Cranbrook Kitchen Sink: Best of 2017

This was a great year for the Center. We are honored so many of you, our readers, joined us on Cranbrook’s campus to attend tours, lectures, exhibitions, and concerts; or rode along with us on Day Away trips; or visited Cranbrook Archives to research, volunteer, or just explore. If you’re a reader from farther afield, thank you for following our blog and your continued interest in the many Cranbrook legacies. We hope everyone has enjoyed learning more about Cranbrook through the Kitchen Sink!Here are ten of our most viewed (and favorite) blog posts of the year. In no particular order, take a look back and catch up on posts you might have missed!

The Devil Made Him Do It Learn about the iconic (and enigmatic) 1989 rock sculpture by Richard Nonas near Kingswood Lake

Three C’s: China, Cranbrook, and the Crane Read about cross-cultural connections our Head Archivist Leslie S. Edwards made after spotting countless cranes in China

May The Fork Be With You Read about the many, many pieces of silverware selected by Loja Saarinen for use in the Kingswood Dining Hall

House of the Poet Take a look back at this special unbuilt project for Cranbrook by legendary architect John Hejduk

Pergola Restored! Follow along with Capital Project’s Project Manager Ryan Pfeifer and his team’s restoration of the Cranbrook Gardens pergola

Indiana Jones and the Search for the Pergola Picture: My Senior May Experience Learn what it’s like to be a Cranbrook Kingswood student volunteer with the Center and our Archives

Going Green: LED Lightbulbs at our Historic Houses Learn about how our Assistant Registrar Leslie Mio successfully converted Saarinen House to LED Lightbulbs

Frank Lloyd Wright’s Landscapes Read this post about a late summer visit with the horticulturalist of Fallingwater to Wright’s Bloomfield Hills homes, and then learn about Edna Vogel: Cranbrook’s Other Wright Weaver, a Cranbrook Academy student who met with Wright and wove rugs for his Affleck House

Evolution of a Rink Learn about Cranbrook’s history of ice hockey, rink technology, and the move from outdoor to indoor skating

Harry and Nerissa Hoey’s Weekend Retreat Finally, warm up reading about the Ralph Rapson-designed midcentury modern summer house for a former Cranbrook School Headmaster

Brookside School Tower, designed by Henry Booth in 1929, photographed on a winter walk. Kevin Adkisson, Dec. 2017.

In addition to continuing our Friday blog posts, the Center has lots of exciting programming coming up in 2018. You can be the first to find out about Center events through our emails (if you’re not subscribed, you can join here), or on the Center’s website.

I hope you enjoy looking back over these posts, ideally from the comfort of some place warm (or at least out of the snow). I’m off to polish my sequins and tune my kazoo for New Years Eve! Happy New Year everyone!

– Kevin Adkisson, Collections Fellow, Cranbrook Center for Collections and Research

 

Enduring Traditions: The Festival of Gifts

Next year will mark the 90th celebration of the Festival of Gifts at Christ Church Cranbrook – as the church also celebrates its 90th anniversary in 2018. Henry Scripps Booth wrote, produced, and participated in a nativity play at St. James Church in Birmingham prior to the building of Christ Church. With the establishment of the new parish, Booth suggested that the two combine efforts in a special Christmas program. According to documentation in the Henry Scripps and Carolyn Farr Booth papers, “the cooperation turned out to be in name only.”

Festival of Gifts order of procession and liturgy, 1928. Courtesy Cranbrook Archives.

The Festival of Gifts is an adaptation of the St. James play, with a procession of the entire congregation to the nativity tableau followed by the entrance of the Holy Family, shepherds, and wise men as the story of the birth of Christ is read. As the congregation proceeds to the altar they lay gifts at the manger, which are then distributed to local families in need.

Some of the original festival costumes were re-purposed from the 1916 Cranbrook Masque and others were purchased by Henry Scripps Booth in Tunisia in 1922. Originally a doll was laid in the manger, but at some point, the decision was made to cast an infant from the parish. Animals have also been a part of the event, however, according to Henry Scripps Booth, “Brighty” (star of Stephen Booth’s movie Brighty of the Grand Canyon) made the greatest impression!

Gina Tecos, Archivist

Winter is coming

In late fall, as the winter approaches, you will see some of the sculptures around the Cranbrook Academy of Art and Cranbrook Gardens disappear behind their winter covers.

As part of our stone sculpture conservation program, the stone sculptures and fountains on campus are covered for the winter. The covers prevent water from collecting and freeze in fountains, planters, saucers, or birdbaths. They also prevent statuary or pedestals from sitting in pools of ice.

CAM1941_34

The Thinker, 1940,  by Marshall Maynard Fredericks (CAM 1941.34).

20171211_111017

The Thinker under its winter cover.

So, sculptures like The Thinker have been put into “hibernation,” but they will return in the spring with the flowers.

Happy winter!

-Leslie S. Mio, Associate Registrar

The Tale of a Bodhisattva

Nearly every day I run across some previously unknown person or event relative to Cranbrook’s history. My latest obsession is with a Chinese wall painting purchased in 1939 by George Booth for the Art Museum’s collection. Sadly, it is no longer in our collection, but the story is quite interesting nonetheless.

As early as 1916, Booth was acquiring Chinese objects from the Japanese dealer Yamanaka & Company, and soon after from Duveen Brothers and the Parish-Watson Company in New York, Spink & Son in London, and Gumps in San Francisco. As was customary, dealers maintained a relationship with their clients via letters often suggesting objects they might be interested in and including photographs and catalogs. In 1939, Booth began a relationship with the well-known Chinese dealer, C.T. Loo, who had offices and gallery space in both New York and Paris.

