Photo Friday: Grotell & Himelhoch’s

In November of 1942, Maija Grotell displayed her wares among the latest fashions in the windows of Himelhoch’s department store in downtown Detroit. Grotell, Head of the Academy’s Department of Ceramics from 1938 to 1966, placed her vases, pots, and plates in a stage-set ceramics studio, replete with a painted kiln, bottles of glazes, and a potter’s wheel (made of what appears to be Papier-mâché).Grotell Himelhochs 1The clothes related directly to the vessels, with the sign reading: “Ceramics: Wonderful Muted Colors To Wear Under Winter Coats Inspired by Maija Grotell’s Ceramic Masterpieces.” Himelhoch’s sold the clothing, while the Grotell works were sold through the Detroit Artist’s Market.

The images are attributed to photographer Joseph Munroe, November 2, 1942.

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

NB: Himelhoch’s opened in 1907 and was on Detroit’s Washington Boulevard from 1923 to 1977. The lovely building is a National Historic Landmark and survives today as apartments.

Saarinen/Slade House

When incoming Academy President Roy Slade arrived at Cranbrook in July 1977, the President’s House (known, off and on, as Saarinen House) was in need of a refresher. Three other families had lived in and changed the aesthetic of the house following Eliel Saarinen’s death in 1950, and the house was a far cry from Saarinen’s design intent. Slade worked with designers Jean Faulkner and Carl Magnusson (then Director of Graphics and Showroom Design at Knoll) to rework the house into something befitting the new President of the Academy.

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Saarinen House, February 8, 1978. Norman McGrath, photographer. Courtesy of Cranbrook Archives.

The original Saarinen-designed furniture had been spread throughout the campus and Museum, and in the redesign much of it was returned for use in the house. But instead of restoring rooms to their 1930s appearance (that would happen a decade or so later), the house was kept as a blend of old and new. “Gibraltar Ash” off-white wool wall-to-wall carpeting by Jack Lenor Larsen stretched between the foyer, living room, dining room, and library, making the main room of the house feel like one continuous open space. Furnishings and art pieces by Cranbrook (and Cranbrook-adjacent) artists and designers from many decades–not just the 1930s–were blended together into a comfortable, deliberately eclectic look. The 1977 interiors of the house were featured in local papers and even included, with text by Paul Goldberger, in Living Well: The New York Times Book of Home Design and Decoration (1981).

It’s interesting in these photos by Jack Kausch how well the space works, but how alien Saarinen’s furniture seems to be! Particularly in the dining room–the holly wood table and brass fixture are decontextualized by the foreign whiteness of the walls, ceiling, and floor. The next restoration, completed in 1994, brought back Saarinen’s rich color scheme and variety of materials–including the gilded ceiling.

If you’d like to learn more about the later lives of Saarinen House, Roy Slade’s tenure as President of the Academy, and other fascinating Cranbrook Academy of Art stories, come out to visit my exhibition, Saarinen House: Presidents/Residents, 1946-1994, opening later this month.

The exhibition features archival material and works by each former resident: painter Zoltan Sepeshy, who directed the Academy from 1946 to 1966 and moved into the house in late 1951 following the death of Eliel Saarinen; architect Glen Paulsen, who led the Academy from 1966 to 1970 and expanded Cranbrook’s campus with late-Modern additions; Wallace Mitchell, a Detroit native whose career at Cranbrook developed from student to painting instructor, then director of the Art Museum and finally president; and painter and educator Roy Slade, who led the Academy and its Museum from 1977 to 1994. Slade initiated the restoration of Saarinen House in the late 1970s and encouraged and supported Greg Wittkopp (then a curator at the Art Museum) in the transformation of this early modern, Art Deco design treasure into a public house museum in 1994.

The free Opening Reception will take place Sunday, April 29, 2018, from 1pm-5pm (in conjunction with Open Studios) and the exhibition will be included on all tours of Saarinen House through November. Learn more on our website.

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

 

 

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.

