Hidden in Plain Sight at Brookside

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The Cranbrook 50th Anniversary Rug (BS 1), 1973. Cultural Properties Collection, Brookside School.

In honor of the Cranbrook Kingswood Alumni Association’s Reunion Weekend, I thought I would share the story behind The Cranbrook 50th Anniversary Rug.

In 1973, New York designer Rhoda Sablow (1926-2013) was commissioned to design a rug for the Cranbrook 50th Anniversary Auction. The idea for the rug came from Mrs. Arthur Kiendl, wife of the first President of the Cranbrook Educational Community.

The border and geometric squares are reminiscent of Eliel Saarinen’s designs and surround depictions of various Cranbrook buildings and sculptures. The buildings are Christ Church, Kingswood, Cranbrook School, and Brookside. The sculptures are Orpheus, Jonah and the Whale, Europa and the Bull, Orpheus Fountain, Triton with Shell, Siren with Fishes, and Diana.

The rug was needlepointed by Cranbrook Schools parents: Mrs. Iain Anderson, Mrs. Richard Darragh, Mrs. Micheal Davis, Mrs. Fritz Fiesselmann, Mrs. Walter Flannery, Mrs. Robert Flint, Mrs. Mounir Guindi, Mrs. Wilfred Hemmer, Mrs. Charles Himelhoch, Mrs. James Holmes, Mrs. Lee Iacocca, Mrs. Arthur Kiendl, Mrs. George Kilbourne, Mrs. Jamse Lowell, Mrs. James May, Mrs. David Mott, Mrs. John McCue,  Mrs. Richard Pearce, Mrs. Donald Pendray, Mrs. J. Pierson Smith, Mrs. Edwin Spence, Mrs. Wright Tisdale, and Mrs. James Williams.

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Ellen Scripps Booth with granddaughter Elizabeth Wallace at Cranbrook House, circa 1919. Copyright Cranbrook Archives.

Elizabeth Wallace McLean bought the needlepoint rug at an auction during the three-day celebration of the founding of Cranbrook schools. Mrs. McLean, the granddaughter of Cranbrook founders George and Ellen Booth, immediately donated the tapestry back to the school in honor of its golden anniversary. Elizabeth was in the original class of seven who attended Brookside School, so it is appropriate that the rug now hangs inside the main entrance of Brookside.

– Leslie S. Mio, Associate Registrar, Cranbrook Center for Collections and Research

 

 

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The Cranbrook 50th Anniversary Rug (BS 1), 1973, on display in the Brookside Main Entrance. Cultural Properties Collection, Brookside School.

The Elves and the Saarinen Home

Cranbrook Center for Collections and Research “elves,” with help from the Cranbrook Archives and Cranbrook Art Museum, have worked their magic to bring out treasures designed for this summer’s reinvigorated and expanded tours of the landmark Saarinen House. This three-month installation entitled Saarinen Home: Living and Working with Cranbrook’s First Family of Design, expands on the life and work of the remarkable Saarinen family, displaying items used in their home, at Cranbrook, and for projects around the country.

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Selecting sliver, glass, and ceramic items for the exhibition.

The exhibition kicks off with an Open House from 1-4pm this Sunday, April 30th, during the Art Academy’s OPEN(STUDIOS). It will also be open for four nights of special programming – “Finnish Fridays” – the first of which is May 5th. Normal tours of the exhibit are Friday, Saturday, and Sunday, May through July. For all the details, check out the Cranbrook Center for Collections and Research website.

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Preparing the space to display weavings by Studio Loja Saarinen.

Leslie Mio, Assistant Registrar

Photo Friday: Documenting Exhibitions Across Campus

As many of you know, Cranbrook Archives is located in the lower level of Cranbrook Art Museum (CAM). At various times throughout the year, museum registrars and preparators install and de-install the exhibitions presented in the galleries at CAM. Over the past few weeks this process of de-installing exhibitions in the lower galleries started, in preparation for new exhibitions to take over these spaces.

The first exhibition held at Kingswood School in what is now the weaving studio. Primarily designs for Kingswood School, but includes costume designs by Pipsan Saarinen Swanson. Photographer, George W. Hance, 1932

I am always in awe of the work that goes into changing these spaces to support new ideas and work – from the vision and physical work of the preparator and staff to the tracking, un-packing, and condition reporting that is completed by the registrars – it is impressive! In our collections at the Archives, we have correspondence, exhibition files, posters, publications, and photographs to document more than 85 years of exhibitions not only from CAM, but also from Cranbrook Kingswood Schools, the Institute of Science, and exhibitions that faculty and students have participated in across the country.

