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.

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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

 

 

“My On-Hangers”: Virginia Kingswood Booth Vogel’s Charms

At the Cranbrook Center for Collections and Research, we care for not only the historic objects on the campus, called Cultural Properties, but also the three-dimensional objects that often come in with Archival Collections, known as Realia.

These three-dimensional objects need different storage than the papers in archival collections. Often, these items are only listed as “Realia” in the Archives Finding Aids without individual descriptions- you have to pull out the box to know what is inside. For this reason, we are now recording Realia individually in our Collections Management System.

Recently, I have begun working to rehouse, catalog, and photograph the Realia in the Archives to make it more accessible and searchable. The first collection I worked on was the Virginia Kingswood Booth Vogel Papers, which contained some fun objects.

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Virginia Kingswood Booth on her European trip in 1920. Courtesy of Virginia Kingswood Booth Vogel Papers, Cranbrook Archives.

Virginia Kingswood Booth Vogel was born in 1908, the only daughter of Ralph Harman Booth and Myrtle Mary Batterman Booth. Ralph Harman Booth was a co-founder of Booth Newspapers and a brother of George Gough Booth, founder of Cranbrook.

“My On-Hangers” were what Virginia Kingswood Booth (Vogel) called the charms she collected on her European trip with her parents in 1920 at age 12. Virginia purchased the charms at the various stops on the trip. She found charms that represented the places they visited or an event that happened, like the cold she had (bedpan charm) or the baby born to a family friend (baby rattle). Some other examples are the globe, which represented the trip itself, and the 1910 Passion Play Medallion that was purchased when the family visited the town of Oberammergau, famous for (as readers of the blog know) its Passion Play. She would continue to collect charms on later trips, though none are as documented as those from the 1920 trip.

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Globe charm representing, to Virginia Kingswood Booth, the start of her European journey.

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1910 Passion Play Medallion.

These charms were originally stored in a box, wrapped in tissue, and tied together on strings. This made viewing individual charms difficult and, being tied together, caused unnecessary abrasion and wear. I removed each charm from the string and placed it in its own compartment in an acid-free tray. So that the charms would not get jumbled when moving the box, each one was sewn to a piece of foam.

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Some of the “On-Hangers” in their new, archival housing.

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Edelweiss charm in its new housing. The number indicates that the object is in Archives (ARC), in the Virginia Kingswood Booth Vogel papers (1999.1), in the 1920 collection of charms (.1), and that this is the 61st charm (.61).

Look for more fascinating discoveries in the coming weeks, as more Archival Realia is cataloged and rehoused.

-Leslie S. Mio, Associate Registrar

Cranbrook Fire Department

Recently, the Center for Collections and Research received a Cranbrook Fire Department Firefighter’s Helmet. It had been given to Charles Zimmerman while he was a Police Officer at Cranbrook by one of the Vettraino brothers. Because of the new acquisition, I decided to read up on the Cranbrook Fire Department.

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Cranbrook Fire Department Firefighter’s Helmet. Gift of Frank M. Edwards.

In 1934, George G. Booth asked the Cranbrook Foundation to purchase a fire truck and equipment, essentially beginning the Cranbrook Fire Department. A fire hall was built in early 1935 to house the new truck – a 1934 Ford Truck V8 Chassis with a Proctor-Keefe Company body and fire equipment, including a 500-gallon Barton-American Pump mounted on the front of the truck.

In the existing Tower Cottage fire hall (built in 1921) was a 1934 Ford Pick-up with fire equipment and a Barton-American U-355 pump mounted on the front of the car; booster tank and fittings, 2 lengths suction hose, and a hydrant adapter. It had been purchased by George and Ellen Booth for use at the homestead property.

In 1935, after studying at the University of Michigan’s Fire School, Dominick Vettraino was named the Fire Chief. The Assistant Chief was his brother John Vettraino. All other firefighters were volunteers from the maintenance staffs of all the Cranbrook institutions. Because they were paid, the Chief or Assistant Chief was always on call, including Sundays and holidays, and lived on campus, but it was not until 1938, that the Cranbrook Foundation decided a residence for the Chief should be built next to the fire hall.

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Cranbrook Fire Department Chief Dominick Vettraino. Dominick Vettraino Papers. Courtesy Cranbrook Archives.

To cover the cost of the department, and to pay the Chief and Assistant Chief, proportional interdepartmental support was required. The insurance savings to Cranbrook for having its own fire department ended up offsetting the cost of having the department and gave Cranbrook a better insurance rating than even the City of Bloomfield Hills.

