The Power of Knowledge

In commemoration of this significant day, Juneteenth, I thought we’d look back at one of many compelling stories in Cranbrook’s history. In the summer of 1970, Horizons-Upward Bound (HUB) offered four new electives that reflected the experimental nature of a project in its sixth year of operation. These electives allowed for innovation and creative thought around topics of particular relevancy to HUB students, investigating issues that still resonate fifty years later.

1969 HUB student photo used on the inside cover of the 1970-1971 annual report. Courtesy of Cranbrook Archives.

Black Creative Writing, taught by Highland Park Community College English instructor Stephen D. Chennault, involved readings, examinations of concepts, and self-directed writing. Students surveyed a Langston Hughes edited short story collection and works by the Black Arts Movement poet, Don L. Lee (later known as Haki Madhubuti). They also explored Black awareness, the role of the Black professional writer, and created skits centered on Black life, in what Chennault describes as a “careful observation of their niche in today’s America.”

The Black Contributions course was co-taught by Wayne State University interns, Ervin Brinker and Fred Massey, and grew out of the Black History course of the two previous summers. Refocused with a more contemporary slant, students studied organizations such as the Black Panther Party, the Student Non-Violent Coordination Committee, and the Southern Christian Leadership Conference. Reporting on the course, Brinker and Massey observed that “both instructors and students were sensitized to the realization that solutions to racial problems are imbedded in institutional living patterns of long standing, protected by mazes of barrier that must be recognized and understood if they are to be nullified.”

George W. Crockett Jr., 1968. Courtesy of Walter P. Reuther Library.

Law was team taught by Detroit attorney Michael Brady and University of Wisconsin law student Norman Prance. Half of class time focused on criminal law, which included examination of Yale Sociology Professor Albert J. Reiss’ 1967 study of police brutality and discussion of the Wayne County Juvenile Court. The subject culminated in a field trip to the Detroit Recorders Courtroom of Judge George Crockett Jr., a civil rights advocate known for confronting the practice of race-based sentencing.

Ben Snyder and Horizons scholarship students, 1968. Courtesy of Cranbrook Archives.

In the course, Power, developed by HUB founder and director Ben M. Snyder, students explored the idea of power through a combination of contemporary theory and current realities. Stemming from two works: Adolf Berle’s 1969 Power and Nathan Wright’s 1968 Black Power and Urban Unrest, the course addressed complicated regional situations, such as the redistricting of Detroit schools. When replying to a question regarding the value of the course to his future, one student remarked, “As long as I am more aware of the American way of working power, it should make me more alert.”

Cover illustration by David McMurray for The HUB 101 Literary Magazine, 4 (Summer 1970). Courtesy of Cranbrook Archives.

A tradition since 1967, the Literary Magazine, a sampling of writing and art produced by HUB students, is perhaps the most important summation of the student experience. Against the backdrop of the civil rights movement, national Vietnam War protests, and the beginnings of an economic downturn that would hit the Detroit metro area hard, the Summer 1970 issue reflects powerful emotions. It’s clear to see that these four thought-provoking electives left a profound effect on students’ views of American society and their role in it. With titles like Discrimination, Revolution, Black Power, Choice of Colors, The Man, The Militant, and Pride, the poignancy of their voices is striking and remarkably germane to events, both then and today.

Deborah Rice, Head Archivist, Cranbrook Archives Cranbrook Center for Collections and Research

What’s in a Brick?

There are many beautiful bricks around Cranbrook’s campus. From the Roman brick details at Cranbrook School, the buckskin “Cranbrook brick” at the Academy and Institute of Science, or the beautiful green and gold bricks of Kingswood, Eliel Saarinen was a master of the ancient building material.

The richness of this legacy made architects Tod Williams and Billie Tsien extremely diligent in specifying materials for their own addition to campus, the Williams Natatorium. Completed in 1999 and sited within the heavily wooded area adjacent to the Saarinen-designed Keppel Gymnasium, the 26,000-square-foot swimming facility features very few details that are not custom made. This includes the bricks.

