Material Honesty in Saarinen’s Structures

Eliel Saarinen wasn’t much for philosophizing about his work. Cranbrook’s principal architect demonstrated his beliefs about architecture through the bricks and stones of his buildings, rather than through academic lectures or theoretical treatise.

When I give tours of campus, I often highlight the fact that in Saarinen’s buildings, a brick wall is a structural brick wall, and a stone column is a structural stone column. If that sounds obvious, well, it’s because architects are excellent at deception.

Bricks and Mankato Kasota stone pilasters at Cranbrook Art Museum. Photograph by Daniel Smith CAA Architecture 2021. Courtesy Cranbrook Center.

In the 1920s and 1930s (and straight through to today), it was much cheaper to build a wall of concrete block or wood and then cover it in a façade of brick, or to design a reinforced concrete column and then wrap it in thin stone veneer. Solid brick walls and true stone columns are more expensive and more limiting to the designer (you can build taller, wider, and cheaper in steel and concrete). Regardless of a building’s style, by the early 20th century most of our country’s institutional buildings were constructed of modern materials and wrapped in traditional ones.

This habit of facadism (a focus on the material appearance without regard to the structural reality) was abhorrent to devotees of modernism. In International Style modern architecture, then, architects simply did away with brick walls and stone columns—materials used in construction for millennia—in favor of concrete, glass, and steel. The structure and the appearance of the architecture were one in the same.

But at Cranbrook, with its deep roots in the Arts and Crafts Movement, Saarinen went the other direction. True stone and brick construction was integral to our founding ethos, and to Saarinen’s designs.

Detail of brickwork on the dormitories of Cranbrook School for Boys (Cranbrook Campus, Cranbrook Kingswood Upper School). Photograph by Kevin Adkisson, Courtesy Cranbrook Center.

While many of Saarinen’s contemporaries were dealing with so-called ‘dishonest’ forms of architecture (steel and concrete frames clad in traditional styles rooted in masonry construction), Saarinen avoided the problem of ‘dishonesty’ by building modern buildings traditionally. Saarinen did use concrete vaults and floor slabs, as well as steel trusses, but he connected these to brick load bearing walls and stone columns.

Adding to the unusual fact that Cranbrook’s brick walls and brick vaults are structural, the beauty of Saarinen’s brickwork stands out. He achieved a special blend of true engineering and true artistry. This combination of beauty and utility was key to the Arts and Crafts Movement, and to the form-following-function ethos of Saarinen’s modernism.

More simply, the brickwork of Cranbrook is a visual delight.

Patterned brick and Mankato Kasota stone bench at Kingswood School for Girls (Kingswood Campus, Cranbrook Kingswood Upper School). Photograph by James Haefner, Courtesy Cranbrook Center.

In Edward Ford’s The Details of Modern Architecture (1996), the architecture historian and professor writes that:

“Few Modernists were less interested in industrialization and standardization than Eliel Saarinen, and it is more than ironic that fate was eventually to place him at its heart, Detroit, and that he was to spend the second half of his career…at Cranbrook, fifteen miles from Highland Park and twenty miles from River Rouge, designing schools for the children of auto executives.”

Basket-woven brick barrel vault in the Arts and Crafts Courtyard, Cranbrook Academy of Art. Photograph by James Haefner, Courtesy Cranbrook Center.

There is much more to say about Saarinen’s brickwork, and bricks at Cranbrook more broadly. On October 25, 2021, I invite you to join me for the Center’s next Uncovering Cranbrook virtual lecture: The Bricks of Cranbrook: Humble Material, Monumental Design. I’ll discuss the history of bricks, where our bricks came from and what makes them unique, and, most importantly, revel in the beauty of the billions of bricks on this campus. And, after the lecture, join me on campus for a special behind-the-scenes brick themed tour!

Kevin Adkisson, Curator, Cranbrook Center for Collections and Research

Collection Highlight: Walter Hickey Papers

Cranbrook Archives is pleased to announce a new collection available for research. An intriguing collection, it comprises the personal and professional papers, photographs, realia, and architectural drawings of Walter Preston Hickey, a student of Eliel Saarinen. Yet, while traces of key life events and relationships—birth, parentage, education, marriage, friends, and employers—can be found in the collection, Hickey’s life after Cranbrook remains largely a mystery.

