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George Grey Barnard papers, circa 1860-1969, bulk 1880-1938

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Series 1: Biographical Material, circa 1888-1955
0.25 Linear feet
Boxes 1 and 15

This series records George Grey Barnard's personal biography, family genealogy, friends, and associations. Files contain address books; biographical notes written for reference resources such as Who's Who, National Social Blue Book, Cyclopedia of American Biography; family genealogies and family histories; legal documents such as George Grey Barnard's and his wife Edna's last will and testament, and the sale of land to Metropolitan Museum of Art; a diploma belonging to his father Rev. Joseph Barnard; ephemera including membership cards; and a set of unidentified hand prints. Lists of "prospects" include individuals whom Barnard identified as likely clients for his own sculpture, for the medieval art and artifacts that he sold to prominent museums and collectors, or for those likely to offer to contribute financial assistance to aid in the completion of his war memorial, Rainbow Arch. There is also a select list of his funeral attendees and miscellaneous additional data about "the Monastary" (Abbaye).
Biographical materials are arranged alphabetically according to material type and then chronologically within the files.
This series has been scanned in its entirety.
Description Container Select
Address Books, circa 1901-1907
1
1
Address Book, circa 1917-1926
1
2
Biographical Notes, circa 1900-1950
1
3
Diploma, 1888
Oversized material housed in Box 15
1
4
Ephemera, circa 1910-1939
Oversized material housed in Box 15
1
5
Genealogies and Family History, 1930-1938
1
6
Legal Documents, 1925-1955
1
7
Lists, circa 1916-1938
1
8
Oversize Diploma, 1888
Oversized material scanned with Box 1, F4
15
1
Oversized Ephemera (Rainbow Arch Memorial Sign), circa 1910-1939
Oversized material scanned with Box 1, F5
15
1
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Series 2: Correspondence, circa 1896-1965
0.7 Linear feet
Box 1

This series contains the personal and business correspondence of George Grey Barnard until his death in 1938. Later correspondence consists of the incoming and outgoing correspondence of Barnard's son, Monroe Grey Barnard, mostly in connection with his father's estate and in letters to art historian and Barnard scholar, Harold E. Dickson.
Correspondents include art and antiques dealers, museum directors, curators, and galleries, as well as individuals whom Barnard identified as 'prospects' for either his own sculptural projects or medieval antiquities in his collection. Frequent correspondents include art and antiques dealers M. Dagras et Fils, C. Joret, Ste. Galleries Schutz, D.W. French and Co.; museum directors Edward Forbes (Fogg Art Museum, Harvard Univesity), Robert DeForest (Metropolitan Museum of Art), Fiske Kimball (Philadelphia Museum of Art); and art patrons Arthur M. Huntington and John Gellatly. Handwritten drafts and typed copies of Barnard's outgoing letters are scattered throughout.
Of particular interest are the letters from the early to mid-1920s, the period during which he was trying to sell the medieval art and architectural elements that made up the George Grey Barnard Cloisters. Individuals wrote with proposals, such as artist Calthea Vivian, who hoped to find a home for the collection in California. Museums that expressed interest include the Toledo Museum of Art. Ultimately the collection was purchased by the Metropolitan Museum of Art, with funds provided by John D. Rockefeller. The 1925 folder contains letters providing details concerning the sales agreement.
Correspondence that post-dates Barnard's death in 1938 includes his son's correspondence with various individuals and institutions concerning his father's estate and the remaining collection of medieval art and architectural elements, which was known as 'The Monastery' or 'The Abbaye.' There is significant correspondence with representatives of the National Cathedral regarding moving the collection to Washington, D.C. However, no correspondence was found relating to the Philadelphia Museum of Art's subsequent acquisition of the bulk of the collection. There is also significant personal correspondence between Monroe and his mother (Edna Monroe Barnard), primarily typed copies of his outgoing letters.
Correspondence is arranged chronologically. A file of undated letters and another that contains a typed list of telegrams and telephone calls has been placed at the end.
This series has been scanned in its entirety.
Description Container Select
Correspondence, 1896-1907
1
9
Correspondence, 1911-1913
1
10
Correspondence, 1914-1916
1
11
Correspondence, 1917-1919
1
12
Correspondnece, 1920
1
13
Correspondence, 1921
1
14
Correspondence, 1922
1
15
Correspondence, 1923
1
16
Correspondence, 1924
1
17
Correspondence, 1925
1
18
Correspondence, 1926
1
19
Correspondence, 1926
1
20
Correspondence, 1927
1
21
Correspondence, 1927
1
22
Correspondence, 1928
1
23
Correspondence, 1928
1
24
Correspondence, 1929
1
25
Correspondence, 1930-1931
1
26
Correspondence, 1932-1933
1
27
Correspondence, 1934-1936
1
28
Correspondence, 1937
1
29
Correspondence, 1938
1
30
Correspondence, 1939
1
31
Correspondence, 1939
1
32
Correspondence, 1940
1
33
Correspondence, 1941-1944
1
34
Correspondence, 1949-1965
1
35
Correspondence, circa 1900-1960
1
36
List of Telegrams and Telephone Calls, 1938, April 25
1
37
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Series 3: Diaries and Daily Journals, 1900-1938
1 Linear foot
Boxes 1-2