The entrance to the Cranbrook Natatorium, showcasing purple Norman brick, glazed blue and green brick, concrete, and lead-coated copper. Courtesy Cranbrook Center for Collections and Research.

The architects wanted glazed bricks (a material famously used by Eero Saarinen at the General Motors Technical Center), but they couldn’t find any product available on the market that meet their needs. Project architect Martin Finio told Construction Association of Michigan Magazine (Fall 2000) that:

Typical glazing tends to resemble a painted surface. The glaze becomes the object of interest. The brick behind it could be anything. What we were interested in was trying to find a way of glazing brick in such a way that you can feel the body of the brick through it.

The architects turned to Endicott Clay of Fairbury, Nebraska to help craft custom glazed brick, with a base of ironspot brick the company already produced. In ironspot bricks, manganese in the clay creates dark spots when fired. The goal for Cranbrook was to have these spots remain visible behind the glaze.

After receiving dozens of sample test glazed bricks that weren’t what the architects wanted, Martin Finio, Billie Tsien, and project manager Gary Scheuren traveled to Nebraska to learn more about the process and to work on getting the Natatorium bricks just right. When they arrived, Tsien saw a stack of samples Endicott Clay had deemed failures, rejected, and never sent to the architects in New York. Within the trash pile was the exact finish the architects wanted. Endicott Clay simply reverse engineered the once-rejected bricks and made enough mottled blue and green glazed bricks for the building.

Beyond the colors’ ties to water and earth (appropriate for a pool in the woods), the specific shade of blue and green have special Cranbrook associations. The blue is the famed “Grotell blue” of Cranbrook’s longtime Head of Ceramics, Maija Grotell, while the green relates to the lovely shades of aqua used by Pipsan Saarinen Swanson inside Kingswood and that building’s great patinated copper roof.

The Norman bricks above the green glazed bricks. Notice the raked horizontal mortar lines. Cranbrook Center for Collections and Research.

Alongside the glazed bricks, the architects specified manganese ironspot Norman bricks in deep purple. Norman bricks are longer than standard bricks and enhance the horizontality of the building. Using a tradition made famous by Frank Lloyd Wright and also used by Eliel Saarinen at Cranbrook, the horizontal mortar is raked and the vertical mortar is flush, casting the horizontal joints in shadow and increasing the sense of compression across the façade.

This hinge joint of blue glazed and purple Norman bricks terminates the east-west axis running from George Booth’s office in Cranbrook House, past the Art Museum and Orpheus fountain, and to the Natatorium. Daniel Smith, photographer. Cranbrook Center for Collections and Research.

Other materials used on the exterior of the Natatorium include cast in place concrete (sandblasted to give it a warmer feel and richer texture), warm toned ground-faced concrete block (custom made in Grand Blanc), Honduran mahogany, Mexican river rock, and Pietra Cardosa Italian slate.

—Kevin Adkisson, Curatorial Associate, Cranbrook Center for Collections and Research

Cranbrook, Way Back

When we consider historical records, even digital ones, our thoughts do not usually extend to websites. Yet, just like student newsletters or exhibition catalogs, Cranbrook’s website is a compendium of institutional information regarding the people, places, and things that make it unique.  As we ourselves shift evermore towards online existences, one focus of the Archives has been on how to ensure Cranbrook’s virtual legacy.

I’m sure everyone is familiar with the expression, “What goes on the internet, stays on the internet,” or some variation thereof. Cranbrook is no exception. Fortunately, there is the Internet Archive. A non-profit American digital library, it has been saving public websites since 1996. And, courtesy of its web archives, the Wayback Machine, Cranbrook’s evolving web presence has been captured over time from its beginnings in the mid to late 1990s to today. [Interesting aside: through the Internet Archives backup protocol, Cranbrook is a part of the Bibliotheca Alexandrina, the current incarnation of the famed ancient Library of Alexandria!]