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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.

Photo (Shoot) Friday

In preparing for the Center’s upcoming Edible Landscapes Dinner, I came across a series of images from a photo shoot of George and Ellen Booth in the 1940s. Some images were clearly taken in the Cranbrook House Library or Oak Room, but other images were harder to place.

Here, George and Ellen are seated with a magazine, and she is examining a vase. Below (after a wardrobe change), they’re seen opening a package. While it may not look like a room we know in Cranbrook House, they’re in Mrs. Booth’s Morning Room—Mr. Booth’s old office.

With the completion of the West Wing addition to Cranbrook House in 1918, George Booth relocated his office to a larger suite of rooms beyond the grand new Library. His first office, original to the 1908 home, was converted into a Morning Room for use by Ellen. The conversion was spearheaded by the Booth children, who remodeled the space as a Christmas gift for their mother in the 1930s. Mrs. Booth apparently loved the room, and made great use of its bright, cheery atmosphere.

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Ellen Booth’s Morning Room in Cranbrook House, 1952. Cranbrook Archives.

George insisted that the renovation of his old office be reversible to the original Albert Kahn design. You can see in the photographs the seams of the panels that made up the new pale walls. In 1993, the room was returned to its original appearance as George’s office by the Cranbrook House & Gardens Auxiliary.

The images from this photo shoot in the 1940s have been used over the years in various Cranbrook histories and publications focused on the Booths themselves. I’m appreciating the photos for showing a small glimpse into the life of Ellen and her now-gone Morning Room.

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

Metals & Cranbrook House

George Booth was a connoisseur. As an avid collector of beautiful objects, he acquired decorative and fine art to adorn his home, Cranbrook House (and later, the various Cranbrook institutions). One of the most collected categories: metal objects.

He was, after all, descended from a line of copper and tinsmiths. At fifteen, George Booth started a two-year apprenticeship at the Red Foundry in St. Thomas, Ontario, where he learned the fundamentals of the millwright and blacksmithing trades. He expanded his interest in craftsmanship through investment into an ornamental ironworks firm in Windsor (Evans and Booth) soon thereafter.

While he sold his share of the iron business in 1888, Booth continued sketching designs for metal products throughout his life. They’re collected in his sketchbooks . Some of his sketches for gates, furniture, and decorative elements were realized by Samuel Yellin of Philadelphia, while others were completed by local forges, and some simply ideas.

In examining photographs of Cranbrook House from Booth’s lifetime, I’m struck by the careful arrangement of art objects, specifically art bronzes, in the space. In the image above, on the table sits Albin Polasek’s 1917 sculpture Woman with Moon, still on view in the house. (Click images to enlarge)

If you look at enough images of the house, you will realize Booth was constantly rearranging his collection. Here, Eli Harvey’s 1904 work Recumbent Lioness is on the mantelpiece.

Starting in 1915, Booth loaned decorative and fine artworks to the Detroit Institute of Arts, including many bronzes previously on display in his home. In 1919, he gifted ninety-six of these objects (in iron, ceramics, wood, silver, and bronze) to the DIA, where many are still on view. You can flip through the DIA’s 1919 Bulletin describing Booth’s gift (in text and images).

Once Booth began developing the Cranbrook campus, he spent less energy collecting for Cranbrook House. However, the house has on occasion welcomed contemporary design, like the 1950 competition for Cranbrook Academy of Art students for the design of Packard automobiles and hood ornaments.

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Cranbrook Academy of Art students admiring designs for the Packard Motor Competition on display in the Cranbrook House Library, December 1950. Harvey Croze, Photographer. Courtesy of Cranbrook Archives.

Next week, students and alumni of the Academy’s Metalsmithing department will be gathering in Cranbrook House to show their work in the context of the Booth home in an exhibition organized by current students, A Line of Beauty: Cranbrook House Inhabitation. Taking their work out of the typical museum gallery setting (and off of the usual white pedestal) will provide a new framework in which to understand and view their pieces, and will also be a continuation of what George Booth did in his own lifetime: bring new art into the home to be placed among other items of beauty.

