The Tale of a Bodhisattva

Nearly every day I run across some previously unknown person or event relative to Cranbrook’s history. My latest obsession is with a Chinese wall painting purchased in 1939 by George Booth for the Art Museum’s collection. Sadly, it is no longer in our collection, but the story is quite interesting nonetheless.

As early as 1916, Booth was acquiring Chinese objects from the Japanese dealer Yamanaka & Company, and soon after from Duveen Brothers and the Parish-Watson Company in New York, Spink & Son in London, and Gumps in San Francisco. As was customary, dealers maintained a relationship with their clients via letters often suggesting objects they might be interested in and including photographs and catalogs. In 1939, Booth began a relationship with the well-known Chinese dealer, C.T. Loo, who had offices and gallery space in both New York and Paris.

Bodhisattva from the Five Dynasties Period. Cisheng Monastery, Wenxian, Henan Province, China. You can clearly see where the wall painting had been cut into three sections in order to remove it from the temple.

Loo was widely considered one of the most prominent, and controversial, dealers in Chinese art and artifacts in the early twentieth century. Loo traveled annually to China to hand-pick the objects he wanted, many of which were chiseled out of or pilfered from ancient Buddhist Temples and monasteries. Daisy Yiyou Wang, Curator of Chinese and East Asian Art at the Peabody Essex Museum in Salem, Massachusetts, and the pre-eminent scholar of Loo, stated “he is remembered as a culprit for the depletion of the nation’s cultural heritage.” Loo justified his practice by stating that he was preserving China’s history by getting the objects out of China – that the Chinese couldn’t or wouldn’t take care of them! In 1915, after a visit to the U.S., Loo opened a gallery in New York. His first sale was to Charles Lang Freer.

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The three sections were shipped to Paris and reassembled by restorers there.

Booth’s first interaction with C.T. Loo came in the fall of 1939 when he acquired two Chinese bronzes. In correspondence about the bronzes, Loo also suggested to Booth a large “fresco” (or wall painting) which stood thirteen feet tall. After consultation with Eliel Saarinen, Booth acquired the work, which arrived in January 1940.

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Part of the detail drawing of the Art Museum’s east wall. Saarinen designed a recessed panel which housed the painting. AD.11.236, November 5, 1940. Courtesy Cranbrook Archives

In December 1941, John Gettens of the Fogg Museum examined the painting and found it to be in generally good condition. It was of the “usual mud wall of Chinese temple paintings” which included organic matter – straw, seed hulls, and rice. It was covered with a very thin white coating of kaolin, and the colored pigments were malachite, azurite, red iron oxide, yellow ochre, vermilion, and white clay.

The painting hung in the main gallery of Cranbrook Art Museum for more than thirty years. In 1974, the Museum Committee unanimously decided to sell the painting instead of pay the $5-6,000 to have it restored. Funds from the sale were to go towards the care and restoration of other works in the collection, as well as for renovations to museum storage space.

Tracing which shows the location of small areas of in-painting by Cranbook’s Marshall Fredericks, October 1941. Courtesy Cranbrook Archives.

Thus ends the saga of the Chinese temple wall painting at Cranbrook as we do not know its whereabouts today. Other temple paintings can be found in the collections of the Art Institute of Chicago, Nelson-Atkins Museum of Art in Kansas City, Princeton University Art Museum, and the Toledo Museum of Art.

Leslie S. Edwards, Head Archivist

The Devil Made Him Do It

In a grassy meadow (once called “Frisbee Valley”) at the bottom of Suicide Hill is a line of boulders – a sculpture colloquially known as Snake Rock. Actually titled “Lucifer Landing (Real Snake in Imaginary Garden)” or Lucifer Landing for short, the sculpture was designed by American artist Richard Nonas using thirty-nine boulders which zigzag in a serpentine line. One could describe the boulder with the sharp-angled end as resembling the head of a snake, while the rest of the boulders (relatively the same height as each other) taper to the tail section, which appear like rattles. While some think the boulders, which weigh a collective seventy tons!, were found on Cranbrook’s grounds, they were actually acquired in Clarkston, Michigan and represent a cross-section of the type of rocks deposited by the glaciers in Oakland County.