Walter Hickey working in the Architecture Studio, 1935. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

A native of Detroit, Hickey attended the University of Michigan School of Architecture (1926-1930), during which time he worked with architects Albert Kahn (1928) and Thomas Tanner, as well as being one of the first staff members of the Cranbrook Architectural Office.

A Transportation Building for a World’s Fair, circa 1926-1930. A University of Michigan Class Project by Walter Hickey. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

He applied to study architectural design with instruction in city planning at Cranbrook Academy of Art, starting in September of 1932. He became especially interested in highway traffic control, which formed the topic of his 1935 thesis on the Waterfront Development for the City of Detroit. Hickey submitted designs to various Academy competitions and won a $10 prize from Loja Saarinen for design No. 13 in the Cranbrook Academy of Art Rug Competition in 1934.

Drawing by Walter Hickey, undated. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

After leaving Cranbrook, Hickey worked for various architecture firms, including Smith, Hinchman, and Grylls, and Clair W. Ditchy. After a short time with the Federal Housing Administration, he returned to work with Eliel and Eero Saarinen on the Kleinhans Music Hall project. He also completed private architectural designs for residences, including work on Ralph Rapson’s Hoey vacation home, Longshadows, in Metamora, MI. Around this time, he went to work at the General Motors Technical Center and continued to live in Birmingham, Michigan. And here is where his story ends in the collection.

Jane Viola Shepherd. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

Although this is a very small collection, the diversity of content is rewarding for its ability to convey snapshots of his life in individual and unique items. It includes Christmas cards, such as one from “the Lorches” (Emil Lorch was the President of the University of Michigan Architecture School), a few letters from friends, and something of a typed love letter (on Cranbrook Academy of Art letterhead!) from Zoltan Sepeshy’s Secretary Jane Viola Shepherd to whom he was married on April 22, 1937.

A small series of photographs hold moments of his life and some of the people with whom he shared it, including his father, eminent roentgenologist (radiography) Dr. Preston Hickey; his wife, Jane; his teacher, Eliel; and his fellow Academy students. A series of snowy scenes of Cranbrook campus beautifully capture the quietness of falling snow with hints of sunlight upon the architecture and sculptures that were then in their infancy and are now historic.

The Walter Hickey Papers give insight into a short period in Hickey’s life and the Cranbrook of his time. It also gives us a lovely look into a life that was surely shaped by his experience at Cranbrook, but one that remains yet to be fully discovered.

Laura MacNewman, Associate Archivist, Cranbrook Center for Collections and Research

A New Kiwi at Cranbrook

Since joining the Cranbrook Center for Collections and Research in late July as the new Collections Fellow, I’ve been busy exploring. These last weeks have been spent learning the Cranbrook story, taking long walks through the beautiful grounds, and getting to know Melvyn Maxwell and Sara Stein Smith, whose Frank Lloyd Wright-designed home will be the primary focus of my two-year fellowship.

Nina Blomfield with Eleen Auvil, Bird [Kiwi], c.1960s, in the Cranbrook Art Museum Collections Vault. Photograph by Kevin Adkisson, September 2021.

While there is much that is new and exciting to discover, I have been surprised to meet some familiar figures around campus.

I am originally from Auckland, New Zealand, but I come to Cranbrook directly from Bryn Mawr College, near Philadelphia, Pennsylvania, where I’ve been a graduate student in History of Art since 2015. This historically women’s college and the six institutions founded by George and Ellen Booth have much more in common than one might first imagine.

Like Cranbrook, Bryn Mawr College was conceived as a total work of art: an aesthetic environment that would foster learning and mold young scholars into thoughtful and productive members of society. Major transformations of the College campus were undertaken in the first decades of the twentieth century, just as the Booths began building their vision for Cranbrook. Both institutions were founded on a deep engagement with the Arts and Crafts Movement and a shared belief that art and education were intrinsically entwined.

