“Smoking and Coking”: The Kingswood Senior Cabin

In March 1940, Kingswood girls were invited to party at Cranbook School’s senior cabin. (George Booth had given the boys the gift of the senior cabin in December 1927.) While the girls had known about the cabin, their visit really brought home the fact that they did not have one to enjoy for themselves. Spearheaded by then sophomore, Mary Adie ‘42, the Kingswood girls began to push for their own cabin.

Henry Scripps Booth supported the idea and was the architect. The cabin had an open floor plan with a fireplace, bathroom, and a small kitchenette. Bench seating lined the window wall that looked out over the brook. The Cranbrook Foundation paid for the structure which cost $2392. The Kingswood School Board of Directors felt that student involvement would help stimulate class and school spirit, and that the cabin would provide an informal respite from the rigors of the school day. The girls raised money and paid for furnishings themselves (from Sears), and even made curtains to decorate the space. Each successive senior class left their mark by adding something to the décor. Mr. Wentz made a wrought iron screen for the fireplace which featured the Kingswood seal. Mrs. Dow contributed a combination radio-Victrola which was very popular as it played twelve records simultaneously! And eventually, the girls even got a telephone.

View of the Senior Cabin (left) with the Western Playfield Shelter, 1963. Courtesy Cranbrook Archives

Once the plan was approved, a location was determined. Then Headmistress, Margaret Auger stated: “I thought I was very clever” when she sited the cabin on the edge of the Kingswood School grounds – close enough where there could be adult supervision, but far enough away so it did not seem as if the faculty was spying on the students. Ground was broken November 19, 1940, and the girls had a housewarming party May 9, 1941 with juniors and the outgoing seniors. The party became an annual “right of passage” which transferred the rights to use the cabin from one class to another. The cabin was so popular that initially there was a column in The Clarion called “Cabin Close-ups!”

Kingswood Seniors hanging out, Feb 1957. Notice the décor.

The cabin was used for a variety of leisure activities. Bridge club was held on Wednesdays, which was the only time that girls were allowed to smoke on campus. Auger’s smoking rule was that students could smoke cigarettes at the cabin, but only on Wednesdays, when faculty member Josephine Waldo was there to supervise. (She, by the way, was a smoker herself). The catch was that if Auger found out that the girls smoked on any other day of the week, she would close the cabin. By far, one of the best parts was that the girls could drink cokes – by the case full! During exam weeks, girls took study breaks at the cabin and revived themselves by “smoking and coking.” In 1964, smoking at the cabin ended when Michigan State law outlawed cigarette smoking for  minors under the age of eighteen.

Smoking and Coking, Dec 1952. Courtesy Cranbrook Archives.

As time went on, various updates and changes were made to the cabin. However, by 1966, the foundation of the building had begun to erode. In the early 1980s, the cabin was only used as a restroom facility for Kingswood School outdoor events, end of year parties for the Girls Middle School field hockey team, and by Academy of Art students as a space to build the models for the Design in America: The Cranbrook Vision 1925-1950 exhibition. The cabin faced increased neglect. There was not enough interest or funds to maintain or repair it and it in the mid 1990s it was demolished. The boys’ Senior Cabin still stands today.

Leslie S. Edwards, Head Archivist

Enduring Traditions: The Festival of Gifts

Next year will mark the 90th celebration of the Festival of Gifts at Christ Church Cranbrook – as the church also celebrates its 90th anniversary in 2018. Henry Scripps Booth wrote, produced, and participated in a nativity play at St. James Church in Birmingham prior to the building of Christ Church. With the establishment of the new parish, Booth suggested that the two combine efforts in a special Christmas program. According to documentation in the Henry Scripps and Carolyn Farr Booth papers, “the cooperation turned out to be in name only.”

Festival of Gifts order of procession and liturgy, 1928. Courtesy Cranbrook Archives.

The Festival of Gifts is an adaptation of the St. James play, with a procession of the entire congregation to the nativity tableau followed by the entrance of the Holy Family, shepherds, and wise men as the story of the birth of Christ is read. As the congregation proceeds to the altar they lay gifts at the manger, which are then distributed to local families in need.

Some of the original festival costumes were re-purposed from the 1916 Cranbrook Masque and others were purchased by Henry Scripps Booth in Tunisia in 1922. Originally a doll was laid in the manger, but at some point, the decision was made to cast an infant from the parish. Animals have also been a part of the event, however, according to Henry Scripps Booth, “Brighty” (star of Stephen Booth’s movie Brighty of the Grand Canyon) made the greatest impression!

