Oct

One Competition, Many Designs: Ralph Rapson and the Jefferson National Expansion Memorial

Of the 5,000 plus architectural drawings in Cranbrook Archives, one of my favorite series is the work of Ralph Rapson. His drawings convey a seemingly endless stream of unique inspiration, and his letters to his friends and colleagues are always wonderfully lively and convivial. Rapson’s work covers diverse projects including residences, embassies, businesses, and competitions.

Today, I want to share some examples from just one architectural competition to showcase this creativity: Rapson’s studies for his entry into the Jefferson National Expansion Memorial competition.

Ralph Rapson’s preliminary study for a submission to the Jefferson National Expansion Memorial competition in 1948. This is very similar to his final submission.

A decade before the Memorial competition, Rapson had been invited to study architecture and urban planning at Cranbrook Academy of Art by Eliel Saarinen. Saarinen had been much impressed by Rapson’s submission to the George G. Booth Traveling Fellowship at the University of Michigan in 1938. After studying at the Academy between 1938 and 1940, Rapson collaborated on various projects with Saarinen and his associates before moving to teaching positions in Chicago during the early 1940s and at MIT in 1946.

Ralph Rapson, January 1943. Cranbrook Archives

In March 1947, the Jefferson National Expansion Memorial Association announced an ‘Open Two-Stage Competition’ to design and execute a memorial located in St. Louis, Missouri. The first stage of the competition was open to all architects who were citizens of the United States and the second stage was limited to five competitors as selected by the jury in the first stage.

The competition brief was distributed to some 1,100 architects and students around the country. 172 entries were received by the September 1, 1947 deadline. Cranbrook Archives.

In the architectural drawing set for Rapson’s submission, there are nineteen conceptual studies. These have recently been digitized and added to the Ralph Rapson Projects in our Digital Collections online. Below is a selection of his studies that show the diversity and breadth of Rapson’s creative vision:

It is interesting to see Rapson work out his ideas in ink and colored pencil about what shape, materials, and structure might best serve as a memorial to Jefferson’s Louisiana Purchase and America’s westward expansion.

In addition to Rapson, Cranbrook alumni and faculty including Charles and Ray Eames, Harry Weese, Gyo Obata, and both Eliel and Eero Saarinen submitted designs. Of course, it was Eero’s monumental stainless steel arch that won the competition and remains an iconic landmark to this day.

There is much to see and learn from Rapson’s drawings for just this one project. As we hold sets of drawings for another 87 of his projects, stay tuned to the Kitchen Sink—there is so much more to see and say about Ralph Rapson.

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

Eds. Note: On Tuesday, October 27, 2020, Associate Curator Kevin Adkisson will deliver our next Uncovering Cranbrook virtual lecture. This month’s lecture, Eero Saarinen and Yale University: Education and Architecture, will examine the younger Saarinen’s time at Yale as both a student of architecture and designer of three important campus buildings. Tickets are available now for the 10:00am and 7:00pm EDT lectures.

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Jul

Weaving Lessons: Ruth Ingvarsson’s Manuscripts

Among the treasures in Cranbrook Archives is a manuscript that, although I can’t read anything written inside, is one of my favorite things at Cranbrook. Bound in handwoven cloth by the author herself, the cover hints at what’s inside. This is Ruth Ingvarsson’s weaving book.

Ruth Ingvarsson’s weaving manuscript, hand-bound in a cloth cover of her own design and execution, ca. 1932-1935. Rigid Swedish-style counterbalanced loom depicted on the front, “R I” on reverse. Copyright Cranbrook Archives.

One of two manuscripts written in Swedish and assembled by Ingvarsson between 1932 and 1935, each of the more than 100 pages discuss different weave structures, materials, patterns, and techniques. Who was Ingvarsson, and how did these treasures end up at Cranbrook?

Weaving patterns, handwritten instructions, rug design, and handwoven samples by Ruth Ingvarsson, ca. 1932-1935. Copyright Cranbrook Archives.

Rut “Ruth” Elisabeth Ingvarsson was born on October 1, 1897 in Glemminge, Skäne, Sweden. Like many Scandinavian girls, she learned weaving first from her mother and then at school, graduating from the Glemminge Folkskola in 1918. In 1922, Ingvarsson began studies at the celebrated weaving studio of Märta Måås-Fjetterström in Båstad, Sweden.

Ingvarsson continued working for Måås-Fjetterström until 1928, learning technical skills including knotted pile rya or flossa weaves, rölakan flatweave, and a discontinuous (or supplemental) weft style of tapestry weaving known as the MMF technique. Under Måås-Fjetterström, Ingvarsson developed great skill painting watercolor sketches on graph paper in the popular “Swedish Grace” (or “Swedish Modern”) style. She also befriended another young weaver, Lillian Holm, who entered into the Måås-Fjetterström studio in 1926.

Watercolor of a rug design in the “Swedish Grace” style by Ruth Ingvarsson in her untitled manuscript on weaving, ca. 1932-1935. Copyright Cranbrook Archives.

In late 1929, Ruth Ingvarsson and Lillian Holm immigrated to America to start work that December at Studio Loja Saarinen, Cranbrook’s weaving workshop. Here, Ingvarsson executed designs from Loja herself and other members of the Saarinen family, as well as designs by the Studio’s shop supervisor and prominent Swedish weaving expert Maja Andersson Wirde.

Continue reading →

May

Cranbrook, Kent: Then and Now

When George and Ellen Booth moved from Detroit to Bloomfield in 1904, they named their estate ‘Cranbrook’ after George’s ancestral home of Cranbrook, Kent, England. As the institutions and landscape developed, many of them were also named after places in and around the ancestral Cranbrook. George’s father, Henry Wood Booth, was born there in 1837, where his father, Henry Gough Booth, and grandfather, George Booth, were coppersmiths.

In 1901, Henry Wood Booth along with George and Ellen took a trip to England, and the photographs from this trip are held in the Henry Wood Booth Papers in Cranbrook Archives. I invite you on a virtual “walking” tour of Cranbrook, Kent, using these historical images alongside the same places in the present day.

Cranbrook is a small town situated on the River Crane with an industrial history in iron-making, that goes back to Roman times, and cloth-making, stimulated by the settlement of Flemish weavers in 1331. Cranbrook belongs to a group of towns known as the Weald, which comes from a West Saxon word for “forest”. During the middle ages, Kent was divided into seven “lathes” (an administrative unit peculiar to Kent), and Cranbrook was one of seven “hundreds” (the smallest administrative unit about the same size as a parish) belonging to the lathe of Scray.

The map below pinpoints the places that we will visit so that you can follow the route as we tour the town.

Walking tour directions. Google, 2020.

1. View down High Street towards Town Hall

Cranbrook is comprised of one main road, the High Street, which intersects with another smaller road, Stone Street. Most English towns have a “High Street,” just like “Main Street” in the US, and we will begin our tour on the High Street that leads into the town center.

View of the High Street looking down to the Town Hall, 1901. Cranbrook Archives.

View of Cranbrook High Street. May 2019. Google.

2. Crane Lane

At the end of the High Street, there is a small lane called Crane Lane. The Booth family lived on the High Street nearby this lane. The symbolism of the Crane is well known on the Cranbrook campus and you can see its history rooted in the etymology of the ancestral Cranbrook, which is named for the gathering of cranes at the brook.

View of Crane Lane, 1901. Cranbrook Archives.

This is a bird’s eye view of Crane Lane showing the brook. If you click and zoom out on the map you can see that it leads to a small unbuilt area and eventually to a road named “Brookside”.

Satellite map showing Crane Brook and Crane Lane. 2020. Google.

3. Turning right onto Stone Street – you can see the George Hotel on the right:

View of Stone Street with the George Hotel on the right, 1901. Cranbrook Archives.

The George Hotel is still there today:

View of Stone Street. May 2019. Google.

4. At the intersection of Stone Street and Hill Road, which leads to the Union Mill, there was a blacksmith’s shop on the corner. Henry Wood Booth’s birthplace is on the left on Hill Road:

View of Hill Road leading to Union Mill, 1901. Cranbrook Archives.

The view today is quite similar:

View of Hill Road. May 2019. Google.

Union Mill is the last remaining of four smock mills in Cranbrook. It is still used to grind flour which you can see here.

5. Heading back to the center of town, you can see St. Dunstan’s in the distance:

This is the view today:

View looking down Hill Road from the site of the mill. May 2019. Google.

7. St. Dunstan’s Church

You may be familiar with this name from St. Dunstan’s Theatre and St. Dunstan’s Chapel. St. Dunstan’s Church is the parish church of Cranbrook in the Diocese of Canterbury. It is known as the Cathedral in the Weald and, while records show that a church was there almost 1000 years ago, the present building is over 500 years old. St. Dunstan himself is the patron saint of metalsmiths.

St. Dunstan’s Church, 1901. Cranbrook Archives.

In the surrounding area, there are other sites with names that you will recognize from Cranbrook campus, namely Angley Wood and Glassenbury Manor (Kingswood Lake was once called Glassenbury Lake).

I hope you have enjoyed the trip and discovered something new about Cranbrook past and present.

–Laura MacNewman, Associate Archivist

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Mar

Of Provenance and Harmony

This is a story about the mistaken attribution of a quote, as told through the lens of archival provenance, that further deepened my own understanding and appreciation of the Cranbrook story. A researcher, referring to Cranbrook’s founder George Booth, once asked, “How did he do it? All of this! How do you motivate the finest artisans and craftsmen to come and help build a center for art and education?” It is a marvelous question, and surely one in which each inquirer may draw a different conclusion. When I get similar questions about how Cranbrook came to be, I always turn first to the words of George G. Booth himself, whether they be formalized in a trust document or business letter, crafted for a speech, or in the informal fluidity of a personal letter. Booth always acknowledged, in both his words and artistic compositions, the contributions of many, both contemporaneous and historic, in the building of Cranbrook . The image below shows a document included in the folders containing ‘Talks, 1902-1942’ in the Biographical series of the George G. Booth Papers. At some point during their administrative or archival custody, the talks were enumerated and this one is identified as number 21 with a circa date of 1936. Naturally, I have wondered exactly when and where he gave this talk.

The Laying of a New Foundation for Cranbrook Institutions, a document included among the talks of George Gough Booth. Cranbrook Archives.

In my work at Cranbrook Archives, I have observed many times that the answers we find depend upon the phrasing or precision of the questions we ask. I have also learned to remain attentive to questions when I think I have exhausted the search, as oftentimes I have found an answer when I am no longer looking for it. I recently quoted from this talk to emphasize the trajectory from vision and ideal, through words, drawings, and activity to a tangible object or building:

“… the Cranbrook Foundation, dealing with things material and visible, rests in turn upon another foundation made up of things invisible – that is, of thought, vision, and ideals… No product of human hands exists which was not a thought before it became a thing.”

Shortly thereafter, I was researching two reference requests that took me into the Cranbrook series of the Samuel Simpson Marquis Papers, wherein I discovered the original version of the talk with pencil edits to truncate it for publication in The Cranbrook News Bulletin, September 1936. It was identified as a Commencement Address to Cranbrook School by Dr. S. S. Marquis on June 6, 1936. Along with it was a typescript version, the same as the one in Booth’s papers, and a letter from the Executive Secretary of the Cranbrook Foundation, William A. Frayer, which tells us that Marquis had encouraged Frayer to digest the talk for its publication.

The Cranbrook News Bulletin, Vol. I, No. I, September 1936. Cranbrook Archives.

Although I had found my quote in a talk among those of George Booth, given to the Archives as part of his papers, here was definitive proof that it was actually part of an address given by Marquis! This discovery highlights the important, but sometimes misleading, concept of provenance of an archival collection, and how archivists continually refine understanding of their collections, even long after they are opened to researchers. In an archival setting, provenance relates to the administrative origin of a collection and ensures that the collection remains intact so that the records accumulated by one person or office are not intermingled with those of another. From an archival standpoint, the talk still belongs in Booth’s Papers, but will now be understood as something he collected rather than created. The principle of provenance dictates that it shall remain there, albeit with a note to advise future archivists and researchers of its authorship. We cannot know for certain how and when and by whose hand it came to be in his papers, but this new knowledge simply adds another layer to the relationship between Booth and Marquis, and the harmony of their thinking.

Rev. Dr. Samuel Simpson Marquis, circa 1906-1915. Cranbrook Archives.

Booth had first met Marquis as the Dean of St. Paul’s Cathedral and subsequently as visiting clergy when missionary services were conducted by Henry Wood Booth in the Meeting House (1918-1923). In October 1923, when the Meeting House began to be used for Bloomfield Hills School (later Brookside School Cranbrook), it was to Marquis that Booth turned with the idea of building a church and school. Moving to Bloomfield Hills the following year, Marquis remained part of the Cranbrook story as rector, teacher, trustee, and friend until his death in 1948.

—Laura MacNewman, Associate Archivist

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Feb

Birds of a Feather …

“… the Cranbrook Foundation, dealing with things material and visible, rests in turn upon another foundation made up of things invisible – that is, of thought, vision, and ideals… No product of human hands exists which was not a thought before it became a thing.”
Rev. Dr. Samuel Simpson Marquis, “The Laying of a New Foundation for Cranbrook Institutions,” Commencement Address to Cranbrook School, June 6, 1936

The thought, vision, and ideals of George and Ellen Booth endure in the cultural community and architectural landscape that we enjoy today. One of the great joys of working in the Archives is witnessing the documentary heritage which traces the stories of the people, places, and things that contribute to Cranbrook’s history. All record types — from correspondence, financial records, and reports to written and oral memories and reflections — provide a different insight into the process of making an idea a reality. I am particularly fond of architectural records, because it is possible to see the built campus in its earliest form. Cranbrook Archives holds a large collection of architectural drawings for the entire Cranbrook Educational Community, as well as for projects of Cranbrook affiliated firms and architects. The drawings are arranged by division or creator and housed according to their format. One format that is housed separately are detail drawings, which include millwork details and decorative designs. They are pencil on tissue drawings preserved folded in their original envelopes, many for almost a century. I would like to share with you an example of this type of drawing, one that documents the birds sitting atop of the columns of the aisle wall stalls at Christ Church Cranbrook.

View of the aisle wall stalls at Christ Church Cranbrook. Center for Collections and Research.

Finding sources in an archives depends upon the arrangement and description of the collections. Because of their very nature, sometimes a fair amount of detective work is required when the material being described is a visual format. Architectural drawings that have been catalogued are searchable using the Cranbrook Academy of Art library catalog, so the search most often begins there. In my case, a search for the wall stalls at the church returned seven results, none of which refer to the birds specifically. Yet, one of the descriptions suggested that there was great potential that it would include a drawing of the birds and, indeed, that is what I discovered.

Architectural drawing (AD.10.659) Variants for Wall Stalls in Aisles and Paneling at Door #128 and Window #128, March 1930. Cranbrook Archives.

Architectural drawing (AD.10.659), detail of the owl. Cranbrook Archives.

Architectural drawing (AD.10.659), detail of the American robin. Cranbrook Archives.

The discussion between George Booth and Oscar Murray about the design and contract for the stalls began in early December 1929 and the stalls, carved by Irving and Casson, arrived for installation in August 1930. Booth left it to Murray’s judgment as to whether to have a continuous row of the same model for the columns or whether to include the variation. As you can see, this drawing includes two variants of tracery, four variants of corbels, and six of seven variants of birds, including the swallow, quail, dove, cat-bird, owl, and American robin. The seventh bird yet remains a mystery, leaving us something to discover in the future. Discoveries like these, and helping others achieve similar ones, make the job of a Cranbrook Archivist both enjoyable and rewarding.

– Laura MacNewman, Associate Archivist

[Editor’s Note: When this post was first published, the quote was attributed to George Gough Booth. Subsequent research has revealed that it is from an address by the Rev. Dr. Samuel S. Marquis.]

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Jan

New Archival Collection: the Melvyn Maxwell and Sara Evelyn Smith Papers

Cranbrook Archives is delighted to announce that the Melvyn Maxwell and Sara Evelyn Smith Papers are now open for research. This archival collection was acquired as part of the Frank Lloyd Wright Smith House, which was donated to Cranbrook in 2017 by the Towbes Foundation with assistance from Anne Smith Towbes. Melvyn and Sara were schoolteachers who dreamed of building a Frank Lloyd Wright designed home – a dream that was realized in 1950. They cherished their dream home and adorned it with art objects which they bought from local artists, including Cranbrook Art Academy students and artists-in-residence. Over the years they welcomed many visitors, students, and guests into their home, including Frank Lloyd Wright himself and the landscape architect, Thomas Church.

Frank Lloyd Wright’s entry in the Smiths’ guest book, 1951. Courtesy Cranbrook Archives.

The collection documents the personal and professional life of the Smiths, as well as their many contributions to the community through patronage of the arts, including theater and performing arts. It documents the construction and adornment of the house, as well as its preservation as a historic home and renovation under the Towbes Foundation. It also contains a rare and unique collection of news clippings and periodicals, spanning from 1937 to 2016, about Frank Lloyd Wright and his work .

Letter from Sara to Melvyn Smith, July 1940. Courtesy Cranbrook Archives.

Melvyn Maxwell Smith aspired to be an architect. After graduating Northern High School in Detroit, Michigan, he was accepted into the School of Architecture at the University of Michigan. However, due to the economic depression, his parents suggested he attend Wayne University College of Education until his brother had completed his degree in dentistry. Much inspired by an English teacher, Miss Boyer, in his first semester, Melvyn decided to pursue a career in teaching, and remained at the university to pursue a doctorate. Melvyn’s architectural aspirations were instead to manifest in his life in quite a different way than he had first anticipated. In an art history class taught by Jane Betsey Welling, Melvyn learned of Frank Lloyd Wright. This was the beginning of a lifelong love of Wright’s work and the pursuit of Melvyn’s dream home. After graduating, Melvyn became a teacher at Cody High School in Detroit, where he remained for his entire career of 38 years. He later became a board member of the Wayne State University Alumni Association and created the Betsey Welling Memorial Court for which he donated the sculpture, In Lieu, by Robert Schefman.

Melvyn, Sara and Robert Schefman in front of Schefman’s sculpture, In Lieu, at Wayne State University, 1977. Courtesy Cranbrook Archives.

Sara Evelyn Stein was born in Pennsylvania and moved to Detroit during her childhood. She met Melvyn at the B’nai Moshe Sunday School in 1937 and they were married in 1940. Sara had dreamed of being an actress, but she too joined the teaching profession and trained to be a kindergarten teacher. As it had been for Melvyn, Sara’s theatrical aspirations were fulfilled in a different way than her young mind had envisioned, namely an enthusiasm for teaching the performing arts to others. She was deeply involved in community theaters, including the Popcorn Players at Birmingham Community House and the Cranbrook Theatre School. Both Melvyn and Sara were passionate supporters of all the arts and actively worked to cultivate and sustain the arts in Detroit, Bloomfield Hills, and the surrounding communities.

Frank Lloyd Wright Smith House, August 1960. Courtesy Cranbrook Archives.

Sara shared Melvyn’s dream of a Frank Lloyd Wright designed home. In 1941, they traveled to Lake Louise and Banff National Park in Alberta. Their journey took them through Wisconsin, where they were able to visit Taliesin, the home and studio of Frank Lloyd Wright, and meet with the architect himself. Melvyn later recalled that during the visit, Wright had advised him to find land that no one else wants because it will likely have an interesting natural feature. In 1942, Melvyn joined the US Army and it would be 1946 before he returned to Detroit. Sara was able to join him for much of the time and their son, Robert “Bobby” Nathaniel Smith, was born in 1944. Having located a property upon which to build their home on Ponvalley Road in Bloomfield Township, they began work in 1949. The house was completed in 1950, and Wright visited the house for the first time in 1951, calling it “My Little Gem.” He visited several more times – among the highlights of this collection are his entries in the guest books. Also included in the collection are two books signed by Wright (there are more than 900 books in the Center’s cultural properties collection at Smith House, which may be made available for research in the Archives reading room by request).

The Smiths welcomed countless guests and visitors to their home, providing house tours for local community groups as well as architectural schools. The collection also contains an abundance of thank you letters in gratitude for the hospitality of the Smiths. Many visitors thank Sara for her gift of sharing joy.

Letter to Melvyn and Sara Smith from Wayne State University Theatre, 1973. Courtesy Cranbrook Archives.

The Melvyn Maxwell and Sara Evelyn Smith Papers tell the story of the Smiths’ home and of the lives of the couple who dreamed the home. The Smiths were not only teachers in the classroom: through their tenacity, generosity, and sheer joy of living, they inspired countless people who visited their home or met them through their artistic and philanthropic endeavors. As the Smiths’ home is preserved just as it was when they lived in it, their zeal to share and teach is perpetuated. This collection is a fine example of how the team at the Center for Collections and Research works together to tell the story of Cranbrook through historic houses, cultural properties, and archival materials.

The Frank Lloyd Wright Smith House is a must-see. Find out more about house tours here. If you’ve already been, consider going again in a different season to see the changing blend of architecture and nature that is pure Frank Lloyd Wright.

–Laura MacNewman, Associate Archivist

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Nov

Discovering the University of Michigan in the collections of Cranbrook Archives

In October, the University of Michigan Osher Lifelong Learning group visited Cranbrook for a lecture, luncheon, and tours of our historic houses, the Art Museum, and Cranbrook Archives. In gathering materials related to the university, I found that my growing archival display began to tell a wonderful story of the early relationship between the Booth family and the University of Michigan, predominantly between 1918 and 1924. The story begins with the friendship of George Booth and Emil Lorch.

Born in Detroit in 1870, Lorch had studied at MIT and Paris, before graduating Master of Arts at Harvard in 1903. In 1906, he arrived at the University of Michigan to establish the School of Architecture, which remained a unit of the School of Engineering until 1931. The correspondence between Booth and Lorch covers a manifold of topics over many years.

Letter from Emil Lorch to George Gough Booth, November 18, 1930. Courtesy Cranbrook Archives.

On January 11, 1918, George Booth gave an address to the students of the departments of Journalism and Architecture at the university, entitled The Spirit of Journalism and Architecture which focused on the development of the Detroit News business and the new News building, which had been recently completed.

Program for an address, The Spirit of Journalism and Architecture, delivered by George Booth at the University of Michigan, January 11, 1918. Copyright Cranbrook Archives.

Later that year, in October, George’s son, Henry Scripps Booth began his studies in architecture at the university. It was there that he met J. Robert F. Swanson, with whom he traveled Europe for ten months beginning in June 1922, and later established the architectural practice Swanson and Booth between 1924 and 1926. Henry took with him letters of endorsement to help facilitate access to architectural treasures on their journey, including one from Professor Lorch:

Letter of introduction for Henry Booth from Emil Lorch, July 17, 1922. Courtesy Cranbrook Archives.

Eliel Saarinen arrived at the University of Michigan as a Visiting Professor at the invitation of Emil Lorch the next year, staying from September 1923 through 1925. To extend a warm welcome, Henry wrote, costumed, and performed in a pageant in honor of Saarinen. Many of Henry’s classmates performed in the pageant, including Ralph Calder and J. Robert F. Swanson, who also designed the program. The event took place on December 8, 1923, in the Michigan Union ballroom. Many of the members of the Michigan Society of Architects and the Michigan branch of the American Institute of Architects were present. During the dinner, George G. Booth made the principal address of welcome to Eliel.

Program for A Pageant of Arts and Crafts, a Reception for Eliel Saarinen, program design by J. Robert F. Swanson, December 1923. Courtesy Cranbrook Archives.

Interior of the program. Courtesy Cranbrook Archives.

Henry and Robert graduated from the University of Michigan in 1924. Graduating with them was Ralph Calder, who was also one of the first two students to win the George G. Booth Traveling Fellowship, with which he traveled to England, France, and Italy. The fellowship continues to this day. Calder was among the original staff of the Cranbrook Architectural Office, working on Cranbrook School and Thornlea House. He later went on to design many buildings for colleges and universities in Michigan, including Michigan State University, Western Michigan University, Wayne State University, Hope College, and Hillsdale College.

Letter concerning the Booth Traveling Fellowship from the first recipient Ralph Calder to George G. Booth, June 12, 1924. Notice the Michigan logo on the letterhead. Courtesy Cranbrook Archives.

In another Cranbrook connection, Ralph Rapson submitted a Fellowship entry in 1938, and, while he didn’t win, his submission impressed Eliel Saarinen so much that Rapson was given a scholarship to the Art Academy.

Ralph Rapson’s submission to the George G. Booth Traveling Fellowship, AD.26.01.03. Ralph Rapson Architectural Drawing Collection, Cranbrook Archives. Gift of Rip Rapson.

There is much more in our collections about the University of Michigan; this post has selected items covering only the early years. In preparing for the Osher tour, I realized that, while the contents of processed archival collections remain the same, what we find in them depends on the question being asked. The collections of George G. Booth, Henry S. Booth, the Cranbrook Foundation, Swanson Associates, Inc. are among the most highly used and yet there is always something new to learn, something wonderful to discover.

— Laura MacNewman, Associate Archivist

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Jun

In the Archives: My Senior May Experience

I went into my Senior May Project hoping to find the “secrets” of Cranbrook. On the second or third day, Mr. Adkisson asked Desai, another Senior May student, and me why we chose the Archives. I said because I wanted to learn more—and because I thought it would be easy. What I meant to say is that I thought it would be low stress. Even though I didn’t uncover any “secrets,” I learned a lot about the history of Cranbrook Schools and had a very enjoyable (and low stress) Senior May experience.

Aya Miller, CKU ’19, at work in the Archives Reading Room. Photo Kevin Adkisson.

My project was primarily scanning copies of The Cranbrook Kingswood Crane-Clarion to create a database of The Crane and moving the archival files to different shelving units. Along the way, I helped out with other Archives related tasks that came up. These included transferring larger files to and from Thornlea Studio, preparing displays for small tour groups, and picking out photos that could be used on the Center for Collections and Research Facebook page.

One of the high points of my experience was a task we did on the first day. Laura MacNewman, my supervisor, Mr. Adkisson, Desai, and I went to Christ Church Cranbrook in search of a friar within the Women’s Window. The friar was an insignia from the designer and glassmaker who constructed the window. We took a very narrow staircase, hidden in the wall, up to the bottom of the window. The area was so small that Mr. Adkisson could barely walk over with his tripod to take the picture. While we were up there, they turned the lights out in the main sanctuary. The daylight filtered in through the stained-glass window and gave the church a faint pink tint. I was awe struck; it was simply stunning. I felt like I was in a picture from National Geographic. That view and many other small things I learned helped make my time in the Archives memorable.

A view from the Women’s Window at Christ Church Cranbrook. Photo by Aya Miller, CKU ’19.

As for scanning, I learned a lot about stories that were covered in the past. In the March 2006 issue of the Crane-Clarion there was a two-page article called “The Problem of ‘Self-Segregation’ at Cranbrook.” The article covered how minorities often group together and how white students don’t notice that the majority of their friends, as well as the majority of the school, is white. It takes editors that find these issues important to bring them to the forefront. Although for many it may be an uncomfortable subject, it is a necessary one to discuss.

I also read interesting articles about the removal of a Robert E. Lee statue that used to stand in Gordon Hall of Science. In reading the articles, I was surprised that the students had many contrasting opinions. Some people quoted were against the statue’s removal because they saw Lee as an American hero in terms of his post-War accomplishments and his fight for states’ rights in the Civil War. In the end, the faculty choose to remove it because Lee’s role as a leading general in support of slavery during the Civil War was offensive to many students and families. The coverage opened my eyes to different opinions and reaffirmed my belief that there are always many sides and opinions to a situation.

Opinion section of The Cranbrook Kingswood Crane-Clarion, February 2005. Courtesy of Cranbrook Archives.

To put it simply, Senior May was great. The Archives was a relaxing and enjoyable place to work for the last three weeks of my Senior Year. I’m proud that I was able to help and make a difference, even if it was a small one. In fact, I enjoyed it so much that I’ll be staying on throughout the summer to continue working as a volunteer. I’d like to thank those who work at the Center for Collections and Research as well as my supervisor, Laura MacNewman, for welcoming and hosting me.

–Aya Miller, Cranbrook Kingswood Upper School 2019

Editor’s Note: The Senior May Project is a school-sponsored activity that encourages Cranbrook Kingswood Upper School seniors to acquire work experience in a field they are considering as a college major, a potential profession, and/or as a personal interest.

Aya Miller is a native of Kalamazoo, Michigan, and has been a boarding student at Cranbrook since 2015. Aya will be enrolling at Western Michigan University in Kalamazoo this fall. The Center thanks her for her tireless efforts scanning important documents about Cranbrook’s history, and her volunteering to continue with us this summer. We know she will be a success as she embarks on the next phase of her education!

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Apr

“My On-Hangers”: Virginia Kingswood Booth Vogel’s Charms

At the Cranbrook Center for Collections and Research, we care for not only the historic objects on the campus, called Cultural Properties, but also the three-dimensional objects that often come in with Archival Collections, known as Realia.

These three-dimensional objects need different storage than the papers in archival collections. Often, these items are only listed as “Realia” in the Archives Finding Aids without individual descriptions- you have to pull out the box to know what is inside. For this reason, we are now recording Realia individually in our Collections Management System.

Recently, I have begun working to rehouse, catalog, and photograph the Realia in the Archives to make it more accessible and searchable. The first collection I worked on was the Virginia Kingswood Booth Vogel Papers, which contained some fun objects.

Virginia Kingswood Booth on her European trip in 1920. Courtesy of Virginia Kingswood Booth Vogel Papers, Cranbrook Archives.

Virginia Kingswood Booth Vogel was born in 1908, the only daughter of Ralph Harman Booth and Myrtle Mary Batterman Booth. Ralph Harman Booth was a co-founder of Booth Newspapers and a brother of George Gough Booth, founder of Cranbrook.

“My On-Hangers” were what Virginia Kingswood Booth (Vogel) called the charms she collected on her European trip with her parents in 1920 at age 12. Virginia purchased the charms at the various stops on the trip. She found charms that represented the places they visited or an event that happened, like the cold she had (bedpan charm) or the baby born to a family friend (baby rattle). Some other examples are the globe, which represented the trip itself, and the 1910 Passion Play Medallion that was purchased when the family visited the town of Oberammergau, famous for (as readers of the blog know) its Passion Play. She would continue to collect charms on later trips, though none are as documented as those from the 1920 trip.

Globe charm representing, to Virginia Kingswood Booth, the start of her European journey.

1910 Passion Play Medallion.

These charms were originally stored in a box, wrapped in tissue, and tied together on strings. This made viewing individual charms difficult and, being tied together, caused unnecessary abrasion and wear. I removed each charm from the string and placed it in its own compartment in an acid-free tray. So that the charms would not get jumbled when moving the box, each one was sewn to a piece of foam.

Some of the “On-Hangers” in their new, archival housing.

Edelweiss charm in its new housing. The number indicates that the object is in Archives (ARC), in the Virginia Kingswood Booth Vogel papers (1999.1), in the 1920 collection of charms (.1), and that this is the 61^st charm (.61).

Look for more fascinating discoveries in the coming weeks, as more Archival Realia is cataloged and rehoused.

-Leslie S. Mio, Associate Registrar

5 years ago Short URL Comments

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May

Photo Friday: Grotell & Himelhoch’s

In November of 1942, Maija Grotell displayed her wares among the latest fashions in the windows of Himelhoch’s department store in downtown Detroit. Grotell, Head of the Academy’s Department of Ceramics from 1938 to 1966, placed her vases, pots, and plates in a stage-set ceramics studio, replete with a painted kiln, bottles of glazes, and a potter’s wheel (made of what appears to be Papier-mâché).The clothes related directly to the vessels, with the sign reading: “Ceramics: Wonderful Muted Colors To Wear Under Winter Coats Inspired by Maija Grotell’s Ceramic Masterpieces.” Himelhoch’s sold the clothing, while the Grotell works were sold through the Detroit Artist’s Market.

The images are attributed to photographer Joseph Munroe, November 2, 1942.

– Kevin Adkisson, 2016-2019 Collections Fellow, Cranbrook Center for Collections and Research

NB: Himelhoch’s opened in 1907 and was on Detroit’s Washington Boulevard from 1923 to 1977. The lovely building is a National Historic Landmark and survives today as apartments.