Richard Nonas, 1989. Courtesy Cranbrook Archives, Jane Knirr photographer.

Nonas was invited by Cranbrook Academy of Art’s Head of Sculpture, Michael Hall, to join other major artists like Alice Aycock, Mark DiSuvero, Dennis Oppenheim, and Robert Stackhouse in exhibiting temporary sculpture installations across campus. Funded by the Academy of Art Women’s Committee and Gilbert and Lila Silverman, Lucifer Landing was installed in 1989 – the first sculpture to be placed on campus since the 1970s. Twenty Academy of Art students helped put the boulders in place.

Trained as an archaeologist, Nonas was known for sitting abstract works in wood, stone, or metal directly on the ground. He said “it amused me to place something at Cranbrook that [Eliel] Saarinen might have seen as a child in Finland. There are prehistoric stone monuments near his boyhood home.” While working on the sculpture, Nonas developed a great respect for Cranbrook’s sense of place, and wanted to construct a small form that changed as you walked by and around it – a “sculpture that activates its space, that confuses you a little, keeps you involved in it as you walk past it.” A form that looked almost natural but really couldn’t be.

Lucifer Landing, October 2017. Photograph by the author.

The sculpture’s title suggests the relationship between man and not-man, man and nature, and nature as it was before man. Nonas described how Lucifer, the rebel angel who was expelled from heaven, came to Cranbrook and left an intrusive mark in the Cranbrook landscape, creating an “itch he [Saarinen] couldn’t scratch.”

NOTE: For an excellent article “A Mark of Place: Lucifer Landing Past, Present and Future” on the mistaken dismantling of the sculpture in February 1999, see The Crane-Clarion’s June 1999 issue. Cranbrook Kingswood senior and associate editor Erica Friedman discussed the Cranbrook landscape and how we must face the “problem of destruction passing for progress” – a topic many Americans, including those at Cranbrook, continue to face today.

Leslie S. Edwards, Head Archivist

Three C’s: China, Cranbrook, and the Crane

It is generally known that our founder, George Booth, named our community “Cranbrook” after the Booth’s ancestral home in Kent, England. Even the portion of the Rouge River which flows through the property was called the “Crane” by the Booth family. I’m certain that Booth must have been aware of the derivation of the Cranbrook name, which began with the Old English words “cran broc” which means “crane marsh.” The spelling, which evolved over time from Cranebroca to Cranebroc then Cranebrok, eventually became Cranbrooke.

On a recent trip to China, I was surprised when I saw large bronze cranes at the Teng Wang Pavilion in Jiangxi province’s capital city of Nanchang. They reminded me of the crane iconography at Cranbrook. While I had previously noticed the use of cranes as a subject in Chinese paintings, I never really thought about their meaning. The Chinese have a symbol for everything including life, death, and immortality. Our guide informed us that the crane symbolizes good health, longevity, and auspiciousness to the Chinese people.

Photo taken at Teng Wang Pavilion, Nanchang, China, Jun 2017. Courtesy of the author.

A crane can also represent happiness and a soaring spirit. A crane that is shown outstretched wings and one leg raised stands for longevity while one shown flying towards the sun is illustrative of a wish or hope for social advancement. There is even a form of martial arts called the “White Crane Style” originated by the female martial artist Fang Qi Niang during the Qing Dynasty.

Back to Cranbrook! References to cranes have been widely used over the past 100 years, many in relation to Cranbrook School. Perhaps the most obvious is the use of The Crane as the title for the Cranbrook School for Boys school newspaper, which won by popular vote at the first meeting of the School League in 1928. (Today the paper is known as The Crane-Clarion since the merger with Kingswood School in 1985.) Below are block prints by Cranbrook School students found on the covers of the 1928 papers. In mid-March 1930, The Crane switched to a new format and instead of being mimeographed, was printed by The Cranbrook Press at the Academy of Art. To go along with this new format, a logo for the paper was designed, likely by art editor Alfred Davock.