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Cranbrook home page as it looked in 1997. Courtesy of the Internet Archive.

One of the quickest ways to get a snapshot of what was going on at Cranbrook in the last twenty-three years is through its website.  Get lost in Cranbrook 1997 by clicking on the above homepage image and navigating through the still active links.

How about exploring Cranbrook 2007?

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Cranbrook home page as it looked in 2007. Courtesy of the Internet Archive.

There are only 1,450 more site captures to delve into, if you’ve got the time! While the interactive websites of Cranbrook’s past can be accessed in this way, it is important to note that the information and files used in their creation form part of the over two million items at the Archives. For example, the main homepage image from the 1997 website, the Woodward Entrance Feature, can be found in the Archives’ Architecture Slide Collection.

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View of the entrance feature from Woodward Avenue at sunset, 1996. Dan Hoffman, designer. Balthazar Korab, photographer. Copyright Balthazar Korab/Cranbrook Archives.

As increasingly digital files become the only documentation of Cranbrook activities or events, its websites are more integral to understanding the context of these records. The Archives continues to expand its digital capabilities to keep pace. In the near future, we hope to provide our own copies of Cranbrook’s various websites (with keyword search capability), side by side with the digital records from which they were created.

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Deborah Rice, Head Archivist, Cranbrook Archives Cranbrook Center for Collections and Research

Cranbrook’s Crazy Clubs

Most high schools have a lot of clubs in order to foster the interests of their students. Since opening in 1927, Cranbrook School for Boys has had its fair share of extracurricular activities. There has been a Biology Club, a Pre-Med Club, and a club for the boys that had earned their Varsity letter (called the “C” Club). But, there have also been some clubs that were not so traditional.

Amateur radio, also known as ham radio, was quite popular at one time. The boys at Cranbrook started their own Radio Club with the help of Science teacher William Schultz, Jr.

Boys sit around a ham radio.

Radio Club members listening to the radio, July 1935. You can see the station’s call sign on the wall: W8LME. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

Then there was the Model Club, which was for boys who enjoyed making models, judging from the picture, mostly of airplanes.

A group of boys standing behind a table of model airplanes

The Model Club, 1952. From left: Faculty Advisor Richard Gregg, David Higbie, Don Young, David Morris, President Richard Gielow, Adams McHenry, Don Hart, Pete Dawkins, Dahmen Brown, Jerry Phillips. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

A Drama Club is not an unusual thing to have at a school, but Cranbrook’s club has an interesting name: Ergasterion Club. Ergasterion is the Greek name for the workshop of craftsman.

Group of boys sitting on a stage.

The Ergasterion “Erg” Club is Cranbrook School’s dramatic society, April 1960. First row, left to right: Louis Beer, Templin Licklider, Jr.; second row: Rick Strong, Bill MacLachlan, Henry Weil, Mike Hilder, Phil Weisenbarger, Richard Foster; third row: Gregg Carr, Boris Nicoloff, Bill Thompson, George Roth, Mitchell Grayson. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

I guess a Rifle Club is not that unusual either, but their yearbook photo was just too great not to share!

A group of boys posing with rifles on a hill

Cranbrook Rifle Club, November 1968. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

In the great state of Michigan, we have a lot of lakes. That is what must have inspired the creation of the SCUBA Club.

Group of boys in SCUBA gear standing in a fountain. of

Cranbrook School SCUBA Club, 1968. From left Thomas O’Hara 69′, Robert O’Hara 70′, Edward Soudeck (language instructor), Thomas Strickland 70′, Marlin Atkinson 70′, Donald Rosiello 70′, and Richard Genthe 70′. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

Today, Cranbrook Schools (co-ed since 1984) continues to have a wide variety of extracurriculars; just ask the members of “The Beyond Earth Club (Space Club)” or the Namtenga Club.

