Sisu, the Amazing Maija Grotell

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– Leslie S. Mio, Associate Registrar

Links:

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

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

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

Cranbrook’s Fresh Air Camp

George G. Booth referred to it as the “Fresh Air Camp.” Located on the northwest end of Glassenbury (later Kingswood) Lake, the small camp served a very altruistic purpose.

In the 19th century, romantic poems and novels had people suffering from “consumption” — leading artists of the day like John Keats and Frederic Chopin suffered from it — but this “white plague” was not romantic, it was tuberculosis. Tuberculosis is a bacterial infection that attacks the lungs. In the 1880s it was established that tuberculosis was contagious and spread through the air like a cold or the flu. In the early 20th century, tuberculosis was the leading cause of death in the United States.

The foremost thinkers of the day believed that the cramped conditions in cities and the lack of access to what was known as “good air” was spreading the disease. Many open-air camps, fresh air camps, open-air schools, sanitoriums, preventoriums, and tuberculosis hospitals began to spring up in the countryside around large cities. By 1900, fresh air camps were commonplace in Britain, the United States, Australia, and New Zealand. The concept was that fresh air, good ventilation, and rest could cure tuberculosis.

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Cranbrook Estate, circa 1906, looking north from the future site of Cranbrook House. Fresh air camp circled in red. Courtesy of Cranbrook Archives.

We don’t know much about the Booth’s Fresh Air Camp — when it was started, how long it was on the property, or who the campers (patients) were. All we have are pictures as evidence it existed here at Cranbrook and that George G. Booth’s farm in Bloomfield Township was a perfect location for such a camp.

Leslie S. Mio, Associate Registrar

Weeping Zeus

A folly, in landscaping terms, is a ornamental building or tower with no practical purpose built in a large garden or park. Around 1961, Mr. and Mrs. Henry S. Booth placed a small folly on the grounds of Cranbrook. However, for anyone wanting to play a joke on a friend, this folly has a very practical purpose.

IMG_2531.JPGWeeping Zeus (or more formally Zeus of Otricoli [Roman copy of Greek original]) is a marble bust comprised of the shoulders, chest, and head of the Greek god, Zeus. The chest is carved to resemble draped cloth. The curly hair has a wreath in it, and the beard is curly with a full mustache. The bust is set on top of a concrete block column.

This sculpture has an interesting and complex history. It was carved of Carrara marble in Italy in the early 19th Century and soon afterward became a decorative feature of the manor house of Abercairny, Crieff, Perthshire, Scottland. It remained there for well over 100 years until it sold at auction. Henry Scripps Booth purchased the bust in 1961 from Michael Brett of Broadway, England. Brett had purchased it from the Abercairny the year before. The manor house, once visited by Queen Victoria, was demolished in 1960, hence the sale of sculptures from the estate.

IMG_2535.JPGHere at Cranbrook, it would seem the father of the Greek gods finds the peace of this Michigan mountain dull in comparison with the revelries of either Mt. Olympus or his later home in the Scottish Highlands. It is reported tears well up in his eyes and sometimes gush forth. The sculpture became a folly (and why we call him Weeping Zeus) after Henry had holes drilled through the eyes to allow water to flow (squirt, really) out.

In reality, he’s not crying on his own. Have your guest stand in front of Zeus while you, as their friend, stand on the special stone that activates water to splash the guest from Zeus’s eyes.

As Summer comes to a close, invite that one friend who always pulls tricks on you for a beautiful walk through Cranbrook House Gardens and introduce them to Zeus.