This series consists of three diaries and nine daily journals. Rather than providing detailed accounts of Barnard's life, these diaries and journals document appointments (both personal and studio-related), notable visitors to the artist's studio, progress reports on sculptures, phone calls and correspondence received, as well as letter drafts, favorite quotations and excerpts from newspaper articles. Although some of the entries appear to be in Barnard's hand, many appear to have been made by his secretary. Indeed some pages contain messages from Barnard to his secretary and vice versa.
Diaries and journals are arranged chronologically.
This series has been scanned in its entirety.
Description Container Select
Diary, 1900
1
38
Diary, 1903
1
39
Daily Journals, 1931
1
40
Daily Journals, 1931
1
41
Daily Journal, 1932
2
1
Daily Journal, 1933
2
2
Daily Journal, 1934
2
3
Daily Journal, 1935
2
4
Daily Journal, 1936
2
5
Daily Journal, 1937
2
6
Daily Journal, 1938
2
7
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Series 4: Writings and Notes, circa 1881-1963
1.6 Linear feet
Boxes 2-4

Writings and notes consists of three small note books, which contain partial drafts of correspondence, as well as typescripts of artist's statements, and notes for an article on the Rainbow Arch Memorial. There is also a proposal by Ruth Morris for a biography of Barnard. The remaining bulk of the series is made up of typescripts of sermons by Joseph Barnard, the artist's father.
Items in this series have been grouped together by material type.
This series has been partially scanned. Typescripts of Joseph Barnard's sermons have not been scanned.
Description Container Select
Notebooks, before 1938
2
8
Personal Statements and Notes for Articles, before 1938
2
9
Morris Ruth, Barnard Biography Proposal, circa 1963
2
10
Unidentified Author, Untitled Typescript about Barnard (incomplete), circa 1920-1950
2
11
Sermons of J.H. Barnard, 1881-1926
2
12
Sermons of J.H. Barnard, 1881-1926
2
13
Sermons of J.H. Barnard, 1881-1926
2
14
Sermons of J.H. Barnard, 1881-1926
2
15
Sermons of J.H. Barnard, 1881-1926
2
16
Sermons of J.H. Barnard, 1881-1926
3
1
Sermons of J.H. Barnard, 1881-1926
3
2
Sermons of J.H. Barnard, 1881-1926
3
3
Sermons of J.H. Barnard, 1881-1926
3
4
Sermons of J.H. Barnard, 1881-1926
3
5
Sermons of J.H. Barnard, 1881-1926
3
6
Sermons of J.H. Barnard, 1881-1926
3
7
Sermons of J.H. Barnard, 1881-1926
3
8
Sermons of J.H. Barnard, 1881-1926
3
9
Sermons of J.H. Barnard, 1881-1926
3
10
Sermons of J.H. Barnard, 1881-1926
3
11
Sermons of J.H. Barnard, 1881-1926
3
12
Sermons of J.H. Barnard, 1881-1926
3
13
Sermons of J.H. Barnard, 1881-1926
3
14
Sermons of J.H. Barnard, 1881-1926
3
15
Sermons of J.H. Barnard, 1881-1926
3
16
Sermons of J.H. Barnard, 1881-1926
3
17
Sermons of J.H. Barnard, 1881-1926
4
1
Sermons of J.H. Barnard, 1881-1926
4
2
Sermons of J.H. Barnard, 1881-1926
4
3
Sermons of J.H. Barnard, 1881-1926
4
4
Sermons of J.H. Barnard, 1881-1926
4
5
Sermons of J.H. Barnard, 1881-1926
4
6
Sermons of J.H. Barnard, 1881-1926
4
7
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Series 5: Medieval Art and Collections, circa 1905-1958
0.9 Linear feet
Boxes 4, 15, and OV 17