– Leslie Mio, Associate Registrar

Marthe Julia LeLoupp

Marthe Julia LeLoupp, born October 10, 1898, in Plogoff, Finistere, France, was an original faculty member of Kingswood School, where she taught French from 1930-1956. Having completed the Diplȏme de fin d’études at the Lysée Brizeaux, Quimper, Finistere, France in 1917, LeLoupp then completed her BA at Macalester College, St. Paul, Minnesota in 1920. She later completed graduate work at the University of Chicago (1929-1931) where she worked on an MA Thesis: Influence du Breton sur le français régional en Bretagne. With teaching experience in schools and colleges in Minnesota, South Dakota, New York, New Jersey, and Indiana, LeLoupp arrived at Cranbrook in 1930.

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Marthe LeLoupp, 19 Feb 1952. Photographer, Harvey Croze. Cranbrook Archives.

Correspondence with LeLoupp in the Kingswood School Records is limited but suggests that she would return to France each summer. A letter from LeLoupp, written in Paris on September 17, 1939, tells how she left America in June with ticket safely tucked in her purse for a return September 6th on the Normandie. But, the declaration of war had made this impossible and her ticket had been passed, initially to the DeGrasse to sail on the 13th and then to the Shawnee, due to depart Bordeaux on the 22nd. The Shawnee, she explains, had been, “sent to the rescue of a few hundred thousand American citizens, who are anxiously waiting for transportation westward.”  On arriving to Bordeaux on September 22, 1939, Le Loupp writes that they were told, to their great dismay, that the Shawnee would not sail until the 26th. While LeLoupp’s letters were on their way to Cranbrook, Ms. Augur [Kingswood School Headmistress, 1934-1950] was searching for LeLoupp, first sending a telegram and then consulting the American Consul. LeLoupp’s mother returns Ms. Augur’s telegram with a letter explaining her daughter’s situation. Discovering this story recently, I wondered at the extraordinary resonance with current concerns for travelers, and for those unable to complete their journeys.

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Telegram, Ms. Augur to Mlle. LeLoupp, September 23, 1939. Cranbrook Archives.

Despite the harrowing circumstances, LeLoupp did eventually make it across the Atlantic. She continued to teach French at Kingswood School until July 1956, when she writes from Bénodet in France to request to be released from her 1956-57 contract due to poor health, ending the letter, “I find it impossible to express my regret in words.” Not much else is known about LeLoupp’s time at Cranbrook, except that she lived for twelve of her years at Cranbrook in the apartments above Kingswood School, which were converted in 1945 from the ballroom known as Heaven. In the KBC [Kingswood Brookside Cranbrook] Quarterly of May 1973, LeLoupp was remembered thus,

“a “beautiful person” with a “super smile”. She was “sweet and kind” and always beautifully dressed in classic tweeds. Peering over her bi-focals at her students and reciting in her strong French accent the terrible weekly dictes that no one could understand, she was one of those who inspired her girls to excellence or accomplishment in French that is still one of Kingswood’s greatest assets”.

Laura MacNewman — Associate Archivist

 

The Skyline is a Promise

Cranbrook Archives houses an impressive collection of motion picture films, many of which offer depictions of student life at Cranbrook Schools. These films uniquely capture what it was actually ‘like’ to be on campus at a given moment in time, and potentially present perspectives not captured in official written documentation. One such film, The Skyline is a Promise, from the Horizons-Upward Bound Records, is an excellent example.

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Filming on Cranbrook School campus, 1966. Copyright Cranbrook Archives.

The Horizons-Upward Bound (HUB) program, then in its 2nd year, was self-described as “An Experimental Enrichment Program.” In conjunction with representatives from Detroit Public Schools and Oakland County Schools, the program’s objective was to provide low-income Detroit area high school students with opportunities for future success in academics and in life. The creation of Cranbrook School teacher, Ben Snyder, who served as its director for twenty-four years, HUB was the only program of its kind at that time.

