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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;
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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Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and 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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&#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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&#13;
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&#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;
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;
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                <text>The businessmen backers of the 1964-65 New York Worldâ€™s Fair aspired to produce an economic boom for the city that would rival the hugely successful New York Worldâ€™s Fair of 1939-40 that brought more than 44 million visitors to the city.  Many of these planners, kids during the â€™39-40 Fair, hoped that the experience would be as memorable for their children and families has it had been for them.  Dedicated to â€œManâ€™s Achievement on a Shrinking Globe in an Expanding Universe,â€ the Fairâ€™s theme was â€œPeace through Understanding.â€&#13;
	&#13;
The Fairâ€™s Sculpture Committee requested that Marshall Fredericks submit a proposal for a sculpture to be included at the event. Fredericks submitted several sketches and the Committee selected a sketch of two figures with swans. Originally the figures in the sketch had wings, but the review panel requested that Fredericks remove them in the final sculpture. According to the artist, the sculpture â€œdepicts human figures as if soaring in migratory flights with huge swans, an ancient symbol of eternal life.â€&#13;
&#13;
One of four major sculptures at the Fair, the sculpture stood in the Court of States at the entrance of the U S Government Pavilion. This marked the second time Fredericks contributed a sculpture to a New York Worldâ€™s Fair, as he previously exhibited a fountain at the 1939 Fair. The Freedom of the Human Spirit still stands at its original location in Flushing Meadows Corona Park in Queens borough. &#13;
&#13;
In 1983, Fredericks donated the design for this sculpture to his adopted hometown of Birmingham, Michigan in honor of the cityâ€™s fiftieth anniversary. Erected in Shain Park, the city financed the sculpture through generous donations from over one thousand individuals and corporations. In 2009, the city of Birmingham renovated the park and relocated the sculpture to an area in the center of the park. &#13;
 &#13;
A small-scale casting of Freedom of the Human Spirit also serves as the annual Communications Award for the International Center for the Disabled (ICD), an organization of which Fredericks was a longtime benefactor. &#13;
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Series V, Box 13 Folder 14&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#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;
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Figure sculpture, American--20th century. &#13;
Fountains.&#13;
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Outdoor sculpture--United States. &#13;
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                <text>One of Fredericks' last public works, "Star Dream Fountain" is located in Barbara Hallman Plaza in Royal Oak, Michigan. The sculpture is based on a 1947 preliminary design for the "Cleveland War Memorial". This allegorical work symbolizes man's continual search for spiritual peace.</text>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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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;
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&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
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&#13;
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&#13;
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&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
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                <text>Bronze full-scale "The Boy and Bear," "Night and Day Fountain" and "The Lion and Mouse" on the grounds of the Marshall M. Fredericks Sculpture Museum</text>
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                <text>Animal sculpture--20th century. &#13;
Bronze sculpture, American--20th century.&#13;
Figure sculpture, American--20th century. &#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 25 Folder 17&#13;
</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="346409">
                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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            <description>A related resource</description>
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</text>
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&#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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Bronze sculpture, American--20th century.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Interlochen Center for the Arts &#13;
Outdoor sculpture--United States. &#13;
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                <text>In this sculpture, a large brown and small black bear sit back to back in quiet thought. Although in nature these two animals are enemies, Fredericks portrays the two in a gentle humanistic way, stressing tolerance.  &#13;
&#13;
Notice the differences in the bearsâ€™ ears and noses.  Also if you look closely at the small bearâ€™s knees you will notice a tear drop sculpting style, known as one of Fredericksâ€™ trademarks. &#13;
&#13;
Carson Pirie Scott &amp; Company originally commissioned Two Bears for Lincoln Square, a shopping center in Urbana, Illinois.&#13;
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Series V, Box 23 Folder 8&#13;
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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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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                <text>Bronze full-scale "Two Sisters" in the Marshall M. Fredericks Sculpture Museum Sculpture Garden</text>
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                <text>Bronze sculpture, American--20th century.&#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 25 Folder 11&#13;
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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&#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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Bronze sculpture, American--20th century.&#13;
Fredericks, Marshall M., 1908-1998&#13;
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                <text>The flying swans represent the atmosphere of the unfolding morning. Fredericks often used swans in his sculptures to symbolize eternal life. The hand of God enfolds the spirit of man as he takes the wings of the morning. The upward flowing contours communicate the optimistic spiritual content of the sculpture.  &#13;
 &#13;
Fredericks was inspired by Psalm 139:9-10: &#13;
&#13;
"If I take the wings of the morning, and dwell in the uttermost parts of the sea; even there shall Thy hand lead me, and Thy right hand shall hold me."  &#13;
&#13;
These verses are inscribed on the pedestal of the bronze cast at Kirk in the Hills Presbyterian Church, Bloomfield Hills, Michigan. &#13;
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            <description>A related resource from which the described resource is derived</description>
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Series V, Box 24 Folder 13&#13;
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</text>
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