Correspondence
Object Details
- Appendix: Notable Correspondents from Series 2
- A. Charnoz Antiquaire, 1925 Albert L. Morse and Sons Antiquities, 1925 Allen, Collens, and Willis Architects, 1934 American Museum of Natural History, 1918 Anderson Galleries, 1927 Andr Seligmann, 1929 Arnold Seligmann et Fils, 1927 Arthur S. Vernay, Inc., 1923 Bacri Frres, 1925 Ball, D.C., 1916 Barnard, Monroe, 1938, 1941-1942, 1953 and undated Billikopf, Jacob, 1926 Bird, Hobart S, 1929 Bloomingdale, Hiram, 1924 Brooklyn Museum of Art, 1938 Buffalo Fine Arts Academy, 1937 C. Hendel and Sons, 1938 C. Joret Antiquities, 1925, 1938, 1939 and undated C.M. Traver Co., 1925 Carnegie Institute, 1923 Charbon Anglais, 1914, 1916 Chicago Institute of Art, 1920 Cleveland Museum of Art, 1915, 1935 Columbia University, Teachers College, 1922 Commission of Fine Arts, Washington, D.C., 1956 Commissioner of Fairmont Park, Philadelphia, Penn., 1926 Conference on the Cause and Cure of War, 1925 Coolidge Shepley Bulfinch and Abbott Architects, 1926 Cram and Ferguson Architects, 1919, 1926 DeForest Bros., 1925 Denton, Christine, 1918, 1920-1921 and undated Doll and Richards Fine Arts, 1920-1921 duPont, Pierre S., 1939 E and A Silberman, 1927 E. Larcade Objects d'Art Ancien, 1925 E. Simon, 1927, 1932 Elmer Grey Architect, 1931, 1937 Fine Arts Federation of New York, 1938, 1940 Ford Motor Company, 1938 Franklin Spier, 1925 Freeman, James E (Bishop of Washington D.C.), 1940 Frick, Mrs. Henry, 1923 Goodyear, Conger, 1939 Grand Central Art Gallery, 1939 Hammond, John Henry, 1939 Harold F. Strong Corporation, 1938 Harris, Victor, 1918 Harvard University, Fogg Art Museum, 1916-1917, 1920-1921, 1924-1929, 1931, 1937, 1939 Hartman, Atma, 1925 Huntington, Arthur M, 1937-1938, 1953 Jacques Seligmann and Co., 1924 Jenks, John S., 1927 John Gellatly, 1925, 1930 John H. Stanford Works of Art, 1927 John Monroe and Co, 1926 Kipling, Rudyard, 1899 Lee, Ann, 1938 M and R Stora, 1926-1927 M. Dragas et Fils, 1907, 1911-1913 Macmillan Company, 1938 McCay, Clarence, 1916 Metropolitan Museum of Art, 1912, 1924-1927, 1930, 1935, 1937, 1957 Midway Studio (Lorado Taft), 1924 Morris, Ruth, 1962-1964 Moss, Col. James A., 1920 Museum of Fine Arts (Boston, Mass.), 1919, 1921, 1927, 1935 Museum of Newark, New Jersey, 1928 Myers, Clarance J., 1938 Nelson Gallery of Art (William Rockhill), 1938 Norris, Gertrude, 1933 North Carolina Historical Society (R.D.W. Connor), 1911-1913 P. Jackson Works of Art, 1925 P.W. French and Co., 1928 Paris Singer, 1926 Parrot, William, 1936 Paul Gouvert, 1925 Pennsylvania Museum of Art (later Philadelphia Museum of Art), 1926-1930, 1937 Philadelphia Museum of Art, 1955-1956 Rockefeller Jr., John D, 1927-1928, 1938 S. Marchat, 1925 Saint-Georges Art Gallery, 1925 Simon and Co., 1929 Sparks, William Sheppard, 1938 Spreckels, Alma de Bretteville, 1920 Ste. Galeries Schutz, 1927-1929 Thaw, Elsa Dows, 1915-1916 Thomas, Joseph B., 1922 Thompson, A., 1899 Toledo Museum of Art, 1922 United States Department of the Interior, 1957-1958 United States Department of State, 1913-1914 University of Illinois, College of Fine and Applied Arts, 1937 Vivian, Calthea, 1922-1924 Wadsworth Atheneum , 1938 Washington National Cathedral (formerly Washington Cathedral), 1922 Waterman, F.D., 1923 Wildhaber, A. Paul, 1921-1922 Wilson, William H., 1922 Worcester Art Museum, 1927
- Collection Creator
- Barnard, George Grey, 1863-1938
- See more items in
- George Grey Barnard papers
- Sponsor
- Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
- Extent
- 0.7 Linear feet (Box 1)
- Date
- circa 1896-1965
- Archival Repository
- Archives of American Art
- Identifier
- AAA.barngeor, Series 2
- Type
- Archival materials
- Collection Citation
- George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
- Arrangement note
- 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.
- Collection Rights
- The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
- Existence and Location of Copies
- This series has been scanned in its entirety.
- Scope and Contents note
- 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. See Appendix for a list of notable correspondents from Series 2
- Collection Restrictions
- Use of original papers requires an appointment.
- Record ID
- ebl-1503510132231-1503510132256-2
- Metadata Usage
- CC0