Skyline was produced, directed, and filmed by Wayne State University Audio-Visual Productions during the summer of 1966, and was intended both as a promotional piece and an educational aid. The 16-minute short film captured every aspect of the program. Raymond Maloney, a HUB English instructor from Cranbrook School, wrote of the experience in the 1966 Annual Report: “At times, the dining hall, classrooms or dormitories took on all the aspects of a movie set complete with eighty-eight willing actors.” Students not only were eager participants in front of the camera but also learned about what was involved behind the camera, thanks to one of the film’s producers.

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Wayne State University film crew, 1966. Copyright Cranbrook Archives.

Funding for the film was provided by an anonymous donor, supplemented by funds from the program’s Ford Foundation grant. According to a May 25, 1966 letter, the script was written by George H. Bouwman, Director of Development, Horace Mann School, Bronx, NY. The soundtrack was a mix of guitar music, sound effects, and voice-overs from both the narrator and student interviews, also conducted by the film crew. The film’s title was taken from The Wanderer of Liverpool by John Masefield, Poet Laureate of the United Kingdom (1930-1967):

Go forth to seek: the quarry never found

Is still a fever to the questing hound

The skyline is a promise, not a bound.

Beginning in the Summer of 1967, the film was circulated for a $5 rental fee throughout the U.S. (with accompanying report) to other independent schools considering establishing a similar program. Made at the suggestion of the National Association of Independent Schools, it was shown in its first year at 36 member schools in 18 states, 6 school conferences across the country, and 14 other organizations including the Education Departments of Wayne State University and the University of Michigan.

That same summer saw a watershed moment in Detroit history: civil unrest with profound ramifications for the city’s inhabitants, which included sixty Horizon students and their families. A full page in HUB’s 1967 Annual Report expresses appreciation to those who particularly helped navigate the complexities of the situation, including Detroit educators, clergy, business leaders, and local figures, such as Detroit Tigers player Al Kaline. Cranbrook would continue to have ties to Detroit institutions through its HUB program, like the relationship it formed with New Detroit in 1968. This summer, HUB will celebrate its 55th anniversary, remaining an important link between Cranbrook and its Metro Detroit neighbors.

Fifty-four years later, Skyline transcends its original intent and gives us a window into the experiences of a specific group of students at Cranbrook during a tumultuous time in our region’s history. The film, like many others in the Archives, is currently undergoing review for reformatting to digital media for access and preservation of the originals, so that their stories are not lost to future generations.

Deborah Rice, Head Archivist

In the Archives: My Senior May Experience

I went into my Senior May Project hoping to find the “secrets” of Cranbrook. On the second or third day, Mr. Adkisson asked Desai, another Senior May student, and me why we chose the Archives. I said because I wanted to learn more—and because I thought it would be easy. What I meant to say is that I thought it would be low stress. Even though I didn’t uncover any “secrets,” I learned a lot about the history of Cranbrook Schools and had a very enjoyable (and low stress) Senior May experience.

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Aya Miller, CKU ’19, at work in the Archives Reading Room. Photo Kevin Adkisson.

My project was primarily scanning copies of The Cranbrook Kingswood Crane-Clarion to create a database of The Crane and moving the archival files to different shelving units. Along the way, I helped out with other Archives related tasks that came up. These included transferring larger files to and from Thornlea Studio, preparing displays for small tour groups, and picking out photos that could be used on the Center for Collections and Research Facebook page.

One of the high points of my experience was a task we did on the first day. Laura MacNewman, my supervisor, Mr. Adkisson, Desai, and I went to Christ Church Cranbrook in search of a friar within the Women’s Window. The friar was an insignia from the designer and glassmaker who constructed the window. We took a very narrow staircase, hidden in the wall, up to the bottom of the window. The area was so small that Mr. Adkisson could barely walk over with his tripod to take the picture. While we were up there, they turned the lights out in the main sanctuary. The daylight filtered in through the stained-glass window and gave the church a faint pink tint. I was awe struck; it was simply stunning. I felt like I was in a picture from National Geographic. That view and many other small things I learned helped make my time in the Archives memorable.