Leslie S. Mio, Associate Registrar

Note: Weeping Zeus is located on the Mountain in the Cranbrook House Gardens, up the stairs directly opposite the House’s front door. Cranbrook Gardens is open daily from 9:00 am to 5:00 pm, May 1 through October 31. Admission to Cranbrook Gardens is FREE for the 2018 tour season, courtesy of presenting sponsor, PNC Bank, and sponsors, All Seasons Independent Livingfleurdetroit, and Roberts Restaurant Group

A Face Above Beauty

Sometimes we walk past something 100 times and see it but never really “notice” it. For me, it is the masque of “Art”  (left) in the Cranbrook School Quadrangle, near the dining hall. It is a woman’s face beautifully created by sculptress Elizabeth Palmer Bradfield, but, as always, there is more to the story.CR1588-2

Elizabeth Virginia (Palmer) Bradfield (1875-1954) was born in Port Huron and grew up in Pontiac. Her grandfather was Charles Henry Palmer (railroad and mining developer who established the Pewabic mine in the Upper Peninsula). The Palmer family was well known in Pontiac and their house still exists on Huron Street. In the months before her wedding, Elizabeth traveled to Paris with her parents, where she studied sculpture at the Académie Julian in Paris. In 1896, she married Thomas P. Bradfield.

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Elizabeth Palmer Bradfield with her mother, Mrs. Charles H. Palmer, Jr. Source

Thomas and Elizabeth Bradfield lived in Grand Rapids, Michigan, until 1904. The Bradfields and their two children (Virginia Palmer Bradfield Ward and Thomas Palmer Bradfield) later settled in Pontiac, Michigan, where Bradfield lived until her death in 1954.

In 1914, Bradfield began exhibiting her work — first paintings, then sculpture — in the Scarab Club’s Annual Exhibition at the Detroit Museum of Arts, alongside such artists as Myron Barlow, Katherine McEwen, and James Scripps Booth. The Scarab Club honored her sculpture “Myra” with their first presentation of the annual Scarab-Hopkin Prize for Sculpture. She exhibited again in 1915, 1916, 1917, and 1921. In 1921, she won “Honorable Mention” for her bronze sculpture “Baby’s Head.”

It is likely George Gough Booth met Bradfield at one of these exhibitions; correspondence between them began in 1926 when Booth purchased a small bronze of a dog from her.

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Dog, 1912, by Elizabeth Palmer Bradfield (CEC 188).

Booth then commissioned her to model “two large groups of Great Danes ready for plaster cast” to be displayed at Cranbrook School. These sculptures were to be approximately 6 feet high, by 2 feet wide, by 3 feet tall, but subject to Eliel Saarinen’s approval. Bradfield used the studio and architectural office, without expense to her. It is not known if Bradfield ever completed these large dogs, or if Saarinen negated the idea, but the sculptures were never realized in full scale. Milles’ “Running Dogs” probably replaced them on the Cranbrook Campus.

The masque of “Art” was purchased by Booth in October 1927. It was exhibited in two shows. One was in March 1929 – the annual exhibition of the Detroit Society of Women Painters. It was written up in the Detroit News, which said, “The masque has the imponderable quality we find in things of lasting beauty.”

It was then in the first Cranbrook Art Museum for several years before being installed over the “Beauty Arch” in Cranbrook School’s Quadrangle.

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The “Art” Masque, that “lasting beauty,” hangs over George Booth’s famous quote, “A life without beauty is only half lived” on the so-called “Beauty Arch” in Cranbrook School’s Quadrangle

Leslie S. Mio, Associate Registrar

Related links:

Clothing worn by Elizabeth Virginia (Palmer) Bradfield

Biographical information

“His Heart and Soul into each Madonna, Saint, Commoner, or Angel”

Johannes Kirchmayer, also known as John Kirchmayer, was born March 31, 1860, in Oberammergau, Bavaria. Oberammergau is known for its Passion Play, something the whole town participates in every year it is performed. As a young man, Kirchmayer had the role of Joseph (of many-colored-coat fame) in the play. “We have the statement from John, himself, that the ‘Passion Play’ was a great influence in his early life.” (Prouty, p. 18). It meant Kirchmayer was well versed in biblical history, which would serve him well later in life.

The village of Oberammergau is also known for its long tradition of woodcarving. After he learned to carve from his grandfather, and later his Uncle Georg, a professional carver, Kirchmayer spent a number of years taking classes in Augsburg and Munich, Germany, and in London and Paris perfecting his craft. In 1880, at the age of 20, Kirchmayer moved to Boston, Massachusetts. There, he found work creating mantels, stairways, home decorations, and furniture. However, his greatest passion seems to have been ecclesiastical works, perhaps influenced by the Oberammergau Passion Plays of his youth.

