George N. Barnard Sold at Auction Prices

Photographer, b. 1819 - d. 1902

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          • [CIVIL WAR]. [BARNARD, George N. (1819-1902), and GIBSON, James F. (1828-1905), photographers]. Confederate Fortifications on Heights of Centreville, Virginia. [Washington, DC: Brady & Co., 1862].
            Oct. 25, 2024

            [CIVIL WAR]. [BARNARD, George N. (1819-1902), and GIBSON, James F. (1828-1905), photographers]. Confederate Fortifications on Heights of Centreville, Virginia. [Washington, DC: Brady & Co., 1862].

            Est: $500 - $700

            [CIVIL WAR]. [BARNARD, George N. (1819-1902), and GIBSON, James F. (1828-1905), photographers]. Confederate Fortifications on Heights of Centreville, Virginia. [Washington, DC: Brady & Co., 1862]. 7 x 9 in. albumen photograph. Uncredited but taken by George Barnard and James Gibson. The image shows soldiers posed on and around earthwork fortifications constructed at Centreville, Virginia. Note the soldier seated in the foreground with the dog, which is blurred. Published as Plate No. 5 in Alexander Gardner's Photographic Sketch Book of the War. This lot is located in Cincinnati.

            Freeman’s | Hindman
          • [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. Headquarters of Chief Commissary, Army of the Cumberland, Chattanooga, Tennessee. Ca 1864.
            May. 31, 2024

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. Headquarters of Chief Commissary, Army of the Cumberland, Chattanooga, Tennessee. Ca 1864.

            Est: $400 - $600

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. Headquarters of Chief Commissary, Army of the Cumberland, Chattanooga, Tennessee. Ca 1864. 3 1/2 x 3 3/4 in. albumen print (rich tonality, light edge wear). Verso annotated in pencil. This lot is located in Cincinnati. Property from The Metropolitan Museum of Art, Sold to Benefit The Acquisition Fund

            Hindman
          • [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. View on Tennessee River looking towards Chattanooga. Ca 1864.
            May. 31, 2024

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. View on Tennessee River looking towards Chattanooga. Ca 1864.

            Est: $400 - $600

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. View on Tennessee River looking towards Chattanooga. Ca 1864. 3 x 3 1/2 in. albumen print (light edge wear). Verso annotated in pencil, with Metropolitan Museum of Art deaccession stamp. This lot is located in Cincinnati. Property from The Metropolitan Museum of Art, Sold to Benefit The Acquisition Fund

            Hindman
          • [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. A group of 3 photographs, incl. South Bank of Chattahoochee, and Kennesaw Mountain, Georgia. Ca 1860s.
            Jun. 15, 2023

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. A group of 3 photographs, incl. South Bank of Chattahoochee, and Kennesaw Mountain, Georgia. Ca 1860s.

            Est: $1,500 - $2,500

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. A group of 3 photographs, incl. South Bank of Chattahoochee, and Kennesaw Mountain, Georgia. Ca 1860s. 13 7/8 x 10 in. albumen photographs on 15 x 11 3/4 in. mounts (sight), each matted and framed, 21 x 18 in. (prints toned, with occasional spotting or soiling, unexamined outside frames). Lower margin of each mount includes title and imprint, "Photo from nature By G.N. Barnard." From George Barnard's Photographic Views of Sherman's Campaign, published in 1866. Titles include: The Front of Kenesaw [sic] Mountain, GA (stain to right edge of mount and print). -- View of Kenesaw [sic] Mountain, GA. -- South Bank of the Chattahoochie, GA (small chip near top left edge of print). This lot is located in Cincinnati.

            Hindman
          • [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. The Capitol Nashville (Tenn.). Ca 1866.  
            Nov. 15, 2021

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. The Capitol Nashville (Tenn.). Ca 1866.  

            Est: $400 - $600

            [CIVIL WAR]. BARNARD, George N. (1819-1902), photographer. The Capitol Nashville (Tenn.). Ca 1866.   14 x 10 in. albumen photograph on 18 1/2 x 15 3/4 in. mount (toned, minor spotting; small dampstain to lower left mount). Title and photographer's attribution printed on mount. From George Barnard's Photographic Views of Sherman's Campaign, published in 1866. ' The Tennessee State Capitol was built between 1845 and 1859 on a rocky hilltop in Nashville. Designed by William Strickland (1788-1854) in a Greek Revival style. During the Civil War, Confederate forces did a poor job fortifying Nashville and surrendered to General Don Carlos Buell on 25 February 1862. Under Federal control, the Capitol was fortified with 14 artillery pieces, earthworks, palisades and became known as Fort Andrew Johnson. As evidenced by the tents and shelters visible in this image, the grounds quartered soldiers and served as the locale for meetings and courts-martial.

