The many sides of Frances Glessner

On February 2, 1897, Frances Glessner wrote the following in her journal:

“I went to Hartley’s on West Madison St. and had my photograph taken – a multigraph.”

Fortunately this most unusual photograph is part of the museum collection.  In this article, we will look briefly at Hartley’s and then at the interesting process by which these photographs were taken.

Hartley’s Studios opened in Chicago in 1877.  According to an advertisement published in the Chicago Tribune on January 5, 1890, “Hartley’s Studios are the largest and finest in the United States, and nothing but first-class work allowed to leave the studios.”  That same advertisement featured their trademark rooster with the following riddle – “Why is Hartley’s Rooster the Smoothest Bird of His Kind? – Because He Always Carries His COMB with Him.”  This was followed by a poem which read in part:

“With resonant Crow and hearty good cheer,

Our Rooster would welcome another New Year!

Still armed, as you see, with powder and gun,

And joyously Crowing o’er victories won!

The hearts of his foes were hateful and flinty,

But have met the sad fate that befell poor McGinty!

Many thanks to our patrons, may abundance of Cheer

Fill every hour of this Happy New Year.”

Chicago Tribune, February 5, 1893

The studio was located at 309 W. Madison Street, using the old street numbering system in place at the time.  In 1909, that address was changed to 1044 W. Madison Street, which would have placed the studio less than two blocks away from the Glessners’ former home at Washington and Morgan streets.

It is not surprising that a large and prominent studio such as Hartley’s would have embraced the novel new multigraph method of photography for its customers.  The process appears to have originated about four years before Frances Glessner had her photograph made, the first known reference appearing in a scientific journal in October 1893.  A year later, the Scientific American published an article which included several illustrations, including the one below, clearly showing how the image was captured.  The subject sat facing two mirrors set at an angle of about 75 degrees to each other.  This resulted in five views of the sitter being captured simultaneously on the negative. 

Scientific American, October 6, 1894

The image shown at the top of the article beautifully captures Frances Glessner’s distinctive hairstyle, one which she maintained consistently throughout her married life, at the request of her husband.  Given that the multigraph photo captures her from behind and from both sides, we are clearly able to see exactly how the hair was positioned, and the hair ornaments that were used.  She opted for a second photo, shown below, which captures her wearing her coat and hat, the latter sporting a jauntily placed bird. 

Together, these two images captured interesting and unique views of Frances Glessner and also afforded her the opportunity to see herself as others saw her.

For more information on multigraph photography, see “A Multigraph from Montreal,” written by Irwin Reichstein for the May-June 2007 issue of Photographic Canadiana.  The article contains several illustrations showing humorous uses for this photographic novelty.

George Glessner, photographer

Waterfall at Franconia Notch, Lincoln, New Hampshire, 1889

George Glessner (October 2, 1871 – January 10, 1929) was a highly talented amateur photographer, beginning his serious hobby when he was just a teenager.  During his lifetime he took thousands of images ranging from the documentary to the artistic.  Surviving photographs and negatives from the 1880s and 1890s indicate that he owned at least three separate cameras, utilizing “dry plate” glass negatives in 4”x5”, 5”x7”, and 8”x10” sizes.  

Self-portrait taken at The Rocks, age 16, 1888

Development of the negatives as well as printing and mounting of the photographs was frequently done in his “chemical laboratory,” a basement level space located directly off of the schoolroom.  He also sent his negatives out for professional processing as indicated by a quote from a letter to his mother in March 1889:

“I got the last lot of photographs last night and all I am afraid of now is the bill, but I guess papa will help me out on that, he always has before."

Dresser in George Glessner's bedroom, c. 1888

The Glessners’ Prairie Avenue home was extensively documented by George and his camera within a year of their moving in.  These photos in particular have been invaluable in revealing the appearance of the house at the time, assisting in the placement of original furniture and decorative objects, and in identifying original wallpapers, textiles, and carpets.

Unidentifed fire scene, c. 1890

Additional subjects that were captured through his lens in the last decades of the 19^th century include fire scenes and equipment, the World’s Columbian Exposition, trains, Chicago buildings and street scenes, and hundreds of views of the family’s summer estate, The Rocks, in New Hampshire.  By the early 1900s, he began using a film negative camera, and many of these candid shots feature his children and other family members, especially during their annual summer stay at The Rocks.

George Glessner's wife Alice with their daughter
Elizabeth (at left); George's sister Frances with
her son John (at right), 1900

Glessner was meticulous in the way in which he organized and cataloged his photographs.  Virtually all photographs are labeled with subject and date, and all carry the corresponding negative number.  

Typical photo label

Labels, pre-printed with his name and address, were affixed to the back side of the mounted photos, and the front side of the mounts was stamped with his name, often with the word “Amateur” added.  Glass negatives were similarly numbered and stored sequentially in boxes (still housed on the shelves in the schoolroom).

Marine Cafe, World's Columbian Exposition, 1893

George Glessner’s photographs are a valuable part of the Glessner House Museum collection, not only as beautiful examples of the art of photography in the late 19^th century, but as visual documentation of the places and events which shaped the lives of the members of the Glessner family.

Hotel Florence, Town of Pullman

Illinois Central train approaching 18th Street

Homes for George Glessner and Frances Glessner Lee,
1700-1706 S. Prairie Avenue, under construction, 1901

Female servants' entrance at Glessner House,
note silhouette of cook in window

"The Ledge Hawk" at The Rocks