Taste, Grace, and Elegance: The Cannon Returns

Today, Cranbrook Art Museum opens its newest show, With Eyes Opened: Cranbrook Academy of Art Since 1932, surveying the history of the Academy since its founding. For the exhibition, the Center for Collections and Research worked closely with the Museum, researching in the Archives, contributing essays for the 600-plus page publication that chronicles the history of this storied institution, and coordinating the restoration and reinstallation of the Academy’s cannon.

Yes, I said cannon.

From 1966 to 1971, Julius Schmidt, Artist-in-Residence of the Sculpture Department (1964-1970), and his students, designed, sculpted, and cast a working cannon. Before Schmidt arrived at Cranbrook, there had not been a forge on campus for students to use. It was constructed in 1964, in the open space east of Carl Milles’s large studio. (You can read more about the forge in a previous Kitchen Sink blog: Photo Friday: Iron Pour.)

How do you move a cannon? Very carefully–and with a lot of assistance from a hydraulic arm! Steve Kerchoff, the Cranbrook Mechanic, hooks the cannon to the backhoe for placement. June 15, 2021. Photograph by Kevin Adkisson, Cranbrook Center for Collections and Research.

Titled simply Cannon, it is composed of a cast iron wheels, cast iron cannon body, and bronze field carriage. I should say, an extremely heavy carriage, cannon body, and wheels. It took a number of people to get Cannon reinstalled, including artist Scott Berels who restored the wheels with funds from Cranbrook Art Museum, Cranbrook Facilities, who helped move and install the piece, the Center’s Associate Curator Kevin Adkisson, and the Art Museum’s Head Preparator Jon Geiger and Registrar Corey Gross. Vital to the reinstallation was the heavy equipment and sturdy straps of the Facilities team—it isn’t often we use a John Deere backhoe to move art!

We are excited to have Cannon back on campus in time to celebrate the history of the Academy in the Art Museum exhibition. Associate Curator Kevin Adkisson marked the cannon’s its return in his most recent Live at Five presentation on Facebook:

Associate Curator Kevin Adkisson takes you on a tour of Cannon on June 16, 2021. Courtesy Cranbrook Center for Collections and Research.

Cannon features a lot of imagery, including a number of protest-related images, which is in keeping with the times in which it was forged. One line I especially like: beneath the cannon’s trunnions (where it connects to the carriage) is the (perhaps ironic) inscription: “TASTE GRACE AND ELEGANCE.” Indeed!

Inscription on the interior of the cannon carriage.

There is still so much to learn about Cannon. We are excited to look into the iconography on the piece, and research the many student artists whose names are seen on the cannon. If you have a cannon-related story, or were involved in its construction or casting, please let us know! Look for more blogs in the future about this heavy, heavy part of the Cranbrook campus.

Congratulations to the team at Cranbrook Art Museum on the opening of the new exhibition. Book your tickets today on the Museum’s website, and don’t forget to walk over to experience Cannon while you’re here!

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

The Heartbeat of the Nation

In August 1989, Cranbrook became a National Historic Landmark. America’s highest designation for a place of outstanding historical significance, it was no small feat for Cranbrook to become Michigan’s twenty-second National Historic Landmark (there are only forty-two today). So, what exactly is a National Historic Landmark, and how did we become one?

National Register of Historic Places plaque on the Kingswood Campus. Photographs by Kevin Adkisson, Cranbrook Center for Collections and Research.

Statutory provision for historic preservation began in America in 1906 with the Antiquities Act, which was further developed by the Historic Sites Act of 1935. Administered by the Department of the Interior, this Act was enacted to document and protect sites of national significance. In 1960, the National Park Service began administering the survey data from the Historic Sites Act, and the National Historic Landmark designation was introduced.

The National Historic Preservation Act of 1966 expanded the 1935 Act to local and state sites. This created the National Register of Historic Places, which began to identify, evaluate, and protect America’s historic resources. Many thousands of buildings have since been added to the National Register. In June of 1972, Cranbrook’s application was prepared by an Assistant Historian at the Michigan Department of State in Lansing, and the nomination was based on Cranbrook’s significance as a complete district of educational and architectural structures.

National Register of Historic Places plaque at Brookside.

To be eligible for designation on the National Register (a step below the National Historic Landmark status), the nominated site must have in its architecture, archeology, engineering, or culture integrity of location, design, setting, materials, workmanship, feeling, and association.

National Register of Historic Places plaque at Cranbrook School.

In addition, sites on the National Register must meet one of four criteria: be associated with events in the lives of significant persons; embody distinctive characteristics of a type, period, or method of construction; represent work of a master and high artistic values; or have or be likely to yield information important to prehistory or history. Once these criteria are evaluated and met, the site may be listed.

National Register of Historic Places plaque at Cranbrook Institute of Science.

Cranbrook was added to the National Register in March 1973, and it was at this point seven National Historic Landmark signs were ordered to be placed at each of the original Cranbrook Institutions and on Cranbrook House. (Christ Church Cranbrook was included in the designation, even though it would formally split off as a separate entity later in 1973 with the formation of Cranbrook Educational Community.) In writing to inform us of the designation, Samuel Milstein at the Department of Natural Resources eloquently wrote that:

“The State of Michigan is very proud of the fact that the property is qualified for this designation. The National Register records the story of the Nation, and is a list of distinction identifying those properties by which present and future generations can sense the heartbeat of the United States.”

Letter from Samuel A. Milstein to Cranbrook Institutions, March 30, 1973. National Register for Historic Places Records.
Non-official National Historic Landmark plaque at Christ Church Cranbrook, on right. The official plaque was changed at some point.

This language echoes that of George Booth in speaking to Cranbrook School in 1928, in which he emphasizes the importance of finding the treasure at your feet, the building up of an ethos of service from the local to the national to the global:

“If we feel our first loyalty to our State and are determined in every way we can to enrich it; if we never fail to see that we must give; if we are resolved to strive only for that which is worth while, then will our State have a place in the Nation, of which we will all be proud. The stronger and more glorious each of the States may be, the stronger and more glorious the Nation; and hence, the better and finer our opportunity for service to the world.”

Address by George Booth given on “Founders’ Day” at Cranbrook School for Boys, October 26, 1928. Cranbrook Archives.

But of course, our story doesn’t end with the National Register. In June 1987, the Chief Historian of the National Park Service (NPS) wrote to Cranbrook’s president, Dr. Lillian Bauder, to inform her that they were studying the property to determine its potential as a National Historic Landmark. Only 3% of sites on the National Register of Historic Places receive the higher honor of becoming National Historic Landmarks.

National Register of Historic Places plaque at Cranbrook Academy of Art.

The designation process follows three steps: study, including a visit to the property; review by the NPS Advisory Board; and a decision of designation by the Secretary of the Interior. The study was completed in February 1989 and the Advisory Board made its recommendation to Secretary Manuel Lujan in May. Cranbrook was designated a National Historic Landmark in August 1989.

The Cranbrook House sign was swapped from a National Register of Historic Places sign to a National Historic Landmark sign, encompassing all of the Cranbrook district.

National Historic Landmark plaque for the entire Cranbrook Educational Community next to the front door of Cranbrook House.

The work of the Center for Collections and Research is embedded in the obligations of historic preservation in caring for and maintaining the community’s history, but also in articulating its meaning and value. Our mission nicely parallels the goals of the National Historic Landmark program. Even without such recognition, all who visit Cranbrook know it is a special place—but sometimes it is nice to have a plaque say so, too.

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

Magical Oven: The Frigidaire Flair

As part of its efforts to maintain safe distancing during classes, Cranbrook Schools has spread out all over campus. This includes the use of the Edison House, former home of visiting scholars to Cranbrook Institute of Science.

The history of Edison House and a look at some of its unique features have been explored already (see earlier Kitchen Sink blogs Edison House a Modern Icon and Photo Friday: Modern inside and Out). But one particular object in the house has a special Cranbrook, and a magical, connection.

1965 Frigidaire Imperial Flair oven installed in Edison House. Photos by Daniel Smith, CAA ’22.

In the Edison House kitchen is installed a 1965 model Frigidaire Imperial Flair range and oven in Honey Beige. Frigidaire was owned by General Motors when the Flair was introduced to the market in 1962. An electric range, the Flair has burners that roll in and out much like a drawer, hidden from view when not in use. The double ovens sit right at counter height, and the oven doors lift up instead of swinging out. As a Frigidaire advisement in Cranbrook Archives proudly pronounced, “Flair has every automatic feature you’ve ever wanted!”

Ideas for Living, 1960
An image from “Ideas for Living,” 1960. Copyright General Motors. Courtesy Cranbrook Archives.

First, the Cranbrook connection: Many aspects of the oven, including the mechanics of the lifting oven doors, were designed by M. Jayne van Alstyne. Van Alstyne, whose papers are held in Cranbrook Archives, studied ceramics at Cranbrook Academy of Art in 1941 and 1942 before going on to study industrial design at Pratt Institute and Alfred University in New York. From 1955 to 1969, she worked for General Motors, first with GM Frigidaire and later as one of Harley Earl’s “Damsels of Design” in the automotive division.

As Studio Head for GM Frigidaire, she led the research and development of appliances and oversaw product exhibitions, including the “Ideas for Living” show where the Flair debuted in 1960. Her signature oven and range (as well as many other modern electric appliances detailed in the dedication booklet) was installed at Edison House in 1966.

Kitchen in Edison House, “Cranbrook’s New Idea Home,” May 1966. Harvey Croze, photographer. Copyright Cranbrook Archives.

Second, the magical connection: From 1964 to 1972, Actress Elizabeth Montgomery starred in the television sitcom, Bewitched. It told the story of Samantha, a witch, who marries a mortal, Darrin Stephens (Dick York). Samantha agrees to live the life of an ordinary housewife. Of course, things don’t go as planned and hilarity ensues. In their kitchen, the Stephens had a Frigidaire Flair, which appeared in a number of episodes.

Actress Elizabeth Montgomery on the set of Bewitched with her Frigidaire Flair. Photo Courtesy of Grace Kelly, Kitchen Designs by Ken Kelly, Inc.

Anyone who sees the Flair in Edison House will agree it is a marvel of design. While they won’t be whipping up lunch on the appliance, I hope the kids taking classes in the house will take a moment appreciate it. As Frigidaire promised in 1962, the Flair is “The happiest thing that ever happened to cooking… OR YOU!”

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

The Monreale Fountain in the Quadrangle

In the center of the Quadrangle at Cranbrook School is a replica of a fountain which stands in the southwestern corner of the cloister of Duomo Monreale in Palermo, Sicily. Completed in 1182, the cathedral unites Arabic, Byzantine, and Norman architectural and cultural influences and is famed for its mosaics.

The inspiration for the fountain’s long-treasured presence on the Cranbrook campus dates back to 1922, when Henry Scripps Booth first saw the original in the cathedral cloister. This was a site that Henry seems to have particularly wanted to see while on a ten-month architectural study tour of Scandinavia, Germany, Switzerland, Italy, Great Britain, and France, with his friend, J. Robert F. Swanson.

View of the Duomo Monreale, December 1922. Henry Scripps Booth, photographer. Cranbrook Archives.

Writing to his father, Cranbrook founder George G. Booth, on December 26, 1922, he describes the cathedral thus:

“Mosaic everywhere — luminous gold, and dull colors — with intricate geometric patterns in abundance and fine but rather arcaic [sic] representations of Biblical stories roofed over with a richly decorated trussed ceiling. The cloister in the cathedral’s shade is that delightful one with such delicate columns in pairs, decorated by mosaics, that is illustrated so frequently.”

View of the Duomo Monreale, December 1922. Henry Scripps Booth, photographer. Cranbrook Archives.

Henry laments that there isn’t time enough to study the monuments as closely as he would like, to measure them and draw them up, for if they did, they would end up knowing only one thing well but miss out on so many others. His letter includes this sketch of the fountain:

Letter from Henry Scripps Booth to George Gough Booth, December 24-26, 1922. Cranbrook Archives.

Several years later, George is in Naples, Italy, at one of his favored workshops, the Chiurazzi Foundry. On March 2, 1927, George wrote to Henry to tell him of numerous purchases he made at the foundry, all to be gifts to the new Cranbrook School for Boys. While the specific uses of the items might be determined later, as was characteristic of George he had a tentative plan for all of them. The most important was the replica of the Monreale fountain. Here, we can see George’s sketch of the replica fountain, showing its dimensions:

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What’s My Number?

We typically write blogs about what projects we are working on – a research question, an exciting piece of furniture – but I wanted to let you in on something a little more pedestrian:

One of the regular projects I work on is numbering and labeling the Cultural Properties. Each object gets a unique number to identify and differentiate it from other cultural properties.

Me at work, numbering silverware.

Me at work, numbering silverware. Photo by Desai Wang, CKU ’19

The numbering system is done in two different ways here at Cranbrook. All collections have a prefix set of letters that lets us know what collection it is in. For example, there is a Brookside School Collection with the prefix “BS,” as well as collections for each of the three historic houses we oversee. Next, there is either a number to match an inventory of the collection or the year the object was created or acquired.

The Brookside Lobby Fixture designed by Henry Scripps Booth and created by Leonard Electric is numbered BS 1929.1. It was created in 1929 for use in the school.

The Brookside Lobby Fixture designed by Henry Scripps Booth and created by Leonard Electric is numbered BS 1929.1. It was created in 1929 for use in the school. I haven’t been able to put the number on it yet! Photo by Daniel Smith, CAA ’21

The Frog and Lily Pad Vase by Adelaide Alsop Robineau in the Founders Collection is number CEC 16. It was the 16th item cataloged in a 1975 inventory of the house.

The Frog and Lily Pad Vase by Adelaide Alsop Robineau in the Founders Collection is numbered “CEC 16.” It was the 16th item cataloged in a 1975 inventory of the house. Photo by R. H. Hensleigh

Once we have numbers assigned to the object, we need to physically apply them to the object. Putting a number directly on an object is the most secure way. There are a number of techniques used to apply labels to the objects.

We currently use a method of spreading on a thin layer of special clear adhesive (B-72) to the object, putting down a number written or printed on acid-free paper, and then covering that paper with another coat of the clear adhesive. Printing the numbers on a printer allows you to control the size of the numbers (typically 7-point font) and also ensures they are legible.

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A number applied to an object. This is from the Smith House collection, which the CEC acquired in 2017.

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B-72, one of the tools of the trade.

There are all sorts of exceptions to the above rule: You can’t number plastics this way – the solvent in the B-72 would melt the plastic. To number them, we tie on a tag made of Tyvek using Teflon tape (also known as plumber’s tape).

Cotton twill "tape" used ti number textiles.

Cotton twill “tape” used to number textiles.

And what about textiles? For that, we write the number on cotton twill “tape” with archival ink and sew the tags onto the objects.

Chapter 5E of Museum Registration Methods – what is referred to as the “Registrar’s Bible” — is all about marking objects, best practices, and recommended materials. When in doubt, I start there.

Leslie Mio, Associate Registrar

There’s Always a Detroit Connection

In the main hallway of Kingswood and in the living room of Thornlea, there are paintings by artist Myron G. Barlow (1873-1937). I love the look of these paintings and began to wonder about the artist. I’ve come to learn he was an internationally known Detroit-raised painter. As with all things Cranbrook, it seems, there is always a Detroit connection.

Two Women with a Bowl of Flowers on a Table, circa 1912 by Myron G. Barlow

Two Women with a Bowl of Flowers on a Table, circa 1912 by Myron G. Barlow.

The Kingswood painting Two Women with a Bowl of Flowers on a Table depicts two peasant girls, one standing and one bending over a bowl of flowers. It was donated to Kingswood around 1970 by Herbert Sott in memory of his wife Mignon Ginsburg Sott, who was Kingswood Class of 1943.

Young Girl Braiding Her Hair, circa 1912 by Myron G. Barlow

Young Girl Braiding Her Hair, circa 1912 by Myron G. Barlow

The other painting, Young Girl Braiding Her Hair, is of a girl looking in a mirror braiding her hair. It was purchased by James Scripps Booth from the artist in 1912. James attended the Ecole des Beaux-Arts in Paris and in 1911 had studied under Barlow; James’ painting “Onion Gatherer, Cote d’Azure” depicts Barlow’s cottage studio. James gave Young Girl Braiding Her Hair to his parents George and Ellen Booth. It originally hung in Cranbrook House’s main staircase. George and Ellen gifted the painting to Henry and Carolyn Booth, who hung it in their home, Thornlea.

Myron Barlow (1873-1937). Son of Adolph and Fanny Barlow who were members of Temple Beth El. Courtesy Temple Beth El Facebook page.

Myron G. Barlow (1873-1937), son of Adolph and Fanny Barlow who were members of Temple Beth-El in Detroit. Courtesy Temple Beth El.

Myron G. Barlow was born in Ionia, Michigan in 1873 and raised in Detroit. As a teenager, he trained at the Detroit Museum School, where he studied under Joseph Gies, and then at the Art Institute of Chicago. He began his career as a newspaper artist. He eventually traveled to Paris and enrolled in the Ecole des Beaux-Arts where studied under Jean-Leon Gerome.

While copying paintings in the Rijksmuseum in Amsterdam, Barlow discovered Johannes Vermeer. As stated in William H. Gerdts’ Masterworks of American Impressionism from the Pfeil Collection, “Like Vermeer, one of Barlow’s favorite artistic themes became the depiction of figures, often female and usually set in an interior; frequently isolated and motionless, surrounded by a dream-like atmosphere rendered in a single, dominant tonality, often blue.”

Barlow in his studio after 1900. Courtesy of Nancy Brett (Barlow's great-niece) on Temple Beth-El Facebook page.

Barlow in his studio after 1900. Courtesy of Nancy Brett (Barlow’s great-niece) via Temple Beth-El.

Around 1900, Barlow moved to the French village of Trepied. There he transformed a peasant’s house into his studio. He would, however, make frequent trips back to Detroit and kept a home there as well.

He served as the Chairman of the Scarab Club around 1918. According to his Detroit News obituary, “Among his major achievements in Detroit are six large murals which he painted for the main auditorium of Temple Beth-El, which were completed in 1925.”

In 1907, he was the only American elected to the Societe Nationale des Beaux-Arts and in 1932 was made a Knight of the Legion of Honor by the French Government. He was recognized for his work with gold medals at the St. Louis and Panama Pacific Exhibition, and by having his works purchased by many international museums, including the Musée Quentovic in France, Pennsylvania Academy of Fine Arts, and the Detroit Institute of Arts. The Detroit Club and the private collection of Baron Edmond de Rothschild also included works by Barlow.

In May 1937, he left Detroit with the intention of selling his studio in France and returning to the city for the remainder of his life. Unfortunately, he died in his home in Trepied that fall.

– Leslie S. Mio, Associate Registrar

A Sculpture So Nice They Named it Twice

One of my many duties here at the Center for Collections and Research is to maintain the sculptures on the campus. This can mean finding conservators to repair works, contractors to clean them, or, in some cases, clean them myself. Recently, I was working on a sculpture in the gardens at Cranbrook House. I had seen the sculpture before but wondered about its backstory. Turns out it was a tale of two names.

The sculpture is Mario Korbel’s statue Atalanta, the Greek goddess of the hunt, travel, and adventure. It was commissioned by George Gough Booth in 1927 for one of the gardens at Cranbrook House, part of a series of work Korbel completed for the Booth house and gardens — including Dawn and Harmony in the gardens and Andante and Nocturne in the house.

Letter from Mario Korbel to George G. Booth, referencing both his works Atalanta and Andante. George Gough Booth Papers, Cranbrook Archives.

July 12, 1927 letter from Mario Korbel to George G. Booth, referencing both his works Atalanta and Andante. George Gough Booth Papers, Cranbrook Archives.

Booth, admiring the beauty of the clear, white marble of Atalanta, transferred the work into the collection of the Art Museum. It was part of the original art museum exhibition in 1930.

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Atalanta (left) in the first Art Museum exhibition in 1930. Courtesy Cranbrook Archives.

Later, Booth wrote: “We have finally concluded that the figure will make a very important and striking center art element in connection with the new School for Girls at Cranbrook.” When the Kingswood dormitory was built, the sculpture was transferred to Kingswood and installed on the terrace.

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Atalanta (right) adorns the terrace at the Kingswood School for Girls dormitory in this undated photo. Courtesy Cranbrook Archives.

In 1969, the sculpture was vandalized and smashed into many pieces (no one was ever implicated in the crime–or at least, their name isn’t in my file!). Those pieces were put back together, but when Atalanta was finally repaired, she was not as pristine. Henry Scripps Booth decided to rename her Ecolo. He also wrote a verse to explain the new name:

Ecolo, Goddess of Earth 

Who is this sweet maid who stoops protectively to save the earth from man’s pernicious tread? 

It is the blithe spirit of Ecology by whom all life and natural things are fed.

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Ecolo in her new home in the Herb Garden at Cranbrook House.

Ecolo, or the sculpture-formerly-known-as-Atalanta, now greets visitors in the Herb Garden at Cranbrook House.

– Leslie S. Mio, Associate Registrar

Discovering Turtle Fountain

The collections at Cranbrook Archives are used by a wide population of researchers and have a broad reach academically and internationally. The collections are also used internally for diverse purposes, including historic preservation, education, program development, and fact-checking. A recent research request related to the original installation of Turtle Fountain on the circular terrace at Cranbrook House.

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Turtle Fountain, 1925. K. Hance, photographer. Copyright Cranbrook Archives.

In the late winter of 1924, George and Ellen Booth took a trip to Europe. In a letter dated February 15, 1924, to Cecil Billington, George explains,

“We stopped in Rome to see if by chance I could find a fountain for the new circular terrace basin – and I did – at first it seemed quite out of reach, but some favorable circumstances helped a lot…”

He goes on to discuss the agreements for packaging and shipping the fountain, which is no less than 10 tons of Verona marble. Similar information is found in a letter from George to Henry Scripps Booth, which also describes their experience of staying in Paris and Rome:

Letter from George G. Booth to Henry S. Booth, February 15, 1924. Copyright Cranbrook Archives.

While Florence and Carol [Farr Booth] went to see the sights and do a little shopping, George writes,

“I at once went to the Galerie Sangiorgi where I bought the last fountain – and at first was disappointed as I had a mind picture which could not be realized there. There was one fountain which they had when I was there last – a replica of one in Rome often regarded as the best if not, as some say, “the most beautiful”…”

The letter is very informative about the materials from which the fountain is made, what they weigh, and how he envisions it on the circular terrace, even including a small drawing of the base of the fountain (top of page 2).

Invoice, Galleria Sangiorgi, February 25, 1924. Copyright Cranbrook Archives.

The fountain was cast by Chiurazzi Foundry in Naples, whose works were often sold by the Galerie Sangiorgi. The design of the fountain was inspired by the Fontana delle Tartarughe, which stands in the Piazza Mattei in Rome. The original was designed by Giacomo della Porta and Taddeo Landini in 1581, which featured dolphins instead of turtles. During restoration in 1658, the dolphins were removed due to their weight and replaced by bronze turtles, which were sculpted by Giovanni Lorenzo Bernini. Cranbrook’s Turtle Fountain was restored in September 1980 through the Gardens Auxiliary. Visit the fountain this spring on your own or on a tour with Cranbrook House and Gardens Auxiliary.

– Laura MacNewman, Associate Archivist

 

 

When the March Winds Blow

It is hard to think of Spring during this week of frigid temperatures, but I promise it is coming. Soon, the Cranbrook House and Gardens Auxilary will be out planting their gardens around Cranbrook House. In honor of the coming Spring, this week I share George G. Booth’s feelings on planting from his Pleasures of Planting and Other Thoughts which was printed by the Cranbrook Press in 1902.

George G. Booth, The Pleasures of Planting and Other Thoughts, Title Page. Printed by The Cranbrook Press and finished on August 30, 1902. Courtesy of Cranbrook Academy of Art Library.

George G. Booth, The Pleasures of Planting and Other Thoughts, Title Page. Printed by The Cranbrook Press and finished on August 30, 1902. Courtesy of Cranbrook Academy of Art Library.

The Cranbrook Press was established in the unused attic space in the Shelby Street office of the Detroit Evening News in 1900. In two short years, the Press produced nine books. Pleasures of Planting was one of three books written by George Booth printed on the Press. In it, he writes:

Don’t, I pray you, envy the man who has builded a house, or reared a monument in marble or granite; for I say unto you most truly that the cap-stone has no sooner been let unto its place and the builder attained the joy he dreamed of, than the work of his hands begins to decay and crumble before his eyes.

Portrait of Ellen S. and George G. Booth in the Oak Room at Cranbrook House. Photo by PD Rearick.

Portrait of Ellen S. and George G. Booth in the Oak Room at Cranbrook House. Photo by PD Rearick.

Choose, rather, for yourself the most delightful and beneficial of exercises, and plant. Plant when the March winds blow – plant when the gentle rains of springtime pour blessings on the earth – plant where the mother of us all permits it. Work not for glory in cold bricks and stone alone, but plant living things, and watch with joy the increasing glory of your labor.

Cranbrook House Dining Room with flowers on the table

Cranbrook House Dining Room. Photo by PD Rearick.

Stone, and iron, and brass cannot put flowers at the bedside of the sick, nor fill the air with odors of sweetness or furnish a soft and coll bed for the birds; neither will the grandest monumental piles fill the heart of the poet with sweetest songs or make us feel so truly that “God is good;” but under spreading branches of the trees rest is found, love flourishes, and all humanity drinks at the well of life.

Where ever you go, plant – rear monuments of elm and maples, of poplars and beech, and trees bearing fruit, and plant on your right hand and on your left the rose, lilac, snow-ball and syringa. Strew at your feet the sweet, life-giving flowers of summer, and live out your days in happiness.

Cranbrook House and Gardens Auxiliary volunteers plant in the Sunken Garden. Photo by Eric Franchy, Cranbrook House & Gardens.

Cranbrook House and Gardens Auxiliary volunteers plant in the Sunken Garden. Photo by Eric Franchy, Cranbrook House & Gardens.

There is something magnificent in such work. It fills the earth with beautiful scenes; wealth is added to the land, which grows richer daily; “there is something in it like the work of creation.”

Cranbrook House and Gardens Auxiliary volunteers plant in the gardens around Cranbrook House. Photo by Eric Franchy, Cranbrook House & Gardens.

Cranbrook House and Gardens Auxiliary volunteers plant in the gardens around Cranbrook House. Photo by Eric Franchy, Cranbrook House & Gardens.

Plant and see your plantation arriving at greater degrees of perfection as long as you live. If you want to be helpful; if you love your country; if you have regard for posterity – plant. You cannot be excused if you fail in this duty. Just put a few twigs in the ground and do good to one who will make his appearance in the world fifty years hence, or perhaps make one of your descendants easy or rich at such a trifling cost.

“If man find himself averse to planting, he must indeed be void of all generous principles and love of mankind,” and so I say unto you – Plant.

– Leslie S. Mio, Associate Registrar

Cranbrook Fire Department

Recently, the Center for Collections and Research received a Cranbrook Fire Department Firefighter’s Helmet. It had been given to Charles Zimmerman while he was a Police Officer at Cranbrook by one of the Vettraino brothers. Because of the new acquisition, I decided to read up on the Cranbrook Fire Department.

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Cranbrook Fire Department Firefighter’s Helmet. Gift of Frank M. Edwards.

In 1934, George G. Booth asked the Cranbrook Foundation to purchase a fire truck and equipment, essentially beginning the Cranbrook Fire Department. A fire hall was built in early 1935 to house the new truck – a 1934 Ford Truck V8 Chassis with a Proctor-Keefe Company body and fire equipment, including a 500-gallon Barton-American Pump mounted on the front of the truck.

In the existing Tower Cottage fire hall (built in 1921) was a 1934 Ford Pick-up with fire equipment and a Barton-American U-355 pump mounted on the front of the car; booster tank and fittings, 2 lengths suction hose, and a hydrant adapter. It had been purchased by George and Ellen Booth for use at the homestead property.

In 1935, after studying at the University of Michigan’s Fire School, Dominick Vettraino was named the Fire Chief. The Assistant Chief was his brother John Vettraino. All other firefighters were volunteers from the maintenance staffs of all the Cranbrook institutions. Because they were paid, the Chief or Assistant Chief was always on call, including Sundays and holidays, and lived on campus, but it was not until 1938, that the Cranbrook Foundation decided a residence for the Chief should be built next to the fire hall.

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Cranbrook Fire Department Chief Dominick Vettraino. Dominick Vettraino Papers. Courtesy Cranbrook Archives.

To cover the cost of the department, and to pay the Chief and Assistant Chief, proportional interdepartmental support was required. The insurance savings to Cranbrook for having its own fire department ended up offsetting the cost of having the department and gave Cranbrook a better insurance rating than even the City of Bloomfield Hills.

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Left to right: Louis Larson, Ed Morrow, Homer Murphy, Walter Powell, Donald Tompkins, Pete Peterson, Chief Dominick Vettraino, and Floyd Pickering, members of the Cranbrook Fire Department in 1944. Not pictured, George Leslie, John Winfield, O.D. Hillman, and John Vettraino. Dominick Vettraino Papers. Courtesy Cranbrook Archives.

The Cranbrook Fire Department protected all the Cranbrook institutions and residences as well as the nearby homes of the Booth’s children: the Beresfords, the Henry S. Booths, the Warren S. Booths, and Harry L. & Grace B. Wallace. Though strictly a Cranbrook institution, the department was always willing to assist neighbors in the community when possible.

For more great images related to the Cranbrook Fire Department, click here.

Leslie S. Mio, Associate Registrar

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