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Undated portrait of Johannes Kirchmayer (1860-1930). Courtesy Cranbrook Archives

Kirchmayer’s friend Stanford White, an architect, introduced him to a number of other architects. He soon found work with cabinetmaking and decorating firms that were working on commissions in churches, businesses, institutions, and private homes. Kirchmayer had close working relations with a number of prominent architects and artisans and was, in 1907, a founding member of the Society of Arts and Crafts, Boston.

After 1898, working for the Boston furniture and architectural woodworking firm Irving and Casson, Kirchmayer worked on the buildings of the noted American Gothic-revivalist Ralph Adams Cram, a prolific architect of collegiate and ecclesiastical buildings.

Kirchmayer’s notable work around Boston include carvings in The Church of the Advent; All Saints’ Church; the Second Church; and Unity Church. He also designed part of the Anderson Memorial Bridge over the Charles River.

His work outside the Boston area includes carvings in Christ Church Cathedral, Springfield, MA; the Church of Saint Mary the Virgin, West 46th Street, New York City; St. Mary’s Anglican Church, Windsor, Ontario; the Church of the Saviour, Syracuse, New York; and the James J. Hill House, St. Paul, Minnesota.

Shirley Prouty, his biographer, wrote that “John Kirchmayer did not use drawings, charts, or schematics to immortalize his saints; He studied and planned and started with a block of wood. On this piece of oak, mahogany, boxwood, cherry (he used many kinds of wood), he would draw the nude figure. He had studied anatomy as a student in Augsburg, thereby learning to proportion arms and hands, legs and feet, and an overall balanced subject. This preliminary sketch on wood was in charcoal. Then he would draw the draperies in color as they would appear in the final rendition.” (p. 27)

George G. Booth made Kirchmayer’s acquaintance through their Arts and Crafts activities and soon became one of his most ardent patrons. Booth commissioned Kirchmayer to produce carvings for Christ Church Cranbrook, Cranbrook House, and the Booth Collection of decorative arts at the Detroit Museum of Art.

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1918 carved portrait of George G. Booth, in Cranbrook House Library, by Kirchmayer. Courtesy Cranbrook Center for Collections and Research.

It is said that Kirchmayer “put his heart and soul into each Madonna, saint, commoner, or angel he was carving.” (Prouty, p. 29). He also followed the old Bavarian custom of leaving one’s visage somewhere in your work.

At Christ Church Cranbrook, Kirchmayer’s works include the “Doubting Thomas Door,” which features images of the craftsmen who worked on the church, including Kirchmayer; the ornamental screen covering the wall at the back above high altar with “Triumphant Christ” at the top; the Lectern; the Chapel Doors and Lectern in the Resurrection Chapel; and a Madonna in Parish House.

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“Doubting Thomas Door,” Christ Church Cranbrook. Courtesy Cranbrook Archives.

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Kirchmayer left his visage as the woodcarver on the “Doubting Thomas Door”. Courtesy Cranbrook Archives.

At Brookside School, Kirchmayer created corbels (projections jutting out from a wall) of the four Evangelists.

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Corbel representing St. John the Evangelist at Brookside School. Courtesy Cranbrook Center for Collections and Research.

At Cranbrook House, Kirchmayer carved many works. The largest commission was the impressive paneling of the Library, including the “Personification of the Arts (Religion Inspiring the Arts)” overmantel, which featured Kirchmayer as the woodcarver.

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Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)”over-mantel in Cranbrook House Library. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

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Detail of Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)” over-mantel in Cranbrook House Library. Note that the woodcarver (behind the bishop) is depicted as Kirchmayer himself. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

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Detail of Kirchmayer’s “Personification of the Arts (Religion Inspiring the Arts)” over-mantel in Cranbrook House Library. Photograph by P.D. Rearick, Courtesy Cranbrook Center for Collections and Research.

He also created items like a reading desk and bench; linen-fold paneling in Oak Room; a blanket chest; four carved Gothic finials in the corners of the Library; and a small figure of himself for the Booths. George G. Booth particularly enjoyed his reading desk and bench, which Kirchmayer created for the Booths’ library in 1919 from a sketch that Booth had supplied. (Prouty, p 100).

