Campus celebrations throughout the years.
Campus celebrations throughout the years.
While cataloging some of the Ralph Rapson architectural drawings in our collection, archivist Gina Tecos and I discovered designs for “Longshadows,” a weekend retreat for Cranbrook School English teacher (and later Headmaster) Harry Hoey and his wife, Nerissa. Hoey came to Cranbrook in 1928, where he taught English until 1944 when he became Assistant Headmaster (1944-1950) and then Headmaster (1950-1964) of Cranbrook School. While the Hoeys lived on campus, first on Faculty Way, and later in the Headmaster’s House, they commissioned Rapson, along with fellow Cranbrook student Walter Hickey, to design a weekend vacation home in Metamora, Lapeer County.
Coincidentally, I have been corresponding with the Hoeys’s granddaughter, Susan, regarding the disposition of her grandfather’s papers to Cranbrook Archives. In the course of this correspondence, I asked Susan about the home. While Rapson called the home “Longshadows,” the family called it “Hoyden.” According to the Merriam-Webster dictionary, “hoyden” means “a girl or woman of saucy, boisterous, or carefree behavior” and the word is sometimes used to mean just “carefree.” As Susan stated, “Somehow, though I have no way to prove it, I am guessing this word was in my grandmother’s [Nerissa] vocabulary. Anyway, it seems to fit the bill for a weekend/summer place.”
Susan’s mother has fond memories of the weekend house – as a five-year old girl when she walked up the hill to the house behind her mother, the forty acre property looked endless. She remembers falling in the wild strawberry patch and staining her dress, and playing with the girl across the street whose father tended the property for the Hoeys.
The summer the house was completed (1940), the Hoeys began hosting numerous Cranbrook guests who wanted to see the midcentury modern design. Guests included Dorothy and Zoltan Sepeshy of the Academy of Art, Henry and Carolyn Booth, and of course numerous Cranbrook faculty.
In a letter to fellow Cranbrook student Ben Baldwin, Rapson described the house as clad in red wood, left natural, with a flat roof. The house had three bedrooms, two fireplaces, and even a basement for storage and a play room. The house still stands today, though it has had some minor additions and has been painted. It is one of Rapson’s only Michigan designs. Hopefully, we will soon have additional photographs of the house, and perhaps even more stories about the relationship between Hoey and Rapson.
NOTE: Harry and Nerissa Hoey were well-loved at Cranbrook. He also served on the vestry of Christ Church Cranbrook. Not only was Harry an effective administrator, but he was one who led the school with kindness and compassion. On the birthday of each boy in the school, Hoey would greet them with them a “happy birthday,” and shake their hand into which he pressed a shiny penny! On his 85th birthday, Hoey’s former students surprised him by mailing birthday cards – each one with pennies – he received over 500.
– Leslie S. Edwards, Head Archivist
architectural drawings/Author: Leslie S. Edwards/ben baldwin/Carolyn Farr Booth/dorothy sepeshy/Harry Hoey/Henry Scripps Booth/hoyden/longshadows/metamora/narissa hoey/Ralph Rapson/summer homes/walter hickey/zoltan sepeshy
For nearly ninety years, diners in the Cranbrook School dining hall have marveled at the clock that hangs high above the fireplace. Designed and fabricated by New York metalsmith Oscar Bruno Bach, the clock is a tribute to George Booth’s beloved Arts and Crafts Movement. Each hour is represented by an art or craft, ranging from metalworkers to woodworkers.
Oscar Bruno Bach (1884-1957), who was born in Germany, came to the United States in 1913 and established a metal design studio with his brother in New York City. As they built up their reputation and the business grew, Bach exhibited his work through The Architectural League of New York and at the Metropolitan Museum of Art, among others. His work graces numerous churches, industrial buildings, and residences primarily in New York but also in the Midwest. His first known work in Michigan was ornamental metalwork for the Blessed Sacrament Cathedral in Detroit (1915).
Bach was known for incorporating a variety of metals and metal techniques in his work. Cranbrook’s clock (1926) is made of four concentric iron rings with a center element (two male figures at an anvil) of repoussé brass surrounded by three brass “flame” rings. Each of the twelve figures representing arts, crafts, and trades are also made of brass, surrounded by floral elements made of iron. Copper was used for the rivets and for the small fleur-de-lis elements on the outer rim. Finally, the hour and minute hands are made of aluminum with brass rivets.