I mentioned that George Booth was a connoisseur. Curator and educator Charles Montgomery, who in the mid-twentieth century helped professionalize the genteel ideas of connoisseurship, wrote that the budding connoisseur must learn “to approach every object with an inquiring mind as well as with an inquiring eye.” He continued that “when first looking at an object, it is important to let oneself go and try to get a sensual reaction to it. I ask myself: Do I enjoy it? Does it automatically ring true? Does it sing to me?”

What I look forward to in the pop-up exhibition with the Metalsmithing department is not only the opportunity to see work from students and alumni, but also to view the many objects already in the house in a new light. Montgomery recommends looking at objects with half-closed eyes and from various angles, and next Friday night, I plan to do the same.

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Ye Triumphe Ship, 1918 Henry Brundage Culver, with Untitled, 2017, Adam Shirley, CAA Metalsmithing 2010

A Line of Beauty: Cranbrook House Inhabitation will take place Friday, January 26th from 5:30 to 8:30pm. The presentation is curated and organized by the Cranbrook Academy of Art Metalsmithing Department, and is presented at Cranbrook House through the Cranbrook Center for Collections and Research. All are welcome.

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

Editor’s Note: New works shown are by Adam Shirley, Alberte Tranberg, Natalia Sarrazin, and Iris Eichenberg.

Booth and Birds

In a corner of George Booth’s Old Country Office, there is a door that opens into a blank wall. I became curious about this door to nowhere last year when I was setting up the Center’s holiday display, and so this year’s Christmas scene is inspired by the door’s original purpose.

Around 1919, Booth purchased a blue and yellow macaw and named him Mack. Mack, like all parrots, enjoyed chewing things—Booth’s picture frames, furniture, and the walls themselves. Booth thought getting a second macaw, which he named Jack, might calm Mack’s chewing, but alas, he simply doubled the trouble.

In early 1920, Booth added a flat-roofed glass walled aviary outside of his office to give Mack and Jack their own space (and save the furniture). It was bound by the exterior walls of the office, living room, and library. Accessed through a door left of the fireplace, Mack and Jack were joined by canaries in the aviary, and according to Henry Booth’s memories, every time the canaries sang or the telephone rang, the macaws’ squawk would fill the house.

This ca 1925 view of Cranbrook House shows the exterior window of the aviary, covered with a cabana striped awning, between the bay window of the office and the library wing. Courtesy Cranbrook Archives.

Eventually, the Booth’s gave Mack and Jack to the Belle Isle Zoo. The canaries remained for a time, cared for by one of the maids, Harriet. When she retired, the aviary was disassembled and the window was reused as a kitchen window for Brookside School, where it remains.

For my holiday display, I’ve opened the door to the aviary and staged a scene as if Mack and Jack were just here: destroying a book and leaving their feathers all around. You can find the canaries enjoying themselves around the Christmas Tree.

IMG_0798Also on display in the office, is a series of birds that Booth could have seen on his many walks around the Cranbrook estate–hawks, cardinals, robins, and plenty of ducks (on loan to me from Cranbrook Institute of Science). All are native to Michigan, except for the pheasant which would have been introduced to the area by early settlers. Pheasants, however, love fallow fields and run-down farms—exactly what the land which became Cranbrook was when Booth purchased the property in 1904!

IMG_0799Alongside the taxidermy I’ve included pieces from the Cranbrook Archives: early copies of Institute bulletins on the Birds of Michigan, original artwork from an ornithogist working at Cranbrook in the 1930s, and photographs and short biographies of other bird-related Cranbrook people, like W. Bryant Tyrrell, Walter P. Nickell, and Edmund J. Sawyer.