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Snapshot of Johannes Kirchmayer in front of the New Silver Beach Hotel in North Falmouth, MA, circa 1928. Courtesy Cranbrook Archives.

Kirchmayer’s work can be found in many prominent cities: from Minneapolis-St Paul, to Detroit, Chicago, Pittsburgh, Columbus and Quincy, Ohio, Baltimore, Washington D.C., New Haven, New York City, Providence, Boston, Concord and Peterborough, New Hampshire, Portland, Maine, as well as in The American Church in Manila and in Walkerville, Ontario, Canada. Perhaps his prolific work across the globe is the reason why, shortly before his death, Kirchmayer received the “Craftsmanship Medal for Distinguished Achievement in Wood Carving” by the American Institute of Architects. It is the only time the award has been given for woodcarving.

Johannes Kirchmayer died at his Cambridge, Massachusetts home in 1930.

– Leslie S. Mio, Associate Registrar

Sources:

Johannes Kirchmayer from Wikipedia, the free encyclopedia. https://en.wikipedia.org/wiki/Johannes_Kirchmayer

Mark A. Coir, Cranbrook Art Museum: 100 Treasures (Bloomfield Hills, MI: Cranbrook Art Museum, 2004)

Shirley Prouty, Master Carver, Johannes Kirchmayer, 1860-1930: From Germany’s Passion Play Village to America’s Finest Sanctuaries (Portsmouth, N.H. : Peter Randall Publishers, 2007

Library Gets [New] Historic Look

Recently, after years of research and investigation, the carpeting in the Cranbrook House Library was restored to its original appearance.

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The previous rugs were donated to Cranbrook House in the 1990s but were not historically accurate.

By studying images of the Library in Cranbrook Archives, we could determine that in George and Ellen Booth’s lifetimes there was a large, solid carpet on the floor, not the oriental rugs seen in recent years.

A review of the Cranbrook House 1921, 1933, 1937, and 1949 inventories (itemized lists of the house’s contents for insurance purposes), as well receipts and historic images, revealed the style and color of the rug: Axminster mottled brown or taupe. This may sound boring, but monochromatic rugs were chosen by the Booths to draw visitors attention up to the furnishings, books, elaborate carvings, and tapestries in the Library.

Axminster was both a brand name and specific type of carpet. Axminster is cut pile carpet (a style of carpet where the woven loops are cut leaving straight tufts of carpet). It derives its name from the small town in England where the process of weaving its distinctive style was created. Looking for a modern, cost-effective equivalent, made in the same fashion as the original Axminster, led us to Bloomsburg Carpet Industries, Inc. They have woven wool broadloom Aximinster and Wilton carpets in Bloomsburg, Pennsylvania using traditional methods since 1976. With the help of interior designer (and Cranbrook Academy of Art Board of Governor) Lynda Charfoos, we were able to select a color that both closely matched the description “‘mottled’ brown or taupe” and also looked great with the tones and colors of the Library.

On April 30, we cleared the Library so that on May 1, the rugs could be installed by Carpet Design Group, LLC.

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Workmen from Carpet Design Group fusing together the four sections of the carpet.

The Library was reinstalled the next day with a new floor plan based on careful examination of historic photographs and itemized lists of what sat where. Watch the slideshow to compare historic images to the reinstalled room:

We feel guests and staff alike will enjoy this return of the original look to the Library. It will allow the carvings to pop, the colors in the tapestries to appear stronger, and make for a more historically accurate room. Continuing to keep the Booth house looking its best is all part of helping to tell the Cranbrook story to guests from the neighborhood and around the world.

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Photograph by Jim Haefner. Courtesy of Jim Haefner and Cranbrook Center for Collections and Research.

The Center would like to thank the following, without whom this project would not have been possible: Cranbrook Educational Community, Cranbrook House and Gardens Auxiliary, Lynda Charfoos, Bloomberg Carpet, Carpet Design Group, and Chet’s Cleaning Service. Special thanks also to Jim Haefner for photographing the Library.

