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&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
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Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
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Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
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Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
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Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
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Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
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&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
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&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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                <text>According to MaryAnn Wilkinson, former curator of modern and contemporary art at The Detroit Institute of Arts, â€œHis last monumental work, Lord Byron, designed in 1938, enlarged by the artist, and cast posthumously in 1998 for the Marshall Fredericks Sculpture Museum paradoxically seems to refer back to Fredericks's earliest influences.  This literary figure clearly inspired by Rodin's Balzac, strikes a shameless dramatic pose: head flung back with his hand on his forehead, heavy cloak partially pulled around his body with the other hand flying out to the side and back.  Fredericks, in contrast to the symmetry that generally characterizes his designs, treated each side of the Byron figure in a different manner.  Along its right side, the figure is closed and solid.  The drop of the heavy cloak does not allow for articulation of forms or even for suggestion of the body beneath.  Rather, the artist exploits the long, unbroken line of the cloak from the figure's chin to the ground.  In contrast, the figure's left side is open and plastic with elbow and knee flung out at an angle from the nipped-in waist.  Like Sun Worshipper, The Poet: Lord Byron represents an important mid-career design that he was only able to realize in large scale at the end of his career.â€ (Marshall M. Fredericks, Sculptor, p. 15)  &#13;
&#13;
Byron was a member of the Romantics Poets movement and lived from 1788-1824. As a young adult, Fredericks developed a deep passion for Byronâ€™s poetry.  The Poet: Lord Byron was cast posthumously in 1998 and resides in the Marshall M. Fredericks Sculpture Museumâ€™s sculpture garden.   &#13;
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&#13;
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                <text>Bloomfield Hills (Mich.)</text>
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        <name>Dragon</name>
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        <name>Friendly</name>
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        <name>Lathe</name>
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        <name>Studio</name>
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        <name>The Friendly Dragon</name>
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        <name>V1317</name>
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        <name>Wooden Lathe</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Marshall M. Fredericks Archives Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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      <name>Still Image</name>
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          <name>Original Format</name>
          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>Color print</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image.</description>
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              <text>4" x 6"</text>
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        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Armature for "The Friendly Dragon" with plasteline on the tail</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Animal sculpture--20th century. &#13;
Artists' studios--United States.&#13;
Dragons in art.&#13;
Fredericks, Marshall M., 1908-1998&#13;
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>â€œI did â€¦ a dragon; I called it The Friendly Dragon. The architect said he didn't think he would use it because he said the children would be frightened of a dragon. But children love dragons and it's not an ugly dragon, it's a friendly dragon with a big smile and it's cozy and you can sit on its back on those humps on its back. It's just that he never was a child, I guess, so he doesn't know. So they put up a thing, a structural beam thing. I've never seen a child near it so maybe they didn't get the audience that they wanted really. I think maybe I'll do that Dragon. I like dragons anyway, they're special.â€ (Marshall Fredericks, from a 1981 interview with Joy Colby, The Detroit News art critic.) &#13;
&#13;
Throughout his long career, Fredericks often returned to his joyful and whimsical work that involved animals. â€œThe Friendly Dragon, cast twice in 1991, as a pair for the Meijer Gardens, Grand Rapids, Michigan, is a childâ€™s magical dream.  Like a Maurice Sendak illustration (popular author of Where the Wild Things Are), Fredericksâ€™ dragon presents a danger that has become approachable, a wild animal that has become as friendly as a pet.â€  (Marshall M. Fredericks, Sculptor, p. 14)  &#13;
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 13 Folder 19&#13;
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1991</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="313231">
                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>V-13-19</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="313233">
                <text>image/jpeg</text>
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            <name>Type</name>
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                <text>Image</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Bloomfield Hills (Mich.)</text>
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        <name>Plasteline</name>
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        <name>The Friendly Dragon</name>
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