Weeping Zeus

A folly, in landscaping terms, is a ornamental building or tower with no practical purpose built in a large garden or park. Around 1961, Mr. and Mrs. Henry S. Booth placed a small folly on the grounds of Cranbrook. However, for anyone wanting to play a joke on a friend, this folly has a very practical purpose.

IMG_2531.JPGWeeping Zeus (or more formally Zeus of Otricoli [Roman copy of Greek original]) is a marble bust comprised of the shoulders, chest, and head of the Greek god, Zeus. The chest is carved to resemble draped cloth. The curly hair has a wreath in it, and the beard is curly with a full mustache. The bust is set on top of a concrete block column.

This sculpture has an interesting and complex history. It was carved of Carrara marble in Italy in the early 19th Century and soon afterward became a decorative feature of the manor house of Abercairny, Crieff, Perthshire, Scottland. It remained there for well over 100 years until it sold at auction. Henry Scripps Booth purchased the bust in 1961 from Michael Brett of Broadway, England. Brett had purchased it from the Abercairny the year before. The manor house, once visited by Queen Victoria, was demolished in 1960, hence the sale of sculptures from the estate.

IMG_2535.JPGHere at Cranbrook, it would seem the father of the Greek gods finds the peace of this Michigan mountain dull in comparison with the revelries of either Mt. Olympus or his later home in the Scottish Highlands. It is reported tears well up in his eyes and sometimes gush forth. The sculpture became a folly (and why we call him Weeping Zeus) after Henry had holes drilled through the eyes to allow water to flow (squirt, really) out.

In reality, he’s not crying on his own. Have your guest stand in front of Zeus while you, as their friend, stand on the special stone that activates water to splash the guest from Zeus’s eyes.

As Summer comes to a close, invite that one friend who always pulls tricks on you for a beautiful walk through Cranbrook House Gardens and introduce them to Zeus.

Leslie S. Mio, Associate Registrar

Note: Weeping Zeus is located on the Mountain in the Cranbrook House Gardens, up the stairs directly opposite the House’s front door. Cranbrook Gardens is open daily from 9:00 am to 5:00 pm, May 1 through October 31. Admission to Cranbrook Gardens is FREE for the 2018 tour season, courtesy of presenting sponsor, PNC Bank, and sponsors, All Seasons Independent Livingfleurdetroit, and Roberts Restaurant Group

Hidden Carvings: Misericords

Of the many beautiful works of art and ornament at Christ Church Cranbrook, I have noticed one type is much less documented than others: the misericords. I set out to explore the story behind these little hidden carvings. Misericords are hinged wooden seats that swing up to provide a supportive ledge in the choir stalls of churches and cathedrals—the choir, in the architectural sense, is situated within the chancel between the nave and the sanctuary.

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Christ Church Cranbrook choir stalls in the chancel taken from the south aisle of the nave, ca. 1946. Copyright Cranbrook Archives.

The seat appears to be quite ordinary until you lift it up to reveal its carved underside. Traditionally, they were carved with mythological or real animals, foliage, or humorous scenes.

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The history of misericords goes back to the monastic churches of the middle ages, when the monks spent many hours praying in the choir. Their name comes from the Latin ‘miserericordia’ meaning ‘mercy’ or ‘compassion,’ stemming from ‘misereri’ (to have pity) and ‘cor’ (heart). Misericords were introduced into churches and cathedrals around the thirteenth century, so that elder monks could lean on them and didn’t have to stand unaided for the entire service.

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Architectural Drawing for Misericords in Choir Stalls Nos. 1-4 depicting pride, envy, gluttony, and covetousness, January 10, 1928. Bertram Grosvenor Goodhue Associates/Courtesy Cranbrook Archives.

The misericord carvings for Christ Church Cranbrook were drawn by a designer with the initials ‘TCM’ at Bertram Grosvenor Goodhue Associates, who were also the architects of the church itself. The carvings for choir stalls 1-7 depict the seven deadly sins (pride, envy, gluttony, covetousness, anger, sloth, and lust). Choir stalls 8-16 depict more contemporary images reflecting life in 1927, including charlatanism in art, politics, machinery, jazz and prize fighting (8-12) and building the church, speed, big business, and prohibition (13-16).