            Hindman
          • Attributed to GEORGE N. BARNARD (1819-1902) Office of Post Quartermaster,
            Oct. 07, 2021

            Attributed to GEORGE N. BARNARD (1819-1902) Office of Post Quartermaster,

            Est: $1,000 - $2,000

            Attributed to GEORGE N. BARNARD (1819-1902) Office of Post Quartermaster, Chattanooga, Tennessee, 1864 (?) annotated in pencil (verso) 3 1/4 x 3 9/16 in. (8.2 x 9 cm.)

            Christie's
          • GEORGE N. BARNARD (1819-1902) View on Tennessee River Looking Towards Chatt
            Oct. 07, 2021

            GEORGE N. BARNARD (1819-1902) View on Tennessee River Looking Towards Chatt

            Est: $1,000 - $2,000

            GEORGE N. BARNARD (1819-1902) View on Tennessee River Looking Towards Chattanooga, c. 1864 annotated in pencil, with Metropolitan Museum of Art deaccession stamp (verso) 3 1/8 x 3 9/16 in. (7.9 x 9.1 cm.)

            Christie's
          • Attributed to GEORGE N. BARNARD (1819-1902) View of Houses on Hillside, Cha
            Oct. 07, 2021

            Attributed to GEORGE N. BARNARD (1819-1902) View of Houses on Hillside, Cha

            Est: $500 - $1,000

            Attributed to GEORGE N. BARNARD (1819-1902) View of Houses on Hillside, Chattanooga, Tennessee, c.1864 annotated in pencil (verso) 3 1/2 x 3 3/4 in. (8.9 x 9.6 cm.)

            Christie's
          • Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River a
            Oct. 07, 2021

            Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River a

            Est: $2,000 - $3,000

            Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River at Chattanooga, c.1864 annotated in pencil (verso) 5 1/4 x 8 1/4 in. (13.4 x 20.9 cm.)

            Christie's
          • Possibly by GEORGE N. BARNARD (1819-1902) Fallen Tree, Bull Run, Virginia,
            Oct. 07, 2021

            Possibly by GEORGE N. BARNARD (1819-1902) Fallen Tree, Bull Run, Virginia,

            Est: $1,000 - $2,000

            Possibly by GEORGE N. BARNARD (1819-1902) Fallen Tree, Bull Run, Virginia, c. 1861-1862 annotated in pencil (verso) 6 9/16 x 8 1/4 in. (16.6 x 21 cm.)

            Christie's
          • Possibly by GEORGE N. BARNARD (1819-1902) Pontoon Across Bull Run, near Bla
            Oct. 07, 2021

            Possibly by GEORGE N. BARNARD (1819-1902) Pontoon Across Bull Run, near Bla

            Est: $3,000 - $5,000

            Possibly by GEORGE N. BARNARD (1819-1902) Pontoon Across Bull Run, near Blackburn's Ford, Virginia, 1862 annotated in pencil (verso) 5 5/16 x 8 1/16 in. (13.5 x 20.5 cm.)

            Christie's
          • Possibly by GEORGE N. BARNARD (1819-1902) [Repairing Orange and Alexandria
            Oct. 07, 2021

            Possibly by GEORGE N. BARNARD (1819-1902) [Repairing Orange and Alexandria

            Est: $2,000 - $3,000

            Possibly by GEORGE N. BARNARD (1819-1902) [Repairing Orange and Alexandria Rail Road Near Catlett's Station, After its... annotated in pencil (verso) 5 5/16 x 8 in. (13.5 x 20.3 cm.)

            Christie's
          • Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River a
            Oct. 07, 2021

            Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River a

            Est: $1,000 - $2,000

            Attributed to GEORGE N. BARNARD (1819-1902) Bridge Across Tennessee River at Chattanooga, 1863-1865 annotated in pencil (verso) 3 3/16 x 3 9/16 in. (8.1 x 9.1 cm.)