Found in this series are documents that record Barnard's activities as a collector and dealer of Medieval art and artifacts, including collecting notes; inventories; invoices from galleries and dealers; and printed material related to the artist's collections of medieval art (the Cloisters and the Abbaye/Monastery), including signs for both. Other items of note include hand drawn floor plans, one of which appears to be a rough sketch of the layout of the original Cloister, while the other more finished floor plan may be a plan for a medieval cloister (perhaps one that Barnard had purchased in Europe to reconstruct in the United States). Finally there are files related to two projects with the National Cathedral in Washington D.C., the first being the Bishop Garden to which Barnard donated an ancient cross. Barnard may have been the dealer for those who donated other medieval artifacts and architectural elements that decorated the garden. There is a second proposal for a failed project to relocate Barnard's second collection of medieval art and architectural elements to the National Cathedral initiated after the artist's death in 1937 by his son Monroe Barnard.
Barnard's "collecting notes" are found in one folder of loose notes and 13 notebooks of various sizes. These notebooks contain names of dealers, places to visit, as well as descriptions, sketches, and prices of the medieval and renaissance art and artifacts which he collected both for himself and to sell to others. Other notebooks act as shipping inventories. In most of the shipping inventory notebooks, objects are listed by case number and are identified with brief descriptions. The 1926-1928 notebook also identifies the sender, which in most cases appears to be the French galleries/dealers from whom Barnard acquired the objects. There are inventories of Barnard's collections, including a notebook that contains detailed handwritten descriptions of objects in the original Cloisters, as well as a typescript titled Descriptions of Art Objects in the Abbaye, which serves as a narrative guide to the collection. There is also a visitor's book from the Monastery (Abbaye).
Files are grouped by material type and then arranged in chronological order.
This series has been scanned in its entirety.
Description Container Select
Notebooks (Collecting Notes and Sketches), circa 1905-1938
4
8
Notebooks (Collecting Notes and Sketches), circa 1905-1938
4
9
Notebooks (Collecting Notes and Sketches), circa 1905-1938
4
10
Notebooks (Collecting Notes and Sketches), circa 1905-1938
4
11
Notebooks (Collecting Notes and Sketches), circa 1905-1938
4
12
Collecting Notes (loose), circa 1920s
4
13
Notebooks (Shipping Inventories and Notes), circa 1905-1938
4
14
Notebooks (Shipping Inventories and Notes), circa 1905-1938
4
15
Auction and Sales Catalogs, circa 1914-1945
4
16
Inventory - Cloisters, circa 1920-1925
4
17
Inventory - Cloisters (loose), circa 1920-1925
4
18
Inventories - Monastery/Abbaye, circa 1930s
4
19
Inventory of Antiques and Statues at the North Studio, circa 1920-1925
4
20
Invoices and Receipts for Medieval Art, 1925-1929
4
21
Floor and Ceiling Plans, circa 1900-1950
Oversized material housed in OV 17
4
22
Printed Material - Cloisters and Abbaye, circa 1920-1958
Oversized material housed in OV 17
4
23
Monastery Visitors Book, 1934-1938
Oversized material housed in Box 15
4
24
Medieval Objects in Bishops Garden, National Catherdral, Washington, D.C., 1926-1939
4
25
Medieval Objects in Bishops Garden (duplicates), National Catherdral, Washington, D.C., 1926-1939
4
26
Proposal for George Grey Barnard's "Abbaye" at the National Cathedral, Washington, D.C., 1939
4
27
Oversized Monastery Visitors Book, 1934-1938
Oversized material scanned with Box 4, F24
15
2
Oversized Floor and Ceiling Plans, circa 1900-1950
Oversized material scanned with Box 4, F22
OV 17
Oversized Printed Material - Cloisters and Abbaye, circa 1920-1958
Oversized material scanned with Box 4, F23
OV 17
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Series 6: Business Records, circa 1900-1938
0.9 Linear feet
Boxes 4-5

Business records document the activities of Barnard's studios in Moret, France and New York and include address books, card catalogue cards, employee time books, a studio inventory, and model and studio record books.
Many of the files include information about the models Barnard employed. The address books not only name the models, but in some cases include addresses and brief physical descriptions or annotations regarding the sculpture for which they were employed. Employee time records include models as well as other people whom Barnard employed, including his secretaries and studio assistants. The card catalog was primarily used to record file locations for business files and photographs of Barnard's sculptures. Additionally, a ledger style book labeled as an "Index to Correspondence" on its cover and binding actually served as a studio inventory and documented the box locations, not only of correspondence, but also books, clippings, magazines, and photographs that were moved from the "Billings Studio" to the studio at 700 Fort Washington Avenue in New York.
Files are arranged by format and then in chronological order.
This series has been partially scanned. Employee time books have not been scanned.
Description Container Select
Address Books (Models), circa 1900-1920
4
28
Catalog Cards, circa 1920-1928
5
1
Studio Office Inventory (Index to Correspondence), 1930 August
5
2
Employee Time Books: Studio, Moret, France, 1909-1910
5
3
Employee Time Books: Studio, Moret, France, 1909-1910
5
4
Employee Time Books: Studio, Moret, France, 1909-1910
5
5
Employee Time Books: Studio, Moret, France, 1910
5
6
Employee Time Books: Studio, Moret, France, 1910
5
7
Employee Time Books: Studio, Moret, France, 1910
5
8
Employee Time Books, 1932-1934
5
9
Employee Time Books, 1933-1938
5
10
Employee Time Books, 1934
5
11
Employee Time Books, 1935 May-September
5
12
Employee Time Books, 1936-1938
5
13
Employee Time Books, 1937 February-May
5
14
Employee Time Books, 1937 March-June
5
15
Employee Time Books, 1937-1938
5
16
Employee Time Books, circa 1920-1937
5
17
Model Records, 1930 January-October
5
18
Studio Work Records, 1932-1933
5
19
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Series 7: Financial Records, circa 1920-1941
1.3 Linear feet
Boxes 5-7

