A group of twelve (12) albumen print stereoviews, highlighted by views of Sherman's Atlanta Campaign taken by George Barnard. Views include:

1. [George Barnard (1819-1902), photographer]. Maj. Gen. W. T. Sherman and Horse. New York: E.&T. Anthony & Co., 1864. Publisher's series title "Photographic History / The War for the Union" to mount recto. Publisher's imprint affixed to mount verso. Modern pencil identification to mount verso. Orange 2-cent revenue stamp to mount verso. 

Iconic field photograph by George N. Barnard showing William Tecumseh Sherman leaning against the parapet watching federal operations.

2. [George Barnard (1819-1902), photographer]. Gen. Sherman's Men tearing up the Railroad before leaving Atlanta, Ga. Outdoor full-view albumen. New York: E.&T. Anthony & Co., [1864].  Publisher's series title "Photographic History / The War for the Union" to mount recto. Publisher's imprint affixed to mount verso. 

Historic capture by Barnard of federal soldiers prying up rails along the Western & Atlantic Railroad during the Atlanta Campaign.

3. [George Barnard (1819-1902), photographer] Railroad Depot, Atlanta, Ga. / [Sherman's Wagon Readying for Savannah]. Outdoor full-view albumen. New York: E.&T. Anthony & Co., n.d.. Publisher's series title to mount recto. Publisher's imprint affixed to mount verso. Modern pencil identification to mount verso. Large ink stain to mount verso. 

Depot ruins and massive government supply wagon trains assembled in downtown Atlanta following its evacuation.

4. Maj. Gen. Ord, Wife and Child, at the mansion formerly occupied by Jeff. Davis, Richmond, Va. In the doorway is the table upon which the surrender of Gen. Lee. was signed. Outdoor full-view albumen. New York: E.&T. Anthony & Co., 1865. Publisher's series title printed to mount recto. Publisher's imprint affixed to mount verso. Orange two-cent canceled stamp to mount verso. 

General Edward O. C. Ord and family seated on the porch of the Confederate White House 

5. Maj. Gen. Burnside and Staff at his Headquarters in the field near Richmond, Va. Outdoor full-view albumen. New York: E.&T. Anthony & Co., [1864]. Publisher's series title to mount recto. Publisher's imprint affixed to mount verso. 

General Ambrose Burnside mounted on horseback surrounded by staff and heavy field artillery.

6. [James F. Gibson (1828-1905), photographer]. Wounded at Savage Station, Va. Outdoor full-view albumen. New York: E.&T. Anthony & Co., 1862. Publisher's series title printed to mount recto. Publisher's imprint affixed to mount verso. 

Classic, somber field scene by James F. Gibson showing hundreds of wounded Union soldiers gathered beneath trees awaiting medical care after the Seven Days Battles.

7. Breastworks near the Appomattox River, Va., North side. Outdoor full-view albumen. New York: E.&T. Anthony & Co., 1865. Publisher's series title "Photographic History / The War for the Union" to mount recto. Publisher's imprint affixed to mount verso. Orange two-cent canceled stamp to mount verso. Period ink address to mount & to period label verso. 

Heavy timber and earthworks guarding the Appomattox River approach.

8. Maj. Gen. Jeff. C. Davis: Vignetted bust portrait albumen stereoview. New York: E.&T. Anthony & Co., n.d.. Publisher's series title printed to mount recto. Publisher's imprint printed to mount verso. 

Portrait of Union General Jefferson C. Davis in uniform.

9. Soldiers' Quarters in the Union Fort Rice adjoining Fort Sedgwick. Outdoor full-view albumen. New York: E.&T. Anthony & Co., 1865. Publisher's series title printed to mount recto. Publisher's imprint affixed to mount verso. 

Detailed view of subterranean timber-reinforced bomb-proof quarters along the Petersburg siege lines.

10. Bomb-proof quarters at Ft. Burnham. The sides and top are 7 feet thick contains two rooms, sleeping and cooking. Outdoor full-view albumen. New York: E.&T. Anthony & Co., n.d.. Publisher's series title printed to mount recto. Publisher's imprint affixed to mount verso. 

Exterior of the massive, reinforced timber-and-dirt living and cooking quarters within Fort Burnham.

11. Gibson's Battery of Horse Artillery, near Fair Oaks. Outdoor full-view albumen. New York: Gardnery & Gibson, photographers; E.&T. Anthony & Co., 1862. Photographer's copyright to mount recto. Publisher's imprint affixed to mount verso. 

Massive cavalry and artillery troop review with caissons drawn up in the field during the 1862 Peninsula Campaign.

12. Captain Gillespie and Officers of Flagship Philadelphia, Charleston Harbor, S.C. Outdoor full-view albumen. New York: E.&T. Anthony & Co., n.d. Publisher's series title printed to mount recto. Period ink identification to mount recto. Publisher's imprint affixed to mount verso. 

Officers assembled around the deck guns aboard the Union South Atlantic Blockading Squadron flagship.

A tremendous visual record of Civil War operations anchored by George N. Barnard's legendary photographs from the Atlanta Campaign, highlighted by the iconic portrait of General William Tecumseh Sherman surveying the front lines from a fortified trench battery and troops actively wrecking Confederate rail infrastructure. Complemented by James F. Gibson’s heartbreaking study of the field hospital at Savage's Station, naval gun deck views, and four cards bearing intact contemporary Civil War tax stamps, this diverse collection of original Wartime prints stands as an exceptional showcase of period documentary photography. 

[Civil War, American Civil War, Atlanta Campaign, William Tecumseh Sherman, George N. Barnard, Railroad Destruction, Western and Atlantic Railroad, Savage's Station, Seven Days Battles, Field Hospital, Wounded Soldiers, Edward O. C. Ord, Confederate White House, Ambrose Burnside, Fort Rice, Fort Hell, Fort Burnham, Siege of Petersburg, USS Philadelphia, James F. Gibson, Mathew Brady, Alexander Gardner, Revenue Stamps, American History] [Photography, Early Photography, Historic Photography, Stereoviews, Stereographs, Albumen Prints, E. & H. T. Anthony, War for the Union, Photographic Incidents of the War, Military Photography]

Overall very well-preserved, with strong tonality, deep shadows, and crisp definition. The original yellow card mounts are sturdy and flat, showing only slight corner softening, gentle edge wear, and subtle, even age toning.