Correspondence
odd: label: Appendix: Notable Correspondents from Series 2
content: 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
name: label: Collection Creator
content: Barnard, George Grey, 1863-1938
setName: label: See more items in
content: George Grey Barnard papers
physdesc: label: Extent
content: 0.7 Linear Feet (Box 1)
unitdate: label: Date
content: circa 1896-1965
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.barngeor, Series 2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement note
content: 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.
altformavail: label: Existence and Location of Copies
content: This series has been scanned in its entirety.
scopecontent: label: Scope and Contents note
content: 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