Financial Records consists of cash and disbursement books, expense books, and invoices and receipts, which document both studio and household accounts. Expense books mainly record monthly expenses such as studio rent, staff salaries, taxes, and utility bills. There are invoices and receipts from photographers, hardware stores, utilities, art supply stores, as well as for more quotidian expenses ranging from bird feed to medical bills. This series also contains a large number of invoices and receipts specifically stemming from the construction of the Barnard Residence at 191 Street in Fort Washington. Although technically not a financial record, the building specification report is included so as not to be separated from the related receipts and invoices. Additional invoices and receipts for medieval artifacts are located in the Medieval Art and Collections series.
Items in this series have been grouped together by format and then chronologically.
This series has been partially scanned. General invoices and receipts have not been scanned.
Description Container Select
Expense Books, 1930-1933
5
20
Expense Book, 1934-1935
5
21
Expense Book, Estate of George Grey Barnard, 1938
5
22
Expenses (loose), circa 1930, 1941
5
23
Receipts and Disbursements, 1924-1928
6
1
Receipts and Disbursements, 1928-1932
6
2
Invoices and Receipts, 1924-1926
6
3
Invoices and Receipts, 1929
6
4
Invoices and Receipts, 1929
6
5
Invoices and Receipts, 1930
6
6
Invoices and Receipts, 1930
6
7
Invoices and Receipts, 1931
6
8
Invoices and Receipts, 1931
6
9
Invoices and Receipts, 1933
6
10
Invoices and Receipts, 1934
6
11
Invoices and Receipts, 1934
6
12
Invoices and Receipts, 1935
6
13
Invoices and Receipts, 1936
6
16
Invoices and Receipts, 1936
6
17
Invoices and Receipts, 1937
6
18
Invoices and Receipts, 1937
6
19
Invoices and Receipts, 1938-1940
6
20
Invoices and Receipts - Barnard Residence, 1924-1925
6
21
Invoices and Receipts - Barnard Residence, 1924-1925
6
22
Invoices and Receipts - Barnard Residence, 1924-1925
6
23
Invoices and Receipts - Barnard Residence, 1924-1925
6
24
Invoices and Receipts - Barnard Residence, 1924-1925
6
25
Invoices and Receipts - Barnard Residence, 1924-1925
7
1
Invoices and Receipts - Barnard Residence, 1924-1925
7
2
Invoices and Receipts - Barnard Residence, 1924-1925
7
3
Invoices and Receipts - Barnard Residence, 1924-1925
7
4
Invoices and Receipts - Barnard Residence, 1924-1925
7
5
Barnard Residence Building Specifications, circa 1920s
7
6
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Series 8: Printed Material, circa 1890-1969
1.5 Linear feet
Boxes 7-8, 15-16 and BVs 25-26

