A New Cranbrook House

January has been busy with research for my upcoming History of American Architecture: Cranbrook in Context lecture series. In preparing for the first lecture, which examines Cranbrook House and the larger Arts and Crafts movement, I found myself deep in the Archives looking through the architectural sketches of George Booth.

Around 1932, George Booth considered converting Cranbrook House into a home for both the Art Museum and the Institute of Science. With this proposal, the Booths would need a new “Cranbrook House.”

Mr. Booth sketched two plans for building south of the existing manor home, in the meadow along Lone Pine Road.

IMG_4684

Caption written by George Gough Booth in pencil at a later date: “Scheme for a moderate sized residence for G.G.B. & E.S.B. on lawn directly south of Cranbrook House facing Lone Pine Road, by G.G.B. 1932 & considered in connection with plan to turn Large Residence over to Foundation for Educational Purposes. Museum—Library—School of Music, etc. etc.” Cranbrook Archives.

The simple, rectangular house is strikingly similar to the original plan of Cranbrook House from 1908 (before its 1918 and 1922 expansions), rotated 180 degrees. A front vestibule opens into a cross gallery, centered on a fireplace. Beyond is a long, 18 by 32 foot living room. A library and large dining room flank either side, with the only other public room being a reception hall.

A stairway surrounding an elevator shaft connects to a second floor with two bedrooms (one for George and one for Ellen) joined by a sitting room, again mirroring the original configuration of rooms at Cranbrook House. Even the double bay windows of the bedrooms match the double bay windows on the northern plan of Cranbrook House.

The problem of symmetrical houses is that not everything generally fits in a pleasingly symmetrical way. George’s solution to this problem, like many architects before and since, is to add a service wing for the kitchen, maids’ rooms, and storage.

IMG_4689

Caption written by George Gough Booth in pencil at a later date: “Suggestion for personal house (?) South of homestead.” c. 1932. Cranbrook Archives.

In what I presume to be a later sketch, the plan is further refined. Here, the vestibule sits more comfortably under the stairway, leading guests directly into the long gallery and living room beyond–one would see directly from the front door out of the living room window. The proportions of this proposed house are smaller, and the service wing substantially smaller (and even appears added on by Booth as a later sketch). The entire house is more symmetrical and regular, and there are fewer service spaces.

Had the Booths moved out of Cranbrook House, what did George envision happening with the space? Well, Booth sketched ideas of how Cranbrook House would be converted into an educational facility.

full plan cranbrook house addition2

Proposed modifications and additions to Cranbrook House, for its conversion to use by the Institute of Science and Art Museum, by George Gough Booth, c. 1932. Cranbrook Archives.

The first floor of the house remained largely intact (though another plan shows subdividing the reception hall for offices). The kitchens were to be removed and converted to galleries, and the living room and sunset porch converted to a conference room and lounge. West of the 1918 Library wing offices was to be a large room for the Cranbrook Foundation and then a very large building of smaller rooms, including a library and assembly room. It is unclear what the smaller rooms are, but in one plan, they are drawn identically to Booth’s sketches for the Institute of Science’s research wing.

detail of ggb forum2

Proposed “Forum” (Observatory) on the “Mountain” south of Cranbrook House, sketch by George Gough Booth. Detail from the above plan. Cranbrook Archives.

The idea that Booth intended portions of the house to be dedicated to the Institute is further supported by what might be my favorite of George Booth’s unrealized plans for Cranbrook House: the transformation of the reproduction Fountain of the Tritons atop the “Mountain” south of the auto court into an observatory!

new second floor

Proposed modifications to the second floor of Cranbrook House for its use as gallery space, by George Gough Booth, c. 1925-1935. Cranbrook Archives.

On the second floor, the series of family bedrooms and bathrooms, as well as the warren of service spaces, would have been cleared out, windows boarded up, and a series of interconnected galleries created. The bedrooms (not bathrooms) of George and Ellen were to remain intact as offices–previews to their use now as Cranbrook’s President’s suite of offices.