            Christie's
          • BARNARD, GEORGE N. - Tennessee River, Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Tennessee River, Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Mounted albumen photograph with printed caption beneath the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Unique large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based inNashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. Interestingly, the above image is not found in Barnard's Photographic Views of Sherman's Campaign, instead comprising part of the impressive work done at Lookout Mountain for General Orlando M. Poe and the Corps of Topographical Engineers. Barnard's photographs from the summit of Lookout Mountain were taken in several positions. It is clear that he was fascinated by the aesthetic potential of this site, and used a set of visual motifs in a variety of permutations. These motifs included the majestic sweep of the landscape itself, the sinuous path of the Tennessee River, the contrast between rocky outcroppings in the foreground and the forested landscape below, and the presence of self-absorbed spectators within this natural grandeur. While central to the landscape art of this era, these themes had rarely been so eloquently expressed in photography (Davis, p. 67).

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Potter House Atl. Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Potter House Atl. Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 3/4 x 21 1/2 inches. Small marginal stain and paper loss upper left, a small abrasion in image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Pine Mountain, Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Pine Mountain, Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Battle of Resacca 2 Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Battle of Resacca 2 Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 3/4 x 21 1/2 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Battle of Resacca 1 Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Battle of Resacca 1 Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Btl. Buzzards Roost Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Btl. Buzzards Roost Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Chattanooga Valley, Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Chattanooga Valley, Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Orchard Knobb Mission Ridge 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Orchard Knobb Mission Ridge 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 21 inches. Minor abrasion lower left, faint darker area upper left. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Raccoon Range, Pass Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Raccoon Range, Pass Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 3/4 x 21 1/2 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Whiteside Valley, Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Whiteside Valley, Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Albumen photograph mounted on contemporary card mount. Manuscript caption below the image. Image size: 10 5/8 x 14 1/4 inches. Sheet size: 16 1/2 x 20 3/4 inches. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - View of Nashville Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - View of Nashville Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Mounted albumen photograph, approximately 10 3/4 x 14 1/4 inches, on contemporary card mount. Printed caption beneath the image. A water or chemical stain running across the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Nashville Capitol Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Nashville Capitol Civil War 1866

            Est: $1,500 - $2,000

            [1864-1866]. Mounted albumen photograph, approximately 10 3/4 x 14 1/4 inches, on contemporary card mount. Manuscript pencil caption beneath the image. Large albumen photograph by George Barnard. Barnard had worked as a photographer documenting the Civil War from about 1861, initially working for Mathew Brady and Edward Anthony, and then, from December 1863, for the Topographical Branch of the Department of Engineers, Army of the Cumberland, based in Nashville. Under the direction of Captain of Engineers Orlando M. Poe, Barnard ran the army's photographic operations. Bernard continued to work for the Union army until June 1865, recording a number of well-known locations, and taking part in Sherman's campaign, behind the front lines, taking photographs in his capacity as an official army photographer. In 1866, Barnard would publish his monumental Photographic Views of Sherman's Campaign. [It] is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard's personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. The album was the most ambitious project of Barnard's career, and has long been recognized as a landmark in the history of photography (Davis p.170). Indeed, the work has been called the first great landscape photobook. The above image would appear as an illustration within Barnard's Photographic Views of Sherman's Campaign, though the present image was printed from the original glass plate negative prior to the publication of Barnard's book. This earlier printing displays a slightly greater plate area and without the images of clouds superimposed into the sky.

            Donald Heald Auctions
          • BARNARD, GEORGE N. - Savannah, Georgia, Civil War 1866
            Jul. 17, 2021

            BARNARD, GEORGE N. - Savannah, Georgia, Civil War 1866

            Est: $1,500 - $2,000

            [New York: 1866]. Albumen photograph from a negative taken in 1866, image 10 x 14 inches, on original two-tone gilt-edged thin card mount, 16 1/8 x 20 inches, with plate title and photographer's credit. Image somewhat faded; mild discolouration in places; mount creased upper left; occasional foxing mostly in the mount. A stunning image from Barnard's 'Photographic Views of Sherman's Campaign', an album which is one of the two greatest photographic monuments to the Civil War and 'a landmark in the history of photography' (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: 'These photographs... surpass any other photographic views which have been produced in this country - whether relating to the war or otherwise' ('Harper's Weekly', 8 December, 1866, p.771). This image comes from George N. Barnard's album titled Photographic Views of Sherman's Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner's Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. This handsome example of this photograph shows the warehouses on the Savannah River looking south, which may well have contained some of the 250,000 bales of cotton that Sherman mentioned in the telegram to Lincoln in which he offered Savannah as a Christmas present. It is in any event a wonderful photograph illustrating one of the great non-casualties of the war. When Sherman arrived at the outskirts of Savannah and connected with the U. S. Naval forces on the coast, the destruction and agony of the city appeared to be inevitable. However, the troops evacuated the city and the Mayor surrendered, and Savannah was spared. The bright sunny day enhanced by Barnard's transposition of a sunny sky above the horizon, enhancing the overall feeling of peace and prosperity. (Note two steamboats and a tall ship docked across the river, and other ships downstream).

            Donald Heald Auctions
          • Rebecca Emes and Edward Barnard, London 1819, a George III s
            Oct. 03, 2019

            Rebecca Emes and Edward Barnard, London 1819, a George III s

            Est: £30 - £50

            Rebecca Emes and Edward Barnard, London 1819, a George III silver mustard pot, bulbous form, embossed with floral, flame and C scroll design, acanthus and reeded loop handle,glass liner, 7.5cm high, 3.96ozt

            Kinghams Auctioneers
          • George N. Barnard Original Civil War Albumen Photograph – The Potter House Atlanta – Photographic Views Of Sherman’s Campaign
            Jul. 27, 2019

            George N. Barnard Original Civil War Albumen Photograph – The Potter House Atlanta – Photographic Views Of Sherman’s Campaign

            Est: $600 - $900

            Very Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: The Potter House Atlanta [New York: 1866]. Albumen photograph from a negative taken in 1866, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Mild creasing and some discoloration, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. “The Potter (or Ponder) House Atlanta” shows part of the destruction due to shelling to Ephraim Ponder’s mansion on a hill near Marietta Street. The upper floors had been used by Confederate snipers and this spurred the Union artillery response. The house had been built in 1857 and was not re-occupied after the war.

            Worthington Galleries
          • George N. BARNARD (1819-1902) Paysage italien animée, Le Val d Aoste, 1862 Aquarelle signée et datée
            Feb. 17, 2019

            George N. BARNARD (1819-1902) Paysage italien animée, Le Val d Aoste, 1862 Aquarelle signée et datée

            Est: €500 - €700

            George N. BARNARD (1819-1902) Paysage italien animée, Le Val d Aoste, 1862 Aquarelle signée et datée en bas à gauche (Deux petites déchirures sur le côté et en haut à gauche) 68 x 96 cm à vue

            Tradart Deauville
          • Rare George N. Barnard Original Civil War Albumen Photograph – Battle Field of Atlanta GA – Photographic Views Of Sherman’s Campaign
            Dec. 13, 2018

            Rare George N. Barnard Original Civil War Albumen Photograph – Battle Field of Atlanta GA – Photographic Views Of Sherman’s Campaign

            Est: $600 - $1,000

            Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Battle Field of Atlanta, Ga. July 22d. 1864. No. 1. [New York: 1866]. Albumen photograph from a negative taken in 1864, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Loss on right edge not effecting image, some discoloration present, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. Barnard’s image of the Atlanta battlefield is curiously quiet with a complete absence of humans, living or dead. It is very much as if a tremendous storm has passed through and this is the aftermath. The viewer visualizes the nature of the storm by its effects. The fight for Atlanta was critical: the loss of it meant the Confederacy was doomed. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 16" x 19" x .1" Artist or Maker: George N. Barnard Medium: Photograph Date: 1866

            Beaumont Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – Savannah, Ga. No. 2 – Photographic Views Of Sherman’s Campaign
            Dec. 13, 2018

            Rare George N. Barnard Original Civil War Albumen Photograph – Savannah, Ga. No. 2 – Photographic Views Of Sherman’s Campaign

            Est: $600 - $1,000

            Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Savannah, Ga. No. 2 [New York: 1866]. Albumen photograph from a negative taken in 1864 or 1965, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some foxing and discoloration, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. This handsome example of the photograph shows the warehouses on the Savannah River looking south. These may well have contained some of the 250,000 bales of cotton that Sherman mentioned in the telegram to Lincoln in which he offered Savannah as a Christmas present. It is in any event a wonderful photograph illustrating one of the great non-casualties of the war. When Sherman arrived at the outskirts of Savannah and connected with the U. S. Naval forces on the coast, the destruction and agony of the city appeared to be inevitable. However, the Confederate troops evacuated the city and the Mayor surrendered. Savannah was spared. The bright sunny day enhanced by Barnard’s transposition of a sunny sky above the horizon, engenders an overall feeling of peace and prosperity. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 16" x 19.5" Artist or Maker: George N. Barnard Medium: photographic paper, card stock Date: 1866