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Left to right: Louis Larson, Ed Morrow, Homer Murphy, Walter Powell, Donald Tompkins, Pete Peterson, Chief Dominick Vettraino, and Floyd Pickering, members of the Cranbrook Fire Department in 1944. Not pictured, George Leslie, John Winfield, O.D. Hillman, and John Vettraino. Dominick Vettraino Papers. Courtesy Cranbrook Archives.

The Cranbrook Fire Department protected all the Cranbrook institutions and residences as well as the nearby homes of the Booth’s children: the Beresfords, the Henry S. Booths, the Warren S. Booths, and Harry L. & Grace B. Wallace. Though strictly a Cranbrook institution, the department was always willing to assist neighbors in the community when possible.

For more great images related to the Cranbrook Fire Department, click here.

Leslie S. Mio, Associate Registrar

Photo Friday: Division of Days

In pre-Columbian Mesoamerica, the calendar originated by the Mayans included 260 days. The “tzolkin” or “division of days” displayed in today’s photo are described as ceremonial or mythological. The calendar pages are part of a series of Mayan glyphs collected by Robert Hall Merrill (1881-1955). Merrill, an engineer and businessman, was a member of the Board of Trustees at Cranbrook Institute of Science from 1944-1953, as well as a consultant in the Anthropology department from 1948-1949.

Tzolkins 6 and 7 from the Robert Hall Merrill Papers, ca 1922.

Mary Miller, director of the Getty Research Institute, describes the Mesoamerican calendar as the oldest and most important calendar system (earliest evidence dating to 800-500 BCE). The original purpose of the 260-day calendar is unknown, but there are several theories. One theory is that the calendar is based on the mathematical operations for the numbers 20 and 13 (important numbers in the Mayan culture). The calendar combines a cycle of twenty named days with another cycle of thirteen numbers to produce 260 days. Each named day has a corresponding glyph as seen in the photo above.

The glyphs are part of a series sent to Merrill by Edith Gates McComas, sister of Maya scholar, William Gates. This extraordinary material was transferred to Cranbrook Archives in 2016.

Gina Tecos, Archivist

 

Using Archives—The Quest for the Gold Ciborium

The pursuit of historical truth, from national heritage to community identity or individual biography, depends upon archives—the portion of records selected for permanent preservation. In the west, recordkeeping emerged within the development of justice and administration—the earliest English law code is that of King Aethelberht of Kent, c.600, following the arrival of Augustine of Canterbury and the encouragement of peaceful dispute resolution. Henceforth, a fundamental and enduring feature of legal process comes to us from the Anglo-Saxons: the writ and the charter. Yet, throughout the early middle ages, grants and other legal deeds were made in public ceremonies where the attendant witnesses were the ‘memory’ of the act, not always supplemented by a charter. But, by the thirteenth century, documentary evidence had become necessary to prove ownership of land or other grants of the king, and records began to constitute the activity itself.

Over time, the type, format, and number of records has proliferated but those that are preserved, as archives, are the critical vestiges of ancient and recent memory—individual memories, institutional memories, national memories. They are primary sources essential to historical method to evidence claims of historical fact based on a reasoned interpretation of the records—these are the tasks of historians and scholars whose published research is found in secondary sources. Both types of sources are necessary when greeted with the archival FAQ, “I want to know more about this person, place, or thing—what do you have?” A recent request related to a church vessel, the “gold ciborium” at Christ Church Cranbrook. As is the case with any research, the starting place is to discover what has already been done. The first place to look for information on the art works at Christ Church Cranbrook is the Pilgrims’ Guide, first published in 1939, which guides visitors through the church with details of its artworks and craftsmen.

The Pilgrim’s Guide (4th Ed.), Thistle [Henry S. Booth], 1956

While the Guide is full of meticulously researched information, there was no mention of a ciborium. The reference files were similarly silent, except a photocopied memo from George Gough Booth dated 1927, listing a ciborium made by Arthur Stone (1992-01 5:2). And, sure enough, in the George Gough Booth Papers (1981-01, 22:7), there is correspondence with Arthur Stone about a gold-plated ciborium. Voilà! Well, not quite… it was not the right one. So, we found a photograph of it in the photo files, though it had no date, photographer or artist details, only the words “silver gilt ciborium”.

Silver Gilt Ciborium
Copyright Cranbrook Archives, photographer unknown.

