Quantifying and comparing rates of dissolution and assemblage turnover among planktonic foraminifera; a case study from the Upper Quaternary in ODP Hole 926A, Ceara Rise, western tropical Atlantic Ocean
Wilson, Brent, Hayek, Lee-Ann C., and Pivel, Maria A. G. 2019. "Quantifying and comparing rates of dissolution and assemblage turnover among planktonic foraminifera; a case study from the Upper Quaternary in ODP Hole 926A, Ceara Rise, western tropical Atlantic Ocean." Micropaleontology, 65, (6) 473–483. https://doi.org/10.47894/mpal.65.6.01.
Contrasting paleoecologies of spiral and serial benthic foraminifera in deep middle bathyal exposures, lower to middle Miocene Brasso Formation, Trinidad, West Indies
Oceanic-Scale Species Diversity of Living Benthic Foraminifera: Insights into Neogene Diversity, Community Structure, Species Duration, and Biogeography
This series has been restricted for thirty years from the most recent date of the review. Exceptions will be made if written permission is obtained from SHOT's editorial board.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees apply when requesting reproductions.
Collection Citation:
Society for the History of Technology Records, Archives Center, National Museum of American History, Smithsonian Institution
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
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.
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
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 Restrictions:
Use of original papers requires an appointment.
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.
Collection Citation:
George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
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.
![view Joe Mullins - Sites of Ohio's Musical Legacy: Armco Steel [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/12iJuj_0IaI/default.jpg)
![view Joe Mullins & The Radio Ramblers - "Readin', Rightin', Route 23" [Official Audio] digital asset number 1](https://i.ytimg.com/vi/Rc087XKMGlE/default.jpg)
![view Rhonda Vincent and Caleb Daugherty - "Family Reunion" [Official Audio] digital asset number 1](https://i.ytimg.com/vi/ZtvTK175Yfc/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: King Records [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/c-mq9lH1fUs/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: WPFB Radio [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/fRHkPESQPYo/default.jpg)
![view Bobby Osborne - "We'll Head Back to Harlan" [Official Audio] digital asset number 1](https://i.ytimg.com/vi/hileb1ChOQY/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: Memorial Hall [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/-j7wl7oWHqU/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: Herzog Studio [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/u-O8zeOxUo4/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: Antioch College [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/sRGBqWbsW3g/default.jpg)
![view Joe Mullins - Sites of Ohio's Musical Legacy: Lake Jewelry [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/xnu3hqkG24g/default.jpg)
