This subseries consists of materials that can be definitively dated to the time of Segal's education and are known, with reasonable certainty, to have been created as the result of assignments and projects. Most of the material dates from 1947 to 1949, and contains artwork originally matted for presentation. A number of sketchbooks and original prints are also included.

The subdivision Illustrated Assignments dates from Segal's one academic year at Pratt Institute (Brooklyn, New York), from Fall 1947 to Spring 1948, and contains scrapbook-like projects compiled for assignments. Although they resemble reports, many pages are illustrated both for decoration and demonstration and therefore have been considered artwork for the sake of this arrangement. Artistic elements — rendered on paper in a variety of mediums including ink, watercolor, oil, and tempera — have been kept in their original order within the assignment, with conservation concerns addressed page by page.

Most loose artwork (generally on paper) is housed in protective enclosures. File notes that mention 11x14, 16x20, and 21x25 inch enclosures actually range in size from just a few inches to the size of the enclosure itself.

Arranged chronologically with an additional subdivision.

8.0 linear feet

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.

Most loose artwork (generally on paper) is housed in protective enclosures. File notes that mention 11x14, 16x20, and 21x25 inch enclosures actually range in size from just a few inches to the size of the enclosure itself.

Arranged alphabetically by medium.

7.0 linear feet

This subseries consists of artwork either known or thought to date from the period after Segal's early formal instruction, during the maturing of his oeuvre, and thereafter until the end of his life. The arrangement reflects informed decisions based on style, context, materials, and the original location of some of the work.

Notable themes and imagery in this subseries include sketches made at Provincetown, Rhode Island, where Segal was exposed to the work of Hans Hofmann; abstract and expressionist themes developed in the 1950s and evidence of a strict departure from the earlier styles Segal embraced as a student; and later sketches of intimate friends and associates, including Pierre Restany. Finally, there are doodles and small illustrated notes as well as small-format sketchbooks, which record idle or somehow casual moments of creativity.

The contents of Folders 4 through 7 in Box 5A originated from a folder originally kept with Series 3: Business Files.

Arranged chronologically.

2.0 linear feet

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 information.

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.

Arranged chronologically.

25 boxes

This small subseries is dedicated entirely to the catalogs and photo-suites that accompanied Segal's 1994 exhibition of fine photography at The Howard Greenberg Gallery. These monographs were produced by The Howard Greenberg Gallery in association with Umbra Editions, Inc.

Physical note: Box 33, which contains a limited edition photo-suite of the exhibition, is large and heavy. Please lift and move with care.

Arranged chronologically.

2 boxes

This subseries is comprised of three-ring archival negative pages (sleeved) interleaved with their respective contact sheets (unsleeved) in their original order. Almost all of this material is black-and-white and color negatives are indicated when present. Some of the earliest (1983) and latest negatives (1999) were separated from other materials and added to the arrangement.

In its entirety this subseries represents the chronological order of fine art photographs as taken by the artist and is the best resource available for dating many of the loose, undated, and misdated prints located in Subseries 2A: Prints and Slides. A few of the negative sleeves include annotations by Segal, such as location or month. Some prints are interleaved along with the contact sheets and most often indicate experiments in processing, especially in the case of the Egypt and Israel prints from 1983.

The bulk of the negatives (from 1984 to 2000) correspond to the time of creative cooperation with Donald Lokuta, and the contact sheets and print experiments were all developed by him. It should be noted that the 1983 folder is from before this collaboration, as those negatives had originally been stored with their prints in paper envelopes, now housed in the Subseries 2A: Prints and Slides. After 1983 and his collaboration with Lokuta, the artist formed the bulk of this subseries in binders with sleeves, and included contact sheets with the negatives.

Physical note: In some cases photographic prints and contact sheets are interleaved with their respective sleeved negative sheets. Researchers are asked to take care to preserve this arrangement while using the relevant files.

Arranged chronologically.

4 boxes

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.

Arranged alphabetically by title and subject.

