Albert, Alfred & Chris Schlechten

I. Origins and Early Years

Albert (1876–1961) and Alfred Schlechten (1877–1970) were Swiss-born brothers who immigrated to the United States in the late 19th century. According to Bozeman Magazine, they hailed from Switzerland and arrived in Centralia, Missouri, in the 1890s before relocating to Bozeman, Montana, in 1900.  That same year they purchased the photography studio of Grant and Tippet in downtown Bozeman and established Schlechten Brothers, quickly becoming the leading photographers in the Gallatin Valley.

Their work would not only document regional life but also contribute to the nascent visual portrait of an emerging American West.

II. Albert: The Landscape Specialist

Albert specialized in sweeping Montana landscapes and wilderness vistas. He carried a heavy 11 × 14 in large-format field camera across rugged terrain—a feat of dedication—and produced hundreds of glass-plate negatives . His skill garnered national attention: two of his photographs—“A Clover Field in Montana” and “A Ranch in Montana”—were published in National Geographic in 1917.

As curator Steven B. Jackson explained, Albert’s landscapes showcased an exceptional mastery of light and composition, capturing detail in both the land and the human footpaths upon it. Works such as West Fork Falls, Mont (1909), Taylor's Fork, Mont (1911), and Castle Rock, Mont (1912) survive as silver-gelatin prints and attest to his artistry.

By 1922, Albert stepped back from the Bozeman studio. He tried wheat farming—only to be undone by drought—relocating in 1929 to Anaconda, Montana, where he opened the “Central Studio” and worked until his 1946 retirement . He passed away in Mesa, Arizona, in 1961 , leaving behind a rich legacy rooted in land, labor, and light.

III. Alfred: Portraitist and Studio Pillar

While Albert ventured outdoors, Alfred became the consummate portrait photographer: capturing individuals, families, and communities in his refined studio sessions. His composed indoor portraits—with artistic painted backdrops—spanned subjects from dignified citizens to posed children. A portrait chair Alfred used even resides today in the Gallatin History Museum.

In the 1910s, Alfred and Albert formally split their business interests; while Albert roamed the outdoors, Alfred anchored theBozeman studio . He continued professionally until the 1940s and passed away in Livingston, Montana, in 1970 at age 93.

IV. Chris Schlechten: The Maverick Son

Alfred Christopher “Chris” Schlechten (1911–1979) was Alfred’s son, born into the world of photography . As a boy, Chris learned both the technical and artistic aspects of his father’s trade. His early career spanned school portraits, civic events, and Western landscape photography shot in and around Yellowstone National Park, echoing family tradition.

His boldest move came in 1933 as a freshman at Montana State College (now MSU-Bozeman). Collaborating with Dave Rivenes, he orchestrated a daring spoof college annual. Over six misleading pages (later censored), Chris superimposed a fictional bearded figure—“Clarence Mjork”—into group photos, swapped basketball teams for Butterfinger candy bars, and inserted other pranks. Though temporarily expelled and censured, the yearbook won “Most Original” from the National Association of College Annuals; Rivenes was eventually readmitted and graduated.

Following college, Chris opened his own West Yellowstone studio, then assumed operation of Alfred’s Bozeman studio in the 1940s. He produced award-winning portraits and mentored emerging photographers, continuing the Schlechten legacy into the late 1970s. Chris died in 1979 at age 68, and both he and his father are interred in Bozeman’s Sunset Hills Cemetery.

V. Legacy: A Photographic Photo Archive

The cumulative work of the Schlechten family—surpassing 30,000 images—was donated by the heirs to the Museum of the Rockies in 1980. Among these are more than 175 of Albert’s large-format landscapes, providing invaluable insight into early 20th-century Montana. The collection—comprising studio and outdoor images, plus postcards—affords researchers, historians, and the public a window into regional history.

Local institutions such as the Gallatin History Museum and University archives also preserve Schlechten works—from iconic portraits to landscapes—ensuring their continued relevance.

VI. Distinct Styles, Shared Vision

Despite their shared surname and overlapping careers, Albert, Alfred, and Chris cultivated distinct stylistic niches:

Albert seized natural light and geographic texture in his large-format landscapes.

Alfred honed the calm composure of portraiture, preserving the likenesses and personalities of everyday Montanans.

Chris merged inherited talent with daring expression—from formal portraits to irreverent collegiate satire .

Together, they built a photographic dynasty that shaped visual consciousness in Montana and preserved history through light.

VII. Context: Photography in Early 20th‑Century Montana

The Schlechten family flourished during a pivotal era:

The Progressive Age & Western Expansion: Their appearance in Bozeman coincided with industrial growth, railroad expansion, and urbanization in the Gallatin Valley.

Technological Shifts: Their toolkit ranged from glass-plate field cameras (11 × 14 in) suited to landscapes to portrait studio lighting—mirroring broader photographic innovation.

Preservation vs. Change: As Montana evolved from frontier to settled life, the Schlechten brothers captured transitory farm scenes, snow-capped peaks, and burgeoning towns—especially relevant after 1900 when conservation movements and parklands took root.

Albert’s images resonated with urban and national audiences via postcard and National Geographic spreads. Alfred and Chris solidified community identity through portraits of local figures, schoolchildren, and civic life.

VIII. Standout Works and Exhibitions

National Geographic (1917): Publication of two Albert Schlechten photos elevated his national profile.

“Light on the Land” Exhibition (2016): Museum of the Rockies curated a show featuring 40 enlarged prints from Albert's 11×14 glass plates. Curator Steven Jackson emphasized Albert’s unique eye for detail and use of light.

1933 Spoof Yearbook: Chris’s daring prank annual remains legendary on campus, with two uncensored copies preserved, one donated to MSU in 1989. “Clarence Mjork” even returned as Homecoming grand marshal in 2003.

IX. Family, Deaths, and Memorialization

Albert: Retired to Anaconda, Montana in 1946; died in Mesa, Arizona in 1961.

Alfred: Continued in Bozeman until the 1940s; died in Livingston, Montana in 1970.

Chris: Worked into the 1970s; died in 1979.

All three lie at rest in Sunset Hills Cemetery, Bozeman—together in both profession and final repose.

X. Continuing Influence and Preservation

The extensive image archive sold to the Museum of the Rockies remains a touchstone for regional historians and photography aficionados .

Galleries such as the Gallatin History Museum display Schlechten portraits and artifacts, including Alfred’s portrait chair.

The Bozeman Magazine article (2021) underscores the enduring public awareness and affection for the Schlechten brand of photography .

MSU’s archival collection and the survival of Chris’s spoof annual demonstrate the family's role in shaping cultural memory on campus .

XI. A Photographic Dynasty’s Legacy

The Schlechten legacy is multifaceted:

Cultural Time Capsule: Their studio and landscape photos capture early 1900s transitions—from ranch to railroad towns, wildlands to civic life.

Technical Craftsmanship: Albert’s 11×14 negatives and Chris’s photo montage techniques prefigured modern digital editing; Alfred’s formal portraiture defined professional norms.

Intergenerational Continuity: From Swiss origins to American legacy, the three generations maintained consistent artistic vision for nearly 80 years.

XII. Conclusion

The Schlechten family—Albert, Alfred, and Chris—embody the evolution of photography as both profession and art form in early 20th-century Montana. Their collective output is a treasure trove of history: from majestic landscapes and studio portraits to campus satire. With over 30,000 images archived at Museum of the Rockies and kept alive in galleries and university archives, their vision continues to shape our understanding of a region in transformation.

The brothers’ complementary strengths—Albert’s expansive landscapes, Alfred’s intimate studio portraits, and Chris’s creative mischief—forge a unified yet diverse photographic legacy. As curator Steven Jackson put it, Albert’s dramatic yet nuanced use of light still reveals “the dramatic and beautiful natural world of Southwest Montana and Yellowstone”. Today, their images remain not just art—they are visual testimonies to the spirit and landscape of a formative era.

References

"The Schlechten Family Bozeman Photography Icons,” Bozeman Magazine, Nov 1, 2021 bozemanmagazine.com

“Albert, Alfred and Chris Schlechten,” Wikipedia en.wikipedia.org+1en.hisour.com+1

Alicia Harvey, “Light on the Land: The Photographs of Albert Schlechten,” BoZone (via Museum of the Rockies) bozone.com

“Albert, Alfred and Chris Schlechten,” Hi So You Are en.hisour.com

Tschanz Rare Books listings (“West Fork Falls,” “Taylor's Fork,” “Castle Rock”) abebooks.co.uk+2abebooks.co.uk+2abebooks.co.uk+2

Museum of the Rockies: https://www.museumoftherockies.org/

Montana State University Archives and Special Collections: [invalid URL removed]

Wikipedia: https://en.wikipedia.org/wiki/Albert,_Alfred_and_Chris_Schlechten

Bozeman Magazine: https://bozemanmagazine.com/articles/2021/11/01/112351-the-schlechten-family-bozeman-photography-icons

The BoZone: https://bozone.com/light-on-the-land-the-photographs-of-albert-schlechten/