Christ Church Cranbrook under construction, 1927. Photograph by Oscar H. Murray. Courtesy of Cranbrook Archives, Oscar H. Murray Photograph Collection.

Driving along Lone Pine Road, the architecture of Cranbrook forms a first point of connection between Bloomfield Hills and Bryn Mawr. The stone exterior and ornate windows of Christ Church Cranbrook transport the viewer to the same Gothic past that architects Cope & Stewardson imagined for their Collegiate Gothic Great Hall at Bryn Mawr.

Old Library Great Hall, completed 1907. Undated photograph, Bryn Mawr College Photo Archives, Bryn Mawr College Special Collections.

Further into campus, the organization of Cranbrook into quadrangles and cloisters, the use of hand-hewn materials, and the style of ornament make direct references to historical models. Through their architecture, both Cranbrook and Bryn Mawr, very new American institutions, ground themselves in the traditions of medieval and early modern Western Europe.

At Cranbrook House, the monumental entrance gates seemed even more welcoming when I learned they were fabricated under the direction of celebrated ironworker Samuel Yellin, whose stunning lanterns and wrought iron door handles were a highlight of my daily commute past Goodhart Hall at Bryn Mawr.

George Gough Booth and Samuel Yellin, Cranbrook entrance gates, 1917. Photograph by Kevin Adkisson, September 2021.
Samuel Yellin, lantern, c.1927-1929. Goodhart Hall, Bryn Mawr College, Pennsylvania. Photograph by Nina Blomfield, August 2019.

Inside Cranbrook House, there are even more connections. Attending a meeting in the Oak Room, I was astonished to be seated in front of a beautiful fireplace surround designed by Henry Mercer of the Moravian Pottery and Tile Works.

Moravian Pottery & Tile Works, “Bible in Tile” fireplace detail, c. 1920. Oak Room, Cranbrook House. Photograph by Kevin Adkisson, September 2021.

Bryn Mawr is located close to Moravian’s headquarters in Doylestown, Pennsylvania, and each of the College’s buildings is home to Mercer tiles arranged in a unique pattern. The little dragons in the photograph are adapted from fourteenth-century wyverns and recall the Welsh origins of Bryn Mawr’s name. The figurative tiles are sprinkled throughout the Old Library halls, where they often go unnoticed by busy students rushing between classes.

Moravian Pottery & Tile Works, floor tiles, c.1905-6. Old Library Vestibule, Bryn Mawr College, PA. Photograph by Nina Blomfield, August 2019.

Given the historical associations of these institutions with the Arts & Crafts, the artistic affinities between Cranbrook and my adopted home of Bryn Mawr are not wholly unexpected. But I was less prepared to be welcomed to Cranbrook by not one, but two compatriots from much farther afield!

Walking into Cranbrook Institute of Science for the first time, I was greeted by an adorable Apteryx haastii, the Great Spotted Kiwi, displayed in the ornithology case near the museum entrance. This fuzzy flightless bird is endemic to New Zealand and has become a moniker both for the country’s citizens and its most famous fruit. The Institute’s specimen has rare leucistic or dilute-colored plumage and entered the collection sometime in the 1950s.

Great Spotted Kiwi. Cranbrook Institute of Science. Photograph by Kevin Adkisson, September 2021.

Then, on my first visit to Cranbrook Art Museum I encountered another wee kiwi: a small bronze sculpture by Eleen Auvil, a 1961 graduate of the Academy’s Fiber department. Though dwarfed by the other Cranbrook creatures in the menagerie gallery of With Eyes Opened: Cranbrook Academy of Art Since 1932, Auvil’s tender modeling of the little bird instantly caught my eye.

Eleen Auvil, Bird, c.1960s. Photograph by Kevin Adkisson, September 2021.

As the Institute and the Museum both have their own kiwis, it is exciting that now the Center has one too!

I have enjoyed my first few weeks exploring, living, and working at Cranbrook. Even though this is my first time living in the Midwest, the connections between Cranbrook and my past homes—Bryn Mawr and New Zealand—have made me feel so welcome here. I look forward to making many more discoveries and to sharing them with you on the Cranbrook Kitchen Sink blog in the near future.

—Nina Blomfield, The Decorative Arts Trust Marie Zimmermann Collections Fellow for the Cranbrook Center for Collections and Research, 2021-2023

“The Warning Came at About 10 P.M.” The Birth of George Booth

September 24 is the birthday of Cranbrook’s co-founder George Gough Booth. Trying to decide how best to commemorate his 157th birthday, I landed on the idea of sharing the story of the day he came into the world.

Portrait of George when he was around twelve years old. Photographer W. E. Lindop, Elgin Gallery, St. Thomas, Ontario. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

In 1864, Henry Wood Booth and Clara Louise Irene Gagnier Booth were living in Canada. Clara had already given birth to three children: Charles, Alice, and Grace. Baby Grace had, unfortunately, died at seven months. Clara would go on to have six more children—Edmund, Theodora, Adelaide, Ralph, Roland, and Bertha—for a total of nine children to live past infancy.

Clara Louise Irene Gagnier Booth in 1857. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.
Henry Wood Booth in 1862. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

George Gough Booth arrived on September 24, 1864, at 8 Magill (now McGill) Street in Toronto, Ontario, Canada. Henry Wood Booth recalled that George was, “Born in the house at the East end of row on the South side of Magill St. about the middle of the block from Younge St. at 11.30 p.m. on Saturday, Sept. 24, 1864.”

The terrace house at No. 8 Magill Street, the birthplace of George G. Booth in Toronto, Ontario, Canada, as it looked in 1902. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research

In a missive written much later about the night of George’s birth, Henry recalled “the time when, on opening the front door, I heard your sonorous voice for the first time, while your grandmother, coming down the stairs, assured me ‘it’s a fine boy.’”

But why was Henry out so late on the night George was born? Shouldn’t he have been home with Clara?

Henry Wood Booth’s recollection of the birth of George Gough Booth in 1864. George Gough Booth (1864-1949) Papers (1981-01), Box 1 Folder 1, Cranbrook Archives.

Distraught during Clara’s labor—”The warning came at about 10 p.m.” Henry recalled—the father-to-be was ushered out of the house to get help. His first stop was the home of Mrs. Cavie, across Magill Street, “who was in bed but promised to ‘dress and go over at once,’ which she did.” Henry then ran to Mother Gagnier’s house. She lived a mile away. “She also promised to go at once, and did.”

His final stop was the home of Dr. James Ross, who lived almost three miles away. Dr. Ross, however, took his time, dressing while a nervous Henry waited. He regretted waiting for the doctor, “I should have hurried home and told them there that the doctor was coming.”

George, “being a lively one,” commented Henry, “and his mother equal to the task,” had already made his entrance into the world, with the assistance of the experienced Grandmother Gagnier, before the doctor and Henry had reached the house.

George Gough got his first name from his great-grandfather as well as his uncle, both named George Booth. Gough came from two sources. Henry’s grandmother Elizabeth Dann Gough Booth had been a member of the influential Gough family back in England, and Henry’s father’s name was Henry Gough Booth.

In addition, Henry and Clara enjoyed the work of the famous temperance orator John Gough. Henry had once heard Gough lecture in 1849, where Henry signed “the pledge” to stop drinking, and became a champion of temperance. The Booths sought to dedicate George to “the sacred cause of temperance” and thought the strong middle name would help.

George Gough Booth did maintain a temperate life, so Henry and Clara’s goal was achieved.

Another thing Henry and Clara passed on to their son George: a tradition of honoring the family ancestry through names:

  • George’s second son’s name was Warren, his wife Ellen Scripps Booth’s middle name
  • His first daughter was named Grace Ellen, after his sister who died in infancy and his wife
  • His youngest son was named Henry after his father, grandfather, and a long line of Henrys before him
  • His youngest daughter Florence’s middle name was Louise, his mother’s middle name
  • All three of his sons’ middle names were Scripps, his wife’s maiden name
Ellen Scripps Booth and George Gough Booth with their children on their 50th wedding anniversary in 1937. The Booths are, from front row, from left: James Scripps, Henry Scripps, Warren Scripps. Second row from left: Ellen Scripps, George Gough, Grace Ellen, Florence Louise. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research

And George and Ellen’s home, estate, and community they founded was, of course, named for the town in Kent, England, where Henry Wood Booth was born: Cranbrook.

And with that, I’d like to wish a very Happy Birthday, Mr. Booth!

Leslie S. Mio, Associate Registrar, Cranbrook Center for Collections and Research

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Welcome Nina!

Thanks to the Decorative Arts Trust, based in Media, Pennsylvania, the Center has a new Resident Collections Fellow—Nina Blomfield.

Recipient of the Decorative Arts Trust Marie Zimmermann Collections Fellowship, Nina joined the Center on July 26. We’re delighted to report that in just her first few weeks, Nina has jumped right into the work of the Cranbrook Center!

A native of New Zealand, Nina received her BA from Victoria University of Wellington, New Zealand, and earned her MA in History of Art at Bryn Mawr College, Pennsylvania, where her thesis focused on the use of Japanese decorative arts by middle-class American women. She is currently completing a PhD at Bryn Mawr that examines the material culture of domestic space and the global origins of Victorian home decorating. At Bryn Mawr, she curated the well-received exhibition “All-Over Design”: Lockwood de Forest between Ahmedabad and Bryn Mawr.

Nina has had formative collections-based experiences at the National Library of New Zealand, Bryn Mawr College, and the American Wing of the Metropolitan Museum of Art.

Nina is the Center’s fourth Collections Fellow, and in her two years here she will be focusing her attention on the decorative arts in the Frank Lloyd Wright-designed Smith House. She’s been hard at work researching the family and the home’s rich collection. Her efforts have already identified the artists behind a dozen previously unidentified objects in Smith House. Look forward to hearing from Nina on the blog soon, and join us in welcoming her to Cranbrook!

Getting to Know Ken Isaacs at Cranbrook

Throughout this past spring and summer, I’ve been arranging and describing the recently donated papers of designer and architectural educator Ken Isaacs. Isaacs was an Academy of Art design student and faculty alumnus–his Superchair and a film by Barbara Isaacs are currently featured in the With Eyes Opened exhibit at the Art Museum and in the beautiful new book of the same title. Organizing his papers to ready them for researchers has led my learning about the environments Isaacs designed as well as the larger environments he navigated. These include Cranbrook, Manhattan, Chicago, and the rural acres of Groveland, Illinois where he designed and built a village of stylish, portable Microhouses, predating the current Tiny House movement by decades.

Portrait of Ken Isaacs, found tucked into his 1957 daybook. Courtesy of Cranbrook Archives.

For example, while completing his MFA at Cranbrook from 1952-1954, Isaacs redesigned the interior of The Little Gallery, founded by Peggy DeSalle in neighboring Birmingham in 1949. DeSalle was a great supporter and benefactor of the Cranbrook community and the lead donor and namesake of Cranbrook Art Museum’s DeSalle Auditorium, so how wonderful to get a peek at The Little Gallery’s early years through Isaacs’ papers. I learned DeSalle was once married to Cranbrook President Zoltan Sepeshy, though long before Isaacs came to study here. I also learned, thanks to one of Isaacs’ presentation boards, that Peggy’s second husband and lifelong partner, Albert DeSalle, bought a 1955 couch Isaacs designed of steel and canvas.

During those same years, Ken Isaacs built the 18-foot-long, seven-foot-tall Matrix Drum environment. This large structure with its curving wall of graphic, black and white collage was stored here on campus until Zoltan Sepeshy persuaded Isaacs to return as faculty. (No wonder Isaacs was still on Sepeshy’s mind, having left a work larger than a Buick Roadmaster on the president’s turf).

I’ve recently foldered letters back and forth from Isaacs and Sepeshy. Their correspondence is a study in contrasts: Isaacs’ design stationery is mid-century modern with simple shapes in bold primary colors; one of Sepeshy’s handwritten notes has elegant, looping script that stands out against typed missives. They negotiated that Isaacs would retain and commute to his New York City design offices from Bloomfield Hills. The arrangement worked, for a while. The contract for the 1956-1957 school year included a residence for Ken and Barbara Isaacs in the “apartment in Guest House” on Academy Way and Isaacs headed the Design department from 1956 to 1958.

Isaacs regards a student’s work in an Art Academy studio. Courtesy of Cranbrook Archives.

Back at Cranbrook, photographs show Isaacs’ reuse of his Matrix Drum structure as a collaborative art project with Academy students who helped to collage its black and white pholage exterior. His notes detail how he redesigned the first Academy year to include field trips and visiting experts. They also explain how students designed a multimedia, immersive Matrix Drum lesson about the American Civil War using multiple slide projectors and moving pallets for participants to sit upon.

These are a few curiosity-rousing items in the Ken Isaacs Papers, from just his time at Cranbrook, with plenty more boxes of his writings and images left to go through. I’ll confess, his papers make it a real challenge for me to stay on task with processing duties, when there are so many things I want to know more about. Stay tuned for further finds!

Meredith Counts, Archives Assistant, Center for Collections and Research

The Art and Architecture of Christ Church Cranbrook

Inspired by a previous Cranbrook Kitchen Sink blog on the embroidery in St. Dunstan’s Chapel, Curator Kevin Adkisson gave a virtual tour of Christ Church Cranbrook, part of the Center’s award-winning “Live at Five” series, on Wednesday, September 1, 2021. It was too great not to share with our Cranbrook Kitchen Sink followers as well.

Check out these other blogs about Christ Church Cranbrook:

Leslie S. Mio, Associate Registrar, Cranbrook Center for Collections and Research

Handwork and Symbolism in St. Dunstan’s Chapel

In Cranbrook Archives’ Christ Church Cranbrook Records, there is a binder on two needlepoint projects undertaken between 1957 and 1964, the first of which focuses on replacing the cushions and kneelers in St. Dunstan’s Chapel. It gives insight into the design process, symbolism, and handwork, as well as providing much information that would be of interest to the sociology of gender roles and art.

St. Dunstan’s Chapel, Christ Church Cranbrook. The Chapel’s first service was Easter Sunday 1926; the current configuration of the Chapel dates to 1934. Photograph by Kevin Adkisson, August 2021. Cranbrook Center for Collections and Research.

The project, a collaboration of the Women’s Auxiliary and the Altar Guild, began in June 1957 when a Needlepoint Committee was convened to oversee the project through its planning, implementation, and dedication. The project was inspired by a similar project at Washington Cathedral where women across the nation contributed 461 pieces of needlepoint to the Cathedral, including altar pieces for Bethlehem Chapel which were worked by women of Michigan.

Twenty designs from the Washington Cathedral project were displayed in the Exhibition of Ecclesiastical Needlepoint at the Detroit Institute of Arts in February 1958 prior to their dedication at the Cathedral. Rt. Rev. Richard S. Emrich commended the idea to all churches in Michigan.

Catalog for the Exhibition of Ecclesiastical Needlepoint at the Detroit Institute of Arts, February 1958. Courtesy of Cranbrook Archives, Cranbrook Center for Collections and Research.

St. Dunstan’s Chapel was selected as the most appropriate place for the women of the church to use their handwork for its adornment, since St. Dunstan is the patron saint of Arts and Crafts. St. Dunstan, born in Glastonbury, Somerset, in the tenth century, is commemorated in St. Dunstan’s Chapel with a stone from Glastonbury Abbey where he served as abbot.

Initially, the Committee decided to seek designs for the project by opening a contest for Cranbrook Academy of Art students, with Henry Scripps Booth, Pipsan Saarinen Swanson, Ken Isaacs, and Marion Leader as judges. Harry Soviak (Painting 1957/MFA 1959) won the competition. However, there were problems in implementing the design in terms of types and quantities of wool, and the Committee sought to consider more traditional designs before making a final choice.

Henry Scripps Booth, Ken Isaacs, Pipsan Saarinen Swanson (seated), and Marion Leader judging entries from Academy of Art students to the needlepoint contest for St. Dunstan’s Chapel at Christ Church Cranbrook. April 19, 1957. Photograph by Harvey Croze. Cranbrook Archives, Cranbrook Center for Collections and Research.

