Glessner House Museum receives Driehaus Award

On Saturday October 17, 2015, Glessner House Museum was presented with the President’s Award for Stewardship from Landmarks Illinois during the annual Richard H. Driehaus Foundation Preservation Awards.  The award recognized five decades of stewardship for the building since its rescue from demolition in 1966. 

Landmarks Illinois President Bonnie McDonald, in presenting award, noted how the museum serves as a model for its work in restoration, preservation, and interpretation.  Accepting the award on behalf of the museum was William Tyre, Executive Director and Curator, whose acceptance speech is presented in full below.

On behalf of the board of directors and the staff of Glessner House Museum, I would like to thank the Richard H. Driehaus Foundation and Landmarks Illinois for this award and the recognition of the many people who have served as stewards of Glessner House for half a century.

Fifty years ago, Glessner house sat vacant and for sale and there was a very real threat of demolition.  In spite of its national significance and its designation as a Chicago landmark, which at that time was purely honorary, the building could easily have been lost to the wrecker’s ball.

But 1966 was also the year of passage for the National Historic Preservation Act and it was in that year that a small group of individuals came together with a dream not only to preserve the building but also to preserve the architectural legacy of Chicago, which was disappearing at an alarming rate at that time.

In the late 60s and early 70s, Glessner House was truly at the heart of the preservation movement in Chicago and the state.  Within its walls could be found the first offices of Landmarks Illinois, as well as those of the Chicago Chapter AIA, Inland Architect, and the Chicago School of Architecture Foundation which had been formed specifically to save the building.  The concept for the first historic landmark district in the city was born there as well, when the idea of preserving the surrounding Prairie Avenue district was considered.

In time, the function of the building changed and the idea of an accurately furnished historic house museum evolved.  Glessner descendants returned not only furniture and decorative arts, but also an amazing archive of materials to help interpret the house and its broader context within Chicago history.  Chicago’s oldest building, the Clarke House Museum, came under our purview as well. 

During all these years, countless individuals have contributed to the success and vibrancy of the institution.  Dedicated volunteers have done everything from coordinating fundraising events to clearing rubbish out of the house and from organizing our archival collection to stuffing envelopes.  Enthusiastic docents have given thousands of tours as the “public face” of the museum, and numerous individuals and foundations have stepped forward to provide financial support as members and donors. 

Talented craftsmen have lavished attention on every detail of the house.  They often donate their talents because they feel it is a privilege to work on such a significant structure.  The board and staff have shaped the vision for the institution from education and interpretation to programming and restoration. 

It has been my privilege every morning for the past eight years to enter through the front doors of this extraordinary building.  Not a day goes by that I don’t marvel at the architecture, the collection of decorative arts, and the remarkable lives of the Glessner family.  Nothing gives me greater pleasure than sharing those treasures with our visitors.  We look forward to sharing them with all of you as we embark upon our next fifty years.  Thank you.

The award, which is based on terra cotta ornament from the Methodist Book Concern building at 12-14 W. Washington St. (Harry Bergen Wheelock, architect, 1899) will soon be placed on display in our visitor’s center for all to enjoy.  

A Golden Opportunity

When the Glessners met with architect H. H. Richardson in September 1885 at the Brookline office attached to his house, they were extremely impressed with the space, and asked that he incorporate many of its features into the library of their new Prairie Avenue home.  One feature, however, was recreated in their dining room  - lustrous ceiling panels covered in gold leaf set within a grid of heavy oak beams.  

Dining room during the Glessners' occupancy

At first glance, the use of gold leaf might seem to be an ostentatious display of wealth, but such was not the case with the Glessners.  To illuminate their rooms, the Glessners opted for the use of wall sconces rather than large chandeliers suspended from the ceilings.  The use of the gold leaf was practical – it would reflect the light from the five sconces around the dining room and cast a warm light back down upon the dining table. 

Dining room in 1966, after it was acquired from the

Lithographic Technical Foundation

During the time period in which the house was occupied by the Lithographic Technical Foundation (1945-1965), the gold leaf panels were covered over with ceiling paint and fluorescent light fixtures were installed above the work benches installed in the room, which functioned as a laboratory for researching printing inks. 

In November 1989, a substitute finish was applied to the ceiling to replicate the look of the gold leaf, but using aluminum leaf and a French vermeil finish to achieve a gold tone.  Although the finished product suggested the original gold leaf, it did not capture the rich deep tone that can only be achieved with using actual gold leaf.

In August 2014, the museum was contacted by Naomi Lipsky, president of the Society of Gilders, which was planning to hold its annual conference in Chicago in June 2015.  As part of each conference, the Society undertakes a community project on a pro bono basis in partnership with a non-profit organization.  She was wondering if the museum might have a project for the gilders to undertake.  A once in a lifetime opportunity presented itself – some of the finest gilders from around the world would be gathering in Chicago and would volunteer their services to recreate the Glessners’ long lost gold leafed ceiling.

