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

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.

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.

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.

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.

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.

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.