Come and see the Office display this weekend (December 1-3) for the House and Gardens Auxiliary’s Holiday Splendor event (Friday, 10-4pm, Saturday 9-4pm, and Sunday 12-4pm), visit it with me next Wednesday before or after the Center’s Järnefelt Piano Trio: Jean Sibelius Concert, or at any of the other Cranbrook House events before January 8th.

Kevin Adkisson, 2016-2018 Collections Fellow, Cranbrook Center for Collections and Research

Edna Vogel: Cranbrook’s Other Wright Weaver

Researching in the Archives before a big tour, I came across an interesting person whom I earmarked to come back and examine further. I already knew Loja Saarinen wove textiles for Frank Lloyd Wright, but Edna Vogel’s story of weaving for Wright intrigued me; it turned out there was a bit more to learn about Edna Vogel.

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Edna Vogel in her weaving studio, July 1942. Joe Munroe, photographer. Courtesy of Cranbrook Archives.

Edna Vogel (1901-1953) grew up in St. Louis and studied at a teacher’s college and then Washington University in St. Louis. She wasn’t in love with teaching elementary school, but she did like making costumes, so in the early 1930s she went to New York to study dress design. Not finding the cloth she wanted in stores led her to discover an interest in weaving, and weaving led her to Cranbrook for summer courses in 1939.

Vogel studied at Cranbrook Academy of Art for four summers and two regular academic years, earning her MFA in May 1943. Like so many Academy students, Vogel bounced between disciplines, studying weaving with Marianne Strengell, ceramics with Maija Grotell, and working in the metals shop. She spent most of her time in the ceramics studio, with Grotell commenting in 1941 that Vogel had a “very fine understanding for color and form” and that “her technical research and discoveries are exceedingly valuable.”

Vogel Detail

Ceramics and place-mat by Edna Vogel, made as a student at Cranbrook. Detail of a photograph, June 12, 1941. Courtesy of Cranbrook Archives.

In the early 1940s, Vogel moved into the carriage house of Bloomfield Hills socialite Kate Thompson Bromley, who kept detailed diaries that include information on Vogel’s work and travels. 

Vogel worked in the carriage house with two assistants between three looms (small, medium, and very large), she began weaving placemats, pillows, fabrics, and rugs. The largest rug Vogel wove was for architect Albert Kahn, in a Swedish style, and she wove others for Kahn’s family. She also wove the rugs for Frank Lloyd Wright’s 1941 Gregor Affleck House in Bloomfield Hills. Wright instructed Affleck to use long, strip-like rugs for his living room in order to leave much of the concrete floor exposed. Affleck, who may have met Vogel through Grotell or Bromley, commissioned rugs from her sometime in the early 1940s.

Thrilled with receiving the commission, Edna Vogel set off in her car towards Wisconsin and Wright’s estate, Taliesin. Approaching Taliesin, she became nervous that the famous Wright would not want to see her without an appointment. She ended up knocking on the wrong door of the house, introduced herself to an apprentice, and, to her surprise, being taken into a meeting with Wright. He seemed charmed—with both her and her ideas for the Affleck House rugs. He was so impressed by Vogel that he invited her to come and work at Taliesin as both weaver and ceramicist.

She stayed for a long weekend, but as remembered in Mrs. Bromley’s diaries, Vogel’s chief complaint with Wright’s work centered on his interest in providing functional architecture but not always functional furnishings. Wright did not, Bromley wrote, “aim to make a house and furniture one unit as at Cranbrook,” and so Vogel decided to return to Michigan and remain at the Academy. She completed the rugs for the Affleck House, and at a visit to the house later, Wright’s wife Olgivanna commented that the rugs were the “finest she had ever seen.”

affleck

Edna Vogel’s rugs for the Gregor Affleck House, c. 1941-45. Courtesy of Lawrence Technological University.

At the end of the 1940s, after exhibiting ceramics internationally and producing textiles for homes, Vogel moved to New York. She wanted a place to find new inspiration and focus on her weaving. In South Salem, about thirty-miles north of New York City, she bought a former school house with a first-floor residence and an open studio large enough for her 12-foot loom on the second floor. She produced rugs of various sizes that were noted for their painterly, subtle uses of color, and she maintained an extensive collection of yarns from around the world. Tragically, Vogel died of smoke inhalation in 1953 when a chimney fire spread to her yarn storage.