The details of the project were worked out during a site visit in March 2015, and The Richard H. Driehaus Foundation generously agreed to underwrite the cost of the 23 karat gold leaf made by Manetti in Florence, Italy – enough to cover more than 240 square feet of plaster.  

During May, repairs were made to the ceiling where plaster had long ago been patched following the removal of the fluorescent fixtures.  Following that step, all 36 panels were cleaned and coated with a layer of amber shellac to provide the optimal surface for the application of the gold leaf.

Michael Kramer

The crew of gilders arrived on Monday June 1, 2015 ready to go.  Led by project manager Michael Kramer, an average of 8 to 10 gilders were on site for six or more hours each day for the entire week to finish the project.  

The first step involved laying out the ceiling in a grid of 6-inch squares so that the 3-3/8” leafs would have a pattern to follow, with some overlap.  Once this step was completed, a slow oil size was applied with brush and roller the afternoon before, to the area to be gilded the next day.  

After drying overnight, the size was just barely tacky all of the following day, so that the gilders could lay the leaf of the books following the grid pattern visible through the size.  

Then the leaf was gently tamped down onto the sand float finish plaster using squirrel hair brushes.   

After tamping, the same brushes were used to skew the leaf, and to smooth it and remove the overlaps, capturing the loose pieces in paper cones.

The crew celebrating a job well done!

The project was completed on Friday June 5 and is truly breathtaking.  Once again, the rich gold finish of the ceiling reflects the light from the wall sconces, just as it was intended to during the Glessners’ occupancy of the house.  The museum is deeply grateful to the Society of Gilders for their extraordinary work in recreating this important design element to the house. 

For more information on the Society of Gilders and their projects, visit www.societyofgilders.org.

Parlor Reopens Amidst Celebration and Remembrance

On Friday evening October 14, 2011, the restored parlor was officially unveiled to the public.  Over 70 members and friends of the museum were present to witness this long-anticipated event.  Following is the text of the speech prepared by Executive Director William Tyre which was read just prior to the opening of the parlor doors.

In November 2007, exactly one month after starting my position as executive director at the museum, I received a letter and a donation check from long-time docent and supporter Aileen Mandel.  In that letter Aileen expressed her wish that the museum would at long last undertake the important restoration of the Glessner parlor.  I immediately contacted Aileen, whom I had known for many years, to enthusiastically let her know that I too had a dream of seeing the parlor returned to its stunning 1892 appearance.  Over the next year and a half, two grant proposals were written to underwrite the project but were not accepted.

When Aileen lost her courageous battle with ovarian cancer on June 13, 2009, her children designated Glessner House Museum as one of the organizations to receive memorials.  I quickly contacted Aileen’s daughter Ruth, explaining her mother’s particular interest in the parlor, and asking if we could designate memorials toward the project.  She enthusiastically agreed, and the fund grew.

Less than a year later, on May 20, 2010, one of our “charter” docents, Bunny Selig, passed away, leaving a sizable unrestricted bequest to the museum.  A second bequest was directed to the museum in honor of her long-time friend Robert Irving, with whom she had completed the first docent class in 1971.  Bunny had often commented on how horrified Frances Glessner would have been to know we were showing her parlor in such an altered state, so immediately the idea came to mind to use these generous bequests to at last undertake the parlor restoration.  The Board of Directors quickly agreed and work began on a year-long project culminating in tonight’s event.

The undertaking was complex – this was not the restoration of just another 1890s interior – it was the recreation of a very specific space designed to the particular taste and sophisticated aesthetic of the Glessners.  Fortunately, through photographs and written documentation, we knew a great deal about how the space looked.

The Grammar of Ornament, a Denver-based company specializing in the recreation of historic interiors, had been contracted by the museum in 1991 to create a sample of the 1892 wall covering designed for the room by William Pretyman.  You will all recall that sample which hung in the parlor over the doorway to the dining room.  In 2010, I called Ken Miller, principal in the firm, to let him know that at long last we were ready to proceed!  Fortunately Ken was a patient man, and had carefully kept the files and information ready, hopeful that someday he would have the opportunity to create this unique wall covering.  He and his assistant Linda Paulsen meticulously examined an original fragment and historic photographs to determine the intricate process behind the original wall covering.  You will hear more about that and about William Pretyman a little later this evening, when our own John Waters presents “Where’s William: In Search of William Pretyman” back in the coach house following the dedication.

Another major element of the parlor design was the beautiful Kennet draperies designed by William Morris.  An original fragment of one of these drapery panels survived in the Textile Department of the Art Institute of Chicago.  This piece was carefully examined to determine the beautiful and rich colors.  Since the fabric was no longer being produced, we turned to David Berman of Trustworth Studios in Plymouth Massachusetts to bring together 19^th century design with 21^st century technology.  Using a digital process, Berman reproduced the intricate pattern and five colors, producing a fabric that is true and accurate to the original.  Our own assistant curator, Becky LaBarre, did all the sewing for the panels.