Gina Tecos, Archivist

The Littlest Rebel

In March 1936, Henry Scripps Booth traveled to California to meet up with his parents who had been wintering out west. Henry spent three weeks at The Desert Inn in Palm Springs where he went for walks, painted, and wrote many letters home to his wife, Carolyn. The following letter from him describes the famous people he saw while there.

“Desert Inn pepped up yesterday. There were three hundred fifty extra for lunch out-of-doors . . . Monte Montaigne (I believe that’s his name) entertained the people with trick roping acts and riding his trick horse, but I knew nothing about that until it was all over. I did see the horse in his private trailer parked in the grounds, however.

“But the guest of guests is none other than little Miss Shirley Temple who has come here with her mother and a mother’s friend to spend a couple of weeks.”

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Letterhead, March 1936. Henry Scripps Booth and Carolyn Farr Booth Papers, Courtesy Cranbrook Archives.

Temple and her family were frequent visitors to The Desert Inn, often around the Easter holiday. In 1936, the Temples stayed there after Shirley had completed filming “Captain January” and “Poor Little Rich Girl.”

“The new King of bally old England could hardly cause the other guests to take more notice. A waitress called my attention to her last night at dinner, sitting at right angles to me only two tables away. Everybody was craning his neck to have a look at her, and those who left the room first all sat by the door so they could see her make her exit. When she came out and walked over by the office, most everyone suddenly had business over there too. Monte Montaigne and his wife and baby were there, and as the Temples talked to them, the crowd became fictitiously interested in the baby also. It is the same story where ever Shirley is.

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Henry Scripps Booth, photographer. Courtesy Cranbrook Archives

“This morning she was out trying to bat tennis balls one of her bodyguards was batting to her. A few other children were in on the play. The gallery consisted of at least six people nearby and a lot of others (like Myself) in the distance. Later when she was throwing a ball to a dog, people were talking movies and generally going ga-ga over her. When I came back from the pool where I had been painting this afternoon, I did see her without spectators, but of course with the guard who in reality is her playmate, and another guard in uniform. The two of them had a lot of dried peas and were shooting them with a sling-shot just like the Littlest Rebel.

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Henry Scripps Booth, photographer. Courtesy Cranbrook Archives

“She is not pretty, but certainly is cute. Her hair is curls all over of sort of a deep taffey [sic] color. She is very blond with pink cheeks. She screws up her face when she talks, has a twinkle in her dark eyes, and sort of minces around in her usual movie manner. She is very well behaved, sitting at the table and eating her dinner as good little girls should, and generally taking the attention she gets with good grace. Both nights she has taken a doll to dinner; last night a girl doll, tonight an Indian chief with a feathered headdress. She has a pink coat more or less like Cynthia’s [Henry’s daughter], but short as the French would have it so her bare legs are seen pretty much all the way up. She played around today in sort of drab slacks with a jacket to match. Their cottage is by the pool so I will see a good deal of her.”

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The pool at The Desert Inn, 1936. Henry Scripps Booth, photographer. Courtesy Cranbrook Archives

NOTE: In December 1937, Nellie Coffman, owner of The Desert Inn, dedicated the bungalow to Shirley Temple. Held in front of family, hotel visitors, and the press, the ceremony featured nine year old Shirley who christened the bungalow not with a bottle of champagne, but with a bottle of milk.

Leslie S. Edwards, Head Archivist

Harry and Nerissa Hoey’s Weekend Retreat

While cataloging some of the Ralph Rapson architectural drawings in our collection, archivist Gina Tecos and I discovered designs for “Longshadows,” a weekend retreat for Cranbrook School English teacher (and later Headmaster) Harry Hoey and his wife, Nerissa. Hoey came to Cranbrook in 1928, where he taught English until 1944 when he became Assistant Headmaster (1944-1950) and then Headmaster (1950-1964) of Cranbrook School. While the Hoeys lived on campus, first on Faculty Way, and later in the Headmaster’s House, they commissioned Rapson, along with fellow Cranbrook student Walter Hickey, to design a weekend vacation home in Metamora, Lapeer County.

Elevation by Ralph Rapson, 1939. The Ralph Rapson Collection, 1935-1954, Cranbrook Archives.

Coincidentally, I have been corresponding with the Hoeys’s granddaughter, Susan, regarding the disposition of her grandfather’s papers to Cranbrook Archives. In the course of this correspondence, I asked Susan about the home. While Rapson called the home “Longshadows,” the family called it “Hoyden.” According to the Merriam-Webster dictionary, “hoyden” means “a girl or woman of saucy, boisterous, or carefree behavior” and the word is sometimes used to mean just “carefree.” As Susan stated, “Somehow, though I have no way to prove it, I am guessing this word was in my grandmother’s [Nerissa] vocabulary. Anyway, it seems to fit the bill for a weekend/summer place.”