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A view from the Women’s Window at Christ Church Cranbrook. Photo by Aya Miller, CKU ’19.

As for scanning, I learned a lot about stories that were covered in the past. In the March 2006 issue of the Crane-Clarion there was a two-page article called “The Problem of ‘Self-Segregation’ at Cranbrook.” The article covered how minorities often group together and how white students don’t notice that the majority of their friends, as well as the majority of the school, is white. It takes editors that find these issues important to bring them to the forefront. Although for many it may be an uncomfortable subject, it is a necessary one to discuss.

I also read interesting articles about the removal of a Robert E. Lee statue that used to stand in Gordon Hall of Science. In reading the articles, I was surprised that the students had many contrasting opinions. Some people quoted were against the statue’s removal because they saw Lee as an American hero in terms of his post-War accomplishments and his fight for states’ rights in the Civil War. In the end, the faculty choose to remove it because Lee’s role as a leading general in support of slavery during the Civil War was offensive to many students and families. The coverage opened my eyes to different opinions and reaffirmed my belief that there are always many sides and opinions to a situation.

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Opinion section of The Cranbrook Kingswood Crane-Clarion, February 2005. Courtesy of Cranbrook Archives.

To put it simply, Senior May was great. The Archives was a relaxing and enjoyable place to work for the last three weeks of my Senior Year. I’m proud that I was able to help and make a difference, even if it was a small one. In fact, I enjoyed it so much that I’ll be staying on throughout the summer to continue working as a volunteer. I’d like to thank those who work at the Center for Collections and Research as well as my supervisor, Laura MacNewman, for welcoming and hosting me.

Aya Miller, Cranbrook Kingswood Upper School 2019

Editor’s Note: The Senior May Project is a school-sponsored activity that encourages Cranbrook Kingswood Upper School seniors to acquire work experience in a field they are considering as a college major, a potential profession, and/or as a personal interest.

Aya Miller is a native of Kalamazoo, Michigan, and has been a boarding student at Cranbrook since 2015. Aya will be enrolling at Western Michigan University in Kalamazoo this fall. The Center thanks her for her tireless efforts scanning important documents about Cranbrook’s history, and her volunteering to continue with us this summer. We know she will be a success as she embarks on the next phase of her education!

 

Katharine Rogers Adams, Kingswood School Headmistress 1931-1934

Katharine Rogers Adams was the Headmistress of Kingswood School from March 1931 through June 1934. The Announcement of Kingswood School brochure of 1931 tells us that she was born and educated in Philadelphia and later graduated from Wellesley College in Massachusetts. She taught in the high schools of New York and Connecticut for seven years and was awarded Master of Arts and Doctor of Philosophy at Cornell University. From 1926 until 1931, she was a professor of history and dean of the faculties of Mills College, California. In March 1931, she was selected as Headmistress of Kingswood School, following the resignation of Miss Gladys Adams Turnbach in December 1930.

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Katharine Rogers Adams Kingswood School Annual, 1932 1980-01 31:15 Copyright Cranbrook Archives, Cranbrook Center for Collections and Research.

Despite the financial crisis of the Depression during Adams’ Principalship, she was successful in leading the school through the financial challenges of those early years, as well as championing its extensive library and establishing traditions such as the Christmas play, Honors’ Day, and yearbooks (see Clark, 2006, pp.57-58). From delving into the records to find out more about Adams, the story that engaged me was her involvement in the development of fine arts education. Faculty of the Cranbrook Academy of Art were employed to provide art education, with Maja Andersson-Wirde teaching Arts and Crafts in 1932-1933, and during the 1933-1934 academic year, students began to be taught painting by Zoltan Sepeshy, sculpture and drawing by Marshall M. Fredericks, and weaving by Lilian Holm.