While the Booths did eventually leave Cranbrook House and its contents to the Cranbrook Foundation, they remained living in the house until their deaths in 1948 and 1949. The area where George proposed building their new residence is today the location of the Cranbrook House Parking Lot.

You never know what you’ll find in Cranbrook Archives!

Kevin Adkisson, Curatorial Associate

Alger Munt: Cranbrook’s English Gardener

When sifting through images to post on the Center’s Facebook page, I often come across an image of someone and wonder, “How did this person end up at Cranbrook?” This week, that “someone” is Alger Munt.

Alger Munt working in the greenhouse at Cranbrook, October 1950.

Alger Munt working in the greenhouse at Cranbrook, October 1950. Photo by Harvey Croze. Courtesy Cranbrook Archives.

Algernon George Munt (“Alger”) was born in St. Albans, Hertfordshire, England in 1894. From the age of 14, he worked as a gardener on estates near his hometown. When he was 18, he started work manufacturing straw hats in one of the area factories. Soon, his country called and he joined the army, serving in the Royal Field Artillery during World War I. After the war, he did not return to the factory but resumed gardening instead.

Munt came to America in 1921 to work for his uncle William Munt in St. Clair, Michigan, in the commercial greenhouse business. He would work for his uncle for eight years. In 1926, Munt briefly returned to England to marry Grace Barker Skinner (1898-1981) of Ware, Southampton, Hampshire, England.

Munt soon tired of the greenhouse business and came to the Birmingham-Bloomfield area to become a gardener on a private estate. Based on census information and Munt’s oral history account in Cranbrook Archives, the “private estate” was Strandcrest, the estate of lumberman Carl A. Strand, which boasted 14.3 acres, fruit trees, and a caretaker’s residence.

It was in 1936 that Munt came to work at Cranbrook. He was a gardener at Cranbrook from 1936 to 1941. From October 1941 to December 1942, Munt worked at Spindletop Hall in Lexington, Kentucky.

George G. Booth had told Munt in 1941 that he didn’t want him to go but that anytime he wanted to make a change—if things did not work out in Kentucky—get in contact with him. When Spindletop Hall had to switch to economy/war-mode in 1942, Munt took Mr. Booth up on his offer and returned to Cranbrook as a gardener and part-time chauffeur. His wife Grace worked as a laundress for the Booths.

Alger and Grace Munt

Alger and Grace Munt, circa 1965. Courtesy Cranbrook Archives.

By the 1950s, Munt was the Superintendent of the Greenhouse and Grounds at Cranbrook, and his wife was working as a maid in the dormitories at Cranbrook Academy of Art.

Twin Cottage on the estate

The Munts lived in Twin Cottage on the estate, pictured here in 1957, when they returned to Cranbrook in 1942 until their retirement in 1966. Photo by Harvey Croze. Courtesy Cranbrook Archives.

The Munts retired from Cranbrook in August 1966 and they moved back to England, intending to settle in Cornwall. Unfortunately, Munt died suddenly in November 1966, just short of his 72nd birthday.

Leslie S. Mio, Associate Registrar

 

A Mexican Adventure & South American Sojourn

Cranbrook’s founders George and Ellen Booth loved to travel, collecting memories and mementos wherever they went. With Europe at war in 1939, they headed south—way south!

The Booths explored Mexico from the ancient Mayan ruins of Chichen Itza to bustling Mexico City. Along for the journey was their nurse and traveling companion, Nellie Beveridge. We’re lucky Nellie was there—her camera documented the journey. Unlike other trips the family made, where we can reconstruct detailed itineraries through letters, postcards, and even menus in Cranbrook Archives, there’s not a lot of documentation about this trip other than Nellie’s slide images:

This slideshow requires JavaScript.

