Showing travelers on the sidewalk of a snow-covered Boston street, with a church spire and several horse-drawn Hansom cabs in the background, this well-exhibited photograph by Arthur R. Gleason was taken when he lived in Everett, a Boston suburb.

“A Stormy night in town” by Arthur A. Gleason is one of the best of its kind shown in the Salon. A scene typical of a large city yet invested with the charm of atmospheric effect that seems hardly possible of photographic rendering. (1.)

There is much to still learn of Arthur A. Gleason’s life, including his birth and death dates. The New York Public Library lists him as an American photographer, but he is believed to have emigrated to Canada sometime from 1905-06, with the following known chronology taken from primary sources:

1900: living in Everett, MA

-listed as an exhibitor at the Philadelphia Photographic Salon

– A Stormy Night in Town exhibited as frame #49 in the Chicago Photographic Salon along with “The Grinder” and “Night in the Harbor.” Catalogue lists him as living at 29 Dyer Ave., Everett, MA.

– writes article: Glycerine Development of Platinotypes published in April issue of The Photo-Era. Boston: pp. 116-18

1901: A Stormy Night in Town reproduced as a full-page halftone in The American Annual of Photography and Photographic Times Almanac for 1901: p. 142

1903-04: Is now living in Rochester & a member of the Rochester Camera Club.

– earns 2nd place award in Men’s Class of Youth’s Companion Contest in 1904 for his photograph: Good Night

1906: Now living in Canada, he is mentioned in Photograms of the Year as having become a member of the Toronto Camera Club.

1907: exhibits work at the annual exhibition of this club:

Mr. A. A. Gleason, a comparatively new member of the Club, and a decided acquisition, was represented in Photograms a few years ago. He sends another of his charming child-portraits (see page 82), one of a number of very interesting studies of children in their home surroundings which he has recently produced. Mr. Gleason pitches his key high, and gives a feeling of light and air together with a wealth of unobtrusive detail with an enviable skill. (2.)

1922: believed to be the same photographer now working in London, Ontario: advertisement for Arthur A. Gleason Photographer: whose studio was located in the London Loan Building at Dundas and Clarence streets. He bills himself as a “Maker of High Grade Portraits“: source: Vernon’s City of London Directory for 1922

print notes recto: several damages to print and primary mount; lower right corner: black ink monogram to lower left corner of print: AAG (indecipherable) ; stylized monogram: AAG in faded black ink to secondary mount at lower right. Separate contemporary frame backing paper (loose) hand-printed with following: Boston – 1898 –; Mary + Phil –; black ink stamp:

BARKER ART
(Oakridge Mall)
1201 Oxford St. W.
London, Ontario
472-8330   N6H  1V9

provenance: purchased 2015 from reseller who obtained photograph from Maine estate.

Misc. notes:

1899: Gleason shares patent for improvements to eyeglasses

several erroneous references indicate Arthur A. Gleason was a member of the American Photo-Secession but is not listed as ever being a member.

1. commentary: The First Minneapolis Photographic Salon: Western Camera Notes: A Monthly Magazine of Pictorial Photography: Minneapolis: Western Camera Publishing Co. : March, 1903; p. 68
2. excerpt: Pictorial Work in Canada: Sidney Carter: Photograms of the Year: 1907: p. 79