Exhibitions, lifetime. "Single." 1876-1892, undated

This material represents the core of Goodrich's ongoing efforts to write the definitive catalogue raisonné of all known works by Thomas Eakins, except photographs and glass slides. Goodrich maintained this material, which consists of an assortment of papers and photographs, in approximately 35 three-ring binders, or to use Goodrich's term, "ringbooks." These binders were also no doubt what he once referred to as his "master catalog" as the material incorporates his earliest studies of Eakins through to his last efforts. Much of the correspondence and notes Goodrich compiled while working on his 1933 study is included in these files. (Many are also part of his papers comprising the "Research" subseries.) Goodrich also included annotated photocopies of the book's index and catalog pages to several sections of these files, as well as to the related papers he kept in the folders that are now part of the "Working notes" subseries. Another item he kept as ready reference in both subseries is his list of important exhibitions held after Eakins's death in June 1916. Goodrich coded the exhibitions numerically for quicker citation purposes, and because he continued to update the list, there are several versions.

Goodrich maintained his master catalog in distinct sections. The first set of files, kept in a binder labeled "Index," consists of six folders. Half of the files pertain to Goodrich's 1933 catalog, and the remaining refer to works of Eakins held by the Hirshhorn Museum and Sculpture Garden.

The next and largest section of material documents the individual works of art in the order of Goodrich's assigned catalog entry numbers. The few general notes that prefaced that series of binders are in folders marked "[Entries]." The rest are simply entitled by the relevant entry numbers. While the amount of documentation per entry varies, each begins with Goodrich's catalog entry form--that is a page, either handwritten or typed, containing standard information recorded in a standard format. This information usually includes the catalog entry number, title, owner, and other information including publication and exhibition history. Goodrich no doubt intended the catalog entry form used in this subseries to be a working copy since he continued to note any research updates, as well as the individual or institution supplying photographs. The assortment of material following the catalog entry page is similar to what Goodrich maintained in folders, and which now makes up the "Research" subseries. A description of the assorted materials is given there.

The "Exhibition" files pertain to shows held during Eakins' lifetime and posthumously. In recording both types, Goodrich usually notes the specific works exhibited and a bibliographic citation of the exhibition catalog, as well as other pertinent information. Within the lifetime exhibitions files, "periodical" is Goodrich's description of shows held annually or more than once, including the various expositions held throughout the country during the 19th century. "Single" refers to exhibitions held only once. In regard to exhibitions after June 1916, the coded lists pertain to approximately 80 exhibitions held between 1917 and 1983. Additional exhibitions, including those that had less than four works of Eakins, are noted on the yearly lists. There are also photocopies of many of the catalogs annotated by Goodrich.

Bibliographic reference files are in two parts. "Books" pertain to monographs and other studies of Eakins, as well as general American art studies, and museum handbooks and catalogs. "Periodicals" refer to articles from journals, magazines and museum bulletins. "Periodicals" also include references to articles published during Eakins' lifetime in publications such as American Architect and Building News, Art Journal, and The Nation. With some citations, Goodrich includes a brief article synopsis or simply states whether or not the writer's opinion of a particular painting was favorable. Reviews of exhibitions and newsworthy stories, such as Eakins' resignation from PAFA, are among the reported subjects.

The final set of document files, most of which are also bibliographic, was not part of Goodrich's original set of binders. He undoubtedly intended to incorporate the material, however, based on a May 25, 1985 note entitled "Publications to be cited in Catalogue." These files are now identified as "[Last revisions]." Other material that was neither recorded nor filed in Goodrich's master set has been included in the "Research" subseries in files identified as "Unrecorded research." Whether or not Goodrich intended to note any of the information contained in those papers is unclear.

With the exception of files pertaining to sculpture, G498 to G515, Goodrich kept photographs of most of the catalog entries in separate binders, also arranged in order of catalog entry number. Most of the photographs are those Goodrich referenced on the corresponding catalog entry page, making note of the source, date acquired and any other numbering information recorded on the photograph's verso. For many of the entries, Goodrich kept multiple photographs provided by different sources. For entries without photographs, Goodrich in many cases substituted a photocopy of his 1930s notes, which included a sketch of the work. In other instances, he filed the photograph in a folder rather than the binder. That set of folders is now identified as "Additional photographs." According to his notes, Goodrich used a folder if the photograph needed to be trimmed in order to fit in the "ringbook." Photographs to approximately 30 entries not included in the master "Photograph" files are in the additional set. The latter set also includes multiple images as well as some of the photographs Goodrich used in his 1982 publication, and several folders of related images, such as portraits of the artist and his PAFA students and models.