A major piece of furniture for the room had been removed over 100 years ago – the large banquette which occupied much of the south wall of the room.  The piece, originally designed for the room in 1887, had apparently been removed by the Glessners about 1905 when John Glessner inherited his parents’ 1830s Empire sofa after the death of his father.  We felt that the recreation of this piece was essential to give the room its proper appearance.  Long-time volunteer Robert Furhoff, who specializes in historic interiors, spent many hours researching the appropriate construction and fabrics, resulting in a piece that would fool even the Glessners.  Scott Chambers of Fine Woodworks Inc. and Gonzalo and Anna Gamez of G&A Upholstery produced a truly beautiful and unique piece of furniture.

Many other small details required attention as well.  The drapery rods could be found fairly easily, but the original brackets were heavy and unique in dimensions, requiring the careful attention and craftsmanship of master metal smith John La Monica.  The gold leafing of the various elements of the wood trim had deteriorated significantly over the years, and was replaced by Lee Redmond Restorations, who also undertook refinishing of damaged wood mouldings, and refreshing the trim throughout.  Jeffrey Ediger of Oak Brothers refinished the surviving metal pieces.

An enjoyable part of the project was bringing the room all back together.  This involved a careful analysis of the historic photos of the room, identifying objects that were currently elsewhere in the museum that needed to be returned to the space. 

All of the physical work needed to actually restore the room has been undertaken in just four weeks starting with the removal of the old wall covering on September 19^th.  An outstanding team of craftsmen kept the project on track, so that we only needed to close the room to the public for a little under one month.

As we get ready to unveil the room, a moment to thank those whose generosity has made it possible.  As mentioned earlier, Aileen along with her family and friends, spearheaded the project, keeping it in the forefront as we set out goals for the museum.  The passing of Bunny brought not only her bequests but additional gifts from her family and friends.  As the project grew, the museum approached the Richard H. Driehaus Foundation who generously provided additional support, primarily to produce the Morris draperies.  Finally, when the decision was made to recreate the banquette, an anonymous donor stepped forward with a generous gift to our 125^th anniversary fund, which was applied for this purpose.  Lastly, many of you contributed to this project as well.  The remaining funds needed to complete the room were taken from our House and Collections Committee Fund, which is supported by the proceeds from the various private tours and events held several times per year, and which many of you have attended. 

At this time, I would like to ask Ruth Mandel to step forward representing her mother Aileen.  She is accompanied by her brothers Mark and Eric.  In just a moment, Ruth will be asked to cut the teal ribbon on the left doorknob of the parlor.  Teal is a special color for Aileen – it is the official color for the fight against ovarian cancer.

I would also like to ask Dina Krause to step forward representing her cousin Bunny Selig, accompanied by Dina’s husband George and their daughter Sydnie.  Dina will be asked to cut the purple ribbon on the right doorknob of the parlor.  For all of you who knew Bunny, there is no need explain the significance of the purple ribbon.

(At this point, the ribbons were cut, the room was opened and attendees had their first glimpse to view the Glessners’ parlor as it appeared in 1892.  Following the viewing of the room, the group reassembled in the coach house where John Waters delivered an informative presentation on decorator William Pretyman).

Parlor restoration begins

Today marks an important milestone in the history of Glessner House Museum – the start of the long-anticipated restoration of the parlor.  This project has been planned for twenty years and dates back to 1991, when a sample of the hand-stenciled wall covering (on display in the room since that time) was first produced.  Reproduction of the intricate wall covering was very expensive, so the project was put on hold until funds could become available.

In June 2009 the museum lost one of its most ardent supporters and valued docents – Aileen Mandel.  Aileen was passionate about the restoration of the parlor and her family graciously directed memorial gifts to the project.  In May 2010, another long time supporter of the museum and one of its original docents – Bunny Selig – passed away, leaving a generous bequest to the museum which allowed the project to move ahead full force.  Additional funding was provided through a grant from the Richard H. Driehaus Foundation, and gifts in memory of Bunny.

In addition to the recreation of the wallcovering, funds will be used to reproduce the original William Morris drapes and portieres, rebuild the long-lost banquette, and recreate other missing details.  The room will also be reconfigured to more closely match the floor plan used by the Glessners.  Articles in the coming weeks will focus on specific elements of the restoration.

The dedication of the restored parlor will take place on Friday October 14 beginning at 6:00pm with a reception in the coach house.  Representatives of both Aileen’s and Bunny’s family will be present as we at long last open the doors to an extraordinary room – a true jewel box space within the museum.  A special treat for the evening will be a presentation by architect, historian, and docent John Waters who will provide a fascinating look at William Pretyman, a significant but largely forgotten decorator who produced the original wallcovering, as well as interiors for a number of significant homes and buildings in Chicago.

Next week:  The Pretyman wall covering