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Misericord depicting “Speed,” represented by different modes of transportation (choir stall 14), the metal braces are a later repair. Courtesy Cranbrook Archives.

The misericord design for ‘building the church’ (choir stall 13) is particularly noteworthy for its representation of Oscar Murray and George Gough Booth extending the church by pulling it apart and adding another bay:

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Misericord depicting Oscar H. Murray and George Gough Booth lengthening the church (choir stall 13). Courtesy Cranbrook Archives.

In George Gough Booth’s correspondence, I found this letter, which is instructive in discovering the creative process from idea to design to finished object:

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Letter from Oscar H. Murray to George Gough Booth regarding the misericord showing the building of the church, July 3, 1928. Copyright Cranbrook Archives.

The letter tells us that the carver used a photograph of George Gough Booth (depicted on the right side of the misericord) to help with the details of the carving.

The misericords were carved by Irving and Casson of Boston, who also carved the screen between the narthex and the nave and the canopied vaulting above the choir stalls. However, the name of the carver is not recorded. Christ Church Cranbrook is celebrating its 90th anniversary on September 29. Also stay tuned for our ‘Ecclesiastical Structures of Detroit’ Day Away trip in the fall.

-Laura MacNewman, Associate Archivist

Summer Blockbuster

With the melodies of John Williams’ score in my mind, the image below conjures up the 1981 summer blockbuster, Raiders of the Lost Ark. Stunt doubles and special effects aside – the photograph is actually of the Cranbrook Institute of Science (CIS) Director, Robert T. Hatt, in the caves of Calcehtok on Mexico’s Yucatan peninsula. Dr. Hatt conducted a ten-day expedition in the Yucatan in 1947, spending most of his time at Hacienda Calcehtok.

Dr. Hatt in the caves at Calcehtok, 1947.

While in the Yucatan, Hatt worked with two other scientists, Sr. Bernardo Villa, chief of Mastozoology at the University of Mexico’s Institute of Biology, and Dr. Helmuth Wagner an ornithologist with expertise in Mexico and the Malayan region. For ten days the trio conducted excavations of four caves and sunk eleven trenches. They also trapped and netted vertebrates to compare them to bones found in the caves. Of this team, Dr. Hatt said, “it is rare for three men to work together in the field in the perfect harmony we enjoyed.”

Dr. Hatt’s travel diary includes a drawing of one of the trenches, Nov 1947.

The principal focus of the expedition was the Actun Spukil cave (the Mayan equivalent of Cave of the Mice). A series of tunnels lies within the cave, and here Hatt and his fellow scientists uncovered bones, shards of pottery, and stone hammers. Glyphs were spotted on the cave walls, as well as rock carvings depicting a monkey’s head and a man’s head.

Dr. Hatt at the cave entrance, 1947.

In the year following his return from Calcehtok, Hatt wrote about his discoveries and gave several lectures. His expertise in the Yucatan region is well-documented, and he was asked by several institutions, including the Carnegie Institution of Washington and the University of Michigan, to identify specimens in their respective collections. More than half of the photographs from this expedition are of the people Hatt interacted with in Calcehtok. In an article in the February 1948 CIS Newsletter, Hatt wrote, “we were quickly accepted as friends by the little community. They collected for us, sang for us, dedicated a dance to us, and a few children and a grown boy shed a tear when we left. Bless the good people of Calcehtok.”

Friends made in Calcehtok, 1947.

Although I enjoy the adventure and suspense of an Indiana Jones expedition, the reality and humanity in Dr. Hatt’s reports was an exceptional find in the Archives this week.