The bronze crane inserts for the dining hall chairs for Cranbrook School (designed by Eero Saarinen) are still in use today. Henry Scripps Booth used the symbol of the crane as a directional marker on his architectural drawings. The Academy of Art Administration Building (designed by Swanson and Booth) features a crane brick pattern on the south façade of the building, and Eliel Saarinen designed two “bird motifs” for the bottom of the stairs at the First Arts and Crafts building. The drawings, in the collection of Cranbrook Archives, show Saarinen’s plan to use light and dark bluestone to delineate the body of the cranes with red slate for the eyes and black slate for the beaks. As recently as 1994, Katherine McCoy, co-chair of the Academy’s design department, developed the current Cranbrook community logo which features a contemporary symbol of the crane rising out of a large “C” for Cranbrook. It is shown below, alongside a humorous 1930 illustration for a column heading in The Crane.

While Cranbrook’s history with the crane may not be as long-standing as that of the Chinese, one might argue that we, too, have incorporated the crane into our community’s culture as a symbol not only of longevity, but one of respect for the legacy of our founders and our community’s heritage.

Leslie S. Edwards, Head Archivist

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.

The Elves and the Saarinen Home

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

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

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

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Preparing the space to display weavings by Studio Loja Saarinen.

Leslie Mio, Assistant Registrar

May The Fork Be With You

 

 

forkeditedEliel Saarinen taught his students to always consider how the design of one object fits within the next largest context; the building within the city plan, the furniture within the room, down to the fork on the table. Kingswood School for Girls embodies this philosophy, and is considered a “total work of art” designed by the Saarinen family. But that doesn’t mean the Saarinens designed everything in the building: Eliel knew when to delegate, not only to his wife Loja, daughter Pipsan, and son Eero, but also to others, like rugs and fabrics in the school designed by Studio Loja Saarinen weavers Maja Andersson Wirde, Lillian Holm, and others.

Instrumental in decorating the school, Loja Saarinen also used her design eye to choose existing wares from the market to compliment the environment being created at Kingswood.  The 1938 Kingswood School Cranbrook Inventory of Equipment and Supplies is full of entries like this one from May 1934: “Voucher No. 5547, Nessen Studio, Inc., 18 Nut Dishes for Kingswood School (ordered by Mrs. Saarinen).”  The flatware in the Kingswood Dining Hall is another prime example of an existing design used to complete the Saarinens’ vision.

The International Silver Company was a conglomerate of New England silver producers formed in 1898. Subsidiaries of International Silver, like Rogers Bros. and Wilcox Silver Plate Company, continued using their marks on works created under the new organization.  The silver-plate pattern selected for the Kingswood School for Girls dining hall was the International Silver Company’s “Silhouette” pattern.  Though Eliel Saarinen collaborated as a designer with International Silver on a number of projects—including his famous Tea Urn and Tray—the “Silhouette” pattern was designed by Leslie A. Brown, who held a number of design patents while working for International Silver Company. “Silhouette” was produced under both the International Silver Company name and the 1847 Rogers brand.

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Advertisement from Hotel Management, Volume 17, Issue 6 (June 1930), Section 2, page 365.

The ladies of Kingswood used these beautiful pieces on Saarinen designed tables, with plates from the Syracuse China Company (hotel ware division) with a Saarinen-designed Kingswood School crest on them.  Dinners at Kingswood were formal affairs, so there were many pieces to each complete set of flatware.

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Detail from an image of the Junior-Senior Banquet at Kingswood School, June 1941. Notice the “Silhouette” flatware, the crested serving ware, and the Saarinen-designed Silver Centerpiece (KS 1991.1). Courtesy of Cranbrook Archives.

The 1938 Inventory lists the following forms purchased through Marshall Field & Company for use in the dining hall: Viande* Knives, Viande* Fork, Individual Salad Forks, Individual Fish Forks, Bouillon Spoons, Butter Spreaders, Teaspoons, Dessert Forks, Cocktail Forks, Dessert Spoons, Table Spoons, Coffee Spoons, Soup Ladles, and Cold-Meat Forks.  The flatware had a “Butler finish” – a matte or frosted finish — on 18% nickel silver blanks — a metal alloy of copper, nickel and zinc, highly resistant to corrosion and tarnish.  All pieces were marked “Kingswood School.”