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Rug by Edna Vogel, displayed at Cranbrook. Photograph, July 30, 1942. Courtesy of Cranbrook Archives.

We have just a few images of Edna Vogel’s works in our archives and I found only a handful more in periodicals in the Art Academy Library. If you know more about her, or where her work lives on, let us know in the comments or at center@cranbrook.edu.

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

Photo Friday: Model Club

Gregg and Model Class

Cranbrook School’s Model Club, March 1952. From left: Faculty Advisor Richard Gregg, David Higbie, Don Young, David Morris, President Richard Gielow, Adams McHenry, Don Hart, Pete Dawkins, Dahmen Brown, and Jerry Phillips. Harvy Croze, photographer. Courtesy of Cranbrook Archives.

This week’s Photo Friday shows the Cranbrook Model Club of 1952—a well-dressed group of Cranbrook School boys and their faculty advisor, Richard Gregg, who met to further their interest and skills at model making. Models, of course, interested Cranbrook’s founder George Booth and are integral to the architectural design process, so its fitting that Cranbrook School had a Model Club.

Model making as a middle-class hobby boomed after World War II, when boys and their fathers were encouraged to take up productive and wholesome pursuits in their leisure time. The broad affordability and availability of plastic model kits meant hobbyists didn’t have to have special tools or carving skills to produce a model—anyone could assemble a kit! Looking closely at the photograph of the Model Club (you can zoom in on the photo here), I believe these are airplanes assembled from such kits.

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Cranbrook School art class with instructor Richard “Dick” Gregg sculpting a bust, 1952. Harvy Croze, photographer. Courtesy of Cranbrook Archives.

The model club’s advisor was Richard Gregg, a 1951 Academy of Art graduate. Born in Kalamazoo, Gregg studied sculpture at the Academy. While a student, he worked on various sets for productions by St. Dunstan’s Theater. Following his studies, he taught art at Cranbrook School for Boys during the 1951-1952 school year. After he left Cranbrook, his love of art and art education continued; Gregg went on to work in museums as a design instructor, a curator, and a director at various places across the Midwest and East Coast.

I don’t know that much about the Cranbrook Model Club, but on this hot, blue-skied Friday, I thought it was a nice moment for a photo of something as leisurely and enjoyable as model airplanes!

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

A Delightful Trip in a White Swedish Ship

Between 1925 and 1939, the Saarinen family made annual trips to Europe, always stopping for a time in Finland. They travelled by sea, usually departing from New York and arriving in Southampton, England or Gothenburg, Sweden. When they sailed directly to Scandinavia, they were abaord the MS Gripsholm.

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The MS Gripsholm in New York City, c. 1951. Courtesy of the Museum of the City of New York.

The Gripsholm was built in Newcastle-upon-Tyne, England, in 1924 for the Svenska Amerika Linien/Swedish American Line (SAL). The SAL was founded in 1914 as a direct Swedish-North American cargo and passenger shipping line, and the Gripsholm was the company’s first luxury liner. She was also the first diesel-engine transatlantic passenger liner, which is why she is the MS (or Motor Ship) Gripsholm. After 1929, all the SAL fleet was painted white, giving rise to the moniker “A delightful trip in a white Swedish ship.”

Aboard the MS Gripsholm, first class passengers enjoyed all the traditional features of luxury transatlantic liners (libraries, writing rooms, gyms, a pool, garden rooms, smoking parlors, bars, etc.), along with distinctly Nordic options, like folk dancing, Swedish foods, and a fully Swedish crew.