            Beaumont Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – Fort Sumter – Photographic Views Of Sherman’s Campaign
            Dec. 13, 2018

            Rare George N. Barnard Original Civil War Albumen Photograph – Fort Sumter – Photographic Views Of Sherman’s Campaign

            Est: $600 - $1,000

            Very Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Fort Sumpter [sic] [New York: 1866]. Albumen photograph from a negative taken in 1864 or 1865, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some Foxing and discoloration present, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. This image of Fort Sumter, a huge pile of rubble, with men at low tide crossing the small channel in a rowboat, make the once proud prize of the defiant South Carolina militia seem quite insignificant. Fort Sumter was besieged and attacked several times during the war, but had never surrendered. It was evacuated when Sherman took Charleston in February of 1865. As the tensions had mounted in 1860 and ’61, Sumter had taken on a terrifically symbolic significance. A Federal fort, its re-supply became a pivotal issue. All of which gives this image a rather forlorn impact.Barnard’s photograph records the destruction of the building in a way that makes it appear not too bad (most of the damage was to the interior), and he includes in the distance one of the handsome neo-Gothic towers of the Trinity Episcopal Church, which was unharmed by the fire. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 15.875" x 19.5" Artist or Maker: George N. Barnard Medium: photographic paper, card stock Date: 1866

            Beaumont Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign
            Dec. 13, 2018

            Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign

            Est: $600 - $1,000

            Exceptionally Rare Civil War Photograph by George N. Barnard (1819-1902). The New Capitol, Columbia, S. C. [New York: 1866]. Albumen photograph from a negative taken in 1865, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Discoloration in upper right corner and two small professionally repaired tears. Very Good tones. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. The new State House, called here New Capitol, was under construction at the time of the great fire that ruined it and much of Columbia. (It is not known whether Union or retreating Confederate troops started the fire). The building was ultimately reconstructed, with a few significant changes, along the lines of the original building and completed in 1903 | | | Barnard’s photograph records the destruction of the building from the exterior (most of the damage was to the interior), and he includes in the distance one of the handsome neo-Gothic towers of the Trinity Episcopal Church, which was unharmed by the fire. References: Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 15.75" x 19.25" x .1" Medium: Photograph Artist or Maker: George N. Barnard (1819-1902) Date: 1865 / 1866 Condition Report: Very Good + Antique Condition Provenance: From the Estate of a very prominent New York Civil War Collector.

            Beaumont Galleries
          • George N. Barnard Original Civil War Albumen Photograph – Rebel Works in Front of Atlanta, No. 3 – Photographic Views Of Sherman’s Campaign
            May. 19, 2018

            George N. Barnard Original Civil War Albumen Photograph – Rebel Works in Front of Atlanta, No. 3 – Photographic Views Of Sherman’s Campaign

            Est: $600 - $1,000

            Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Rebel Works in Front of Atlanta, No. 3 [New York: 1866]. Albumen photograph from a negative taken in 1864, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some foxing and discoloration, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. After the loss of Vicksburg, Atlanta began to prepare its defense. A circle of forts and earthworks was constructed around the city, about a mile from the center of town. Barnard made a number of photographs of parts of this mammoth effort. In this one, we are confronted by a cannon, a camp beyond and the city of Atlanta in the distance. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 16" x 19" Artist or Maker: George N. Barnard Medium: Albumen photograph from a negative taken in 1864, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Date: 1866 Condition Report: Very Good + Antique Condition. Notes: This rare photograph comes from George N. Barnard’s series titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War.

            Worthington Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign
            May. 19, 2018

            Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign

            Est: $750 - $1,500

            Exceptionally Rare Civil War Photograph by George N. Barnard (1819-1902). The New Capitol, Columbia, S. C. [New York: 1866]. Albumen photograph from a negative taken in 1865, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Discoloration in upper right corner and two small professionally repaired tears. Very Good tones. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. The new State House, called here New Capitol, was under construction at the time of the great fire that ruined it and much of Columbia. (It is not known whether Union or retreating Confederate troops started the fire). The building was ultimately reconstructed, with a few significant changes, along the lines of the original building and completed in 1903. Barnard’s photograph records the destruction of the building in a way that makes it appear not too bad (most of the damage was to the interior), and he includes in the distance one of the handsome neo-Gothic towers of the Trinity Episcopal Church, which was unharmed by the fire. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990 Dimensions: 15.75" x 19.25" x .1" Artist or Maker: George N. Barnard Medium: Photograph Date: 1866 Condition Report: Very Good