Gina Tecos, Archivist

 

 

A Face Above Beauty

Sometimes we walk past something 100 times and see it but never really “notice” it. For me, it is the masque of “Art”  (left) in the Cranbrook School Quadrangle, near the dining hall. It is a woman’s face beautifully created by sculptress Elizabeth Palmer Bradfield, but, as always, there is more to the story.CR1588-2

Elizabeth Virginia (Palmer) Bradfield (1875-1954) was born in Port Huron and grew up in Pontiac. Her grandfather was Charles Henry Palmer (railroad and mining developer who established the Pewabic mine in the Upper Peninsula). The Palmer family was well known in Pontiac and their house still exists on Huron Street. In the months before her wedding, Elizabeth traveled to Paris with her parents, where she studied sculpture at the Académie Julian in Paris. In 1896, she married Thomas P. Bradfield.

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Elizabeth Palmer Bradfield with her mother, Mrs. Charles H. Palmer, Jr. Source

Thomas and Elizabeth Bradfield lived in Grand Rapids, Michigan, until 1904. The Bradfields and their two children (Virginia Palmer Bradfield Ward and Thomas Palmer Bradfield) later settled in Pontiac, Michigan, where Bradfield lived until her death in 1954.

In 1914, Bradfield began exhibiting her work — first paintings, then sculpture — in the Scarab Club’s Annual Exhibition at the Detroit Museum of Arts, alongside such artists as Myron Barlow, Katherine McEwen, and James Scripps Booth. The Scarab Club honored her sculpture “Myra” with their first presentation of the annual Scarab-Hopkin Prize for Sculpture. She exhibited again in 1915, 1916, 1917, and 1921. In 1921, she won “Honorable Mention” for her bronze sculpture “Baby’s Head.”

It is likely George Gough Booth met Bradfield at one of these exhibitions; correspondence between them began in 1926 when Booth purchased a small bronze of a dog from her.

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Dog, 1912, by Elizabeth Palmer Bradfield (CEC 188).

Booth then commissioned her to model “two large groups of Great Danes ready for plaster cast” to be displayed at Cranbrook School. These sculptures were to be approximately 6 feet high, by 2 feet wide, by 3 feet tall, but subject to Eliel Saarinen’s approval. Bradfield used the studio and architectural office, without expense to her. It is not known if Bradfield ever completed these large dogs, or if Saarinen negated the idea, but the sculptures were never realized in full scale. Milles’ “Running Dogs” probably replaced them on the Cranbrook Campus.

The masque of “Art” was purchased by Booth in October 1927. It was exhibited in two shows. One was in March 1929 – the annual exhibition of the Detroit Society of Women Painters. It was written up in the Detroit News, which said, “The masque has the imponderable quality we find in things of lasting beauty.”

It was then in the first Cranbrook Art Museum for several years before being installed over the “Beauty Arch” in Cranbrook School’s Quadrangle.

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The “Art” Masque, that “lasting beauty,” hangs over George Booth’s famous quote, “A life without beauty is only half lived” on the so-called “Beauty Arch” in Cranbrook School’s Quadrangle

Leslie S. Mio, Associate Registrar

Related links:

Clothing worn by Elizabeth Virginia (Palmer) Bradfield

Biographical information

Greta Skogster, a Mystery Woman No Longer

On tours of Saarinen House, visitors in the dining room are sandwiched between Greta Skogster’s hanging and leaded glass doors. They look one way to see a courtyard with leafed-out trees beyond; they look the other way to see a wall-sized hanging with birds and a tree and foliage.

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Dining Room of Saarinen House, Copyright Balthazar Korab/Cranbrook Art Museum.

Greta Skogster (1900-1994) herself was a one-woman phenomenon, running her own textile business in Finland. She was born in the small southwest town of Hämeenlinna in 1900, and as far as I can gather studied textiles at the Helsinki Central School of Arts and Crafts. At the time, in the 1920s, students from educated backgrounds were not actually trained to operate loom. They became designers and managers and engaged others to manufacture their designs. 

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Greta Skogster-Lehtinen at work. Image © Greta and William Lehtinen Foundation

Skogster founded her own company in 1929named it Textile Officeand started producing hand-made designs by the yard and carpets for commercial use. In 1930 her work appeared alongside that of architectAlvar and Aino Aalto in the Small Apartment Exhibition in Helsinki, and from there her company grew apace.