Gina Tecos, Archivist

Illuminating a Craftswoman

The work of British arts and craftswoman Jessie Bayes (1876-1970) has been described as ethereal, magical, and an “expression of things felt and seen.” Cranbrook has in its collection three of Bayes’s works, acquired by George Booth between 1920 and 1929. The illuminated manuscript “Hymns to the Elements” is one of her most stunning works.

Bayes was known for her work in woodcarving, painting, calligraphy, gesso and gilding, and stained glass, but is best known for her ethereal illuminated manuscripts inspired by Scandinavian, Celtic, and French poetry. She often wrote the texts which were dominated by themes of romance and mysticism and strove to beautify everyday life and “wed the physical and spiritual.” The art of illumination requires patience and laborious attention to detail, which is clearly evident in “Hymns to the Elements.” Bayes, who combined tempera with watercolor and gold gilt, developed her own sense of jewel-like color, often in blues and golds. She felt that the “idea of colour symbolizing love should be above all precious to an illuminator, since, in illuminating, colour can reach its intensest [sic] height of purity and radiance.”

Hymns to the Elements, ca 1923. One of Bayes’ largest and most elaborate illuminated manuscripts. Close-up of Athena, Mistress of the Air.

Jessie Bayes was raised in an artistic family where the four children were taught by their father Alfred, an etcher and book illustrator, to appreciate beauty at an early age. Her brother Gilbert became a sculptor, her brother Walter was a painter who also designed theatrical scenery, illustrated books, and lectured about art, and her sister Emmeline worked in enamel.

Bayes received art education from evening classes at London’s Central School of Arts and Crafts, which grew directly out of the Arts and Crafts Movement of William Morris and John Ruskin. There, Bayes learned to gild on wood and discovered a love for writing and illumination which she deemed among the strongest of the curriculum. She was also heavily influenced by her employment with Sydney Cockerell, an engraver and former librarian for William Morris. In this role, he had been responsible for completing the Kelmscott Press publications after Morris’s death.

Close-up view of Hephaistos, the Fire King.

Bayes exhibited widely with the Arts & Crafts Exhibition Society, and at the Royal Academy and the Baillie Gallery in London, alongside artists like Walter Crane, Arthur Nevill Kirk, and Omar Ramsden. In 1922, Bayes exhibited some of her illuminated books, as well as paintings on vellum, fans, and panels, at the Art Center in New York. Bayes gradually expanded her repertoire to include painted and gilded decoration on furniture as well as interior design and stained glass work. Jessie Bayes died in Paddington, Central London in 1970.

For Jessie’s personal views on family, life, and art, read The Bayes Saga (1970).

Leslie S. Edwards, Head Archivist

Craft in Time: Oscar Bach and the Cranbrook School Dining Hall Clock

For nearly ninety years, diners in the Cranbrook School dining hall have marveled at the clock that hangs high above the fireplace. Designed and fabricated by New York metalsmith Oscar Bruno Bach, the clock is a tribute to George Booth’s beloved Arts and Crafts Movement. Each hour is represented by an art or craft, ranging from metalworkers to woodworkers.

Cranbrook School Dining Hall, 1928. Peter A. Nyholm, photographer.

Cranbrook School Dining Hall, 1928. Peter A. Nyholm, photographer.

Oscar Bruno Bach (1884-1957), who was born in Germany, came to the United States in 1913 and established a metal design studio with his brother in New York City. As they built up their reputation and the business grew, Bach exhibited his work through The Architectural League of New York and at the Metropolitan Museum of Art, among others. His work graces numerous churches, industrial buildings, and residences primarily in New York but also in the Midwest. His first known work in Michigan was ornamental metalwork for the Blessed Sacrament Cathedral in Detroit (1915).

Bach was known for incorporating a variety of metals and metal techniques in his work. Cranbrook’s clock (1926) is made of four concentric iron rings with a center element (two male figures at an anvil) of repoussé brass surrounded by three brass “flame” rings. Each of the twelve figures representing arts, crafts, and trades are also made of brass, surrounded by floral elements made of iron. Copper was used for the rivets and for the small fleur-de-lis elements on the outer rim. Finally, the hour and minute hands are made of aluminum with brass rivets.

Detail of the center panel, 2001. The clock was restored courtesy Cranbrook Class of 2000.

Detail of the center panel, 2001. The clock was restored courtesy Cranbrook Class of 2000.

The clock however was not Bach’s first contribution to Cranbrook. In 1919, he fabricated lead “conductors” for the exterior of the east and west wings of Cranbrook House. George Booth also acquired a smoking stand (1922) and two table lamps (1929) for Cranbrook House, and commissioned Bach to fabricate Cranbrook School’s Peacock Gates (after Eliel Saarinen’s drawings) and the Treasury Door (1928) at Christ Church Cranbrook. Other local commissions include The Detroit Players Club (1925), Moulton Manor (1926), the estate of William Scripps (Ellen Booth’s brother) in Lake Orion, and the First National Bank (1927) in Ann Arbor.

