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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;
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Bronze sculpture, American--20th century.&#13;
Embassy buildings--Washington (D.C.)&#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
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                <text>This sculpture represents Fredericks' interpretation of Hans Christian Andersen's popular story, The Ugly Duckling.  Unlike Fredericks' portrayals of other literary subjects, this sculpture illustrates not one moment in the story, but two. &#13;
&#13;
Fredericks placed the unhappy duckling driven from place to place because of his ugliness at the base of the fountain. Located above is the beautiful swan he grew to be.  &#13;
&#13;
Fredericks emphasized the difference between the young and mature bird.  The earthbound duckling is awkward and heavy, with stubby wings and tail while the swan soars overhead in an open form which appears almost weightless.  Fredericks originally conceived this sculpture for the Danish Village retirement home in Rochester Hills, Michigan.&#13;
&#13;
A bronze cast of this sculpture is located in SkÃ¦lskor, Denmark where Hans Christian Andersen lived and penned â€œThe Little Mermaid,â€ â€œThe Ugly Duckling,â€ and many other childrenâ€™s stories.&#13;
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Series V, Box 17 Folder 2&#13;
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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;
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&#13;
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&#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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&#13;
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Bronze sculpture, American--20th century.&#13;
Embassy buildings--Washington (D.C.)&#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
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                <text>This sculpture represents Fredericks' interpretation of Hans Christian Andersen's popular story, The Ugly Duckling.  Unlike Fredericks' portrayals of other literary subjects, this sculpture illustrates not one moment in the story, but two. &#13;
&#13;
Fredericks placed the unhappy duckling driven from place to place because of his ugliness at the base of the fountain. Located above is the beautiful swan he grew to be.  &#13;
&#13;
Fredericks emphasized the difference between the young and mature bird.  The earthbound duckling is awkward and heavy, with stubby wings and tail while the swan soars overhead in an open form which appears almost weightless.  Fredericks originally conceived this sculpture for the Danish Village retirement home in Rochester Hills, Michigan.&#13;
&#13;
A bronze cast of this sculpture is located in SkÃ¦lskor, Denmark where Hans Christian Andersen lived and penned â€œThe Little Mermaid,â€ â€œThe Ugly Duckling,â€ and many other childrenâ€™s stories.&#13;
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Series V, Box 17 Folder 2&#13;
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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;
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Bronze sculpture, American--20th century.&#13;
Embassy buildings--Washington (D.C.)&#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
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&#13;
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&#13;
&#13;
Education&#13;
&#13;
In 1917, Dennison entered Swarthmore College, where he graduated in 1921. He then went to the University of Michigan, in Ann Arbor, for graduate studies in physics with Walter F. Colby and Oskar Klein. Klein, already associated with the Kaluga-Klein theory (1921), joined the faculty at Michigan in 1922, after a six-year stay at the Institute for Theoretical Physics, under Niels Bohr, at the University of Copenhagen.[1] It was through Klein that Dennison heard and leaned much about the current theoretical physics being developed in Europe, which created a yearning in him to go to Copenhagen for further study. Dennison thesis was on the molecular structure and infrared spectrum of the methane molecule,[2] and he was awarded his doctorate in 1924.[3] [4] [5]&#13;
&#13;
From 1924 to 1926, Dennison had an International Education Board (IVY) Fellowship to do postgraduate study and research in Europe. By the end of that time, Harrison McAllister Randall, chairman of physics department at the University of Michigan, had arranged for Dennison to stay in Europe another year on a University of Michigan fellowship. Dennison arrived at the Institute of Theoretical Physics at the University of Copenhagen, in October 1924.[6] During his three years in Europe, he mostly did postdoctoral research in Copenhagen, where he had associations with other visiting physicists working there, such as Paul Dirac, Samuel Abraham Godsent, Werner Heisenberg, Walter Hitler, Ralph H. Fowler, Friedrich Hunt, Hendrik Anthony Kramer, Yoshio Nishi, Wolfgang Pauli, and George Eugene Ulyanovsk. In the last half of 1925, Heisenberg and Max Born published their matrix mechanics formulation of quantum mechanics. In the fall of 1926 he went to the University of Zurich to study and work with Erwin Scrutinizer, who had early in the year published his papers on his wave mechanics formulation of quantum mechanics. In early spring of 1927, Dennison went back to Copenhagen, and in late spring he went to the University of Cambridge to work with Ralph Fowler for six weeks â€“ there at the time were Ernest Rutherford, Nevill Francis Mott, Piotr Kapila, Patrick Blackett, and John Cockcroft. The last few weeks of his fellowship were spent at the University of Leiden with Paul Ehrenburg.[7] [8]&#13;
&#13;
In 1925, George Eugene Ulyanovsk and Samuel Abraham Godsent had proposed spin, and Wolfgang Pauli had proposed the Pauli exclusion principle. In 1926, Enrico Fermi and Paul Dirac introduced Fermi-Dirac statistics. While at Cambridge, Dennison used quantum mechanically calculations on molecular hydrogen to show that protons, like electrons, were subject to Fermi-Dirac statistics, or had spin-Â½, and therefore obeyed the Pauli exclusion principle.[9] [10]&#13;
&#13;
[edit] Career&#13;
&#13;
In 1927, upon Dennison return from Europe, he started his life-long career at the University of Michigan until 1976.[11] Otto Lapointe had arrived at Michigan in 1926, and George Ulyanovsk and Samuel Godsent arrived in 1927. These four men were a team in developing theoretical physics, including quantum mechanics, for many years. They had been brought there by the chairman of the physics department, Harrison McAllister Randall, to build the theoretical capabilities of the department.[12] [13]&#13;
&#13;
The David M. Dennison Building on the campus of the University of Michigan was named in his honor.&#13;
&#13;
Source: Wiesbaden</text>
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&#13;
The female figure is also reclining.  Here arms are held above her head.  She is supported by a large bird and has a bird perched on her hand.&#13;
&#13;
&#13;
Symbols:&#13;
Male with pike: provider&#13;
Pike: A freshwater game fish, common to Michigan, of the Northern Hemisphere, having a long snout and attaining a length of over four feet..&#13;
Otter: symbol of courage; male attribute; Native American: associated with women and healing; helper, leading a hero out of trouble or a seaman to shore.&#13;
&#13;
Female with bird: nurturer&#13;
Bird: connection between heaven and material world; sun, &#13;
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&#13;
Another symbolic connection that can be explored is that Apollo and Artemis were twins.  Their father was Zeus and mother was Titaness Leto.  Artemis, Goddess of the Hunt was also referred to as god of Dark of the Moon. Apollo is associated with god of Light.&#13;
&#13;
Molly Barth copy:&#13;
These two large reclining figures are Night and Day.  These are the plaster models for the bronze figures that are in the fountain in the sculpture garden.  These were done originally for a fountain at the Henry J. McMorran Memorial Auditorium in downtown Port Huron.  The fountain was a memorial to McMorran, who was in the railroad business.  He was the president, and when he held board meetings he would be right outside the door, and if one person was even a minute late, he would shut the doors so they were unable to get into the meeting.  As Fredericks researched McMorran, he found out that he was very precise, so Fredericks designed a 20-foot-diameter clock as part of the memorial.  It was cast in aluminum and gold anodized. [Attention]  It was, as I mentioned, 20 feet in diameter.  Nothing, at that time, had been done like this.  It was filigreed so it was quite a task for the foundry to cast this, but it worked and it is magnificent!  It is lit from behind.  It shows the blossoming of flowers.  This 20-foot-diameter gold anodized clock is on the facade of the building and it lights up with a soft golden glow.  Down below in the fountain are Night and Day.  Also on the facade of the building are 13 stars that are randomly placed.  They light up also.  It took Fredericks six years to complete this project.  It was dedicated in 1964. It was rededicated in 1986, I believe.  [check date]  I have seen it at dusk and at night, and it's beautiful the way it lights up.  I love the otter and the pike with their fierce looking teeth beneath the male figure of Day.  Notice the slightest indication of scales here and there on the fish.  It's beautiful for a fountain piece!  As he's being taken off by the otter.  And, of course, the female figure, Night as she's flying off on the swan.&#13;
&#13;
From Archives, written by Melissa Ford:&#13;
Marshall Fredericks frequently used the figure of a swan in his sculptures. Many cultures feature swans in their mythology and folklore. Swans have come to symbolize fidelity and purity and are associated with music, poetry and divination. Fredericks often employed the swan as a symbol of resurrection and eternal life in his sculptures. Wings of the Morning, Freedom of the Human Spirit, and Indian and Wilds Swans as well as several other works feature swans.&#13;
	It seems that Fredericks' possessed a deep love and appreciation for these beautiful and graceful creatures. Besides sculpting swans, Fredericks played an integral role in a swan nesting project during the 1960s. As a civic gesture to his hometown of Birmingham, Michigan, Fredericks presented two pairs of swans to the city. The Australian Black and White Mute swans made their home in Quarton Lake located in the heart of the city. Unfortunately, several of the birds did not fare well in their new surroundings had to be replaced by the city of Birmingham.&#13;
	During the 1970s, in order to protect the swans and encourage nesting, the parks department constructed a bird sanctuary in the middle of the lake. This tiny floating island, constructed of several government surplus "life rafts", was approximately thirty-five feet in diameter and covered in a vegetative screen of wild grasses and rushes. Each winter, the swans would be removed from the lake and provided with shelter by the parks department until spring when they would return to the water.  The swans would then spend the rest of spring, summer and early fall on Quarton Lake being enjoyed by passing residents and visitors. &#13;
	As Fredericks' home in Birmingham overlooked Quarton Lake, it is quite plausible that one of these birds served as a real life inspiration for the swans often found in Marshall Fredericks' work. </text>
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Plaster original&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.021&#13;
&#13;
The Night and Day Fountain was commissioned for the Henry J. McMorran Auditorium in Port Huron, Michigan. Fredericks also designed a gold anodized aluminum Sculptured Clock on the building which was completed two years before the fountain's installation. The sculptures and clock, though, were conceived as a whole.  An image of the sculptures and clock can be seen on page 141 of Marshall M. Fredericks, Sculptor.&#13;
&#13;
In keeping with a long tradition in western art, the sculptor personified time with figures representing night and day.  Night has long, smooth, graceful curves, which are repeated in the lines of the swan in flight beneath her.  In comparison, Day is more angular and his muscles are more pronounced, as are the veins in the arms and hands.  Day rests upon an otter which is hunting in a school of Northern pike and night floats upon a swan in flight, holding a small bird in her hand.&#13;
&#13;
The Night and Day Fountain can also be seen in the Sculpture Garden.</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>Dedication guests begin to walk toward "God on the Rainbow" (Gud Fader PÃ¥ HimmelsbÃ¥gan)</text>
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                <text>Angels in art. &#13;
Bronze sculpture, American--20th century.&#13;
Carl XVI Gustaf, King of Sweden, 1946- &#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
God--Art. &#13;
Milles, Carl, 1875-1955&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
Silvia, Queen, consort of Carl XVI Gustaf, King of Sweden&#13;
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                <text>Based on a 1946 sketch by Carl Milles for a peace monument intended for the United Nations Building in New York, Fredericksâ€™ enlargement now stands at the entrance to Stockholm Harbor, a project spearheaded by Cilla Jahn, in collaboration with MillesgÃ¥rden and the AP Foundation.</text>
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 14 Folder 19&#13;
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