Enter William Lehtinen (1895-1975) who went from studying forestry in Helsinki to earning his Masters of Forestry at Yale in 1926. He served as a trade attaché for Finland’s wood processing industries before returning home in 1930 to join the firm of Enso-Gutzeit, Finland’s largest pulp and paper company. So talented was forester Lehtinen that he rescued the company from post-war ruin and outmoded Russian machinery and became its CEO, transforming Finnish paper production along the way. The company still exists. 

By 1937 Skogster and Lehtinen were married and had moved her studio to Enso in eastern Finland, where her Textile Office became one of the largest private textile companies in the country with power looms and 23 employees. If you had been in Finland at that time you would have seen her work on Finnish trains, on the seats of factory offices, in all the best restaurants, in the headquarters of Enso-Gutzeit and in the upholstery of Eliel Saarinen’s Helsinki Central Railway Station. Her textiles even come to the USA at the 1947 Finnish House in New York’s Murray Hill where the Finnish American Trading Company had set up a showroom to promote trade.

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Interior of The Finland House with hangings by Greta Skogster-Lehtinen at 39-41 East 50th Street, New York, New York, 1947. Image ©paavotynell.org

Skogster-Lehtinen and husband William went on to lead a good life, devoting their time, money and effort into collecting art and promoting the arts and crafts. By 1964 they intended to establish a museum designed by old friend Alvar Aalto, but an inability to break through Helsinki’s historic area building restrictions meant the museum was never built. Undaunted, the couple established The Greta and William Lehtinen Foundation offering fellowships for artists, artisans, musicians and architects, which, in true Lehtinen fashion, still exists.

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Greta Skogster-Lehtinen and William Lehtinen with family. Image © Greta and William Lehtinen Foundation

How the Saarinens came to choose a hanging from Greta Skogster for the dining room in their Cranbrook, Michigan house is not clear, nor do we yet know what the relationship was between the two families, though one must assume they knew each other. According to the Cranbrook Center for Collections and Research object record the hanging was acquired between 1935 and 1939. There exists a 1980 letter from Cranbrook to Skogster-Lehtinen, now living in Tampere after the death of her husband, enquiring about the hanging but no reply.

But what a piece, cleaned, restored and still reminding visitors of the serenity of a forested world, where large wood grouse flit amongst the leaves!

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Skogster’s tapestry hanging in the Dining Room of Saarinen House, Copyright Balthazar Korab/Cranbrook Art Museum.

This is not a tapestry in the true sense of the word, where the weft is continuous. This hanging employs many different techniques, including supplemental wefts and rectangular patches left with bare warp so that the fir paneling can show through. Echoing the luxury of the gold leaf in the dome over the table, there is gold thread and silk amongst the linen, cotton and rayon. It does recall other Skogster-Lehtinen pieces, many of which are quite large.

Needless to say, there is more to discover in the long life of this prolific designer, and the Saarinen connection puzzle remains to be solved.

Lynette Mayman, Collections Interpreter, Cranbrook Center for Collections and Research

Sources:

Greta ja William Lehtisen Säätiö (Greta and William Lehtinen Foundation), 2007. http://www.gretajawilliamlehtinen.fi

Scandinavian Design: Alternative Histories, edited by Kjetil Fallan (Oxford, UK: Berg Publishers, 2012).

Göran Schildt, Alvar Aalto, A Life’s Work: Architecture, Design and Art (Helsinki, Finland: Otava Publishing Company, 1994).

Works by Greta Skogster,  FJ Hakimian. http://fjhakimian.com/greta-skogster 

The Multiple-George Theory

From my office window in Cranbrook House, I have a great view of the motor court. I can see the comings and goings of the house: coworkers rushing to meetings, facilities moving tools and tables, the busy bees of the Cranbrook House and Gardens Auxiliary at work, and visitors to the campus exploring the house and grounds.