The clock however was not Bach’s first contribution to Cranbrook. In 1919, he fabricated lead “conductors” for the exterior of the east and west wings of Cranbrook House. George Booth also acquired a smoking stand (1922) and two table lamps (1929) for Cranbrook House, and commissioned Bach to fabricate Cranbrook School’s Peacock Gates (after Eliel Saarinen’s drawings) and the Treasury Door (1928) at Christ Church Cranbrook. Other local commissions include The Detroit Players Club (1925), Moulton Manor (1926), the estate of William Scripps (Ellen Booth’s brother) in Lake Orion, and the First National Bank (1927) in Ann Arbor.
One of the most interesting discoveries I made in writing this post was that the clock used similar elements as doors Bach designed for the new wing of the Toledo Art Museum (1925). They both feature arts and crafts figures – a potter, sculptor, glassblower, draughtsman, metal worker, and bookbinder. In January 1926, Bach received the “Medal of Honor in Design and Craftsmanship in Native Industrial Art” from the Architectural League for his design for the doors so it’s no wonder that he incorporated some of the same elements in the Cranbrook School dining hall clock. I may be a bit partial, but I think our clock is even more magnificent than the doors and I imagine you will too!
– Leslie S. Edwards, Head Archivist
architectural league of new york/Author: Leslie S. Edwards/blessed sacrament cathedral/clock/Cranbrook House/Cranbrook School Dining Hall/Detroit/detroit players club/Eliel Saarinen/George Booth/metropolitan museum of art/moulton manor/Oscar Bach/toledo art museum/william scripps
The dichotomy of reading is much like the daily work undertaken in the archives. Reading, like research, can feel private, almost sacrosanct, something to escape to; on the other hand, there is a great draw to share the stories and information one discovers, seek commentary and comparison, enlighten someone’s thought process. As archivists, it is our job to assist researchers on their paths to discovery. Often times this direction and assistance leads us to insights as well. In fact, I have yet to assist a researcher along their path of inquiry without further developing my own along the way.
This was very much the case last week while I was scouring our collections for autumnal ephemera to add color to our Facebook followers’ harvest season. In my seasonally focused search I was delighted to come across Cranbrook’s very own ghost story—Cranbrook Boasts a Ghost; or, The Skeptics Tale, by Henry Scripps Booth (Thistle, as he was commonly known). I was intrigued and excited — what a timely discovery, what with Halloween just around the corner! And while I was enticed by the mystery, and enjoyed reading the descriptions of the vaulted spaces of St. Dunstan’s chapel [editor’s note: St. Dunstan’s is at Christ Church Cranbrook] filled with apparitions (a place I was lucky enough to tour, and you can too!) The Skeptics Tale, more importantly, reiterated an intrinsic truth about Cranbrook – that it is a space imagined and created by many minds and hands.
Throughout the tale, I gained a sense of workmanship and craft, two features indicative of most spaces on Cranbrook’s sprawling campus. The characters in the tale pined over the construction of the brilliant structure, venerating its beauty as a testament to their commitment to their craft. It is, however, only near the end of the short story where I began to feel (if not see) the intentions of individuals who worked throughout the years to craft Cranbrook into the sprawling idyllic landscape of natural and man-made elements we know today.
“He discovered familiar faces in that strange assembly—faces of men who had lived and worked at Cranbrook. There before him was Tony by the column which bears his name; Mike Vettraino; Henry Booth, the coppersmith; his distinguished-looking father with the sideburns who brought the craftsman’s tradition from the ancient Cranbrook to this continent. There in the fourth chair of the fifth row: Milles, famed for his sculpture; a row or two behind, Saarinen, famed for his buildings; and nearby, Kirk, the silversmith.”
Though only apparitions in The Skeptics Tale, these individuals’ real accomplishments and contributions to Cranbrook, along with those of countless other influential men, women, and students, can be discovered through our collections. In the spirit of the season, we invite you to journey into our crypt and discover some of their stories yourself.