Come see the new look of the Cranbrook House Library this summer on a Cranbrook House and Gardens Auxiliary house tour.

– Leslie Mio, Associate Registrar

Eagle Scout Project in Smith House

This past March, the Center for Collections and Research was honored to host Kevin Wilburn, a Life Scout going for the rank advancement of Eagle Scout, as he performed his required service project.

https://www.scouting.org/programs/boy-scouts/advancement-and-awards/eagle

Eagle Scout badge from scouting.org

The mission of the Boy Scouts of America is to prepare young people to make ethical and moral choices over their lifetimes by instilling in them the values of the Scout Oath and Scout Law. The ranks of the Boy Scouts are Tenderfoot, Second Class, First Class, Star, Life, and Eagle. To receive the highest achievement rank in the Boy Scouts of America, a Life Scout must not only earn twenty-one merit badges but also perform an extensive service project. He must plan, develop, and give leadership to others in a service project helpful to any religious institution, any school, or his community.

Kevin’s project was to work with the book collection in the Frank Lloyd Wright-designed Melvyn Maxwell and Sara Stein Smith House. It was especially great having Kevin work with the house, as Robert Smith, the only son of Melvyn and Sara, also achieved the rank of Eagle Scout in his youth (the Smith House collection contains his Eagle Scout uniform).

When Cranbrook acquired the Smith House late last year, we also acquired the extensive library amassed by the Smiths. The collection of more than 900 works ranges from books on Frank Lloyd Wright to Art in America and other periodicals, to yearbooks and popular fiction.

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Kevin and his team working on the Smith House book collection.

On the day of the project, Kevin and his team of scouts and parent volunteers did an inventory of the books in the Living Room and the Study. They utilized a computer program which allowed them to gather all pertinent information about the books by simply searching the Library of Congress Control Number (LCCN) or the International Standard Book Number (ISBN). They also took images of the books as well as any inscriptions found within. What they ended up with, after just one day working in only two rooms in the house, was a database of 658 individual titles. (Knowing how many more books are in the other rooms, maybe there are more than 900 books in the house…)

I recently asked Kevin his thoughts on the project over email:

LM: First off, what does becoming an Eagle Scout mean to you?

KW: I’ve been in Scouts for 11 years now there were times that I questioned my continuation in Scouts. However, on the cusp of this final accomplishment, I don’t regret staying on the path. It has been a lot of commitment and there is no substitution for the hard work required, but as a scout, I have had opportunities so few people get to have—just like doing this project. It is special to be part of the small group of Scouts that accomplish the Eagle Rank. I think the Scout program and achieving Eagle has made me a better person.

LM: Can you give me your overall impression of the Smith House?

KW: To me, I struggle with the words to describe the Smith House. It is truly a one-of-a-kind home and the attention to detail is absolutely marvelous. Whether it’s the striking color of the red tidewater cypress wood that forms the walls or the glistening flat skylights that illuminate the tight, yet airy library, this home is Usonian Style in its truest form. Additionally, there is such a great story to the Smith’s and how the house came to be that makes it even more special than the physical aspects.

LM: What motivated you to take on this project?

KW: The driving force behind this entire project was the fact that I was assisting in the preservation of a Wright-designed home. I’ve always had an appreciation for his work and have a personal interest in helping the preservation of his work. I never expected that I would have such a unique opportunity to combine my passion and interest so directly on my Eagle project—it was a truly special project. I really appreciate the opportunity Cranbrook provided me.

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Kevin photographing one of the 658 titles cataloged during the one-day project.

LM: What was the hardest thing about the project?

KW: We had very unique requirements compared to many projects that are often construction based, so going into it I knew that getting people started on the cataloging process would be difficult and it probably took an hour for volunteers to get into a rhythm. It was also physically demanding, in some cases sitting or standing for hours at a time—luckily we were able to rotate some positions to help people with fatigue. In the end, the hardest part was it was a very long 10 hour day typing in book details into our cataloging software and photographing the books.

LM: What was your favorite part of the project?

KW: Planning to pursue architecture as a career, I’ve always been interested in Frank Lloyd Wright; so, my favorite part was to be able to do a project in one of his Usonian homes. It was also exciting during the cataloging process to see some of the personal connections of the Smiths with Wright.

