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ARCHIVES F. Shirley Prouty Johannes Kirchmayer Research ARCHIVES F. Shirley Prouty Johannes Kirchmayer Research Collection 1873-2015 8.5 linear ft. Acquisition Number: 2018-04 Acquisition: Gift of Florence Shirley Prouty. Access: Access to the collection is unrestricted. Copyright: Copyright to this collection is held by the Cranbrook Educational Community. Photographs: Retained with the collection. Negatives removed to cold storage. Audio/Video: Retained with the collection. Processing: Laura MacNewman, April 2019 HISTORY Shirley Prouty is the great great-niece of the woodcarver, Johannes (John) Kirchmayer. Having promised her grandmother that she would write a book about her great great- uncle, she spent many years researching his life, family history, and artworks. Upon reviewing the news clippings that her grandmother had collected, she realized that the scope of the project would be broad. Her research really started in 1994 when her son visited Detroit and was directed to the Cranbrook Educational Community by the Detroit Institute of Arts. Kirchmayer’s artworks are predominantly ecclesiastical wood carvings, though he also worked with stone and ivory. His work can be seen in many churches and cathedrals in the United States, with some further afield. Prouty’s research is published in her book, Johannes Kirchmayer, 1860-1930: master carver from Germany’s passion play village to America’s finest sanctuaries, which includes a biography of Kirchmayer and a detailed catalog of his work. Johannes Baptist Kirchmayr was born in Oberammergau, Bavaria (now Germany), on March 31, 1860, to John Ev. Lang and Theresia Kirchmayr. Born out of wedlock, Lang acknowledged Johannes as his son, though he grew up in the household of his grandfather and thus assumed the Kirchmayr name. He adapted his name to John Kirchmayer upon his immigration into the United States, but retained Johannes for his artwork, which is identifiable by the inscription “IK” using the Latin spelling Iohannes. It was a common practice for Bavarian woodcarvers to leave their signature on their work. Kirchmayer had half-siblings from both lines of his parentage. In 1872, Theresia married Tobias Zwink and they had three children, one of which also became a wood carver, Adelbert Zwink. Kirchmayer’s father, John Lang, who later became the mayor of Oberammergau, also had subsequent children and his sons, Alois Lang and Anton (Andreas) Lang, became wood carvers. Johannes’ early experiences in the village of Oberammergau were fundamental to the development of his artistic style and technique. Being famous for the Passion Play, in which many members of the Lang family participated, Oberammergau was the setting in which Kirchmayer learned the biblical stories and, through playing out the scenes of the play, he became familiar with the essential character and countenance of the saints that much inspired his work. He learned modeling in the Lang pottery shop and later excelled in drawing, but it was with his uncle, Georg Lang, that he learned his craft. After spending time in Paris and London, Kirchmayer returned to Oberammergau; yet he found the village too small and he went in search of new experiences and opportunities. Kirchmayer emigrated to the USA in 1880, when he was twenty years old. His early employment was with furniture manufacturers, firstly, A. Kimbel and Sons, and then Herter Bros. The late nineteenth and early twentieth centuries were a period of great church building in the United States, initiated by the architect Henry Vaughn and 2 championed by the prolific architect Ralph Adams Cram and his colleague Bertram Grosvenor Goodhue. Kirchmayer went on to work with these architects and to carve many magnificent interior artworks. He worked for some time with the firm Irving and Casson, and in 1905, he became a partner with W.F. Ross and Otis.T. Lockhart in the firm W.F. Ross & Co. Together with architects and allied craftsmen—stonemasons, stained glass artists, silversmiths and painters—the American Gothic style evolved. This style blended the traditions of old European craftsmen with the inspirations of the New World. In his later years, Kirchmayer worked as an independent artist from his studio in East Cambridge, Massachusetts. Kirchmayer was not only a master of his craft, he was a deeply religious man whose carvings were thus inspired. Kirchmayer was well respected and loved by his colleagues and patrons. He was commissioned by George Gough Booth to complete works for Christ Church Cranbrook, Cranbrook House, and Brookside School, and they both shared a zeal for the Arts and Crafts Movement. Like Booth in Detroit, Kirchmayer was a founding member of the Boston Society of Arts and Crafts (1897). He earned two awards, the American Federation of Arts Award in Industrial Art—Special Honor in Woodcarving (1916), and the Award of the Craftsmanship Medal for Distinguished Achievement in Woodcarving (1930). Kirchmayer married Frances LeClair in 1904. Their adopted son, Francis John Kirchmayer, died of meningitis when he was aged two in February 1906. His wife, Frances, died in 1923, and in 1929, he married Bessie Caroline Burdette. Kirchmayer died on November 29, 1930, in East Cambridge, Massachusetts. He is buried in Mount Pleasant Cemetery, Arlington, Massachusetts. SCOPE AND CONTENT This collection was created, collected, and maintained by F. Shirley Prouty. The collection began with the original newspaper materials, as well as periodicals and Christmas cards with Kirchmayer’s signature, which she was given by her grandmother (Kirchmayer’s niece through marriage to Frances LeClair). The bulk of the collection was collected and created through her research into the family history and artwork of John Kirchmayer for the purposes of publishing a biography of his life and a detailed catalog of his work. The research materials include correspondence with Church archives, state archives, and authors, as well as smaller printed materials and photographic materials. The arrangement of this collection has followed the original order of the creator, who maintained files on his artwork by the Church or other site where they reside. However, the research files were created and maintained in the order in which his work was discovered, and this order has been rearranged into alphabetical order for ease of reference. The chronology of Kirchmayer’s work, which appears in Prouty’s book, is included here as a reference tool and is updated based on her findings post-publication, and identifies works that are known to exist but have not yet been located. At folder level, 3 the contents are arranged in chronological order and include a variety of formats including correspondence, printed materials, notes, and photographs. In cases where research files or photographic materials are more voluminous, they have been separated into multiple folders according to format. The collection is divided into six series reflecting the type of materials: Biographical, Correspondence, Research Files, Printed Materials, Realia, and Oversize. The Biographical (1888-2015, box 1) series comprises correspondence with archives and record offices; birth, death, and naturalization certificates; printed articles; news clippings; Christmas cards; and photographic materials relating to Kirchmayer and his family. While Christmas cards are usually arranged as a form of correspondence, they are included in the biographical materials as they were not sent or received by the creator of this research collection, but were collected as a documentary record of Kirchmayer’s life and work. Writings are also included in this series, including those by Kirchmayer himself as it documents his thoughts about his profession and artistic philosophy, as well as materials relating to lectures that Prouty gave about Kirchmayer, which similarly documents the blending of his personal and professional life. Correspondence (1979-2009, box 2, 11 folders) is a small series that documents administrative aspects of Prouty’s work, including permission to publish photographs, book publication and orders, and correspondence with other researchers of Kirchmayer’s work. Series III, Research Files contains the bulk of the collection and is divided into two subseries: Artworks and General. The Artworks (1891-2015, boxes 2-9) subseries comprises research into Kirchmayer’s artworks, and is arranged alphabetically by the sites which house his work, predominantly churches, but also other historic sites such as houses and museums. The folders regarding Kirchmayer’s artworks are organized by location rather than sculpture names because there may be more than one artwork at a location, and the folders were created and maintained in this way by the creator of the collection. The folders may contain correspondence and notes, photographs and smaller printed materials, such as brochures, leaflets and pamphlets. In cases where the materials are voluminous, materials are arranged in multiple folders and photographic materials are separated. Negatives have been removed for special storage. The subseries General (1914-2011, boxes 9-10) comprises research into architects and other carvers, and background information into church building, Oberammergau, and the medieval influence upon contemporary arts and crafts both in aesthetic style and practical handcraftsmanship. These background materials highlight references to Kirchmayer’s spirit and artwork, and his relationship to other artists. This subseries includes isolated copies of articles and excerpts from books, as well as archival resources. It is arranged alphabetically
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