George-Barnard-Photograph-The-Potter-House-Atlanta MAIN 2

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

$945.00

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.

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  • 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.

    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

  • Artist / Maker

    George N. Barnard

    Date

    19th Century

    Frame

    No

    Kind

    Books, Maps, Documents and Manuscripts, Collectibles, Ephemera, Memorabilia, Militaria, Photographic Art

    Medium

    Photograph

    Origin

    American

    Other

    Card Mounted

    Subject

    American Civil War, Battle Scene, Cityscape, Document, Historical, Military, War

    Support

    Card Board

    Title

    The Potter House Atlanta