 

Two years later, in the Spring of 1941, George, Ellen, Nellie Beveridge, and Nellie’s camera set sail from New York City aboard the Grace Line South American Cruise. The six-week journey started in Barranquilla, Colombia; moved through the 44-miles of the Panama Canal; and down the South American coast, stopping in Ecuador, Peru, Chile, and across land to Buenos Aires.

This slideshow requires JavaScript.

Looking closely at the photographs, we see highlights of the trip included a ride on one of the many funiculars of Valparaiso, Chile, visits to more ancient sites, museums, and markets, and a journey on “the Chair,” a hand-powered lift in the port of Mollendo, Peru.

Inspired by the Booth’s adventures, for this year’s Holiday Splendor event at Cranbrook House we’ve brought together a selection of slide images and items from the 1939 and 1941 trips, along with objects from Latin and South America held at Cranbrook Institute of Science and folk art decorations from Mexico and Peru.

Mr. Booth's Original Office decorated for Holiday Splendor, 2019. Photo by Daniel Smith, CAA '21.

Mr. Booth’s Original Office decorated for Holiday Splendor, 2019. Photo by Daniel Smith, CAA ’21.

On both trips, Mr. Booth likely collected souvenirs, one of which, a Peruvian decorated gourd, is on display. On his return to Michigan, it would seem Booth was inspired to collect more Pre-Columbian art from dealers in New York and San Francisco for his burgeoning Cranbrook Academy of Art Museum, which opened in its current building in 1942.

Working with Anthropology Coordinator/Museum Educator Cameron Wood at Cranbrook Institute of Science, Leslie Mio and I were able to study a number of fascinating pieces that Booth collected for the Art Museum and Institute, and see other works of art, domestic objects, and pieces of ancient and modern life from the countries the Booths traveled through. (In the 1980s, the Art Museum transferred many of its ancient pottery and anthropological items to the Institute of Science).

DSCF7198

Nazca double-spout-and-bridge vessel with mask decoration; Pre-Columbian double-chambered jar from Panama; and carved and painted wooden toys of people and llamas from Peru, 1940s. Photo by Daniel Smith, CAA ’21.

One of my favorite pieces we selected from the Institute is a double-spout-and-bridge vessel with mask decoration from the 2nd—4th century by the Nazca people, who lived in what is now Peru. The Nazca culture (100BC-800CE) is characterized by its beautiful polychrome pottery, painted with at least 15 distinct colors. Their vessels were constructed by the coil method and then decorated with a multicolored slip before the vessels were fired. This allowed for bright and permanent colors, and the images served as a way of recording stories for a people without a written language. The sheen of the vessel was enhanced by burnishing after it was fired. This type of vessel was used for ritual purposes, as they are most often found in graves.

The Peruvian decorated gourd (front center-left) collected by Mr. Booth is on display with ancient and 20th-century objects generously on loan from Cranbrook Institute of Science. Photo by Daniel Smith, CAA ’21.

George Booth would have seen pieces like the double-spout-and-bridge vessel on his travels through Peru’s museums, galleries, and archaeological digs. However, this piece was purchased from an American dealer after he returned home. Another, much larger piece, is in the Nazca style but dates to the 1940s and was also purchased by Booth for the museum. It is interesting to see how the ancient, Pre-Columbian pieces and the modern Peruvian works share similar styles, forms, and motifs.

The mantle in Mr. Booth's Original Office, featuring Mexican tin trees and a Peruvian retablo.

DSCF7186

The mantle in the office, featuring Mexican hojalata (tin artwork) candelabra Christmas trees and Peruvian retablo. Photo by Daniel Smith, CAA ’21.

After Spanish invasion and colonization, indigenous cultures and design became mixed with Catholicism. Today, the most prominent decor at Christmastime in South America is the nativity. Retablos, a reverent diorama-altar typical of the Ayacucho region of Peru, combines Catholic imagery with indigenous style and stories, and have been made throughout South America since colonial times. Our retablo was purchased through UNICEF Market, helping to support artisans and charity work in Peru.