– Belinda Krencicki, Associate Archivist
The Cranbrook Center for Collections and Research has officially launched our new logo! What follows is a description of where each of the letters comes from in the history of Cranbrook or the location on the campus!
The (first) C in Cranbrook is from the logo George Gough Booth created for the Cranbrook Press in 1901, three years before he and his wife Ellen established their estate in Bloomfield Hills.
The Cranbrook Press (1900-1902) was founded by George Booth in the attic of the Detroit Evening News Building. Booth emulated the work of William Morris and his Kelmscott Press, not just in design but also in the level of hand-craftsmanship.
2D design/3D design/Architecture/Archives/Arts and Crafts/Christ Church Cranbrook/Cranbrook Academy of Art/Cranbrook Educational Community/Cranbrook House/Cranbrook Institute of Science/Cranbrook School/Cultural Properties/Exhibitions/Historic Properties
As part of a module assignment for my MA in Archives Administration with Aberystwyth University (Wales), I have been researching a selection of tapestries that George Gough Booth purchased and commissioned from Morris & Co., Herter Looms, and Edgewater Tapestry Looms. I chose the theme of tapestry and time, inspired by Francis Thomson’s idea of tapestry as “mirror of history”. I was particularly interested in the Morris & Co. case study because I much admire William Morris as an artist and social reformer. Although the Morris & Co. tapestries that George Booth purchased were made after Morris’ death in 1896, they were made under the supervision of his former student, J.H. Dearle, who became Art Director in 1905.
The Archives has in its collection photographs of a sculpture modeled by Anne Morrow Lindbergh. How did Lindbergh come to study at Cranbrook? In April 1942, Charles Lindbergh, at the invitation of Henry Ford, came to metro-Detroit as a technical consultant to assist with retrofitting the Willow Run plant from auto manufacturing to bomber production. In July, the Lindberghs moved to Bloomfield Hills and signed a one-year lease for a furnished home then owned by Kathleen Belknap. Originally known as “Stonelea,” the home, designed by Albert Kahn in 1923, is located at the corner of Cranbrook Road and Woodward Avenue and is now known as Lyon House. The Lindberghs were quickly welcomed to the neighborhood by Carolyn Farr Booth (wife of Henry Scripps Booth). During the summer of 1943, Anne enrolled at the Cranbrook Academy of Art where she studied modeling and sculpture with sculptor Janet DeCoux, and art history with Ernst Scheyer. Since Charles was away much of the time, Anne asked Janet and her partner, Eliza Miller, to move in with her to help raise her four children. Thus began a friendship among the three women that lasted until the end of Mrs. Lindbergh’s life. (Approximately fifty letters, 1944-1952, from Anne Morrow Lindbergh to DeCoux can be found in the Janet De Coux Papers at the Smithsonian’s Archives of American Art.)
At the Academy, Anne was treated not as the wife of a celebrity or even as a grieving mother, but as any other student. In her diaries (published in “War Within and Without”) Anne wrote of the freedom she experienced at Cranbrook “where people take me on faith.” Work in the studio, exhibitions at the Art Museum, and parties with music and conversation about art, books, and writing allowed Anne the freedom to “give my true self as I have never done in a group of people before.” She developed social courage and friendships with Janet and Eliza, Carl and Olga Milles, Ernst Scheyer, and neighbors like Kate Thompson Bromley. Her work as a sculptor taught her to see the world through a different lens – she learned how to sketch the human figure and transpose her ideas into her sculpture and it both surprised and excited her that she could actually see beauty in a sculpture, especially one made of her own hands. She was inspired by the natural beauty of Cranbrook, cross-country skiing on the grounds, and writing in her brown trailer in the woods. (Anne wrote her novella “The Steep Ascent” while at Cranbrook.) She relished the time with her children, and often walked them down the hill to Brookside School. Dinners with the Saarinens were exhilarating where they talked of “cities of the future.”