            Worthington Galleries
          • Original Civil War Albumen Photograph – Battle Field of Atlanta GA – Photographic Views Of Sherman’s Campaign
            Oct. 21, 2017

            Original Civil War Albumen Photograph – Battle Field of Atlanta GA – Photographic Views Of Sherman’s Campaign

            Est: $1,000 - $2,500

            Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Battle Field of Atlanta, Ga. July 22d. 1864. No. 1. [New York: 1866]. Albumen photograph from a negative taken in 1864, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Loss on right edge not effecting image, some discoloration present, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. Barnard’s image of the Atlanta battlefield is curiously quiet with a complete absence of humans, living or dead. It is very much as if a tremendous storm has passed through and this is the aftermath. The viewer visualizes the nature of the storm by its effects. The fight for Atlanta was critical: the loss of it meant the Confederacy was doomed. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990

            Worthington Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign
            Oct. 21, 2017

            Rare George N. Barnard Original Civil War Albumen Photograph – The New Capital, Columbia, S.C. – Photographic Views Of Sherman’s Campaign

            Est: $1,000 - $2,500

            Exceptionally Rare Civil War Photograph by George N. Barnard (1819-1902). The New Capitol, Columbia, S. C. [New York: 1866]. Albumen photograph from a negative taken in 1865, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Discoloration in upper right corner and two small professionally repaired tears. Very Good tones. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. The new State House, called here New Capitol, was under construction at the time of the great fire that ruined it and much of Columbia. (It is not known whether Union or retreating Confederate troops started the fire). The building was ultimately reconstructed, with a few significant changes, along the lines of the original building and completed in 1903. Barnard’s photograph records the destruction of the building in a way that makes it appear not too bad (most of the damage was to the interior), and he includes in the distance one of the handsome neo-Gothic towers of the Trinity Episcopal Church, which was unharmed by the fire. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990

            Worthington Galleries
          • George N. Barnard Original Civil War Albumen Photograph – Savannah, Ga. No. 2 – Photographic Views Of Sherman’s Campaign
            Oct. 21, 2017

            George N. Barnard Original Civil War Albumen Photograph – Savannah, Ga. No. 2 – Photographic Views Of Sherman’s Campaign

            Est: $1,500 - $3,000

            Very Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Savannah, Ga. No. 2 [New York: 1866]. Albumen photograph from a negative taken in 1864 or 1965, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some foxing and discoloration, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. This handsome example of the photograph shows the warehouses on the Savannah River looking south. These may well have contained some of the 250,000 bales of cotton that Sherman mentioned in the telegram to Lincoln in which he offered Savannah as a Christmas present. It is in any event a wonderful photograph illustrating one of the great non-casualties of the war. When Sherman arrived at the outskirts of Savannah and connected with the U. S. Naval forces on the coast, the destruction and agony of the city appeared to be inevitable. However, the Confederate troops evacuated the city and the Mayor surrendered. Savannah was spared. The bright sunny day enhanced by Barnard’s transposition of a sunny sky above the horizon, engenders an overall feeling of peace and prosperity. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990

            Worthington Galleries
          • Rare George N. Barnard Original Civil War Albumen Photograph – Fort Sumter – Photographic Views Of Sherman’s Campaign
            Oct. 21, 2017

            Rare George N. Barnard Original Civil War Albumen Photograph – Fort Sumter – Photographic Views Of Sherman’s Campaign

            Est: $1,000 - $2,500

            Very Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Fort Sumpter [sic] [New York: 1866]. Albumen photograph from a negative taken in 1864 or 1865, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some Foxing and discoloration present, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. This image of Fort Sumter, a huge pile of rubble, with men at low tide crossing the small channel in a rowboat, make the once proud prize of the defiant South Carolina militia seem quite insignificant. Fort Sumter was besieged and attacked several times during the war, but had never surrendered. It was evacuated when Sherman took Charleston in February of 1865. As the tensions had mounted in 1860 and ’61, Sumter had taken on a terrifically symbolic significance. A Federal fort, its re-supply became a pivotal issue. All of which gives this image a rather forlorn impact.Barnard’s photograph records the destruction of the building in a way that makes it appear not too bad (most of the damage was to the interior), and he includes in the distance one of the handsome neo-Gothic towers of the Trinity Episcopal Church, which was unharmed by the fire. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990

            Worthington Galleries
          • George N. Barnard Original Civil War Albumen Photograph – Rebel Works in Front of Atlanta, No. 3 – Photographic Views Of Sherman’s Campaign
            Oct. 21, 2017

            George N. Barnard Original Civil War Albumen Photograph – Rebel Works in Front of Atlanta, No. 3 – Photographic Views Of Sherman’s Campaign

            Est: $1,500 - $3,000

            Very Rare Original Civil War Photograph by George N. Barnard (1819-1902). Entitled: Rebel Works in Front of Atlanta, No. 3 [New York: 1866]. Albumen photograph from a negative taken in 1864, on original two-tone gilt-edged thin card mount, with plate title and photographer’s credit. Some foxing and discoloration, see pictures. Dimensions: Image 10 x 13 inches; With Card Mount 15 7/8 x 19 1/2 inches. A stunning image from Barnard’s ‘Photographic Views of Sherman’s Campaign’, an album which is one of the two greatest photographic monuments to the Civil War and ‘a landmark in the history of photography’ (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: ‘These photographs… surpass any other photographic views which have been produced in this country – whether relating to the war or otherwise’ (‘Harper’s Weekly’, 8 December, 1866, p.771) This image comes from George N. Barnard’s album titled Photographic Views of Sherman’s Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, together with Alexander Gardner’s Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. “Photographic Views of Sherman’s Campaign is a remarkable work of great symbolic, historic, and artistic power. It is a result of a complex interweaving of Barnard’s personal vision, nineteenth-century pictorial conventions, and larger ideas about war and the American landscape. ” (Davis p.170). In a series of haunting images the album records the trail of destruction left across the Confederacy by General William T. Sherman’s army from 1864 to 1865 during his famous March to the Sea: from Nashville to Chattanooga, then Atlanta and to Savannah and the sea, then north to Columbia, South Carolina, and finally, Charleston.The images run chronologically starting with Nashville, and including Mission Ridge, Chattanooga, Resaca, Etawah Bridge, New Hope Church, Kenesaw Mountain, Peach Tree Creek, Atlanta, Savannah, Columbia, Charleston and Fort Sumter. To the North, the military campaign was brilliant, bold and decisive – an event worthy of the present monumental album. To the South, it was vicious, bloody and destructive. After the loss of Vicksburg, Atlanta began to prepare its defense. A circle of forts and earthworks was constructed around the city, about a mile from the center of town. Barnard made a number of photographs of parts of this mammoth effort. In this one, we are confronted by a cannon, a camp beyond and the city of Atlanta in the distance. Cf. De Renne p.1317; cf. Howes B150, “b.”; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman’s Campaign… with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman’s Campaign Kansas City, Miss.: 1990

            Worthington Galleries
          • Photograph, George N. Barnard
            May. 22, 2016

            Photograph, George N. Barnard

            Est: $700 - $1,000

            [Civil War] George N. Barnard (American, 1819-1902), "Battlefield of Atlanta, Confederate Lines, from Chattanooga R.R.", 1864, vintage albumen print on original mount, titled in ink with additional information: "Confederate Fort G.-First Fort south of W. + A.R R" in pencil on original mount, image/sheet: 10.25"h x 15"w, overall (with mount): 17"h x 20"w

            Clars Auctions
          • BARNARD, GEORGE N. (1819-1902) "City of Atlanta, Georgia, No. 1 (Ruined Roundhouse after the Atlanta Campaign)."
            May. 21, 2015

            BARNARD, GEORGE N. (1819-1902) "City of Atlanta, Georgia, No. 1 (Ruined Roundhouse after the Atlanta Campaign)."

            Est: $1,500 - $2,500

            BARNARD, GEORGE N. (1819-1902) "City of Atlanta, Georgia, No. 1 (Ruined Roundhouse after the Atlanta Campaign)." Albumen print from a wet plate negative, 9 1/2x13 5/8 inches (24.1x34.6 cm.), on a modern archival mount. 1866

            Swann Auction Galleries
          • BARNARD, GEORGE N. (1819-1902) "Destruction of Hood's Ordinance Train" * "City of Atlanta, Ga. No. 1."
            Apr. 18, 2013

            BARNARD, GEORGE N. (1819-1902) "Destruction of Hood's Ordinance Train" * "City of Atlanta, Ga. No. 1."