DSCF7184

The mantle in the office, featuring Mexican hojalata (tin artwork) and a handmade woven bicyclist. Tin art has been popular in Mexico since the 1500s. Photo by Daniel Smith, CAA ’21.

The ornaments on the tree and along the mantel include hand-carved gourds and clay nativities from Peru, along with painted ceramic candle holders, tin animals, and hand-woven bicyclists from Mexico. These are all types of small souvenirs the Booths would have seen on their travels. In fact, there is a stall selling very similar gourd ornaments in one of the images Nellie took!

DSCF7192

Four Peruvian pottery figures of musicians from the 1940s and models of Mexican castillo (castle) firework frames. Fireworks have been popular for patron-saint festivals and holidays in Mexico since the mid-19th century. Photo by Daniel Smith, CAA ’21.

Leslie and I are grateful to Cranbrook Institute of Science for loaning objects from the areas of the Booths’ trips; to Deborah Rice in Cranbrook Archives for scanning all the great images (you can see more here); and to Michael Sinelli, Gerhardt Knodel, and Kenneth Gross for sharing pieces of Mexican and Peruvian folk art from their own collections to help make our room a festive, holiday scene!

Kevin Adkisson, Curatorial Associate

PS: There is one letter from George Booth to his son, Henry, where he writes about Mexico from Los Angeles: “Having passed out of the desert Mexican influence I find I am still greatly impressed with all I saw…I don’t like the bugs of Yucatan…the spots stay with you some time…, however a real traveler never lets such little things bother them–and with it all it in no way distracts from my good opinion of the Country–its history and the people of to-day.”

A Sculpture So Nice They Named it Twice

One of my many duties here at the Center for Collections and Research is to maintain the sculptures on the campus. This can mean finding conservators to repair works, contractors to clean them, or, in some cases, clean them myself. Recently, I was working on a sculpture in the gardens at Cranbrook House. I had seen the sculpture before but wondered about its backstory. Turns out it was a tale of two names.

The sculpture is Mario Korbel’s statue Atalanta, the Greek goddess of the hunt, travel, and adventure. It was commissioned by George Gough Booth in 1927 for one of the gardens at Cranbrook House, part of a series of work Korbel completed for the Booth house and gardens — including Dawn and Harmony in the gardens and Andante and Nocturne in the house.

Letter from Mario Korbel to George G. Booth, referencing both his works Atalanta and Andante. George Gough Booth Papers, Cranbrook Archives.

July 12, 1927 letter from Mario Korbel to George G. Booth, referencing both his works Atalanta and Andante. George Gough Booth Papers, Cranbrook Archives.

Booth, admiring the beauty of the clear, white marble of Atalanta, transferred the work into the collection of the Art Museum. It was part of the original art museum exhibition in 1930.

CISB509L.jpg

Atalanta (left) in the first Art Museum exhibition in 1930. Courtesy Cranbrook Archives.

Later, Booth wrote: “We have finally concluded that the figure will make a very important and striking center art element in connection with the new School for Girls at Cranbrook.” When the Kingswood dormitory was built, the sculpture was transferred to Kingswood and installed on the terrace.

Atalanta.jpg

Atalanta (right) adorns the terrace at the Kingswood School for Girls dormitory in this undated photo. Courtesy Cranbrook Archives.

In 1969, the sculpture was vandalized and smashed into many pieces (no one was ever implicated in the crime–or at least, their name isn’t in my file!). Those pieces were put back together, but when Atalanta was finally repaired, she was not as pristine. Henry Scripps Booth decided to rename her Ecolo. He also wrote a verse to explain the new name:

Ecolo, Goddess of Earth 

Who is this sweet maid who stoops protectively to save the earth from man’s pernicious tread? 

It is the blithe spirit of Ecology by whom all life and natural things are fed.