Susan’s mother has fond memories of the weekend house – as a five-year old girl when she walked up the hill to the house behind her mother, the forty acre property looked endless. She remembers falling in the wild strawberry patch and staining her dress, and playing with the girl across the street whose father tended the property for the Hoeys.

“Hoyden,” 1940. The Ralph Rapson Collection, 1935-1954, Cranbrook Archives.

The summer the house was completed (1940), the Hoeys began hosting numerous Cranbrook guests who wanted to see the midcentury modern design. Guests included Dorothy and Zoltan Sepeshy of the Academy of Art, Henry and Carolyn Booth, and of course numerous Cranbrook faculty.

Page from the Hoyden Guest Book, 1940. Courtesy Harry and Nerissa Hoey Family.

In a letter to fellow Cranbrook student Ben Baldwin, Rapson described the house as clad in red wood, left natural, with a flat roof. The house had three bedrooms, two fireplaces, and even a basement for storage and a play room. The house still stands today, though it has had some minor additions and has been painted. It is one of Rapson’s only Michigan designs. Hopefully, we will soon have additional photographs of the house, and perhaps even more stories about the relationship between Hoey and Rapson.

NOTE: Harry and Nerissa Hoey were well-loved at Cranbrook. He also served on the vestry of Christ Church Cranbrook. Not only was Harry an effective administrator, but he was one who led the school with kindness and compassion. On the birthday of each boy in the school, Hoey would greet them with them a “happy birthday,” and shake their hand into which he pressed a shiny penny! On his 85th birthday, Hoey’s former students surprised him by mailing birthday cards – each one with pennies – he received over 500.

Leslie S. Edwards, Head Archivist

Greenwood Graphics

As I’ve mentioned previously on the blog, one of my hobbies is giving tours of Greenwood Cemetery in Birmingham, Michigan. It is the resting place of Marshall M. Fredericks, Buck and Mary Chase Perry Stratton, Elmore Leonard, and Cranbrook Founders George and Ellen Booth (and many members of their family).

GreenwoodGraphics

On a recent drive through Birmingham, I decided to stop and visit our founders. I had always wondered, when I gave tours of the cemetery, why some family members had certain symbols on their markers. After working here at Cranbrook for a couple of years, those symbols now make sense. I captured photos of several of the markers to share with you.

Warren Scripps Booth has a yacht on his marker, but he wasn’t a sailor in World War I – he was in the Field Artillery. It was only by reading his obituary that I learned that his favorite activity was to sail on his yacht when he wanted to get away from it all.WSB

James Scripps Booth was a wonderful artist. His marker features an artist’s pallet with a stylized version of his initials “JSB.”JSB.jpg

Henry Scripps Booth was called “Thistle” since he was a child. It was no surprise a beautiful thistle adorns his marker.HSB.jpg

– Leslie S. Mio, Associate Registrar

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

Asheville, North Carolina: Then and Now

My daughter’s spring break was last week, so she and I took our friend Susan up on her invitation to visit her in Asheville, North Carolina. We decided to take a road trip and check out college campuses on the way. Let me just say that the University of Cincinnati has the largest (and most stunning) classics library in the country, and perhaps even in the world.

As I was planning for the trip, I remembered that Henry Scripps Booth went to boarding school in Asheville from 1913-1918. So before I left, I perused his photo albums for relevant photographs and devised a plan to do a “then and now” blog post. I took copies of photos from Henry’s 1916 photograph album which contained images of Asheville School. So, while my daughter was sitting in on the college class “Roman Comedy” at the University North Carolina Asheville (UNCA), I ventured out to find Asheville School. Nestled back away from a main road in the foothills of the Blue Ridge Mountains, Asheville School is home to approximately 285 students in grades 9-12. Historic buildings are sited on a 300-acre campus and it is easy to see the similarities between this school and Cranbrook School for Boys. While changes have been made to the campus over the years, much of it remains as it was when Henry attended school there.

Another place in Henry’s album that I was able to locate (with the help of my friend) was what is now known as Trinity Episcopal Church on Church Street in downtown Asheville.

Henry returned to visit Asheville at least once after he graduated, and visited the Biltmore Estate in 1931. The photos below show how the landscape around the main house has been altered to better accommodate over one million visitors annually.