LM: Any final thoughts?

KW: I want to thank Cranbrook Center for Collections and Research, Leslie Mio, Associate Registrar, for supporting the project, and Lynette Mayman, Program Presenter, for being on-site during the project. I also want to thank the members of Troop 1005 that came out to support this effort. Finally, I want to thank Collectorz.com for donating the Book Collector software used to catalog the collection.

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Kevin (fourth from the right) and some of his team of volunteers on the back patio of Smith House.

The Center for Collections and Research wishes Kevin the best of luck in achieving his Eagle Rank and would like to thank him and his team for the hours of work on this project.

Leslie Mio, Associate Registrar

Photo Friday: Details, Details, Details

Recently, I have been researching the objects in the historic rooms at Cranbrook House. The things I have noticed the most about these objects are the details: it seems no object was chosen for the house that did not have detailed ornamental carvings, woodwork, or decoration. Here are a few of my favorites:

 

– Leslie S. Mio, Associate Registrar

Object Spotlight: Refectory Table

Generally, the term “Refectory Table” describes long dining tables resembling those in dining halls of monasteries, especially oblong tables with four or six turned legs that may be expanded by leaves.CEC37 (4)Purchased by George G. Booth, before 1949, for use in Cranbrook House, the Refectory Table (CEC 37) in the Cranbrook House Oak Room has a plain 76 inch by 35-1/2 inch rectangular top, with two extendable tops of 31-1/2 inches each.cec37-13.jpgThe extension mechanism works by removing the top wood leaf, pulling out each side of tabletop – these are supported by bars under the table top that pull out – removing the center section, then placing the top leaf in the center.

“Interesting, but not really worthy of a spotlight,” you say?

“My table at home has leaves built into it. Why is this one so special?”

It is distinct because the top of this table sits over a beautiful and vibrantly carved and painted frieze, and is raised on four carved and painted legs and a box stretcher with a carved and painted linear design. It is the frieze and the carvings that make the table stand out.CEC37 (3).JPGThe frieze runs all around the table and features a grapevine interspersed at regular intervals with Medieval-style figures: mermaids, men, women, and animals.CEC37 (10)The figures carry banners and staffs, are sitting on benches, and, in the case of the mermaid, holding a fish.CEC37 (18)The frieze background is painted red; the grapevine and grapes are brown with black and the leaves are green with gold detailing; the figures and animals are mostly tan with gold and the mermaids are gold as well.  The lower edge molding of the frieze is painted with diagonal lines of green, gold, and red.CEC37 (11)Each of the four carved and painted legs is decorated with a different linear design of stripes, twisted around the trunk, with hexagonal base and top.CEC37 (6)Metal stars are attached to the base and top of each leg.  The legs are painted blue, green, red, and tan, all with gold detailing.CEC37 (12)The outer side of each stretcher has carved lines painted red and green.

The table is an English antique, likely from the 19th century. A careful study of comparable tables in books or at other museums could help us narrow down its age.

I am happy to share this beautiful table on the blog. If you ever find yourself in the Oak Room at Cranbrook House, whether for a meeting, house tour, or special event, please take the time and give this exception table a closer look.

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Refectory Table in the Oak Room, 1952. Cranbrook Archives.

– Leslie S. Mio, Associate Registrar and “Keeper of Keys and Cultural Properties” at Cranbrook Center for Collections and Research

 

Winter is coming

In late fall, as the winter approaches, you will see some of the sculptures around the Cranbrook Academy of Art and Cranbrook Gardens disappear behind their winter covers.

As part of our stone sculpture conservation program, the stone sculptures and fountains on campus are covered for the winter. The covers prevent water from collecting and freeze in fountains, planters, saucers, or birdbaths. They also prevent statuary or pedestals from sitting in pools of ice.

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The Thinker, 1940,  by Marshall Maynard Fredericks (CAM 1941.34).

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The Thinker under its winter cover.

So, sculptures like The Thinker have been put into “hibernation,” but they will return in the spring with the flowers.

Happy winter!

-Leslie S. Mio, Associate Registrar

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