In August 1943, Kathleen Belknap decided to sell the home, then known as Belwood, and the Lindberghs moved into a home at 411 Goodhue Road, behind Christ Church Cranbrook, for the next year. The two years spent at Cranbrook forever changed Anne spiritually. She discovered self-confidence, and that people liked her for who she was. After the Lindberghs returned to the east coast in 1944, Anne missed her Cranbrook friends and the life she had discovered here and wrote that she felt “only half alive since I left Cranbrook.” The Lindbergh family continued to return to the Detroit area to visit Charles’ mother Evangeline at her Grosse Pointe residence until she passed away in 1954. In January 1974, at the request of the Class of 1974, Kingswood School headmaster Wilfred Hemmer invited Anne to be the school’s forty-fourth commencement speaker.
– Leslie S. Edwards, Head Archivist
Albert Kahn/Anne Morrow Lindbergh/Archives/Author: Leslie S. Edwards/Carl Milles/Carolyn Farr Booth/Charles Lindbergh/Cranbrook Academy of Art/eliza miller/ernst scheyer/janet decoux/kate thompson bromley/Lyon House/Olga Milles/Stonlea
After a visit to Christ Church Cranbrook earlier this week, I knew it needed to be highlighted as today’s Photo Friday! George G. Booth conceived Christ Church to be the moral center of the new community which he was building at Cranbrook. The photos show a great overview of the expansiveness of the church and shed some light on the magnitude of the work involved in its design. Each of these elements adds to the overwhelming detail of George Booth’s vision and the care in the design of Christ Church Cranbrook.
The church is Booth’s testament to the Arts and Crafts movement. He carefully acquired and commissioned each work of art to add to the overall wonderment of the church and to pay tribute to those who have devoted their lives toward artistic and altruistic pursuits. The works of art range from the sterling altar plate to stained glass windows, altar frontals, tilework, woodcarvings, paintings, sculptures, and metalwork, most from noted Arts and Crafts men and women.
These photographs, taken five years after the 1928 dedication of Christ Church Cranbrook show the interior of the church sanctuary and a detail view of the nave of the church. The large fresco flanking the high altar was designed and executed by Katherine McEwen, an old friend of Booth’s, and one of the founding members of the Detroit Society of Arts and Crafts. From the work of Katherine McEwen to Oscar Bach, Samuel Yellin, and Hildreth Meire, to name a few, Christ Church Cranbrook is an architectural gem which should be experienced in person!
–Stefanie Dlugosz, Center for Collections and Research, Collections Fellow
Even though Christ Church Cranbrook has not officially been a part of the Cranbrook Educational Community since 1973, our staff is often asked to give presentations or tours relevant to the church and the objects that George Booth purchased to adorn it. Gothic in architecture, and a showplace for the Arts and Crafts movement, Christ Church Cranbrook also features objects from the 12th century. One of these is a reproduction of the original Paschal Candelabrum located within the Cappella Palatina (1130-1140) in the Palazzo dei Normanni (Palace of the Normans) in Palermo, Sicily.
It appears as if Booth first became aware of the medieval sculpture in Sicily through his son, Henry, who traveled on a European trip in 1922 with his close friend, Bob Swanson. Henry wrote several letters home to his father describing his visits to Monreale and Palermo, and the artistic and architectural wonders he saw there. Records in the Cranbrook Archives show that in 1929, George and Ellen Booth traveled to Italy where they made several purchases, including a faithful reproduction of the candelabrum. George and Ellen discussed where to place the candelabrum in the church and George wrote Henry: “Now as for use–I thought if at the chancel we could establish a custom of lighting the big candle for weddings or at Easter and Christmas and if in the Narthex when a baptism was to occur. There is plenty of time to think it over as I have yet to place the order and they estimate it will take one year to complete.” The candelabrum was installed in the Christ Church Cranbrook Narthex in March 1931.
It’s Arthur Nevill Kirk! Wooed by George Booth, the famed silversmith arrived at Cranbrook in 1927 to head the metals department at the Academy of Art. Kirk also taught at the Art School of the Detroit Society of Arts and Crafts and Cranbrook School for Boys. His specialty was the design and execution of ecclesiastical silver, of which Cranbrook still has many pieces in its collection. During the Great Depression, lack of funds curtailed the use of precious metals and the department closed in 1933. Kirk went on the help establish the Artisans’ Guild, and organized the metal department at Wayne State University in Detroit, where he taught until his retirement in 1957.
~Robbie Terman, archivist