CEC472 (2).jpg

Ecolo in her new home in the Herb Garden at Cranbrook House.

Ecolo, or the sculpture-formerly-known-as-Atalanta, now greets visitors in the Herb Garden at Cranbrook House.

– Leslie S. Mio, Associate Registrar

Discovering Turtle Fountain

The collections at Cranbrook Archives are used by a wide population of researchers and have a broad reach academically and internationally. The collections are also used internally for diverse purposes, including historic preservation, education, program development, and fact-checking. A recent research request related to the original installation of Turtle Fountain on the circular terrace at Cranbrook House.

E396.jpg

Turtle Fountain, 1925. K. Hance, photographer. Copyright Cranbrook Archives.

In the late winter of 1924, George and Ellen Booth took a trip to Europe. In a letter dated February 15, 1924, to Cecil Billington, George explains,

“We stopped in Rome to see if by chance I could find a fountain for the new circular terrace basin – and I did – at first it seemed quite out of reach, but some favorable circumstances helped a lot…”

He goes on to discuss the agreements for packaging and shipping the fountain, which is no less than 10 tons of Verona marble. Similar information is found in a letter from George to Henry Scripps Booth, which also describes their experience of staying in Paris and Rome:

Letter from George G. Booth to Henry S. Booth, February 15, 1924. Copyright Cranbrook Archives.

While Florence and Carol [Farr Booth] went to see the sights and do a little shopping, George writes,

“I at once went to the Galerie Sangiorgi where I bought the last fountain – and at first was disappointed as I had a mind picture which could not be realized there. There was one fountain which they had when I was there last – a replica of one in Rome often regarded as the best if not, as some say, “the most beautiful”…”

The letter is very informative about the materials from which the fountain is made, what they weigh, and how he envisions it on the circular terrace, even including a small drawing of the base of the fountain (top of page 2).

Invoice, Galleria Sangiorgi, February 25, 1924. Copyright Cranbrook Archives.

The fountain was cast by Chiurazzi Foundry in Naples, whose works were often sold by the Galerie Sangiorgi. The design of the fountain was inspired by the Fontana delle Tartarughe, which stands in the Piazza Mattei in Rome. The original was designed by Giacomo della Porta and Taddeo Landini in 1581, which featured dolphins instead of turtles. During restoration in 1658, the dolphins were removed due to their weight and replaced by bronze turtles, which were sculpted by Giovanni Lorenzo Bernini. Cranbrook’s Turtle Fountain was restored in September 1980 through the Gardens Auxiliary. Visit the fountain this spring on your own or on a tour with Cranbrook House and Gardens Auxiliary.

– Laura MacNewman, Associate Archivist

 

 

When the March Winds Blow

It is hard to think of Spring during this week of frigid temperatures, but I promise it is coming. Soon, the Cranbrook House and Gardens Auxilary will be out planting their gardens around Cranbrook House. In honor of the coming Spring, this week I share George G. Booth’s feelings on planting from his Pleasures of Planting and Other Thoughts which was printed by the Cranbrook Press in 1902.

George G. Booth, The Pleasures of Planting and Other Thoughts, Title Page. Printed by The Cranbrook Press and finished on August 30, 1902. Courtesy of Cranbrook Academy of Art Library.

George G. Booth, The Pleasures of Planting and Other Thoughts, Title Page. Printed by The Cranbrook Press and finished on August 30, 1902. Courtesy of Cranbrook Academy of Art Library.

The Cranbrook Press was established in the unused attic space in the Shelby Street office of the Detroit Evening News in 1900. In two short years, the Press produced nine books. Pleasures of Planting was one of three books written by George Booth printed on the Press. In it, he writes:

Don’t, I pray you, envy the man who has builded a house, or reared a monument in marble or granite; for I say unto you most truly that the cap-stone has no sooner been let unto its place and the builder attained the joy he dreamed of, than the work of his hands begins to decay and crumble before his eyes.