Along with the port of Gothenburg’s closer proximity to Helsinki, it was perhaps these northern-European comforts that led the Saarinens, who were Swedish-speaking Finns, to repeatedly choose the Gripsholm for their summer journeys. Aboard the Gripsholm in 1929, this photo was snapped on deck showing Eliel, his son-in-law J. Robert F. Swanson, months-old Bob Swanson, and Eliel’s daughter Pipsan Saarinen Swanson. The family captioned the photo “Last Dash Before the Crash.”

Eliel Bob Bobby Pipsan on the Gripsholm 1929

Eliel, Bob, Bobby, and Pipsan aboard the MS Gripsholm, 1929. Courtesy Cranbrook Archives.

In 1934, Eliel, Loja, Pipsan, Bob, and their now five-year-old son Bobby were again aboard the Gripsholm. On the SAL stationery, Loja wrote a letter back to George and Ellen Booth at Cranbrook. She writes, “I wanted tell you again how happy Eliel and I have been at Cranbrook and how thankful we are to you because you want us there.” She continues:

“So far we are well off although neither Pipsan nor I knew what we took over us in taking Bobbi along. He is like a firework. He is nowhere and everywhere. He hasn’t climbed up the smoke stack yet neither has he ridden on a whale’s back, but he has done other things enough to worry us.”Letter from Loja Saarinen to George Booth_GGB Papers 19-4

On this same trip, a photograph of Pipsan and little firework Bobby was sent back stateside and ran in the local papers here in Oakland County. Pipsan is shown in a fashionable dress and hat, quite possibly of her own design, as at the time she was head of the Academy of Art’s short lived Fashion Department. Pipsan, like her mother, made many of her own clothes throughout her life.IMG_3206

In the Cranbrook Cultural Properties collection, we have the Saarinen’s steamer trunks and suitcases that they used aboard the Gripsholm and other ships. One of the suitcases has its stickers from the MS Gripsholm, still prominently called out in the Swedish pale blue and yellow.

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The Saarinen’s steamer trunks and suitcases. On view now in “Saarinen Home: Living and Working with Cranbrook’s First Family of Design”

During World War II, when the Saarinen’s remained in the States aiding the U.S. war effort and organizing the Finnish Relief Fund, the Gripsholm was charted by the U.S. as a repatriation ship. It carried German and Japanese citizens to exchange points for U.S. and Canadian citizens. Gripsholm (and her neutral Swedish crew) made these exchanges at neutral ports, including Stockholm, Lisbon, Portuguese Goa, and Lourenço Marques. Over 12,000 Americans who had been in enemy territory at the outbreak of war or were prisoners of war returned home aboard the Gripsholm in this diplomatic capacity.

In 1954, SAL sold the Gripsholm to a German company. She was rechristened the MS Berlin and entered into service as a Canadian immigration ship, sailing from points in Europe to Pier 21 in Halifax (the Ellis Island of Canada). The ship was retired and scrapped in 1966, but an image of the Gripsholm (in her Berlin livery) lives on in the Canadian passport!

Copies of the Saarinen’s letters sent from the Gripsholm, photographs of the family about the ship, and the trunks and suitcases used by the family are all currently on view in “Saarinen Home: Living and Working with Cranbrook’s First Family of Design” in Saaarinen House, open for tours Friday and Saturdays at 1pm and Sundays at 1 & 3pm through the end of July. Tonight is our last Finnish Friday, where there is an open house at Saarinen House and games and cake in its courtyard, also, the Cranbrook Art Museum will be open; there are Finnish-related treasures out in the Archives Reading Room; and a cash bar on the Peristyle. Come on by for our last Finnish Friday!

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

Dessert with Décor in Mind

Back in the winter of 1941-1942, the fashion editor of The Milwaukee Journal, Aileen Ryan, visited Loja and Eliel Saarinen here at Cranbrook. She published an article about her day at the Academy and dinner in the Saarinens’ remarkable home on January 18, 1942: “Furnish Home According to Principles of Architecture” (The Milwaukee Journal, section 7, p. 9).