            Est: $2,500 - $3,500

            BARNARD, GEORGE N. (1819-1902) "Destruction of Hood's Ordinance Train" * "City of Atlanta, Ga. No. 1." Together, 2 photographs. Gold-toned albumen prints, 10x14 inches (25.4x35.6 cm.), on the original two-toned printed mounts, with Barnard's printed credit, "photo from nature," and title on mounts recto. 1866

            Swann Auction Galleries
          • Edward VII Silver Presentation Cup, London, 1902, Edward Barnard & Sons, Ltd., makers, George II-style, the domed lid with pear-shaped
            Oct. 14, 2011

            Edward VII Silver Presentation Cup, London, 1902, Edward Barnard & Sons, Ltd., makers, George II-style, the domed lid with pear-shaped

            Est: $3,000 - $5,000

            Edward VII Silver Presentation Cup, London, 1902, Edward Barnard & Sons, Ltd., makers, George II-style, the domed lid with pear-shaped finial, the body with pair of leaf-topped serpentine handles and applied waist band, on trumpet foot, engraved with New York Yacht Club trophy presentation inscription dated 1903, presented by Cornelius Vanderbilt, ht. 13 3/4 in., approx. 65.3 troy oz. Note: The winning yacht, "Valmore," was owned by William Hale Thompson (1869-1944). This celebrated 81 foot racing schooner won several other races, including some at the Chicago Yacht Club. Although born in Boston, Thompson served two terms as Mayor of Chicago, where he was known for his flamboyant behavior, sketchy dealings, and suspected organized crime connections, including links to mobster Al Capone.

            Skinner
          • BARNARD, GEORGE N. (1819-1902) "Battle Field of Atlanta, GA, July 22, 1864, No. 2."
            Mar. 23, 2010

            BARNARD, GEORGE N. (1819-1902) "Battle Field of Atlanta, GA, July 22, 1864, No. 2."

            Est: $2,000 - $3,000

            BARNARD, GEORGE N. (1819-1902) "Battle Field of Atlanta, GA, July 22, 1864, No. 2." Gold-toned albumen print from "Photographic Views from Sherman's Campaign," 10x14 inches (25.4x35.6 cm.), on the original two-toned mount, with Barnard's printed credit, title, date and plate number on recto. 1864; printed 1865

            Swann Auction Galleries
          • BARNARD, GEORGE N. (1819-1902) Select group of 14 photographs from the historic album entitled "Photographic Views of Sherman's Campai
            May. 14, 2009

            BARNARD, GEORGE N. (1819-1902) Select group of 14 photographs from the historic album entitled "Photographic Views of Sherman's Campai

            Est: $5,000 - $7,500

            BARNARD, GEORGE N. (1819-1902) Select group of 14 photographs from the historic album entitled "Photographic Views of Sherman's Campaign." Gold-toned albumen prints, 10x14 inches (25.5x35.6 cm.), on the original two-toned mounts, with printed captions and credits on mount recto. 1865

            Swann Auction Galleries
          • BARNARD, GEORGE N. (1819-1902) "Savannah, Georgia No. 2."
            Oct. 15, 2007

            BARNARD, GEORGE N. (1819-1902) "Savannah, Georgia No. 2."

            Est: $2,500 - $3,500

            BARNARD, GEORGE N. (1819-1902) "Savannah, Georgia No. 2." Gold-toned albumen print, 10x14 inches (25.4x35.6 cm.), with Barnard's printed credit and title on mount recto. 1866

            Swann Auction Galleries
          • BARNARD, GEORGE N. (1819-1902) "Rebel Works in Front of Atlanta, Ga. No. 3" * "The Potter House, Atlanta."
            May. 22, 2007

            BARNARD, GEORGE N. (1819-1902) "Rebel Works in Front of Atlanta, Ga. No. 3" * "The Potter House, Atlanta."

            Est: $2,000 - $3,000

            BARNARD, GEORGE N. (1819-1902) "Rebel Works in Front of Atlanta, Ga. No. 3" * "The Potter House, Atlanta." Together, 2 photographs. Gold-toned albumen prints, 10x14 inches (25.5x35.5 cm.), on the original two-toned mount, with Barnard's credit, caption, and handwritten plate number on mount recto. 1866 with--Group of 7 pages with more than 100 cut-out albumen collaged portraits of Union military figures "from life" that are mounted recto/verso, including Andersen, Butler, Burman, Custer, Gregg, Thayer, Sheridan, Sherman, Slocum, Scofield, Stannard, Thayer, Whipple, and others; and studies of cultural figures, such as Bryant, Emerson, Hawthorne, Longfellow, Whittier, and more. Albumen prints, 3x2 1/2 inches and smaller. 1860s.

            Swann Auction Galleries
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