One of the four Oscar Bach “conductors” at Cranbrook House, 2004. Mira Burack, photographer.

One of the four Oscar Bach “conductors” at Cranbrook House, 2004. Mira Burack, photographer.

One of the most interesting discoveries I made in writing this post was that the clock used similar elements as doors Bach designed for the new wing of the Toledo Art Museum (1925). They both feature arts and crafts figures – a potter, sculptor, glassblower, draughtsman, metal worker, and bookbinder. In January 1926, Bach received the “Medal of Honor in Design and Craftsmanship in Native Industrial Art” from the Architectural League for his design for the doors so it’s no wonder that he incorporated some of the same elements in the Cranbrook School dining hall clock. I may be a bit partial, but I think our clock is even more magnificent than the doors and I imagine you will too!

Leslie S. Edwards, Head Archivist

 

Transcontinental Threads: Maja Andersson Wirde

One of my favorite parts of my job as an archivist is assisting researchers with locating materials in our collections. Often times a scholar will visit here with a set plan for their research project, and pre-conceived ideas about what they might find here or how the materials in our collections will support their thinking. One of my personal pleasures is when the researcher finds something new or surprising in our collections that changes their course of action. This is exciting on many levels – for them as well as for me!

In August 2015, Swedish author Marie Andersson visited Cranbrook to study the work of the Swedish weaver Maja Andersson Wirde (no relation) in preparation for a monograph on the life and work of Wirde at the request of Wirde’s family. Wirde (1873-1952), an accomplished weaver and textile designer, was asked by Loja Saarinen to come to Cranbrook in 1929 and oversee the operation of Studio Loja Saarinen which was established to design and produce all of the textiles for Kingswood School Cranbrook. As many researchers before her, Marie Andersson found her visit to Cranbrook Archives to be a revelation, and she recently wrote to me that “the Cranbrook chapter became an important part of the book, much more than I thought before I visited you.”

Maja Andersson Wirde (standing) with Loja Saarinen, Studio Loja Saarinen, ca 1930. Detroit News photograph, Courtesy Cranbrook Archives.

Maja Andersson Wirde (standing) with Loja Saarinen, Studio Loja Saarinen, ca 1930. Detroit News photograph, Courtesy Cranbrook Archives.

Prior to coming to Cranbrook, Maja Andersson Wirde had been employed by Handarbetes Vänner (The Friends of Handicraft) in Stockholm from 1907-1929. Her textile designs were represented in international exhibitions including Stockholm (1909 and 1930), Malmo (1914), Gothenburg (1923), and Paris (1925). However, according to Marie Andersson, Wirde’s “time spent at Cranbrook must be looked upon as the most important period” in Wirde’s life as an artist, and she created some of her most significant work while here.

So, what did Marie discover at Cranbrook Archives? Comparing photographs and documents from our collections with images of watercolor sketches from museums and archives in Sweden, Marie and I spent two days of “fantastic co-operation” in order to uncover the extent of Wirde’s contribution to the history of textiles at Cranbrook, particularly Kingswood School.

Watercolour sketch by Maja Wirde (1873-1952), Collection of Smålands Museum, Växjö, Sweden.

Watercolour sketch by Maja Wirde (1873-1952), Collection of Smålands Museum, Växjö, Sweden.

The rug for Reception Room III (Rose Lounge) in situ, Kingswood School, 1932. George Hance, photographer, Courtesy Cranbrook Archives.

The rug for Reception Room III (Rose Lounge) in situ, Kingswood School, 1932. George Hance, photographer, Courtesy Cranbrook Archives.

Prior to Marie’s visit, Wirde was known for her work as the shop supervisor at Studio Loja Saarinen, the weaving instructor at Kingswood School, and for her designs for several rugs and textiles for Kingswood School, including the fabric for the dining hall chairs and most notably, the large rug for the Green Lobby. However, Loja Saarinen was given credit for the rest. Now, Cranbrook can tell a more inclusive story – for we discovered that it was Maja Andersson Wirde who designed the majority of the textiles for Kingswood School – eleven rugs for lobby/reception halls, all of the curtains and rugs for the dormitory rooms, as well as curtains for the dining hall, study hall, and library! In addition, she designed rugs for the Academy of Art, Saarinen House, and George Booth’s Cranbrook Foundation Office.

While the book, “Trådar ur ett liv: textilkonstnären Maja Andersson Wirde” was published pirmarily in Swedish, there is a translation of the chapter on Cranbrook in the back, and the book features numerous images from Cranbrook Archives. We are so excited to be able to tell a more comprehensive story not only about the objects in our care, but also a key individual in our rich history.