As guests walk around finding flowers, sculptures, and fountains, I always see them step up to the locked side entrance of the house and try and figure out one of the most unusual pieces of art at Cranbrook: George Washington brandishing a flyswatter over George Booth. DSC_0523The acrylic painting, set within a blind window, shows George Booth napping on the daybed in his Still Room (those guests who’ve been on a Cranbrook House tour know the Still Room’s daybed is literally right behind this wall). Behind him is the ghostly figure of Washington, holding a copy of the July 4, 1776, Philadelphia Gazette and his swatter. It is a (not-terribly-convincing) trompe-l’œil fitted within the existing window frame. The 47×22” painting was completed in 1976 by Academy student Gregory High (MFA, Painting, 1977). George and GeorgeHenry Scripps Booth commissioned the painting while he was serving as a Cranbrook Educational Community trustee and while he was using George’s office suite for his own offices. He told the alumni magazine, the window commemorates “the long list of founders who seized opportunities that have been bequeathed to them from those who have gone before.”

Further, Henry explained that “there is at least one fly in almost every organizational ointment as well as in many of our best dreams…Those pesky flys require a decisive swat by a person of intuition and experience of historical perspective. George Washington, in a haze of tradition, plays that part of this bit of symbolic fantasy.”

Henry commissioned the painting as part of the Bicentennial celebrations of 1976, and it was revealed on Cranbrook’s Founders Day by George and Ellen’s three-year-old great-great-granddaughter Stephanie Booth, who was dressed in an 1867 dress belonging to Ellen.

The Cranbrook Quarterly (Fall 1976) wrote, “[the painting] could be considered one of the more unusual commemorations of the Bicentennial because it…develops the ‘multiple-George theory’ of Cranbrook’s—and the nation’s—founding.” Henry told the Quarterly that he “hoped that this window will be enjoyed by the passerby as it would be by Cranbrook’s founders if they were suddenly to come upon it and discover one of them was being spoofed.”

I can certainly attest that the painting gets a lot of looks and begs a lot of questions from the viewer. It’s one of the strangest—and most accessible—works on campus.

Happy Fourth of July everyone!

– Kevin Adkisson, 2016-2019 Collections Fellow, Cranbrook Center for Collections and Research

Photo (Album) Friday

Over the past decade, digital photo albums have become commonplace. Although I enjoy seeing photos in digital albums, there is something magical about peering into the pages of a book constructed by someone decades ago. Here in the Archives we have many scrapbooks – from oversized books with newspaper clippings to school scrapbooks with photographs and ephemera related to sporting events, dances, and awards ceremonies.

Scrapbooks are a fundamental part of many of our manuscript collections – documenting the work and life of artists, educators, and scientists. The four scrapbooks in the Saarinen Family Papers contain newspaper clippings of Eliel Saarinen’s work, as well as photographs of family and friends in the U.S. and Europe.

I find that photographs and scrapbooks document life in a way that is unique to written correspondence. A letter provides detail to the reader or researcher, but a captioned photo provides visual representation and the details that were important to the creator. The Archives recently accessioned the Smith House Records, which includes 20 albums. The albums include artwork that the homeowners valued, as well as photographs of people enjoying their home. These images show what a fun couple the Smiths were – and how much they loved entertaining guests in their Wright home.

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A page from one of the Smith family albums, Dec 1970.

Henry Scripps Booth, youngest son of Cranbrook founders George and Ellen Booth, elevated the scrapbook to a new level with his series of 14 albums, titled “Pleasures of Life.” These albums celebrate travel, as well as family life here at Cranbrook from 1911-1940. The carefully constructed pages in the “Pleasures of Life” series include captions for nearly all the photos (penned by Henry), including one of a house party at Cranbrook House in 1915.

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“House Party, Cranbrook House,” Pleasures of Life, Vol 2, 1915.

Gina Tecos, Archivist

NB: This weekend, 103 years after Henry captioned his photo of “House Party, Cranbrook House,” the Center for Collections and Research is hosting a gala fundraiser A HOUSE PARTY AT CRANBROOK. It will celebrate the three historic houses under the Center’s care, and honor the legacies of the families who built and lived in them. Hopefully someone takes photos for an album to be appreciated in another 100 years!