Rachel T. Earnshaw of the Needlework Studio, Inc., of Bryn Mawr, Pennsylvania was contacted for information on how to proceed. Earnshaw had won first place for her designs for the Chapel of the Holy Spirit at Washington Cathedral. Having been sent some information and images of St. Dunstan’s Chapel, she advised on symbolism as well as offering guidance on canvas, wool, and stitches.

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Photo Friday: Nash-Healy Pinin Farina

In honor of the Woodward Dream Cruise, happening in front of Cranbrook’s Woodward Entrance as I write, I thought we’d look back at this fabulous photograph of an unknown woman and a beautiful 1950s Nash Pininfarina parked in front of Cranbrook School for Boys’ study hall. This photograph is part of Cranbrook Archives’ Floyd Bunt Papers.

Nash-Healy Pinin Farina parked next to Cranbrook School for Boys, ca. 1956. New Center Photographic, Inc., photographer. Cranbrook Archives.

Toronto-native Floyd Bunt joined the faculty of Cranbrook School in 1944 and taught Chemistry and Engineer Science. He also was the faculty advisor for the Rifle Club and taught auto mechanics classes to the boys, quite possibly using this Nash-Healy Pinin Farina. He eventually served as chairman of the Science Department at Cranbrook from 1964 to 1969.

The Nash-Healy is a two-seat luxury sports car, made between 1951 to 1954. It was one of the first sports car sold in America after World War Two, launched two years before the Corvette. The 1951 models were built in Britain, and the redesigned 1952 through 1954 models built in Turin, Italy by Pinin Farina. There were only 506 of this chic little cars made, and it looks like our photo shows a 1953 roadster. I do wonder who owned it, and why this photo was taken!

Perhaps you’ll be venturing out to Woodward Avenue this weekend for the Dream Cruise. I’ve been enjoying the historic cars that are already cruising; perhaps there’s even a Nash-Healy Pinin Farina out there! Send us a picture if you see one!

Kevin Adkisson, Associate Curator, Cranbrook Center for Collections and Research

Photo Friday: Coastal Life in Maine

Recently returned from a sojourn to the coastal towns of Midcoast and Downeast Maine, the sights, sounds, and rhythm of the ocean remain with me still.  For eight days many activities, particularly swimming and beachcombing, were often dictated by the tides. Twice daily the ebb tide revealed fascinating marine life – plant and animal – in tide pools, beaches, and on rocks, of which I attempted to capture with my iPhone camera to varying degrees of success.

One of the good ones! View of Spruce Head from Clark Island, Maine. July 2021.

Photographs taken by Institute of Science Exhibition Artist and Preparator, Dudley Moore Blakely, do much more justice to the varied species found in tidal pools along this majestic coastline. He, too, spent a part of his summer in Maine, traveling instead in 1948 to the southern beach towns just over the New Hampshire state line.

Blakely’s trip involved field studies for a permanent biological exhibit, Between the Tides, which would be mounted in 1949, after his departure for the Boston Museum of Science.

Blakely’s photographs helped him simulate in rubber mold casting the barnacle encrusted rocks, and exhibition staff members George Marchand the lesser algae and animals, Luella Schroeder the kelp, and Dorothy Olsen Davies the sea anemones. The exhibit’s purpose was to recreate the “zonal distribution of life in response to the rhythm of the tides.” (Cranbrook Institute of Science 1949-1950 Annual Report, Vol. 20, p.14)

A man of unique talents, Blakely also created a ripple pattern of lighting for the Tides exhibit where “light from a single source passes through actual waves on its way to the exhibit.” (Cranbrook Institute of Science Newsletter, October 1949, Vol.19:2, p.23)

Between the Tides exhibit, Alcove 5, Cranbrook Institute of Science, 1949. Courtesy of Cranbrook Archives.

Dudley Blakely oversaw the exhibition department at the Institute from 1936-1948 (except during the war years), where he designed and fabricated exhibits and provided architectural drawings and models for the Institute.

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

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