Found in this series are books, clippings, exhibition catalogs, magazines, pamphlets, postcards, programs, reports, and reproductions of old master prints. The materials found in this series not only document Barnard's life and career as a sculptor and collector, but also the art and architecture that inspired and interested him.
Clippings record his success at the Paris Salon of 1910; the financial problems that plagued the construction of the Pennsylvania State House, which included sculptures by Barnard; his collections of medieval art, primarily the Cloisters; and his plans to create a large memorial sculpture, most commonly referred to as the Rainbow Arch. A folder of exhibition catalogs and programs document both exhibitions of Barnard's work as well as programs from the dedication of his statue of Abraham Lincoln. There are also annotated postcards of Barnard's boyhood hometowns of Kankatee, Illinois and Muscatine, Iowa, as well as another set of postcards that depict the flooding in Moret, France, the location of his studio in the early 1900s.
The bulk of the rest of the material reflects Barnard's influences and interest in art and architecture from the ancient to the modern. Many of the books found in this series are nineteenth and early twentieth century art books consisting of plates of ancient, medieval, and renaissance art and architecture. Additionally there is a folder of modern reproductions of Old Master prints, primarily by Durer, which come from the Parisian book and art dealer, George Rapilly. They are all stamped on the verso "Rapilly - Paris/Hlio - A.D./9, Quai Malaquais." There is another folder of miscellaneous modern print reproductions.
Printed Materials have been arranged alphabetically by format.
This series has been partially scanned. Books, clippings (aside from scrapbooks), magazines, and printed reproductions have not been scanned.
Description Container Select
Barnard's Lincoln and Abraham Lincoln: A Poem, 1909 and 1917
7
7
Album des Monuments et de l'Art Ancien du Midi, circa 1890s
Loose plates
7
8
Gautier, Leon, La Chanson de Roland, 1922
7
9
Exposicion del Miferere, 1903
7
10
The Word in Stone, circa 1925-1949
7
11
L'Architecture et la Decoration aux Palais du Louvre et des Tuileries, 1908
Oversized book stored with Bound Volumes, BV 25
7
12
Oversized Books, 1890-1915
Oversized materials housed in Box 16
  • Cartault, Augustin, Terres Cuites Antiques, (1892)
  • Duval, Mathias and Albert Bical, L'Anatomie des Maitres, (1890)
  • Gille, Phillipe, Figaro Salon, (1898)
  • Marcou, P. Frantz, Album du Musee de Sculpture Comparee, (circa 1897)
  • Marx, Rodger, Les Medailleurs Francais Contemporains, (circa 1898)
  • Vitry, M. Paul, La Cathedral de Reims; Architecture et Sculpture, (1915)
7
13
Oversized Volume, Photos/Book Plates of Architectural Compositions for Various Buildings, undated
26
Clippings Scrapbook, 1897-1898
7
14
Clippings Scrapbook, circa 1887-1921
Loose sheets and covers; oversize material housed in Box 15
7
15
Clippings - Paris Salon, circa 1910
7
16
Clippings - Pennsylvania State House, circa 1909-1911
7
17
Clippings - Cloisters and Abbaye, 1963, 1916-1941
7
18
Clippings - George Grey Barnard, circa 1898-1963
7
19
Clippings - George Grey Barnard, circa 1898-1963
7
20
Clippings - George Grey Barnard, circa 1898-1963
7
21
Clippings - George Grey Barnard, circa 1898-1963
7
22
Clippings - George Grey Barnard, circa 1898-1963
7
23
Clippings - Miscellaneous, circa 1930
7
24
Clippings - Duplicates, circa 1898-1930
7
25
Exhibition Catalogs and Programs, circa 1908-1963
7
26
Extracts from Foreign Papers, circa 1900-1940
7
27
Magazines and Articles, circa 1898-1969
7
28
Magazines and Articles, circa 1898-1969
7
29
Magazines and Articles, circa 1898-1969
7
30
Magazines and Articles, circa 1898-1969
Oversized materials housed in Box 15
8
1
Magazines and Articles, circa 1898-1969
8
2
Magazines and Articles, circa 1898-1969
8
3
Magazines and Articles, circa 1898-1969
8
4
Magazines and Articles - Cloisters and Abbaye, 1939-1954
8
5
National Cathedral, Washington D.C., Publications, 1938-1940
8
6
National Cathedral, Washington D.C., Publications, 1938-1940
8
7
Pamplets and Reports, circa 1922-1950
8
8
Postcards (annotated) of Kankakee, Ill. and Muscatine, Iowa, circa 1937
8
9
Postcards, circa 1900-1920
8
10
Prints, circa 1900-1940
8
11
Reproductions of Old Master Prints, circa 1900
Oversized material housed in Box 15
8
12
Oversized Clippings Scrapbook, circa 1887-1921
Oversized material scanned with Box 7, F15
15
3-4
Oversized Magazines and Articles, circa 1898-1969
Oversized material from Box 8, F4
15
5
Oversized Reproductions of Old Master Prints, circa 1900
Oversized material from Box 8, F12
15
6
Oversized Books, 1890-1915
Oversized material from Box 7, F13
16
1-6
L'Architecture et la Decoration aux Palais du Louvre et des Tuileries, 1908
Oversized book from Box 7, F12
25
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Series 9: Photographs, circa 1860-1963
4.5 Linear feet
Boxes 8-13, 15 and OV 17-24

This series contains vintage photographs, modern copy prints, transparencies and glass plates of Barnard, his family, friends, studios, and sculptures, as well as his collections of medieval art and architectural elements. There is also a large group of study or reference photographs, which are photographs of works of art from ancient to modern periods, with the bulk from the middle ages through the renaissance. Photographs are described in more detail at the subseries level.
The series is arranged as 6 subseries:
  • Series 9.1: Personal Photographs, circa 1860-1963
  • Series 9.2: Studio Photographs, circa 1880-1938
  • Series 9.3: Medieval Art and Collections, 1905-1945
  • Series 9.4: Study Photographs, circa 1882-1938
  • Series 9.5: Works of Art, circa 1892-1963
  • Series 9.6: Glass Plate Negatives, circa 1900-1945
Glass plate negatives have been digitized