Portrait of Ellen S. and George G. Booth in the Oak Room at Cranbrook House. Photo by PD Rearick.

Portrait of Ellen S. and George G. Booth in the Oak Room at Cranbrook House. Photo by PD Rearick.

Choose, rather, for yourself the most delightful and beneficial of exercises, and plant. Plant when the March winds blow – plant when the gentle rains of springtime pour blessings on the earth – plant where the mother of us all permits it. Work not for glory in cold bricks and stone alone, but plant living things, and watch with joy the increasing glory of your labor.

Cranbrook House Dining Room with flowers on the table

Cranbrook House Dining Room. Photo by PD Rearick.

Stone, and iron, and brass cannot put flowers at the bedside of the sick, nor fill the air with odors of sweetness or furnish a soft and coll bed for the birds; neither will the grandest monumental piles fill the heart of the poet with sweetest songs or make us feel so truly that “God is good;” but under spreading branches of the trees rest is found, love flourishes, and all humanity drinks at the well of life.

Where ever you go, plant – rear monuments of elm and maples, of poplars and beech, and trees bearing fruit, and plant on your right hand and on your left the rose, lilac, snow-ball and syringa. Strew at your feet the sweet, life-giving flowers of summer, and live out your days in happiness.

Cranbrook House and Gardens Auxiliary volunteers plant in the Sunken Garden. Photo by Eric Franchy, Cranbrook House & Gardens.

Cranbrook House and Gardens Auxiliary volunteers plant in the Sunken Garden. Photo by Eric Franchy, Cranbrook House & Gardens.

There is something magnificent in such work. It fills the earth with beautiful scenes; wealth is added to the land, which grows richer daily; “there is something in it like the work of creation.”

Cranbrook House and Gardens Auxiliary volunteers plant in the gardens around Cranbrook House. Photo by Eric Franchy, Cranbrook House & Gardens.

Cranbrook House and Gardens Auxiliary volunteers plant in the gardens around Cranbrook House. Photo by Eric Franchy, Cranbrook House & Gardens.

Plant and see your plantation arriving at greater degrees of perfection as long as you live. If you want to be helpful; if you love your country; if you have regard for posterity – plant. You cannot be excused if you fail in this duty. Just put a few twigs in the ground and do good to one who will make his appearance in the world fifty years hence, or perhaps make one of your descendants easy or rich at such a trifling cost.

“If man find himself averse to planting, he must indeed be void of all generous principles and love of mankind,” and so I say unto you – Plant.

– Leslie S. Mio, Associate Registrar

The Peacock in the Hallway

On the second floor of Cranbrook House is a very lovely painting I’ve appreciated since I started here, but never knew much about.

img_2385

Jessie Arms Botke, The Mirror, 1926. Oil on Canvas. 32×26 in. Bequest of George Gough Booth and Ellen Scripps Booth to The Cranbrook Foundation.

I can confidently say I now know much more about the painting, even if I still know frustratingly little about how it got to be here in the house.

I wasn’t familiar with artist Jessie Arms Botke (1883-1971), even though in her lifetime she was considered the greatest decorative painter in the American West. Botke was prolific, painting six days a week and sketching on Sundays. She had a predilection for white birds (including pelicans, geese, ducks, and cockatoos), and our white peacock is a motif she returned to many times in her career.

Jessie Arms was born in Chicago and studied at the School of the Art Institute of Chicago. Modeled after Paris ateliers, students at the Art Institute were responsible for setting their own goals and objectives and worked among many teachers and classes to develop their individual skills. She noted that the basic curriculum was “practice, practice, practice.” In the summer of 1903, she enrolled in John C. Johansen’s outdoor painting classes in Saugatuck, Michigan.

summer school class

John Johansen’s Summer Art Class at Saugatuck, Michigan, 1903. Courtesy of the Botke Family Archives/William A. Karges Fine Art.

