
Visit Us
Storage Note:
Firestone Library (mss)
Boxes 89-98