9.1

Personal Photographs, circa 1860-1963
Found in this subseries are personal photographs and portraits of George Grey Barnard, alone and with others, as well as photographs of family, friends, and family residences. Photographs of George Grey Barnard include a vintage carte-de-visite sized print of the artist as a young child; cabinet cards; portraits by studio photographer George Cox, among other studio portrait photographs; and portraits by well-known photographers Carl van Vechten and Doris Ullman. There are several vintage photographs of Barnard with others, most notably a photograph of Barnard and his father in front of portions of the cloister of Saint-Michel-de-Cuxa, set up outside his "museum" the "Old Cloisters." Additional photographs of Barnard with others can be found in the Studio Photographs subseries.
Family and friends recorded in personal photographs include Martha Grubb Barnard (mother), Joseph Barnard (father), grandparents, Edna Monroe (wife), Evan (brother), and Monroe (son). Scattered within the "Miscellaneous Family" folder are unidentified photographs; these were transfered from a folder of the same name and it is assumed that those depicted are related to Barnard, or perhaps close family friends.
Finally, there is a folder of snapshots of the dedication ceremony of his statue of Lincoln in Cincinnati, Ohio. Although a few of the photographs are inscribed with a date that appears to be "1915" the actual date of the ceremony was March 31, 1917.
Description Container
George Grey Barnard, circa 1870-1938
8
13
George Grey Barnard, circa 1870-1938
8
14
Portraits of George Grey Barnard by Carl Van Vechten, circa 1930s
8
15
Portraits of George Grey Barnard by Doris Ulmann, circa 1920s
Oversized material housed in Box 15
8
16
George Grey Barnard and Others, circa 1880-1920
8
17
Martha Grubb Barnard (mother), circa 1860-1901
8
18
Evan G. Barnard (brother), 1906 - circa 1930
8
19
Miscellaneous Family, circa 1860-1920
8
20
Robert C. Ogden, circa 1900-1913
Oversized material housed in Box 15
8
21
Robert C. Ogden - duplicates, circa 1900-1913
8
22
Miscellaneous Friends, circa 1886-1934
8
23
Barnard Family Residences and Other Landmarks, 1936
8
24
Evan Barnard's Ranch, Oklahoma, circa 1960-1920
8
25
Dedication of Lincoln Statue, 1917, March 31
8
26
Modern Copy Prints (duplicates of vintage prints), circa 1920-1940
8
27
Oversized Portraits of George Grey Barnard by Doris Ulmann, circa 1920s
Oversized material scanned with Box 8, F16
15
7
Oversized portraits of Robert C. Ogden, circa 1900-1913
Oversized material scanned with Box 8, F21
15
8

9.2

Studio Photographs, circa 1880-1938
Items in this subseries include photographs of Barnard in his studios in Paris and New York, an exterior view of his Ft. Tyron Park studio, and a set of model studies. Scattered amongst the photographs of the Paris and New York studios are vintage prints that feature Barnard at work, including a circa 1916 photograph of the artist on a ladder, working on a colossal plaster head, Lincoln in Thought and an 1885 salted paper print of Barnard in his Paris studio working on Two Natures. Additionally, there are several photographs documenting the flood damage to his studio in Moret, France, which occured in January of 1910.
Description Container
George Grey Barnard in Paris and New York Studios, circa 1880-1938
Oversized material housed in OV 17
8
28
Model Studies, before 1938
Vintage prints mounted on wood
9
1
Model Studies, before 1938
Vintage prints mounted on wood
9
2
Barnard Studio, Moret, France, 1910
9
3
Barnard Studio, Ft. Tyron, New York City, circa 1920s
9
4
Oversized photographs of George Grey Barnard in Paris and New York Studios, circa 1880-1938
Oversized material scanned with Box 8, F28
OV 17

9.3

Medieval Art and Collections, circa 1905-1945
This subseries documents Barnard's collections of medieval art, the Cloisters and the Abbaye, as well as individual artifacts of medieval and eighteenth century art, which may have passed through his possession in his dual roles as collector and dealer. The photographs of the Cloisters and Abbaye record Barnard's installation of medieval statuary and architectural elements in the space that he, along with his architect, Horace Mann, had created to house his collections. Some of the prints include annotations along the bottom edge or on the verso that date the image as well as provide identifying details for sculptures and studio locations.
The bulk of the photographs document medieval sculptures and architectural elements, ranging from stained glass windows to entire cloisters. Folder titles distinguish amongst "Medieval Artifacts in Their Original Locations," "Medieval Artifcats, France, Collection Files," and "Medieval and Eighteenth Century Art, Dealers Files." These title designations were retained due to possible significance and may reflect Barnard's orignal file titles.
Description Container
Abbaye by Monroe Barnard, circa 1938-1945
9
5
Cloisters, circa 1914-1925
9
6
Cloisters photographs from the Metropolitan Musuem of Art, circa 1920-1940
9
7
Medieval Artifacts in Their Original Location, circa 1905-1938
9
8
Medieval Artifacts in Their Original Location, circa 1905-1938
9
9
Medieval Artifacts in Their Original Location, circa 1905-1938
9
10
Medieval Artifacts, France, Collection Files, circa 1905-1938
Oversized material housed in Box 15
9
11
Medieval Artifacts, France, Collection Files, circa 1905-1938
9
12
Medieval and Eighteenth Century Art - Dealer's Files, circa 1905-1938
9
13
Medieval and Eighteenth Century Art - Dealer's Files, circa 1905-1938
9
14
Oversized Photographs of Medieval Artifacts, France, Collection Files, circa 1905-1938
Oversized material scanned with Box 9, F12
15
9