An inventory written by Henry Scripps Booth in 1960 (1981-01 20:6) has two ciboriums listed—that of Arthur Stone and another one with blanks for the creator and date of creation. But, taking a step back to the contemporaneous records for the building of the church, there are detailed ledgers for its construction and decoration. If the ciborium was purchased by George Gough Booth, there would most certainly be a record of it. Looking closely at the ledger pages, it is clear that a ciborium was commissioned from three separate artists: A. Nevill Kirk, Arthur Stone, and Helen K. Mills. These have certificate numbers which can be matched up with the ‘Cranbrook Church notebook’. So, we know that a third ciborium was purchased from an artist called Helen K. Mills, and the notebook gives us the date, February 7, 1928.

There is correspondence with Kirk and Stone in the Christ Church Cranbrook series of George’s papers but none with Helen Mills. But there must be some elsewhere. When we are processing archives, we must carefully consider three things: content (who created the documents and what is in them?), context (in what circumstances were they created and why?), and structure (how do they relate to other documents in the collection and the institution?). These things can also be applied in using archives. So, in looking for correspondence with artists regarding artwork at the time of the construction of the church, there is another place to look—the Detroit Society of Arts and Crafts correspondence. Here we find correspondence between Helen Keeling Mills, Helen Plumb, and George Gough Booth.

While records might initially be kept to evidence an activity, over time they are of historical value. They can help us understand a person, provide knowledge of an organization, contribute to knowledge of a craft or a culture, they inform us of the creation of an object so that it may be maintained and preserved in its most beneficial environment. Last, but not least, a document becomes an artifact in itself because of who wrote it, what it says, and because it is simply beautiful. This correspondence was kept initially to document his transaction with Helen as part of the wider collection of records for the church. But we can learn much more from it. We know something about the creative process of the ciborium—what it is made of, the saints depicted upon it, that it was sent to another artist after which it was damaged. We know the importance that Helen placed in her work and her regret of the damage. We can see George’s gracious response and understanding—his appreciation of her devotion to her work and the joy that will be taken in the object she created.

This research query helped to draw information out of the archive that was hitherto not expressly known. There is now a reference file to aid future researchers so that the knowledge is accessible with references to the records that document it, and the research process need not be made again. And so, just as teachers learn from their students, the archive and archivists learn from their researchers.

Laura MacNewman, Associate Archivist

Sisu, the Amazing Maija Grotell

Sisu is a Finnish concept described as stoic determination, a tenacity of purpose, grit, bravery, resilience; it is also the word weaver Marianne Strengell used to describe her friend Maija Grotell.

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Maija Grotell at Cranbrook Academy of Art Faculty Breakfast, 1939. Courtesy of Cranbrook Archives.

Maija Grotell was born August 19, 1899, in Helsinki, Finland. She studied painting and sculpture in Helsinki, graduating in 1920. While working at a textile firm as an artist, she completed six years of graduate work in ceramics (1920-1926) under Alfred William Finch, a noted Belgian ceramicist and painter who practiced in Finland.

In October 1927, Grotell immigrated to the United States, settling in New York where she studied for one summer under Charles Fergus Binns. Her first employment was as an Instructor at Inwood Pottery Studios in New York City (1927-1928). She went on to teach children at the Union Settlement (1928-1929) and at the Henry Street Craft School Settlement (1929-1937), both in New York. While teaching ceramics and researching glazes, Grotell was also exhibiting and selling her own ceramics. From 1937 to 1938, Grotell was a ceramics instructor and research assistant at the Department of Ceramics at Rutgers University in Newark, New Jersey. She became a naturalized United States citizen in 1934.

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Maija Grotell in the Cranbrook Academy of Art Ceramics Studio. Courtesy of Cranbrook Archives.

According to the Metropolitan Museum of Art, “Maija Grotell was one of the most significant potters working independently during the late 1930s. Although a relatively large number of women played important roles in the art pottery movement in the early twentieth century, few female ceramists were active between the first and second World War. Grotell was one of the exceptions.

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Maija Grotell at work. From the Maija Grotell Papers, Cranbrook Archives.

As Eliel Saarinen’s complex of buildings at Cranbrook began to take shape, he sought out distinguished artists and craftspeople to work in the studios. Impressed with a gallery exhibition of Grotell’s work, Saarinen envisioned her ceramics contributing to the architecture of Cranbrook. In the fall of 1938, Saarinen invited Grotell to join himself, Carl Milles, and Marianne Strengell at the Cranbrook Academy of Art as head of the ceramics department, a position she held until her retirement in 1966.

Grotell described the way she worked as such, “I always have something I am aiming at, and I keep on. I do not sketch on paper, I sketch in clay. So if it is not what I want, I make another one and keep on. In that way I have many similar pieces. My reason is not for repeating, but for improving.”

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Maija Grotell overlooks her students in the Cranbrook Academy of Art Ceramics Studio, 1939. Courtesy of Cranbrook Archives.

In her teaching, Grotell emphasized ceramics as a medium of artistic expression. Many students trained by her went into teaching and were integral to the development of America’s university ceramics programs following World War II. In her twenty-eight years at Cranbrook, her students included Richard DeVore, Toshiko Takaezu, John Glick, Susanne Stephenson, Lydia Kahn Winston Malbin, and Jeff Schlanger.

Of Grotell, Takaezu said, “Majia’s astute, honest, sharp criticism would sometimes fall into place months later, but it was always true. Maija didn’t say very much and what she didn’t say was as important as what she did say, once you realized she was thoroughly aware of everything you did.”

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Under This Roof Six Dreams Were Dreamed and All Came True – 1908, 1961. Commissioned by Henry Scripps Booth and executed by Maija Grotell, the vessel commemorates the founding of Cranbrook. Courtesy of the Cranbrook Center for Collections and Research.

Her “astute, honest, sharp criticism” may have been what Marianne Strengell was thinking of when she started calling her Sisu. She had the tenacity to tell her students the truth; no holding back to spare feelings.

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“MG” signature on the bottom of a vessel at the Frank Lloyd Wright Smith House. Courtesy of the Cranbrook Center for Collections and Research.

Throughout her career, Grotell actively engaged in research on glazes. She developed copper reds, ash glazes, intense blues, and crackle glazes. One of her original discoveries was the use of chromium and iron in place of uranium to produce a brilliant orange glaze. Her work opened the door to the architectural uses of glazed, colored bricks in midcentury architecture, including those used by Eero Saarinen at the General Motors Technical Center (1953-1955).

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A glaze recipe from the Maija Grotell Papers in Cranbrook Archives.

She died on December 6, 1973, in Pontiac, Michigan, but Grotell’s glaze formulas remain a large part of her legacy. Another legacy came in 1977: the “Arts & Craft Court” at the Cranbrook Academy of Art was renamed the “Maija Grotell Court” in her honor.

Exceptional that such a strong, well-respected woman was so influential at the Cranbrook Academy of Art in its formative years as well as the art world.

– Leslie S. Mio, Associate Registrar

Links:

Maija Grotell Papers, Cranbrook Archives, Bloomfield Hills, Michigan.

“Mary, Maija, and Toshiko: Re-Thinking Open Storage in the Collections Wing.” Cranbrook Kitchen Sink. Website.

The Marks Project, The Dictionary of American Studio Ceramics, 1946 Onward. Website.

Allurements of Flinch

Allurements of Flinch by James Ball Naylor*

There’s people down to Clovertown
whose only end an’ aim
Is jest to set an’ fiddle with some dern
fool, silly game
They used to play at tid’lywinks an’
authors – an’ I guess,
They hankered after dominoes, an’
crokinole, an’ chess:
An’ as fer checkers – goodness me! –
they said you couldn’t find
A better thing to cultivate the morals
an’ the mind
But now – by gum, it makes me laugh
– they wouldn’t give a pinch
Of salt, fer’ all them former games:
The only thing is “Flinch”

The Booths didn’t “give a pinch of salt” and had a number of copies of the game “Flinch.”  Henry Scripps Booth wrote, “The commonest social entertainment when we lived in Detroit was playing the card game of Flinch. It was also popular across Trumbull Avenue at the Scripp’s home. Later we also played it at Cranbrook.”

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One of the Booth’s copies of the game Flinch (CECT 277)

Invented in 1901 by Arthur J. Patterson (1869-1948) of Kalamazoo, Michigan, “Flinch” is the card game that took America by storm in the early 1900’s. The object of the game is to stockpile and then get rid of all your cards.

According to the BoardGameGeek website,

Flinch is played with a deck of 150 cards numbered 1-15. Players can play cards in sequence (building up from 1 to 15) to piles formed in the center of the table. “1” cards must be played to start the piles, but others may be played or held at the player’s discretion. Cards may be played from several sources: a player’s hand (five cards to start), a player’s “game pile” (a stack of 10 cards of which only the top card is face up and playable), or a player’s “reserve piles” (whenever a player passes or completes a turn, they must add a card from their hand to their reserve piles – up to five reserve piles may be formed). Hands are continually replenished with new sets of five cards during the game. The object is to play all 10 cards from game pile to the center of the table.

– Leslie S. Mio, Associate Registrar

*”Allurements of Flinch,” Kalamazoo Gazette, 12 July 1903, page 14, column 4

The Iconic Kitty Kingswood

A colleague recently inquired about a painting on the mezzanine wall leading to the music practice rooms at Kingswood School. The painting is of a girl, “Kitty Kingswood,” who is holding a pennant and is accompanied by a swan on the waves of Kingswood Lake. Eliel Saarinen painted the image in the 1930s to camouflage clay sewer pipes.

Painting by Eliel Saarinen in Kingswood School of Kitty Kingswood. Photo courtesy of Cassandra Nelson.

In 1950, Lillian Holm (Head of Weaving at Kingswood School from 1933-1965) copied the pattern of the gown from the painting and Louise Raisch hand-wove the first Kitty Kingswood doll. This doll was auctioned at the 1950 Autumn Festival.

The original Kitty Kingswood doll auctioned at the 1950 Autumn Festival. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

Is there more to the Kitty Kingswood story? A recent trip over to the Girls Middle School, as well as a dive into our files here at the Archives, indicates that there is much more—and the iconic Kitty still plays an integral role.

Fast forward to 1964. The Kingswood Alumnae Association presents a new award to a seventh or eighth grade girl who has contributed to the spirit of Kingswood and is an outstanding citizen. The Association commissions Kingswood sculpture teacher, Pamela Stump Walsh, to create a statue of Kitty Kingswood for the award. The Birmingham Eccentric describes the sculpture as “a typical KSC girl who holds a hockey stick and a pennant and stands on the KSC seal.”

A sketch for the Kitty Kingswood award by Pamela Stump Walsh. Courtesy Cranbrook Archives.

Today, the statue resides at the Girls Middle School as does a plaque (also donated by Pamela Stump Walsh) with the award recipients’ names. An additional case at the middle school displays a Kitty Kingswood doll, which was reproduced and auctioned off for many years to raise funds for the school.

Kitty Kingswood sculpture by Pamela Stump Walsh at the Girls Middle School today.

The Kitty Kingswood Citizenship Award is still presented to an outstanding student each year at the Girls Middle School. The award is determined by vote of the faculty. Pamela Stump Walsh presented the award to the first recipient in 1964, and her words still inspire students today: “Good citizenship is more than simple obedience to a set of rules or laws. It is a loving obedience to just laws and the courage to change the unjust…but most of all, it is serious concern for the condition of others, even for the condition of our enemies.”

Gina Tecos, Archivist

Brighty of Thornlea House

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Peter Jepsen, Brighty, cast bronze. 1966. Collection of Thornlea House, Cranbrook. Courtesy of Cranbrook Center for Collections and Research.

In the foyer of Thornlea, the home of Henry Scripps and Carolyn Farr Booth, sits this statue of a burro, Brighty, by Peter Jepsen. He was a gift from their son, Stephen, commemorating a movie project he spearheaded.

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Dust jacket of Brighty of the Grand Canyon. 1953 (first edition). Courtesy of Michigan eLibrary (MelCat).

In 1953, Newbery Award winner Marguerite Henry (1902-1999) published the novel Brighty of the Grand Canyon. It tells the story of a real burro named Brighty who lived in the Grand Canyon from 1890-1922. Brighty spent summers carrying water up the canyon to the North Rim. He was rewarded for his work with pancakes. Brighty became popular with visitors, and is said to have accompanied Teddy Roosevelt on one of his three visits to the Grand Canyon.

In 1963, Betty Booth bought a copy of Brighty of the Grand Canyon for her three boys, Douglas, Charlie, and Woody, to read on vacation. Betty was the wife of Stephen Farr Booth, who was a television producer at the time. Stephen read the book and loved it so much he decided to make it into a movie of the same name. The movie premiered in Detroit in 1967.

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Movie poster for Brighty of the Grand Canyon. 1967. Courtesy WikiCommons.

To promote the movie, Stephen had sculptor Peter Jepsen create a life-sized, 600-pound statue of Brighty to be placed in the Grand Canyon’s South Rim’s Visitor Center (it was later moved to the North Rim’s Grand Canyon Lodge, where it resides today and where visitors rub his nose for good luck). Stephen also had 100 small-scale versions of the sculpture made and distributed to various people who worked on the movie. Stephen also gave one to his parents, who placed Brighty right inside the door of their home Thornlea.

We don’t encourage visitors to rub Brighty’s nose for good luck, but he is a fun and memorable addition to welcome guests to Thornlea.

– Leslie S. Mio, Associate Registrar

Note: The book, movie, and statue have kept the legend of Brighty alive. Brighty even has his own Facebook page.

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

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