From Drawing to Driftwood: The Artwork of Wallace MacMahon Mitchell

During the Archive’s Reading Room relocation at Cranbrook Art Museum, we have been digitizing negatives for preservation and access. This has enabled a new collection for CONTENTdm which highlights the artwork of Wallace MacMahon Mitchell (1911-1977). There are thirty images so far, with more being added soon. Five of Mitchell’s paintings can also be viewed during tours through Saarinen House: Presidents/Residents, 1946-1994.

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Wally Mitchell in his studio, early 1940s. Courtesy Cranbrook Archives.

The collection features images of the rich diversity of Mitchell’s artwork, from his early drawings and still life paintings to his later geometric abstract works and painting-constructions. Mitchell’s later works include many driftwood sculptures and Plexiglas paintings.

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Driftwood in Three Sections, 1965. Estate of Wallace MacMahon Mitchell/Courtesy Cranbrook Archives.

In 1946, two of his paintings were included in the European Exhibition of the Guggenheim-funded Museum of Non-Objective Painting. These two pieces, with two other paintings added in 1948, are now in the Solomon R. Guggenheim Museum. Between 1950 and 1962, Mitchell’s work was frequently exhibited at the Bertha Schaefer Gallery in New York. He was also commissioned to design murals, such as one installed at the University of Kentucky in 1962, based on his painting Turnabout Number One from 1952.

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University of Kentucky Mural, installed in 1962 based on a painting ‘Turnabout Number One’ from 1952. Estate of Wallace MacMahon Mitchell/Courtesy Cranbrook Archives.

Mitchell’s archival collection will be available for research again when the Archives Reading Room reopens in July. Mitchell’s collection contains professional papers relating to his studentship and work as an instructor and administrator at Cranbrook. It also includes interviews and correspondence related to Joan Bence’s 1983 publication, The Art of Wallace Mitchell. There are also audio-visual materials including negatives, transparencies, slides and photographs.

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Villa-Neuve-Les-Avignons, 1938. Estate of Wallace MacMahon Mitchell/Courtesy Cranbrook Archives.

Mitchell was born in Detroit in 1911. After receiving his BA from Northwestern University in Chicago, Ill. in 1934, he studied with Zoltan Sepeshy for a year (1934-1935). He then toured Europe before returning to Cranbrook in 1936 as a painting instructor. His career at Cranbrook spanned 1936-1977, during which time he taught Arts and Crafts at Cranbrook School (1944-1947) while he was painting instructor (1936-1956), he was Registrar for the Academy of Art (1944-1956), Director of the Cranbrook Art Museum (1956-1970), and President of the Cranbrook Academy of Art (1970-1977). A retrospective exhibition of his work planned for his retirement at the end of the 1976/1977 academic year became a memorial exhibition following his death in January 1977.

-Laura MacNewman, Associate Archivist

Sources:

Wallace McMahon Mitchell Papers (1990-21)

Chad Alligood, What to Paint and Why: Modern Painters at Cranbrook, 1936-1974 (Bloomfield Hills, MI: Cranbrook Art Museum, 2013)

Joan Beehler Bence, The Art of Wallace Mitchell – Cranbrook’s Op Art Master Colorist (Unpublished, 1983, 1996)

Wallace MacMahon Mitchell, 1911-1977: a memorial exhibition of paintings and painting-constructions, 1936-1976 (Bloomfield Hills, MI: Cranbrook Academy of Art, 1977)

“His Heart and Soul into each Madonna, Saint, Commoner, or Angel”

Johannes Kirchmayer, also known as John Kirchmayer, was born March 31, 1860, in Oberammergau, Bavaria. Oberammergau is known for its Passion Play, something the whole town participates in every year it is performed. As a young man, Kirchmayer had the role of Joseph (of many-colored-coat fame) in the play. “We have the statement from John, himself, that the ‘Passion Play’ was a great influence in his early life.” (Prouty, p. 18). It meant Kirchmayer was well versed in biblical history, which would serve him well later in life.