10 boxes

This subseries is the most substantial of the Business Files series. The papers are chiefly concerned with business arrangements, which include the organization and preparation of exhibits, invitations and correspondence relating to lectures and symposia, travel arrangements, and the scheduling of studio tours and visits. There is also a great deal of personal correspondence with friends, family, and professional contacts with which Segal developed personal relationships. These materials often relate Segal's candid opinions on his business dealings, his own work, family matters, and life in general. Finally, there is correspondence from admirers and students, some of which goes on over a period of many years. Photographs, when present, are indicated in the file notes.

Personal names of interest have been included in the file notes.

In some cases, files will overlap dates within a year (for example: Business Correspondence, January 13 – March 10, 1970 and Business Correspondence, March 1 – March 25, 1970). This arrangement reflects the original order of the creator, as Segal would staple or group related correspondence and materials together. When this is the case, the group of documents is filed by the earliest dated piece of correspondence in the group. Researchers interested in correspondence from certain years should note whether or not that time frame is indicated in another file.

Additional business correspondence files are located in Series 11: Additional Material. Those materials fill the gap between 1971-1990 reflected in this subseries.

Arranged chronologically.

16 boxes

This subseries consists of subject files created by the artist that relate to aspects of Segal's business life that do not directly deal with the production of artwork or the exhibition of artwork. Subjects and materials therefore include correspondence relating to lectures, symposia, awards, honors, published works, memberships in professional and artistic organizations, travel and participation in special events. In addition, there is accounting and invoice information from shipping agencies and museums regarding the transportation, sale, or donation of artworks.

Researchers should note that many of the topics and types of material represented by this subseries are also represented in Subseries 3C: Business Correspondence by Year and that the two subseries are not mutually exclusive. Researchers interested in a particular subject represented by these files are advised to reference those files in Subseries 3C that correspond to the relevant time period.

Arranged alphabetically by subject.

3 boxes

This subseries contains subject files arranged by the artist of material relating to major and minor exhibitions. Segal's work was featured in over one hundred one-man exhibitions and over three hundred group exhibitions within his lifetime. Segal himself was often involved in the preparation, arrangement, lending, installation and shipping of his artwork and thus kept files containing the correspondence, invoicing, insurance, check-lists and photographs that would correspond to these large and often long-term engagements. He would also provide interviews for catalog texts and subsequently edit them. Thus the content of these files is varied and includes travel arrangements, financial accounting information, shipping invoices, correspondence with various institutions and private individuals, catalog texts, photographs, records of repair, and tourist materials.

This subseries is not comprehensive. Researchers interested in a particular show or correspondent should reference files in 3C: Business Correspondence by Year dated at least a year prior and a year after the opening date of a specific exhibition, or for information on exhibits not listed here.

Folder titles are derived from the name of the host institution and the year in which the show opened.

Arranged alphabetically by host institution.

7 boxes

This subseries contains oversized site, elevation, and floorplans that date from 1957 to 1998, but correspond to projects and exhibitions that took place from the 1970s to 1998. In the preparation stages of almost all of Segal's important public commissions one or more site plans or elevations would be provided or drawn in order to facilitate the installation of the sculpture(s). In addition to this, the planning of large-scale exhibition installations, especially those requiring input directly from Segal himself would also require oversized gallery plans.

These and other materials were separated from their relevant files for preservation reasons and included in this subseries. Separation sheets were put in place in order to indicate when an oversized document was removed to this subseries.

For clarity, the following terms have been included: Gallery plan is a plan that depicts the floorplan of a gallery with dimensions; installation plan is a plan that depicts the floorplan of a gallery along with notations for the placement of sculpture and artwork; elevation is a plan that depicts the vertical dimensions of a site; site plan is a plan that depicts the dimensions of an installation site that is not a gallery.

Physical notes: This subseries is housed in a large oversized box. Researchers are asked to secure an area appropriate for the proper handling of these large materials.

Arranged alphabetically.

1 box

This subseries consists of subject files of separated material that are otherwise unrelated to Segal's business correspondence or the creation of his artwork and sculpture.

Arranged alphabetically.

2 boxes

This subseries is arranged chronologically.

This subseries 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. Contents are similar to those located in other subseries within the Business Files series but comprise materials that were found after the initial donation.

6 boxes