9.4

Study Photographs, circa 1882-1938
This subseries consists of photographs that were designated as study photographs. They depict a wide variety of works of art by other artists, ranging from ancient art to work created by Barnard's contemporaries. However photographs depicting medieval and Renaissance art and architecture, particularly details from Michaelangelo's Sistine Chapel, form the bulk of this collection. Presumably this collection of reference photographs was assembled and retained by the artist and reflects his interests as well as sources for his own work.
Description Container
Medieval Art and Architecture, circa 1905-1938
9
15
Medieval Art and Architecture, circa 1905-1938
9
16
Medieval Art and Architecture, circa 1905-1938
9
17
Medieval Art and Architecture, circa 1905-1938
9
18
Medieval Art and Architecture, circa 1905-1938
9
19
Ancient to Modern Works of Art, circa 1882-1938
9
20
Ancient to Modern Works of Art, circa 1882-1938
9
21
Ancient to Modern Works of Art, circa 1882-1938
9
22
Ancient to Modern Works of Art, circa 1882-1938
9
23
Ancient to Modern Works of Art, circa 1882-1938
9
24
Ancient to Modern Works of Art, circa 1882-1938
9
25
Ancient to Modern Works of Art, circa 1882-1938
9
26
Ancient to Modern Works of Art, circa 1882-1938
9
27
Ancient to Modern Works of Art, circa 1882-1938
9
28
Ancient to Modern Works of Art, circa 1882-1938
9
29
Ancient to Modern Works of Art, circa 1882-1938
9
30
Ancient to Modern Works of Art, circa 1882-1938
9
31
Ancient to Modern Works of Art, circa 1882-1938
9
32
Ancient to Modern Works of Art, circa 1882-1938
9
33
Ancient to Modern Works of Art, circa 1882-1938
Oversized material housed in Box 15
10
1
Ancient to Modern Works of Art, circa 1882-1938
10
2
Ancient to Modern Works of Art, circa 1882-1938
10
3
Ancient to Modern Works of Art, circa 1882-1938
10
4
Ancient to Modern Works of Art, circa 1882-1938
10
5
Oversized Study Photographs of Ancient to Modern Works of Art, circa 1882-1938
Oversized materials from Box 10, F5
15
10