The village of Oberammergau is also known for its long tradition of woodcarving. After he learned to carve from his grandfather, and later his Uncle Georg, a professional carver, Kirchmayer spent a number of years taking classes in Augsburg and Munich, Germany, and in London and Paris perfecting his craft. In 1880, at the age of 20, Kirchmayer moved to Boston, Massachusetts. There, he found work creating mantels, stairways, home decorations, and furniture. However, his greatest passion seems to have been ecclesiastical works, perhaps influenced by the Oberammergau Passion Plays of his youth.

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Undated portrait of Johannes Kirchmayer (1860-1930). Courtesy Cranbrook Archives

Kirchmayer’s friend Stanford White, an architect, introduced him to a number of other architects. He soon found work with cabinetmaking and decorating firms that were working on commissions in churches, businesses, institutions, and private homes. Kirchmayer had close working relations with a number of prominent architects and artisans and was, in 1907, a founding member of the Society of Arts and Crafts, Boston.

After 1898, working for the Boston furniture and architectural woodworking firm Irving and Casson, Kirchmayer worked on the buildings of the noted American Gothic-revivalist Ralph Adams Cram, a prolific architect of collegiate and ecclesiastical buildings.

Kirchmayer’s notable work around Boston include carvings in The Church of the Advent; All Saints’ Church; the Second Church; and Unity Church. He also designed part of the Anderson Memorial Bridge over the Charles River.

His work outside the Boston area includes carvings in Christ Church Cathedral, Springfield, MA; the Church of Saint Mary the Virgin, West 46th Street, New York City; St. Mary’s Anglican Church, Windsor, Ontario; the Church of the Saviour, Syracuse, New York; and the James J. Hill House, St. Paul, Minnesota.

Shirley Prouty, his biographer, wrote that “John Kirchmayer did not use drawings, charts, or schematics to immortalize his saints; He studied and planned and started with a block of wood. On this piece of oak, mahogany, boxwood, cherry (he used many kinds of wood), he would draw the nude figure. He had studied anatomy as a student in Augsburg, thereby learning to proportion arms and hands, legs and feet, and an overall balanced subject. This preliminary sketch on wood was in charcoal. Then he would draw the draperies in color as they would appear in the final rendition.” (p. 27)

George G. Booth made Kirchmayer’s acquaintance through their Arts and Crafts activities and soon became one of his most ardent patrons. Booth commissioned Kirchmayer to produce carvings for Christ Church Cranbrook, Cranbrook House, and the Booth Collection of decorative arts at the Detroit Museum of Art.

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1918 carved portrait of George G. Booth, in Cranbrook House Library, by Kirchmayer. Courtesy Cranbrook Center for Collections and Research.

It is said that Kirchmayer “put his heart and soul into each Madonna, saint, commoner, or angel he was carving.” (Prouty, p. 29). He also followed the old Bavarian custom of leaving one’s visage somewhere in your work.

At Christ Church Cranbrook, Kirchmayer’s works include the “Doubting Thomas Door,” which features images of the craftsmen who worked on the church, including Kirchmayer; the ornamental screen covering the wall at the back above high altar with “Triumphant Christ” at the top; the Lectern; the Chapel Doors and Lectern in the Resurrection Chapel; and a Madonna in Parish House.

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“Doubting Thomas Door,” Christ Church Cranbrook. Courtesy Cranbrook Archives.

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Kirchmayer left his visage as the woodcarver on the “Doubting Thomas Door”. Courtesy Cranbrook Archives.

At Brookside School, Kirchmayer created corbels (projections jutting out from a wall) of the four Evangelists.

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Corbel representing St. John the Evangelist at Brookside School. Courtesy Cranbrook Center for Collections and Research.

At Cranbrook House, Kirchmayer carved many works. The largest commission was the impressive paneling of the Library, including the “Personification of the Arts (Religion Inspiring the Arts)” overmantel, which featured Kirchmayer as the woodcarver.