As some of you may know, last year Asheville celebrated the 100 year anniversary of the infamous flood of 1916.

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“Street to the Station”, 1916.

While Henry was there at the time of the flood, and took numerous photos of the ravaged Biltmore Village, I was unable to locate this exact street. Local archivists at Asheville School and the UNCA’s Special Collections and University Archives were also baffled, so if anyone knows the location of this image, please let us know!

It never ceases to amaze me how far and wide Cranbrook’s reach is, and how well our collections document it.

Leslie S. Edwards, Head Archivist

Selfie (/ˈsɛlfi/) – A photographic self-portrait

Most people think that selfies are a new phenomenon, but they have been around since the beginnings of photography. American photographer Robert Cornelius took a daguerreotype of himself in 1839.

As technology advanced, photographers, both professional and amateur, figured out new ways to take self-portraits. The mirror was a popular medium for the selfie. Even the ill-fated Grand Duchess Anastasia Nikolaevna of Russia took her own photo in a mirror in 1914.

Therefore, it was not surprising that the prolific Booth family photographer Henry Scripps Booth sought a way to take self-portraits. When using something like a Folding Kodak camera, Henry would have “tied a long string to the shutter release so that some member of the group could pull the string and thus make the exposure while remaining in the picture.” (Kodakery: A Journal for Amateur Photographers.)

Here are two examples of Henry’s technique in action:

Henry Booth and Carolyn Farr, titled, "'The End' (note the string) 1924," Pleasures of Life (POL 7.78.3)

Henry Booth and Carolyn Farr, titled, “‘The End’ (note the string) 1924,” Pleasures of Life (POL 7.78.3)

The Booth Family Fourth of July picnic, titled, "Thistle pulls the string – Indipendance [sic] Day 1925", Pleasures of Life, POL 8.13.1.

The Booth Family Fourth of July picnic, titled, “Thistle pulls the string – Indipendance [sic] Day 1925”, Pleasures of Life (POL 8.13.1)

Leslie Mio, Assistant Registrar

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!

Putting on a Holiday Scene

Every year, the Center for Collections and Research decorates George G. Booth’s Office for the Cranbrook House & Gardens Auxiliary’s Holiday Splendor event. This year, we were inspired by the Booth children and grandchildren.

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Some of the Booth grandchildren put on a play at George and Ellen Booth’s 50th wedding anniversary, 1937. Courtesy of Cranbrook Archives.

All children enjoy playing “dress-up” – whether in a costume or in the clothes of a family member. For George and Ellen Booth’s family, especially their youngest children Florence (“Smike”) and Henry (“Thistle”), any occasion was an excuse to dress-up – a family picnic, a visit from family or friends, the arrival of a new boat for Glastonbury Lake.

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Marjorie Booth wearing her grandmother Ellen Scripps Booth’s wedding dress, on the occasion of George and Ellen’s 50th wedding anniversary, 1937. Courtesy of Cranbrook Archives

For this year’s holiday installation, we imagined the Booth grandchildren playing dress-up with clothes from their grandparent’s closet—their grandmother’s dresses and hats, costumes from performances at the Greek Theater, and other items stored in the vast closets here at Cranbrook House. Perhaps they’re putting on a play, as they did for their grandparents’ anniversary in 1937, or maybe they’re simply celebrating and having fun, as Smike and Thistle were so fond of doing in their youth.

Accompanying the five outfits, the Center decorated a small tree and the mantle with iridescent, green, and silver ornaments, drawing out the colors of Florence Booth’s green dress and a beautiful Rene Lalique (1860-1945) glass vase (before 1930) we’ve set out on the desk. In the center of the mantle we’ve displayed Henry Scripps Booth and Carolyn Farr Booth’s Nativity (mid-20th century), sculpted by Clivia Calder Morrison (1909-2010). A Michigan native, Calder Morrison studied at the Detroit Society of Arts and Crafts with Samuel Cashwan and later at the Art Students League in New York, and this small crèche featuring the three Magi with gifts, Mary holding Jesus, and Joseph was kept in the oratory at Thornlea. Oh, and the Santa bag and hat on display were part of Henry’s costume he donned for Christmas parties here at the House!

Our display will be up through the New Year.  If you are in Cranbrook House for the Center’s piano/violin concert & book launch, Carl Milles’s Muse: Ludwig van Beethoven on December 11, or a Holiday Tea, Luncheon, or just for a meeting, please stop by and visit.

-Kevin Adkisson, Center Collections Fellow; Leslie S. Mio, Assistant Registrar

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