115
appears to have ventured widely while pursuing his craft,
even making photographs in Cuba in 1860. Unfortunately,
none of these works have been located. Shortly before the
outbreak of the Civil War, Barnard was either employed
directly by Matthew Brady or working as an independent
contractor for him in New York, and, possibly, in Wash-
ington, D.C. During this period, Barnard made photo-
graphs of President Abraham Lincoln’s inauguration.
With the advent of hostilities, Barnard entered into a
partnership with photographer John Gibson. Together,
they made and copyrighted photographs of Centerville
and the Bull Run Battlefi eld (the site of the fi rst major
land battle of the Civil War) in March of 1862. These im-
ages were published by Matthew Brady as “Incidences
of War,” and later published by Andrew Gardner in his
Sketchbook (see, for example “Ruins of Stone Bridge,
Bull Run,” 1862, published in Sketchbook, vol. 1, pl.
7). In 1862 Barnard briefl y returned to his native New
York, and made portrait photographs at Gray’s Gallery
in Oswego.
In 1864 and 1865 Barnard worked as an independent
photographer for Orlando Poe, Chief Engineer of the
Military Division of the Mississippi in Nashville, Ten-
nessee. indwas offi cial Army photographer in the Chief
Engineer’s Offi ce, Division of Mississippi. Barnard does
not seem to have received a received a military com-
mission, unlike his contemporary, photographer A. J.
Russell, who was a captain in the U.S. Army and offi cial
photographer for the United States Military Railroad.
Barnard’s photographs of Civil War battlefi elds in the
Deep South and his coverage of Union General Wil-
liam Tecumpseh Sherman’s western campaign were
published to wide attention in Harper’s Weekly.
After the conclusion of the war, Alexander Gardner
credited to Barnard 8 of the 100 wet-collodion negatives
(singly or jointly) printed for his two-volume Gardner’s
Photographic Sketchbook of the War (1866). Many of
Barnard’s negatives were wrongly credited to Brady.
Perhaps in response to the wide circulation of his images
under his Brady and Gardner’s names, in the same year,
Barnard published to wide notice his own Photographic
Views of Sherman’s Campaign, though circulations was
limited, owing in no small part to the expense of the
folio ($100).
After the war, Barnard returned to his native upstate
New York, settling in Syracuse around 1866. He is
also known to have operated a photographic studio in
Charleston, SC. While there, he produced and pub-
lished a series of stereographs of African American
street vendors. Between 1869 and 1871 Barnard ran
a studio in Chicago and photographed the aftermath
of the Great Fire (1871). In 1883, he returned to New
York and promoted the gelatin dry plate for George
Eastman of Rochester. Barnard operated his last studio
in Plainsville, Ohio (1884-86), after which, at the age of
sixty-seven, he appears to have retired from the business
of making photographs. Barnard died in 1902 at the age
of eighty-three.
Bryan Clark Green
See Also: Wet Collodion Negative; and Brady,
Mathew B.Further Reading
Barnard, George N. Photographic Views of Sherman’s Campaign
(New York, 1866; rpt. 1977). [reviewed Harper’s Weekly 10
(8 December 1866): 771.]
“Taste,” The Photographic and Fine Art Journal, viii/4 (May
1855): 158–9.
Davis, Keith F. George N. Barnard: Photographer of Sherman’s
Campaign. Kansas City, MO: Hallmark Cards - University of
New Mexico Press, 1990.
Gardner, Alexander. Gardner’s Photographic Sketchbook of the
Wa r. 2 vols. (Washington, D.C., 1866). Rept. as Gardner’s
Photographic Sketchbook of the Civil War (New York: Dover,
1959).
Harley, R.L., Jr. “Barnard, George,” Jane Turner, ed. The Diction-
ary of Art. 34 vols. New York: Macmillan, 1996.
Obituary. Anthony’s Photographic Bulletin 33.4 (1902): 127-8.
Sandweiss, Martha, ed. Photography in Nineteenth-Century
America. Forth Worth: Amon Carter Museum—Harry N.
Abrams, 1991.
Slosek, Anthony M. “George N. Barnard: Army Photographer,
with Photographs by Barnard,” in Oswego County, New York
in the Civil War. (Oswego, NY: Oswego County Civil War
Centennial Committee 1964): 39-59.
Taft, Robert. Photography and the American Scene: A Social
History, 1839-1889. New York: Macmillan, 1938) Rpt. New
York: Dover, 1964. pp. 128, 230–2, 486.
Zeller, Bob. The Civil War in Depth: History in 3-D. San Fran-
cisco: Chronicle Books, 1997.
Zeller, Bob. The Civil War in Depth: History in 3-D, Volume II.
San Francisco: Chronicle Books, 2000.BARNARDO, THOMAS JOHN (1845–1905)
Irish patron and businessman
Thomas John Barnardo was born in Dublin on 4 July- In 1866 he studied at the London Hospital, pre-
paring to become a medical missionary in China. He
began mission work among the poor of Stepney, east
London, and started his own Ragged School to teach
homeless children. Barnardo opened his fi rst boarding
home in Stepney in 1871. By the time he died in London
in 1905 almost 8,000 children were in residential care,
over 4,000 were boarded out, and 18,000 had been sent
to Canada and Australia.
From 1870 Barnardo used various commercial fi rms
to take ‘before’ and ‘after’ photographs showing how
wretched the children looked on arrival and how they
looked after they had been trained to work in the home’s
workshops. In 1874 Barnardo opened his own Photo-
graphic Department to help record the personal history
of every child. Most of the photographs were taken by