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Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)”over-mantel in Cranbrook House Library. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

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Detail of Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)” over-mantel in Cranbrook House Library. Note that the woodcarver (behind the bishop) is depicted as Kirchmayer himself. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

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Detail of Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)” over-mantel in Cranbrook House Library. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

He also created items like a reading desk and bench; linen-fold paneling in Oak Room; a blanket chest; four carved Gothic finials in the corners of the Library; and a small figure of himself for the Booths. George G. Booth particularly enjoyed his reading desk and bench, which Kirchmayer created for the Booths’ library in 1919 from a sketch that Booth had supplied. (Prouty, p 100).

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Snapshot of Johannes Kirchmayer in front of the New Silver Beach Hotel in North Falmouth, MA, circa 1928. Courtesy Cranbrook Archives.

Kirchmayer’s work can be found in many prominent cities: from Minneapolis-St Paul, to Detroit, Chicago, Pittsburgh, Columbus and Quincy, Ohio, Baltimore, Washington D.C., New Haven, New York City, Providence, Boston, Concord and Peterborough, New Hampshire, Portland, Maine, as well as in The American Church in Manila and in Walkerville, Ontario, Canada. Perhaps his prolific work across the globe is the reason why, shortly before his death, Kirchmayer received the “Craftsmanship Medal for Distinguished Achievement in Wood Carving” by the American Institute of Architects. It is the only time the award has been given for woodcarving.

Johannes Kirchmayer died at his Cambridge, Massachusetts home in 1930.

– Leslie S. Mio, Associate Registrar

Sources:

Johannes Kirchmayer from Wikipedia, the free encyclopedia. https://en.wikipedia.org/wiki/Johannes_Kirchmayer

Mark A. Coir, Cranbrook Art Museum: 100 Treasures (Bloomfield Hills, MI: Cranbrook Art Museum, 2004)

Shirley Prouty, Master Carver, Johannes Kirchmayer, 1860-1930: From Germany’s Passion Play Village to America’s Finest Sanctuaries (Portsmouth, N.H. : Peter Randall Publishers, 2007

Creativity and Experimentation: A Snapshot of the CKU Dance Department

A new collection that documents two decades of the Cranbrook Kingswood Upper School Dance Department is now open for research. The materials were donated to the Archives by the former Director of the Dance Department, Jessica Sinclair, and photographer Fred Olds.

Sinclair started teaching modern dance as part of Kingswood School’s physical education program in 1963. During her tenure, the program flourished, and Dance became its own department. Students performed throughout the year at the Performing Arts Winter Festival, the annual Evening of Dance concerts, and at events such as the Guy Fawkes Ball at Cranbrook Academy of Art (CAA).

Alexandra Ohanian in studio, ca 2000. Copyright Fred Olds/Courtesy Cranbrook Archives.

In 1982, Sinclair invited Fred Olds to photograph her dancers in collaboration with a fiber installation by Gerhardt Knodel, who was Head of the Fiber Department at CAA at that time. This event led to a twenty-year collaboration between Olds and Sinclair. Olds photographed students in performance, in the studio, and at local and international events.

Dancers perform at the David Whitney Building in Detroit, 1985. Copyright Fred Olds/Courtesy Cranbrook Archives.

Between 1982 and 2002, the Dance department performed in Chicago, Toronto, and at the David Whitney Building in Detroit, where Sinclair choreographed “Dance in 4 Spaces,” with a grant awarded by the Michigan Council for the Arts. In 1989, Olds traveled with Sinclair and her dancers to the former Soviet Union to perform at the Children’s Palace in Moscow, the Choreographic Institute in Tblisi, and at the Rimsky-Korsakov Conservatory State Theatre in St. Petersburg. Olds remembers that the peak of applause at this concert came for a dancer in a 16-foot-tall dress designed by artist, Nick Cave (CAA ’89).

Susan Loveland in a costume designed by Nick Cave, 1989. Copyright Fred Olds/Courtesy Cranbrook Archives.

Throughout the years, Sinclair collaborated with a diverse group of fiber artists, sculptors, and architects to infuse creativity and experimentation into her work. The archival collection reflects this process in photographs, ephemera, and video.

– Gina Tecos, Archivist

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