Bodhisattva from the Five Dynasties Period. Cisheng Monastery, Wenxian, Henan Province, China. You can clearly see where the wall painting had been cut into three sections in order to remove it from the temple.

Loo was widely considered one of the most prominent, and controversial, dealers in Chinese art and artifacts in the early twentieth century. Loo traveled annually to China to hand-pick the objects he wanted, many of which were chiseled out of or pilfered from ancient Buddhist Temples and monasteries. Daisy Yiyou Wang, Curator of Chinese and East Asian Art at the Peabody Essex Museum in Salem, Massachusetts, and the pre-eminent scholar of Loo, stated “he is remembered as a culprit for the depletion of the nation’s cultural heritage.” Loo justified his practice by stating that he was preserving China’s history by getting the objects out of China – that the Chinese couldn’t or wouldn’t take care of them! In 1915, after a visit to the U.S., Loo opened a gallery in New York. His first sale was to Charles Lang Freer.

CAM1940_3

The three sections were shipped to Paris and reassembled by restorers there.

Booth’s first interaction with C.T. Loo came in the fall of 1939 when he acquired two Chinese bronzes. In correspondence about the bronzes, Loo also suggested to Booth a large “fresco” (or wall painting) which stood thirteen feet tall. After consultation with Eliel Saarinen, Booth acquired the work, which arrived in January 1940.

AD.11.236

Part of the detail drawing of the Art Museum’s east wall. Saarinen designed a recessed panel which housed the painting. AD.11.236, November 5, 1940. Courtesy Cranbrook Archives

In December 1941, John Gettens of the Fogg Museum examined the painting and found it to be in generally good condition. It was of the “usual mud wall of Chinese temple paintings” which included organic matter – straw, seed hulls, and rice. It was covered with a very thin white coating of kaolin, and the colored pigments were malachite, azurite, red iron oxide, yellow ochre, vermilion, and white clay.

The painting hung in the main gallery of Cranbrook Art Museum for more than thirty years. In 1974, the Museum Committee unanimously decided to sell the painting instead of pay the $5-6,000 to have it restored. Funds from the sale were to go towards the care and restoration of other works in the collection, as well as for renovations to museum storage space.

Tracing which shows the location of small areas of in-painting by Cranbook’s Marshall Fredericks, October 1941. Courtesy Cranbrook Archives.

Thus ends the saga of the Chinese temple wall painting at Cranbrook as we do not know its whereabouts today. Other temple paintings can be found in the collections of the Art Institute of Chicago, Nelson-Atkins Museum of Art in Kansas City, Princeton University Art Museum, and the Toledo Museum of Art.

Leslie S. Edwards, Head Archivist

Booth and Birds

In a corner of George Booth’s Old Country Office, there is a door that opens into a blank wall. I became curious about this door to nowhere last year when I was setting up the Center’s holiday display, and so this year’s Christmas scene is inspired by the door’s original purpose.

Around 1919, Booth purchased a blue and yellow macaw and named him Mack. Mack, like all parrots, enjoyed chewing things—Booth’s picture frames, furniture, and the walls themselves. Booth thought getting a second macaw, which he named Jack, might calm Mack’s chewing, but alas, he simply doubled the trouble.

In early 1920, Booth added a flat-roofed glass walled aviary outside of his office to give Mack and Jack their own space (and save the furniture). It was bound by the exterior walls of the office, living room, and library. Accessed through a door left of the fireplace, Mack and Jack were joined by canaries in the aviary, and according to Henry Booth’s memories, every time the canaries sang or the telephone rang, the macaws’ squawk would fill the house.

This ca 1925 view of Cranbrook House shows the exterior window of the aviary, covered with a cabana striped awning, between the bay window of the office and the library wing. Courtesy Cranbrook Archives.

Eventually, the Booth’s gave Mack and Jack to the Belle Isle Zoo. The canaries remained for a time, cared for by one of the maids, Harriet. When she retired, the aviary was disassembled and the window was reused as a kitchen window for Brookside School, where it remains.

For my holiday display, I’ve opened the door to the aviary and staged a scene as if Mack and Jack were just here: destroying a book and leaving their feathers all around. You can find the canaries enjoying themselves around the Christmas Tree.

IMG_0798Also on display in the office, is a series of birds that Booth could have seen on his many walks around the Cranbrook estate–hawks, cardinals, robins, and plenty of ducks (on loan to me from Cranbrook Institute of Science). All are native to Michigan, except for the pheasant which would have been introduced to the area by early settlers. Pheasants, however, love fallow fields and run-down farms—exactly what the land which became Cranbrook was when Booth purchased the property in 1904!

IMG_0799Alongside the taxidermy I’ve included pieces from the Cranbrook Archives: early copies of Institute bulletins on the Birds of Michigan, original artwork from an ornithogist working at Cranbrook in the 1930s, and photographs and short biographies of other bird-related Cranbrook people, like W. Bryant Tyrrell, Walter P. Nickell, and Edmund J. Sawyer.

Come and see the Office display this weekend (December 1-3) for the House and Gardens Auxiliary’s Holiday Splendor event (Friday, 10-4pm, Saturday 9-4pm, and Sunday 12-4pm), visit it with me next Wednesday before or after the Center’s Järnefelt Piano Trio: Jean Sibelius Concert, or at any of the other Cranbrook House events before January 8th.

Kevin Adkisson, 2016-2018 Collections Fellow, Cranbrook Center for Collections and Research

Blog at WordPress.com.

%d bloggers like this: