In the past, we have discussed how we cover our stone sculptures on campus to protect them in the winter. But what about the many bronze sculptures? Europe and the Bull? Persephone? The Centaurs?
These pieces are more robust and able to withstand what winter throws at them, but they still need some love each year.
Each spring since 1987, the Community has brought in Venus Bronze Works to recondition the bronzes across the campus. Venus Bronze Works is a member of the American Institute for Conservation of Historic and Artistic Works, which means all the cleaning they do is in accordance with AIC’s Code of Ethics and Guidelines for Practice.
All sculptures are inspected and cleaned by dusting them off with compressed air or wet down and washed with a mild detergent, sponges, soft bristle brushes, and fine cotton pads.
When the works are dried, one or two thin coats of wax are applied and the sculptures are buffed. This wax can be applied directly from the container or applied to a hot surface (by heating the sculpture with a propane-fed torch).
This wax acts as a barrier to the air and humidity on the bronze surface and prevents damaging oxidization or corrosion from developing. When deciding how each individual work is cleaned, we look back to the artist’s intent for each sculpture (was it meant to be patinated green? dark bronze? polished? gilded?) and treat it accordingly.
In the collection of the Cranbrook Archives, we have a number of objects related to Kingswood School for Girls. These include uniforms, pennants, and one curious kangaroo tagged “Leapin’ Lena.”
In the Alumni Relations Office for many years, the kangaroo was never the official mascot for Kingswood School Cranbrook (KSC). It was likely part of a popular craze in the 1950s and 1960s, when Collegiate Manufacturing Company, which started out manufacturing school pennants, was promoting stuffed animals as school “mascots” or “personality pets.”
Advertisement for Collegiate Manufacturing Company’s “Personality Pets.” Source: Kagavi.com
Because she’s in mint condition with her tag still on, perhaps our Lena was a sample from one of the many salesmen Collegiate Manufacturing employed?
Most likely just an alliterative name — think “Mickey Mouse” or “Lois Lane” — the name “Leapin’ Lena” could also come from a number of sources. “Leapin’ Lena” has been used as a nickname for a car; a fictional B-52 bomber in the 1944 movie The Purple Heart; a kangaroo in a Rex the Wonder Dog comic in 1952; and a 1954 Cold War hero pigeon.
I like to think our Leapin’ Lena name came from Rex the Wonder Dog, where the character was part of a story line called “The Saga of Leapin’ Lena.” Lena was a kangaroo from an old vaudeville act, that also happened to foil crime.
A page from Rex the Wonder Dog, Volume 1, #5, “The Saga of Leapin’ Lena.” Source: vlcomic.com
I really don’t know how this model marsupial got to the Alumni Relations Office, who then gave it to Archives; nor am I familiar with other Kingswood kangaroo mascots (only Kitty Kingswood). Do you know more about our Leapin’ Lena or other Kingswood kangaroos?
We typically write blogs about what projects we are working on – a research question, an exciting piece of furniture – but I wanted to let you in on something a little more pedestrian:
One of the regular projects I work on is numbering and labeling the Cultural Properties. Each object gets a unique number to identify and differentiate it from other cultural properties.
Me at work, numbering silverware. Photo by Desai Wang, CKU ’19
The numbering system is done in two different ways here at Cranbrook. All collections have a prefix set of letters that lets us know what collection it is in. For example, there is a Brookside School Collection with the prefix “BS,” as well as collections for each of the three historic houses we oversee. Next, there is either a number to match an inventory of the collection or the year the object was created or acquired.
The Brookside Lobby Fixture designed by Henry Scripps Booth and created by Leonard Electric is numbered BS 1929.1. It was created in 1929 for use in the school. I haven’t been able to put the number on it yet! Photo by Daniel Smith, CAA ’21
The Frog and Lily Pad Vase by Adelaide Alsop Robineau in the Founders Collection is numbered “CEC 16.” It was the 16th item cataloged in a 1975 inventory of the house. Photo by R. H. Hensleigh
Once we have numbers assigned to the object, we need to physically apply them to the object. Putting a number directly on an object is the most secure way. There are a number of techniques used to apply labels to the objects.
We currently use a method of spreading on a thin layer of special clear adhesive (B-72) to the object, putting down a number written or printed on acid-free paper, and then covering that paper with another coat of the clear adhesive. Printing the numbers on a printer allows you to control the size of the numbers (typically 7-point font) and also ensures they are legible.
A number applied to an object. This is from the Smith House collection, which the CEC acquired in 2017.
B-72, one of the tools of the trade.
There are all sorts of exceptions to the above rule: You can’t number plastics this way – the solvent in the B-72 would melt the plastic. To number them, we tie on a tag made of Tyvek using Teflon tape (also known as plumber’s tape).
Cotton twill “tape” used to number textiles.
And what about textiles? For that, we write the number on cotton twill “tape” with archival ink and sew the tags onto the objects.
Chapter 5E of Museum Registration Methods– what is referred to as the “Registrar’s Bible” — is all about marking objects, best practices, and recommended materials. When in doubt, I start there.
Sometimes, what appears to be a simple question doesn’t have an easy answer in the archives. By combining forces with colleagues, and looking in places you might not first suspect, you can ideally turn a boggling question into a rewarding quest. Provided, of course, you can solve the mystery! Happily, this was recently the case.
When contacted by a Kingswood School graduate about the origins of a certain sculpture that had graced the Green Lobby in the 1960s-1970s, I had two names to go on: Suki and Pam Stump Walsh. Was either of these the name of the sculptor and was the sculpture even still there? After checking several possible sources in the archives, it was time for a field trip to Kingswood. There she was opposite the green stairs, just as she had been described to me: a bronze sculpture of a girl, sitting cross-legged, head bowed, reading a book. I’d answered part of the question: she was still there.
And much to my delight there was also a plate tacked to the sculpture’s wooden pedestal. It read: “In Remembrance, Suzanne Anderson Stenglein, Class of 1947.”
Could this be Suki?
Back in Archives, I found a Suzanne Anderson in the 1947 Kingswood yearbook, Woodwinds. Next to her picture, this description: “That dashing station wagon, that’s always on the go, beautiful taste in clothes, and exciting vacations make Suki the ideal senior for every underclassman. Her pertness, her nose, and her spirit, that help to create her charm, match perfectly her conversational ability on all subjects from Broadway to baseball.”
I still didn’t know if this was the sculptor, or if it was Pam Stump, who is perhaps best known at Cranbrook for her work, Jane: Homage to Duchamp in the Kingswood courtyard. It certainly appeared to be Stump’s style. Associate Registrar Leslie Mio found a listing in Cranbrook Cultural Properties records for Suki, described as a patinated bronze sculpture attributed to Pam Stump.
Detroit native M. Pamela Stump graduated from Kingswood School in 1946. After attending the University of Michigan College of Architecture and Urban Planning for one year, she left to study sculpture under Marshall Fredericks in his Saginaw studio. Twenty-three years after leaving Kingswood, Stump, now Pamela Stump Walsh (she married Cranbrook School 1944 graduate, David E. Walsh), returned to teach sculpture. She retired in 1990, but continued creating and showing her own work throughout the state and internationally.
I appeared to have my answer, but I wanted definitive proof, and, ideally, a date. Back to Kingswood School. This time, with the help of Associate Archivist Laura MacNewman, I found the artist’s signature, and, a date!
End of story, right? Not quite. I still wondered about the sculpture’s origins. The Archives, thankfully, hold the M. Pamela Stump Papers. Consisting mainly of her Cranbrook Kingswood Chronicle, a memoir she titled, “Ubi Ignes Est or Where’s the Fire?” it provided the final details.
Stump made eighteen sculptures for Cranbrook while on the Kingswood faculty. Shortly after she started, in 1969, she was commissioned by the Class of 1947 to create a sculpture in memory of their classmate Suzanne Anderson Stenglein, who had died prematurely the year before. Stump refers to the bronze sculpture of Suzanne as Girl Reading or Suki. It was specifically designed to fit in the niche just outside the Headmistress’ office, directly opposite the staircase in the Green Lobby, and purposely placed on a revolving wooden pedestal so it could be turned 180-degrees to face the wall and enable examination of all the various textures and symbols on its surface. Stump writes, “On her body are many symbols of her life. This was easy because I had known her at Kingswood and in Saginaw.” Here you see this symbolism, along with the names of Suzanne’s schools before she came to Kingswood; her initials, S.A.; and her nickname, found on the crown of her head:
To bring things full circle: a close examination of negatives in the archives collections (identified only as “Kingswood Interiors”) found period images of the sculpture:
I also learned from The Birmingham Eccentric, that Suki was the daughter of Goebel Brewing Company President Edwin John Anderson. She grew up in Saginaw, where she presumably met her husband, Harold Stenglein. The pair were married at Christ Church Cranbrook in 1955, and made their own home in Saginaw. At this juncture, little else is known about the girl behind the sculpture’s name.
In the main hallway of Kingswood and in the living room of Thornlea, there are paintings by artist Myron G. Barlow (1873-1937). I love the look of these paintings and began to wonder about the artist. I’ve come to learn he was an internationally known Detroit-raised painter. As with all things Cranbrook, it seems, there is always a Detroit connection.
Two Women with a Bowl of Flowers on a Table, circa 1912 by Myron G. Barlow.
The Kingswood painting Two Women with a Bowl of Flowers on a Table depicts two peasant girls, one standing and one bending over a bowl of flowers. It was donated to Kingswood around 1970 by Herbert Sott in memory of his wife Mignon Ginsburg Sott, who was Kingswood Class of 1943.
Young Girl Braiding Her Hair, circa 1912 by Myron G. Barlow
The other painting, Young Girl Braiding Her Hair, is of a girl looking in a mirror braiding her hair. It was purchased by James Scripps Booth from the artist in 1912. James attended the Ecole des Beaux-Arts in Paris and in 1911 had studied under Barlow; James’ painting “Onion Gatherer, Cote d’Azure” depicts Barlow’s cottage studio. James gave Young Girl Braiding Her Hair to his parents George and Ellen Booth. It originally hung in Cranbrook House’s main staircase. George and Ellen gifted the painting to Henry and Carolyn Booth, who hung it in their home, Thornlea.
Myron G. Barlow (1873-1937), son of Adolph and Fanny Barlow who were members of Temple Beth-El in Detroit. Courtesy Temple Beth El.
Myron G. Barlow was born in Ionia, Michigan in 1873 and raised in Detroit. As a teenager, he trained at the Detroit Museum School, where he studied under Joseph Gies, and then at the Art Institute of Chicago. He began his career as a newspaper artist. He eventually traveled to Paris and enrolled in the Ecole des Beaux-Arts where studied under Jean-Leon Gerome.
While copying paintings in the Rijksmuseum in Amsterdam, Barlow discovered Johannes Vermeer. As stated in William H. Gerdts’ Masterworks of American Impressionism from the Pfeil Collection, “Like Vermeer, one of Barlow’s favorite artistic themes became the depiction of figures, often female and usually set in an interior; frequently isolated and motionless, surrounded by a dream-like atmosphere rendered in a single, dominant tonality, often blue.”
Barlow in his studio after 1900. Courtesy of Nancy Brett (Barlow’s great-niece) via Temple Beth-El.
Around 1900, Barlow moved to the French village of Trepied. There he transformed a peasant’s house into his studio. He would, however, make frequent trips back to Detroit and kept a home there as well.
He served as the Chairman of the Scarab Club around 1918. According to his Detroit News obituary, “Among his major achievements in Detroit are six large murals which he painted for the main auditorium of Temple Beth-El, which were completed in 1925.”
In 1907, he was the only American elected to the Societe Nationale des Beaux-Arts and in 1932 was made a Knight of the Legion of Honor by the French Government. He was recognized for his work with gold medals at the St. Louis and Panama Pacific Exhibition, and by having his works purchased by many international museums, including the Musée Quentovic in France, Pennsylvania Academy of Fine Arts, and the Detroit Institute of Arts. The Detroit Cluband the private collection of Baron Edmond de Rothschild also included works by Barlow.
In May 1937, he left Detroit with the intention of selling his studio in France and returning to the city for the remainder of his life. Unfortunately, he died in his home in Trepied that fall.
While Kingswood alumnae will recognize Studio Loja Saarinen’s largest weaving at Cranbrook, The Festival of the May Queen, did you know there’s an even larger piece by the studio off campus?
Ordered in connection with Eliel Saarinen’s commission for the Tabernacle Church of Christ in Columbus, Indiana (today the First Christian Church), the monumental Sermon on the Mount hanging was an artistic and technical triumph completed by Studio Loja Saarinen in 1941.
Interior view of First Christian Church, showing Studio Loja Saarinen’s The Sermon on the Mount hanging. 1942. Courtesy of Progressive Architecture.
The subject was chosen by the church, and according to their archives, the Sermon on the Mount was selected as a topic because it is “the ideal for human conduct.” The tapestry, they went on, would need to suggest “worship as well as obedience.”
Eliel Saarinen likely produced the sketch of the hanging, an unsigned colored pencil and gouache drawing now in Cranbrook Art Museum. Interestingly, this is the only textile with a religious subject to come out of the Saarinen studio.
The small sketch was then enlarged onto full-size paper mock-ups, which allowed the Saarinens to review and edit the design and provided direction to the weavers at the loom.
Thirteen patterned and colorfully-robed worshipers in two rows stand looking toward Christ, rendered in all white yarn on a cream background. Christ is surrounded by arcs and beams of white light that masterfully descend throughout the hanging, adding a rich depth to the composition.
Much like The Festival of the May Queen, the weaving is subdivided asymmetrically into rectangular shapes of varying dimensions by rhythmic bands of alternating rust, coral, and gold. These lines link into the scene’s landscape, which is made up of a series of highly stylized branches connecting green and white masses. These color-blocks sometimes read like meadows or hills; in other places, the green reads like flowering shrubs, climbing vines, or a branching tree. In the lower fields are sheep, as the tapestry moves up, birds rest within the branches.
These climbing, abstract elements helps provide movement and energy to the tapestry, balancing the white radiance of the Christ-figure with the wonder of nature. The movement of the geometric green, rust, and white blocks courses between the worshipers, much like the swag of triangles (are they flowers, butterflies, or perhaps something more abstract?) that flow through the maiden’s hands in the Festival of the May Queen hanging at Kingswood.
The Columbus tapestry was woven by two Swedish weavers who’d worked for Studio Loja Saarinen (intermittently) since 1929: Lillian Holm, who also taught at Kingswood from 1933 until 1966, and Ruth Ingvarson. After previous projects for Loja Saarinen had been met with less-than-thorough credit given to the weavers themselves, Holm and Ingvarson demanded acknowledgement from Loja Saarinen in the press materials, as well as on the weaving itself–supposedly, Holm wove her name into the tapestry in multiple places.
After Holm and Ingvarson had completed their work at the loom, Loja worked on the hanging for weeks, unrolling it section by section on a large table in her studio and accentuating the colors through the inlay of additional threads into the primary weave. This was possible because of the discontinuous weft, known as the Handarbetes Vanner (H.V.) technique after the Stockholm school where it was developed, used in all of Studio Loja Saarinen’s large hangings.
The hanging is labeled on the reverse, with an ink-signed piece of appliqued fabric label listing Eliel, Loja, Lillian, and Ruth and their roles. Everyone’s names were also included in the invitation to the hanging’s reveal at Cranbrook in the winter of 1942, where it was displayed in the forty-foot high studio of Carl Milles.
Cranbrook neighbor and diarist Kate Thompson Bromley described the event in February 1942:
“It had been months in the weaving…One of the biggest tapestries woven in this country, and probably as beautiful as any, for the colors are soft and rich. The large studio [Carl Milles’] was the only place with a high enough ceiling at Cranbrook to hang it. At the end of that huge room it was decorative and glowing. It must have been a great happiness to the weavers to see it in place, for as they could only judge the section on which they were working.”
Once installed in Indiana, the weaving completed the remarkable church by Eliel Saarinen. Protected by curtains meant to shield the hanging from light and smoke, The Sermon on the Mount hangs opposite a wooden organ screen, which itself reads like a tapestry. Outside, the building façade and its glass-illuminated bell tower take on the grid and rhythm of weaving. Even the meandering lines and subtle arcs of the stone architectural ornament relates back to the design of The Sermon on the Mount.
In all its beauty, The Sermon on the Mount served as a high-point on which Loja Saarinen was forced to close her studio. As she wrote to George Booth, she was being “forced into” retirement because of a number of pressures: declining commissions, her husband’s exit from the Academy’s presidency, World War II, and a shift in focus for the Academy Weaving Department away from pictorial handweaving. Studio Loja Saarinen closed in 1942.
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 Harmonyin the gardens and Andante and Nocturne in the house.
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.
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 (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.
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.
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.
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.
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 Aidswithout 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.
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.
Globe charm representing, to Virginia Kingswood Booth, the start of her European journey.
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.
Some of the “On-Hangers” in their new, archival housing.
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.
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.
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.
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.
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.