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Letter from Katharine Rogers Adams to Eliel Saarinen, May 24, 1934
Kingswood School Records (1980-01, 13:3)
Copyright Cranbrook Archives, Cranbrook Center for Collections and Research.

The discussion of art and science in education flourishes during Adams’ three years as Kingswood Headmistress and continues thereafter, with many drafts of statements to articulate the Cranbrook approach—the image below shows one version as edited by Eliel Saarinen in 1934. If the art of language is to clearly achieve understanding or to generate inspiration for thought, through words, I found this much accomplished in the following statement within a letter from Saarinen to the Cranbrook Foundation:

“To begin with this must be stated: the problem of “art” is to create new values, contrary to the problem of “science” which is the discovery of existing values” (Eliel Saarinen, Letter to the Cranbrook Foundation, Sept. 25, 1935).

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Precepts Governing the Cranbrook Educational Development, Eliel Saarinen, 1934
George Gough Booth Papers, (1981-01, 19:33)
Copyright Cranbrook Archives, Cranbrook Center for Collections and Research.

The founders’ wish for students to develop an appreciation of art, and a knowledge of its history, toward the betterment of human life, is embraced by Adams, who was also well-accomplished in the art of language. In her address, ‘Many Mansions,’ at the first graduation ceremony for Kingswood School held on June 13, 1932, she speaks of another form of architecture—a mansion of character that houses an independent mind and an active soul inspired by learning and beauty and courage:

“Do we ever stop to think, to realize that we are builders, whether of this or of that? That every mental and physical action of ours is building? We would build well, you say, but to build we must have power, and to have power we must have knowledge, and in the words of Dante—‘knowledge comes of learning, well retained.’”

Adams’ address is scattered with poetry and literature, including that of Alan Seeger, Robert Browning, and Oliver Wendell Holmes, Sr., as well as recollections of others from Lord Balfour to Leonardo da Vinci. But Adams is in harmony with the thoughts of George Gough Booth, that the words or stories of others are helpful insofar as they stimulate you to be “your own very best self” (see ‘Notes for an address not used’, late 1930s. George Gough Booth Papers, 1981-01, 1:20). Thus, she advises her graduands:

“Seek the one truth to your problem; there can be but one truth as there is but one sun. But build your mansion with many windows, the sun will shine through all.”

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Diploma Day Address, ‘Many Mansions,’ by KRA, Ph. D., Principal, on the occasion of the first graduation exercises Kingswood School Cranbrook, June 13, 1932, Kingswood School Records (1980-01 22:9) Copyright Cranbrook Archives, Cranbrook Center for Collections and Research.

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Although in February of 1934, Adams initially sought and gained an extended summer leave for rest and repose, she resigned on May 23, 1934, at her physician’s recommendation.

– Laura MacNewman, Associate Archivist

Sources:

Elizabeth C. Clark. (2006). Beside a Lake—A History of Kingswood School Cranbrook. Cranbrook Press. pp.57-58

George Gough Booth Papers, (1981-01, 19:33)

Kingswood School Records (1980-01, 1:2-3, 6; 12:4; 13:3; 15:2; 22:9; 24:8; 31:15)

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

A Hunter of Taos

Earlier this week, as part of our regularly scheduled inventory and evaluation of cultural properties, I took a specialist from Sotheby’s New York to see a painting a bit off the beaten track of Cranbrook’s usual spots to find art. Hanging in the Cranbrook Kingswood Middle School for Boys, A Hunter of Taos is an incredible work by the American painter Oscar Edmund Berninghaus.