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Dining Room set for a tea, c. 1994, Copyright Cranbrook Art Museum and Balthazar Korab

Ryan vividly describes the ceremonial nature of dinner in the dining room of the house, how hospitality, art, architecture, and food intersect in a totally beautiful and complete way. She writes:

“The dining room is at the left of the entrance and gleams a golden welcome to guests. Light is reflected from a gilded dome ceiling back to the top of the round table made of rays of harewood inlaid with ebony in a way that suggests the sun. Places are set on circular doilies of yellow linen block with black figures which the Saarinens’ son, Eero, made when he was a child. On these are black plates, on these folded yellow napkins and on top of these yellow cups and saucers. Each guest unpiles his cup to get his napkin as the plump brass coffee pot is brought around. It’s delicious coffee and amber enough as it streams from the slender spout to fit into the color scheme.

“Mr. Saarinen looks vastly amused when he tells us the chairs, with their Spanish comb look and sunny as the table itself, are made of Hollywood. He has designed them as he has the other furniture in the house, and they are dramatic. The walls of this golden room, seeming sunny on a gray and snowy day, are of waxed California pine. One of them is nearly covered with a Finnish tapestry made by Greta Skogster in soft terra cotta tones. The ombre [sic] shaded carpet is creamy white and brown.”

She ends the description of dinner:

“A pineapple upside down cake is part of the edible harmony, but Mrs. Saarinen refuses to admit she serves food to carry out the architectural scheme.”

Last weekend we reopened Saarinen House for tours, and many of the items Ryan describes are again on view in the house (the yellow place mats, the black dishes, the golden coffee pot, etc). And on Friday night, as part of our first Finnish Friday, we even brought back pineapple upside down cake! Sweet and Savory Bakery in Oxford, Michigan, generously donated plenty of pineapple upside down cake for guests to enjoy. Without Loja’s recipe but trying to be historically accurate, we used a recipe found in Good Housekeeping in February 1938.

Good Housekeeping Feb 1938 p 167

“Hit ideas for any meal with pineapple taking the lead,” Advertisement in Good Housekeeping, February 1938, Courtesy of the Winterthur Library.

Since this weekend is Mother’s Day, and, for many of us, our mothers are especially connected with memories of food and cooking, I wanted to talk a bit more about food in the Saarinen home. Bob Swanson, Loja’s oldest grandson, told me a few weeks ago that Loja was an excellent cook. He remembers her serving lots of ham and lutfisk at the holidays. As great of a cook as Mormor (Swedish for grandma) was, Bob recalled that most meals were prepared by the housekeeper and served in the kitchen dining area (not on tour). That dining area had plain chairs and a rectangular table with a black Formica top—not quite the drama of the main dining room.

His own mom, Pipsan Saarinen Swanson, was also a great cook. Bob remembers her making wonderful and inventive wartime meals—specifically liver and onions, lamb shanks, and calves brains. Pipsan, whose dresses are currently on display in Saarinen House, was (unknowingly) living journalist Aileen Ryan’s own wartime interests: “rations, passions and fashions.”

Bob laughed when I asked him if he remembered Loja serving pineapple upside down cake to match the décor. He didn’t recall her serving it to him, but said it was just her humor to do something like that. He also remembered how much Loja loved pies, particularly peach pie and pineapple pie–both pies that would coordinate with the décor!

For more Saarinen family stories, come join us for a Saarinen Home tour: Fridays and Saturdays at 2:00pm and Sundays at 1:00pm and 3:00pm. To try out our interpretation of a period Pineapple Upside Down Cake (served in the Saarinen House courtyard outside the dining room) join us for an upcoming Finnish Friday (May 19th, June 9th,  and June 23rd). In addition to admission to Cranbrook Art Museum and an open-house in both Saarinen House and the Archives Reading Room, we’ll also have period board games, Saarinen family films, a pianist at the family designed piano, and a cash bar for your enjoyment!

-Kevin Adkisson*, Collections Fellow, Cranbrook Center for Collections and Research

*My mother, for the record, is also an amazing cook.

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