Leslie S. Edwards, Head Archivist

 

Photo Friday: Archival Preservation

Since it is Preservation Week, today’s Photo Friday features an image from one of the collections we have been working to stabilize. For the past few weeks my colleague, Belinda Krencicki, and I have photographed and captured metadata for the watercolor paintings, pen and pencil drawings, and pastels in the James Scripps Booth and John McLaughlin Booth Papers. This information will be used to catalog the items in our Collections Management system. In addition to documenting the works, we re-housed all of the items–placing them in archival folders and interleaving each work to protect it.

Pencil and pastel sketch of the exterior of the Detroit News building, James Scripps Booth, 1917.

Pencil and pastel sketch of the exterior of the Detroit News building, James Scripps Booth, 1917.

The artwork ranges from pastel landscapes, to portrait studies, to automobile racing. The image above is one of my favorites – a sketch of the Detroit News building. I hope you enjoy it too!

Gina Tecos, Archivist

Photo Friday: Diogenes’ Search for an Honest Man

A view of Diogenes. Photographer, Harvey Croze, 1961.

A view of Diogenes. Photographer, Harvey Croze, 1961.

You might not immediately notice the small bronze statue that sits at the top of Hoey Tower’s stairwell at Cranbrook School. The statue is Diogenes – a Greek philosopher best known for holding a lantern and claiming to be on a quest for an honest man. Diogenes is considered to be one of the founders of Cynicism – a doctrine that supports a life in accordance with nature and rejects convention.

George Booth originally purchased Diogenes for Cranbrook House from the Gorham Silver Company in May 1914. One of the many statues he purchased during his lifetime, he bequeathed it to Cranbrook School upon his death.

Diogenes has been depicted throughout the centuries in paintings, drawings, and sculpture. Our sculpture was created by George Edwin Bissell (1839-1920) in 1906. Bissell, who was born in Connecticut, studied in Paris at the Academie Julian, the Academie Colarossi, the Ecole des Arts Decoratifs, and the Ecole des Beaux Arts. In 1876, he studied at the American Academy in Rome. He also served in the Civil War as a private in the 23rd Connecticut (1862-1863) and as assistant Postmaster for the U.S. Navy (1863, 1865).

Gina Tecos, Archivist

Three Women and a Conservator

One of the interesting components of our jobs as collections managers, registrars, and archivists is that we get to interact and learn from conservators in our fields. On Friday, three of us went down to Detroit and met with Giogio Ginkas of Venus Bronze Works. A non-descript warehouse building sported a gray metal door which led us into the lobby gallery where Giorgio has displayed art from his personal collection of metro-Detroit artists, including Cranbrook’s Gary Griffin. Then we walked into the “shop” where his tools and equipment are interspersed with numerous sculptures (primarily metal) in various stages of repair, restoration, and conservation.

Giorgio Ginkas explaining the conservation process for the Wishing Well. Courtesy Cranbrook Archives.

Giorgio Ginkas explaining the conservation process for the Wishing Well. Courtesy Cranbrook Archives.

Currently, Venus Bronze Works has three of Cranbrook’s works in his shop – two are awaiting reinstallation on the grounds, while the metal “arch” from the Wishing Well at Cranbrook House is just undergoing restoration.

Parts of the Wishing Well “arch” removed for restoration. One element was missing so a replacement piece had to be fabricated. Courtesy Cranbrook Archives.

Parts of the Wishing Well “arch” removed for restoration. One element was missing so a replacement piece had to be fabricated. Courtesy Cranbrook Archives.

Orpheus figure, restored and waiting to be reinstalled at Cranbrook Academy of Art (CAM 1931.9). Courtesy Cranbrook Archives.

Orpheus figure, restored and waiting to be reinstalled at Cranbrook Academy of Art (CAM 1931.9). Courtesy Cranbrook Archives.

For more on Venus Bronze Works, including Detroit’s own RoboCop statue, see: http://www.dailydetroit.com/2015/08/24/remember-robo-cop-statue/

Leslie S. Edwards, Head Archivist

Photo Friday: Opening Doors

Today, while up in storage at Cranbrook House, we rediscovered the Master Key for Cranbrook School For Boys, given to George G. Booth in 1927. The locks have changed, after almost 90 years, but it is still fun to see and think about.

Cranbrook Schools original master key.

Cranbrook School original master key.

Bart Simpson: What’s that weird key for?
Ralph Wiggum: That’s Daddy’s magic key. It opens every door in town.
Bart Simpson: The police master key? Oh, Ralph. Do you realize what we can do with…

Like Bart Simpson in This Little Wiggy, what would you do with the Master Key to the Cranbrook Schools? I think I’d eat all the cookies in the dining hall . . .

Leslie Mio, Assistant Registrar

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