9.5

Works of Art, circa 1882-1963
Photographs in this subseries document all of Barnard's major sculptures from his earliest recognized work Sleeping Boy to the plaster studies for his uncompleted opus, Rainbow Arch. Of particular note are prints of his sculptural commissions for the Pennsylvania State House and his many works depicting Abraham Lincoln. The bulk of the prints are vintage, some of which are mounted on board and inscribed. Several of the early photographs were taken in conjunction with a 1908 exhibition of Barnard's work at the Museum of Fine Arts Boston; the negatives for these images can be found in the Glass Plate Negatives subseries. This subseries also includes photographs that depict the work of other artists, particularly those who completed portraits of George Grey Barnard.
Description Container
Sleeping Boy (1884), circa 1892-1963
10
6
Nurse and Cupid (1885), circa 1908
10
7
Brotherly Love (1886-1887), circa 1897-1963
10
8
Unidentified Sculpture (circa 1892), circa 1892-1911
10
9
Two Natures (1892-1894), circa 1892-1963
Oversized material housed in OV 21
10
10
Two Natures (1892-1894), circa 1892-1963
10
11
Mask of a Faun (1895), circa 1895
10
12
The God Pan (1895), 1898-1899, circa 1963
10
13
The God Pan (1895), 1898-1899, circa 1963
10
14
The Urn of Life (1895-1897), circa 1895-1963
10
15
Maidenhood (1896), circa 1896-1963
10
16
Bust of a Girl (1897), circa 1920-1940
10
17
Maiden with Roses (1898), circa 1898-1910
10
18
Norwegian Clock (1898), circa 1898-1963
10
19
Norwegian Clock (1898), circa 1898-1963
10
20
Bust of Professor Leeds (1900), circa 1908-1963
10
21
Niagra, at the Electric Tower Building, Pan American Exhibition (1900), circa 1900-1963
10
22
Pennsylvania State Capital Sculptures (1901-1911), circa 1901-1963
Oversized material housed in OV 18-19
10
23
Pennsylvania State Capital Sculptures (1901-1911), circa 1901-1963
10
24
Pennsylvania State Capital Sculptures (1901-1911), circa 1901-1963
10
25
The Hewer (1902), circa 1908-1963
Oversized matrial housed in OV 22
10
26
Crucifixion (circa 1907-1908), circa 1920-1963
10
27
Girl and Cupid (1908), circa 1908-1963
10
28
Head of Columbus (1908), circa 1908-1963
10
29
Emerging Woman, or Primative Woman (1916), circa 1916-1963
10
30
Lincoln (1915-1917), circa 1901-1963
Oversized material housed in OV 20, 22-23
10
31
Lincoln (1915-1917), circa 1901-1963
10
32
Lincoln (1915-1917), circa 1901-1963
10
33
Lincoln (1915-1917), circa 1901-1963
10
34
New York Public Library Sculpture (1916), circa 1916-1963
10
35
Rainbow Arch (1920-37), circa 1920-1963
11
1
Rainbow Arch (1920-37), circa 1920-1963
11
2
Rainbow Arch (1920-37), circa 1920-1963
11
3
Rainbow Arch (1920-37), circa 1920-1963
11
4
Rainbow Arch (1920-37), circa 1920-1963
11
5
Adam and Eve (circa 1923), circa 1923-1963
11
6
Bernheim Memorial (circa 1930s), circa 1930-1963
11
7
Maiden (circa 1934), circa 1934-1963
11
8
The Builder, circa 1930-1963
11
9
Damaged Statues, circa 1909-1963
11
10
Miscellaneous and Unidentified Works of Art, circa 1923-1963
Oversized material housed in Box 15 and OV 24
11
11
Portraits of George Grey Barnard by Other Artists, circa 1890-1938
11
12
Works of Art by Other Artists, circa 1900-1963
Oversized material housed in OV 24
11
13
Black and White Transparencies, circa 1960s
11
14
Copy Negatives, (from destroyed nitrate negatives), circa 1960s
11
15
Oversized Miscellaneous and Unidentified Works of Art, circa 1923-1963
Oversized material from Box 11, F11
15
11
Oversized Photographs of Pennsylvania State Capital Sculptures (1901-1911), circa 1901-1963
Oversized material from Box 10, F23-25
OV 18
Oversized Photographs of Pennsylvania State Capital Sculptures (1901-1911), circa 1901-1963
OV 19
Oversized Photographs of Lincoln (1915-1917), circa 1901-1963
Oversized material from Box 10, F34
OV 20
Oversized Photographs of Two Natures (1892-1894), circa 1892
Oversized material from Box 10, F11
OV 21
Oversized Photographs of The Hewer (1902), circa 1908-1963
Oversized material from Box 10, F26
OV 22
Oversized Photographs of Lincoln (1915-1917), circa 1901-1963
Oversized material from Box 10, F34
OV 22
Oversized Photographs of Lincoln (1915-1917), circa 1901-1963
Oversized material from Box 10, F34
OV 23
Oversized Photographs of Works of Art by Other Artists and Unidentified Works of Art, circa 1923-1963
Oversized material from Box 11, F11 and F13
OV 24

9.6

Glass Plate Negatives and Lantern Slides, circa 1900-1945
This subseries consists of glass plate negatives and lantern slides of works of art and installation views of Barnard's second collection of medieval art known as the Abbaye. Plates of works of art are solely of Barnard's sculptures, including a large group photographed by Barnard Coolidge for a 1908 exhibition of Barnard's work at the Museum of Fine Arts in Boston. Prints of most of these plates can be found in the Works of Art subseries of photographs. The glass plates of the Abbaye are installation views of the medieval sculptures and architectural elements that constitute the collection. Prints of some of these plates can be found in the subseries of photographs titled Medieval Art and Collections. Lantern slides include images of works of art as well as Barnard in his studio and Barnard working on "Lincoln in Thought" with Ida Tarbell.
Description Container
Works of art, Barnard, and other subjects, circa 1905-1937
48 lantern slides
12
Works of art and the Abbaye collection, circa 1900-1945
38 glass plate negatives (4"x5", 5"x7", 8"x10")
13
Back to Top

Series 10: Artwork, circa 1892-1938
0.5 Linear feet
Boxes 11, 14, 16 and OV 17

The artwork includes prints, loose sketches, one sketchbook, four etching plates, one copper plate and blueprints for Barnard's Rainbow Arch Memorial. The artwork depicts a wide variety of images, including landscapes, human figures, and architectural drawings.
Folders in this series have been arranged chronologically.
This series has been scanned in its entirety.
Description Container Select
Sketchbook/Notebook, circa 1890-1937
11
16
Loose Sketches, circa 1880-1938
Oversized material housed in Box 16
11
17
Rainbow Arch Blueprints, 1939
Oversized material housed in OV 17
11
18
Prints by Unidentified Artists, circa 1880-1940
11
19
Copper Plate, circa 1880-1940
11
20
Etching Plates, circa 1880-1940
14
1
Etching Plates, circa 1880-1940
14
2
Oversized Loose Sketch, circa 1880-1938
Oversized material scanned with Box 11, F17
16
7
Oversized Rainbow Arch Blueprints, 1939
Oversized material scanned with Box 11, F18
OV 17

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