After training in Chicago, she began producing wall decoration and book illustration. Taking a grand tour of Europe in 1909 provided even more artistic influence and inspiration. Following her year aboard, Botke applied to work at the Herter Looms in New York. She applied and was rejected, however, determined to work for the firm, she reapplied directly with Albert Herter. Hired on her second attempt, she produced tapestry cartoons and decorations for the firm. Discussing her experience working for Herter in 1949, Botke reflected:

“Thus began what was a most educational experience. Mr. Herter could have imported trained tapestry cartoonists from Europe, but he wanted to make American tapestry and he filled the studio with young artists just out of school, untainted by stereotyped traditions, with ideals and enthusiasm. We all had to learn the technique of making the tapestry cartoon by doing it. When we were stuck, we were free to go to the Metropolitan and study the tapestries there [and] try to figure out how they did it and apply our conclusions to our modern problems.”

I find this insight into the workshop of Albert Herter fascinating, as Herter Looms would produce its masterpiece, The Great Crusade tapestry, for Cranbrook House Library in 1918 (four years after Botke left).

At Herter Looms, Botke also produced decorative interior schemes and painted panel decorations. A commission for the dining room of actress Billie Burke (famous for her later role as Glinda the Good Witch) led Botke to a lifelong interest in birds. As she recalled, “Mr. Herter came to me with the scheme for the dining room, it was to be in shades of blue and green and he wanted a peacock frieze using the same colors, with white peacocks as notes of accent. I didn’t even know there was such a thing as a white peacock and went up to the Bronx Zoo to find out, and they had one. It was love at first sight and has been ever since.”

mural painting herter menu

Reprint of one of seven paintings by Albert Herter in the Mural Room of the Hotel St. Francis, San Francisco, with border attributed to Jessie Arms Botke. 1912. Courtesy of Tavistock Books.

Botke was also an activist, marching up New York’s Fifth Avenue in 1911 and 1912 in the suffragette parade. She also strongly advocated for the rights and representation of women artists.

In late 1914, Botke left Herter Looms and New York, moving to Chicago to marry Cornelis Botke, a Dutch artist and architectural renderer. They settled first in Chicago and then California, where they moved to the artist community of Carmel in 1919. It was at her Carmel studio where Botke likely painted the peacock now in Cranbrook House, in 1926.

botke-cornelis-jessie-website

Jessie Arms Botke and Cornelis Botke, n.d. Courtesy of Carmel Art Association.

In 1928, the couple relocated to Los Angeles and then Wheeler Canyon. They continued to paint, with Jessie’s income providing the bulk of the couple’s wealth. In her California home, Botke kept an aviary with peacocks “where I can enjoy and paint peacocks to my heart’s content.” Cornelis died of diabetes in 1954, and Jessie continued to paint until a stroke in 1967. She died in 1971, aged 88, with an enormous body of work and awards to her name.

So how did this Botke peacock come to Cranbrook? After looking in the object records we keep for all of Cranbrook’s art objects, as well as through photo albums, slide albums, record books, and receipt books, I cannot find any records pertaining to when the Botke painting was purchased! On the back of the painting is written the title of the work, the artist, and “Price 750.00.” There is also a stenciled “CF” for Cranbrook Foundation. This might mean the work was purchased by the Foundation for use at Cranbrook, or, more likely, was accessioned by the Foundation directly from Cranbrook House at the time of the George Booth’s death.

Although I’m currently unable to pin down who bought the painting and when, it was probably purchased by George Booth as a decorative piece for the home rather than part of the collection for Cranbrook Art Museum. This would explain why the painting isn’t in the Museum’s records (it is a Cultural Property, not a work in the Art Museum). Botke sold many of her pieces at Gump’s in San Francisco, from which Mr. Booth regularly purchased art, decorative objects, and furniture (and for which we have many receipts, none of which include the peacock).