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Viande fork (top of page), butter spreader, and bouillon spoon from the Cultural Properties Collection, Kingswood School for Girls. Courtesy of Cranbrook Center for Collections and Research.

The flatware was used for everyday dining as well as more formal dinners, but as dining at Cranbrook became less formal and the student body increased in size, more utilitarian commercial-grade knives, spoons, and forks were introduced. Luckily, we still have many of these original pieces in storage for study and display.

*”Viande” is French for “meat” but in this case refers to a form of flatware with longer handles with shorter blades or tines.  It was supposed to fit more comfortably in the hands, advertised as having “smartness and being chic.”

Leslie S. Mio is the Assistant Registrar for the Cranbrook Center for Collections and Research and the Cranbrook Art Museum.

 

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

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

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

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

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

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

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

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

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

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

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

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

Leslie S. Edwards, Head Archivist

 

Holiday Inspiration

Last week a researcher came to look for holiday inspiration in the Archives. As I was putting the materials away, I came across this lovely card by Academy of Art student, Alice Warren. The card piqued my interest and I did a little digging to learn more.

Holiday card from Alice Warren to Margueritte Kimball, 1947. Margueritte Kimball Papers, Courtesy Cranbrook Archives.

Holiday card from Alice Warren to Margueritte Kimball, 1947. Margueritte Kimball Papers, Courtesy Cranbrook Archives.

Inside design of holiday card from Alice Warren, 1947.

Inside design of holiday card from Alice Warren, 1947.

Warren, born in 1921, came to Cranbrook to study architecture with Eliel Saarinen in 1943-44. Warren’s father (Don) was a genetics professor, and her mother (Mira) assisted him with his lab work. In 1920 Don Warren, with Mira’s assistance, published three scientific papers about his genetic research of the fruit fly. Professor Warren went on to become a pioneer in poultry genetics, earning several awards and distinction in this field.

Alice Warren, like her parents, was a trailblazer. In 1942 she graduated from the University of Illinois with a B.S. in Architecture. In May 1943, she wrote to Henry Scripps Booth expressing her desire to come to Cranbrook for a summer session to “further [her studies] under Eliel Saarinen.” She received a letter of acceptance in June.

While at Cranbrook, Warren studied Architecture and City Planning. As part of a team (Annette Kite, painter and Eliza Miller, sculptor), her work was entered in the 1944 Rome Collaborative – an annual competition conducted by the Alumni Association of the American Academy in Rome. She later worked for Saarinen, Saarinen and Associates. Warren also met her husband, Fred Dockstader, while studying at the Academy. Dr. Dockstader taught history at Cranbrook School from 1943-52, and designed ethnological exhibits at Cranbrook Institute of Science in 1951-52.

Alice Warren working on her city planning model for Plymouth, MI, 1944. Photographer, Harvey Croze. Courtesy Cranbrook Archives.

Alice Warren working on her city planning model for Plymouth, MI, 1944. Photographer, Harvey Croze. Courtesy Cranbrook Archives.

Warren and Dockstader married on Christmas day, 1951. Dockstader was an anthropologist, art professor, and a noted authority on American Indian art. The couple worked together on several publications and also at the Museum of the American Indian in New York, where Alice was a staff architect, and Fred was the museum director from 1960-1975.

Gina Tecos, Archivist

Author’s Note: While researching Alice Warren Dockstader, I came across the finding aid for the Frederick Dockstader Collection at the Arizona Archives. One of the content notes describes holiday cards designed by Alice and Fred that incorporate their interest in Kachinas. You can see one of these on the Cranbrook Archives Facebook page!

Photo Friday: Feasting Together

The Center hopes you and your loved ones had a fantastic Thanksgiving, and that you were able to have a great meal together like these Cranbrook students back in 1935!

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Cranbrook School for Boys Dining Hall. Photographer, Dick G. Askew, June 1935.

Kevin Adkisson, Collections Fellow

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