A Hunter of Taos

A Hunter of Taos, 1926
Oscar Edmund Berninghaus, American, 1874-1952
Oil on canvas, 34 x 39 in.
Gift of Henry S. Booth to the Cranbrook School

The painting shows a male American Indian proudly standing with a bow and arrows, while horses and riders pass behind through a rocky landscape and trees aglow in warm sunlight. The trees are made up of swirling golds, ochres, and greens, their abstraction complimenting the almost impressionistic rendering of the figures immediately below. The central hunter, however, is rendered clearly, with his face set immediately in front of a draped white fabric and his gaze looking back at the viewer. The scale of the painting, about three-feet square, is impressive. But why is it here in the Boys Middle School, or even at Cranbrook?

First, let’s step back a bit further to the artist himself: Oscar Edmund Berninghaus (1874-1952). A native of St. Louis, he began his career as a commercial lithographer, draftsman, and illustrator. He explored painting as a fine art through classes at Washington University and at the St. Louis School of Fine Arts, where in 1899 the twenty-five year-old was awarded a month’s long paid journey westward by the Denver and Rio Grande Railroad. On this trip, Berninghaus was introduced to beauty and culture of the American Southwest, particularly Taos, New Mexico.

The Taos Pueblo, in north central New Mexico, is one of the oldest continuously inhabited places in North America, with the Pueblo people settling there over one-thousand years ago. It became a popular spot for artists in the late-1890s, and by 1910, Berninghaus was making annual pilgrimages between Taos and St. Louis. In the winter he would work on his lithography and commercial mural work to finance summers at Taos. There, he painted Native Americans, their horses, scenes of daily life, and the landscape. In 1915 he became a founding member of the Taos Society of Artists, composed of European-Americans who came to Taos to paint American Indian subjects. Berninghaus claimed he was “infected with the Taos germ” and was “fascinated by the people, the Indians and Mexicans, the adobe architecture, the sagebrush, the mountains; they all inspired me as a subject matter.”

In 1925, Berninghaus relocated permanently to Taos. He painted landscapes, animals, and scenes of daily life in the pueblo and village. In A Hunter of Taos, the model was Santiago Bernal, a Pueblo farm laborer and frequent model for Berninghaus. In a letter to a newspaper in 1927, Berninghaus wrote, “I think the colony in Taos is doing much for American Art. From it I think will come a distinctive art, something definitely American–and I do not mean that such will be the case because the American Indian and his environment are the subjects. But the canvases that come from Taos are as definitely American as anything can be. We have had French, Dutch, Italian, German art. Now we must have American art. I feel that from Taos will come that art” (as quoted in Pioneer Artists of Taos, p. 98).

Our painting, considered one of the artist’s finest, was first exhibited at New York’s National Academy of Design in its 1926 Winter Exhibition. The work won the Second Altman Prize, one of several awards given out by the Academy of Design. On June 6, 1927, Henry Booth purchased the painting from the artist.

North Lobby with Taos Painting

View of A Hunter of Taos in the North Lobby, Hoey Hall, Cranbrook School. 1928. Peter A. Nyholm, Photographer. Cranbrook Archives.

After Booth purchased the work, the painting hung in the north lobby of Hoey Hall for the opening of Cranbrook School for Boys in September of 1927. Henry formally presented the painting to Cranbrook School on October 18, 1927. In the last half of the century, the painting was moved to the new Cranbrook Kingswood Middle School for Boys, where it hangs in a small lobby for administrative offices. Examining the painting Tuesday, we saw it is in excellent condition, and I appreciated that it’s in a spot where many young men and their parents have a chance to sit and appreciate it. It’s one of the great assets of Cranbrook that the campus is sprinkled with great art in all of our buildings—I think it’s a big part of what makes this place so magical.

– Kevin Adkisson, Collections Fellow, Cranbrook Center for Collections and Research

NB: If you want to learn about another Cranbrook connection to the Southwest and the Pueblo people, revisit this excellent post on Amelia Elizabeth White and her gift of Native American art and artifacts to the Cranbrook Institute of Science in 1937.

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