Detail of The Mirror

In the 1980s, the painting was stored in the Cranbrook House attic. Was it moved there from one of the second-floor bedrooms, which were converted to offices in the 1970s? Sometime later, it was moved to Tower Garage, where the House and Gardens Auxiliary is located. In 2012, it was hung in its current location after the removal of the Cranbrook House vending machine.

I do love that the work features a peacock, as the bird was a favorite motif across Cranbrook and is found all across campus in gates, andirons, tapestries, and inlays. Although Saarinen (frustratingly) never wrote about why he loved the peacock, Jessie Botke did:

“My interest in birds was not sentimental, it was always what sort of pattern they made, and the white peacock was so appealing because it was a simple, but beautiful white form to be silhouetted against dark background, and the texture and pattern of the lacy tail broke the harshness of the white mass without losing the simplicity of the pattern.”

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

For more information on Jessie Arms Botke, see Patricia Trenton and Deborah Solon, “Birds, Boughs, and Blossoms: Jessie Arms Botke, 1883-1971” (Los Angeles: William A. Karges Fine Art, 1995).

 

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

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

Library Gets [New] Historic Look

Recently, after years of research and investigation, the carpeting in the Cranbrook House Library was restored to its original appearance.

SONY DSC

The previous rugs were donated to Cranbrook House in the 1990s but were not historically accurate.

By studying images of the Library in Cranbrook Archives, we could determine that in George and Ellen Booth’s lifetimes there was a large, solid carpet on the floor, not the oriental rugs seen in recent years.

A review of the Cranbrook House 1921, 1933, 1937, and 1949 inventories (itemized lists of the house’s contents for insurance purposes), as well receipts and historic images, revealed the style and color of the rug: Axminster mottled brown or taupe. This may sound boring, but monochromatic rugs were chosen by the Booths to draw visitors attention up to the furnishings, books, elaborate carvings, and tapestries in the Library.

Axminster was both a brand name and specific type of carpet. Axminster is cut pile carpet (a style of carpet where the woven loops are cut leaving straight tufts of carpet). It derives its name from the small town in England where the process of weaving its distinctive style was created. Looking for a modern, cost-effective equivalent, made in the same fashion as the original Axminster, led us to Bloomsburg Carpet Industries, Inc. They have woven wool broadloom Aximinster and Wilton carpets in Bloomsburg, Pennsylvania using traditional methods since 1976. With the help of interior designer (and Cranbrook Academy of Art Board of Governor) Lynda Charfoos, we were able to select a color that both closely matched the description “‘mottled’ brown or taupe” and also looked great with the tones and colors of the Library.

On April 30, we cleared the Library so that on May 1, the rugs could be installed by Carpet Design Group, LLC.

KDA_0278

Workmen from Carpet Design Group fusing together the four sections of the carpet.

The Library was reinstalled the next day with a new floor plan based on careful examination of historic photographs and itemized lists of what sat where. Watch the slideshow to compare historic images to the reinstalled room:

We feel guests and staff alike will enjoy this return of the original look to the Library. It will allow the carvings to pop, the colors in the tapestries to appear stronger, and make for a more historically accurate room. Continuing to keep the Booth house looking its best is all part of helping to tell the Cranbrook story to guests from the neighborhood and around the world.

Cranbrook House_5-14-18 Jim Haefner

Photograph by Jim Haefner. Courtesy of Jim Haefner and Cranbrook Center for Collections and Research.

The Center would like to thank the following, without whom this project would not have been possible: Cranbrook Educational Community, Cranbrook House and Gardens Auxiliary, Lynda Charfoos, Bloomberg Carpet, Carpet Design Group, and Chet’s Cleaning Service. Special thanks also to Jim Haefner for photographing the Library.

Come see the new look of the Cranbrook House Library this summer on a Cranbrook House and Gardens Auxiliary house tour.

– Leslie Mio, Associate Registrar

Blog at WordPress.com.

%d bloggers like this: