Christmas Greetings for Marianne Strengell

Correspondence, including special occasion cards, are not uncommon in archival collections, but sometimes you find remarkable standouts such as the panoramic handmade masterpiece in the Marianne Strengell Papers. Measuring 5 x 24 inches, I invite you to click on the image below and zoom in to see all of the amazing details.

Titled, “This Way to the Strengell-Hammarstrom Gallery,” the card depicts a wall of portraits of Strengell family members, each complete with a short anecdote.

First portrait in the gallery. Courtesy of Cranbrook Archives.

At the end of the gallery is an abstract portrait of “Marianne Strengell Hammarstrom ‘Our Birthday Gal’” (curious, since she was born in May!). The card is signed, “love from your Weavers.”

Portrait and greeting detail. Courtesy of Cranbrook Archives.

Since no real names are used and the card is not dated, the origins and meaning behind the drawings and greeting remain as yet unknown. So far, research has not yielded any definitive answers. What we do know, however, is that Strengell enjoyed a wonderful relationship with her students and developed many deep friendships with both students and colleagues such as Wallace Mitchell and Zoltan Sepeshy. The wry, irreverent humor that imbues the card certainly suggests the close-knit, sociable atmosphere Marianne experienced at the Academy. “In all a very happy studio and many wonderful, now famous students. For me, 25 marvelous years.” (Marianne Strengell, 1989)

Last portrait in the gallery. Courtesy of Cranbrook Archives.

Strengell’s students included Nelly Mehta Sethna, Ed Rossbach, Robert Sailors and Jack Lenor Larsen, but she also had students from other departments study with her. These ‘Minors’ as Strengell dubbed them included Charles Eames, Benjamin Baldwin, Harry Bertoia, and Harry Weese.

Letter to Mark Coir, Archives Director, 1995. Courtesy of Cranbrook Archives.

Strengell, in fact, highly encouraged interaction between the departments, establishing Open House Days in the weaving studio, as well as Weavers Parties, which were very popular.

Revelers at a Weavers Party, 1959. Harvey Croze, photographer. Courtesy of Cranbrook Archives.

Marianne Strengell was a weaving instructor (1937-1942) and head of the Department of Weaving and Textile Design (1942-1961) at the Academy of Art. She often worked closely with her second husband, Olav Hammarstrom, architect and furniture designer, whom she married in 1948.

Farewell dinner for Marianne Strengell in the weaving studio, 1961. Strengell is shown middle left. Harvey Croze, photographer. Courtesy of Cranbrook Archives.

There are several other examples of holiday greetings in the Archives’ collections from Strengell’s contemporaries, but, in my opinion, none as witty as the one created by her Academy admirers.

May your holiday season be as merry and bright!

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

The Art and Science of Numbers

“La science du nombre devient la clef de toute culture scientifique,” prefaces an article by then-director, Robert T. Hatt, in the May 1966 Cranbrook Institute of Science newsletter. Roughly translated – the science of numbers becomes the key to any scientific culture – an idea promoted through a long-term exhibition at the Institute, titled Mathematics Emporium.

Sponsored by International Business Machines Corporation (IBM), the exhibition was a replacement for the World of Numbers, which was a mathematics-focused exhibition on display at the Institute from 1961-1966. The goal of the Mathematics Emporium was to discover the character of mathematics or as Dr. Hatt explained, “what mathematics is all about.”

Invitation to preview the Mathematics Emporium exhibition, Apr 1966.

The exhibition was created by well-known designer, Gordon Ashby, who previously worked with Charles and Ray Eames.  During Ashby’s tenure with the Eames Office, he worked on the Mathematica exhibition (also sponsored by IBM) for the California Museum of Science and Industry in Los Angeles (now the California Science Center) and later for the IBM Pavilion at the New York World’s Fair (1964/1965). For the Cranbrook exhibition, Ashby worked in consultation with several mathematics teachers in the San Francisco Bay Area to design displays about geometry, calculus, the properties of space, the giving of form to algebraic equations, and the measurement of motion and change.

Letter from Ashby to Hatt, Feb 1966.

Ashby’s goal with the Mathematics Emporium was to depict mathematical subjects in an imaginative way to stimulate the curiosity of visitors and encourage further investigation. The exhibition was enclosed in an 18-foot modular showcase that contained a graphic panel with sketches or diagrams, as well as a collection of thirteen small displays. Ashby said he hoped to create an exhibition “that would make mathematics ‘look-at-able’ and bear repeated visits.”

Mathematics Emporium exhibition. Photograph by Harvey Croze, Apr 1966. Copyright Cranbrook Archives.

The exhibition showcase was trimmed in gold-leaf and included photographs, mathematical limericks, and quotes by famous mathematicians. Within each display there were thought-provoking questions, such as “what has a can of baking powder to do with calculus?” and “which mathematical science sees a coffee cup and a doughnut as alike?” The Mathematics Emporium was very popular with visitors, and it remained a permanent exhibition in the Institute’s collections for more than 14 years.

Gina Tecos, Archivist

A Cranbrook Proposal

Cranbrook Academy of Art stationary has witnessed some very interesting correspondences,  but we’ve yet to see anything more adorable than this: Charles Eames’ 1941 marriage proposal to Ray Kaiser, delivered on CAA letterhead.  Charles and Ray met at Cranbrook, of course, and moved from Michigan to Los Angeles after their marriage.  We can’t take credit for the object or the article about it – that goes to the Library of Congress and Maria Popova at brainpickings.org respectively.  Still, there is something lovely about seeing a bit of Cranbrook play a role in this legendary design – and romantic – partnership.

Charles Eames' marriage proposal to Ray Kaiser, via Cranbrook Academy of Art stationary.  1941.  Library of Congress, via Brainpickings

Charles Eames’ marriage proposal to Ray Kaiser, by way of Cranbrook Academy of Art stationary. 1941. Library of Congress, via Brain Pickings

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