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&#13;
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                <text>Marshall Fredericks poses with the aluminum reliefs for the Ohio Bureau of Employment Services and the Ohio Department of Transportation</text>
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                <text>Aluminum sculpture--20th century&#13;
Animal sculpture--20th century.&#13;
Artists' studios--United States.&#13;
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Fredericks, Marshall M., 1908-1998&#13;
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Ohio. Dept. of Transportation. &#13;
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                <text>Fredericks designed these reliefs for the Ohio Bureau of Employment and Ohio Department of Transportation in Columbus, Ohio. &#13;
&#13;
The architect of the building, Frederick H. Hobbs, Jr. described the project in this manner:&#13;
&#13;
â€œThe Director of Public Works and the officials of both departments felt that the sculptural expression should be clear and uncomplicated, that the viewer should need no interpreter. Mr. Fredericks has, therefore, brought his talents to a simple and lively expression which becomes as much literature as art. Each of the four compositions tells a story. In the Bureau of Unemployment Compensation lobby [Industry and Employment Activities] describes the work or industrial life of the State (Ohio). [Recreational Activities] tells a story in the form of the â€œgood life,â€ the joys of nature, and of recreation. The Highway Building has a related but different story to tell. [Motion in Nature] expresses the movement in nature and from each element of it, young people will take great enjoyment. Transportation by Man expresses movement in man and shows the evolution of transportation from primitive beasts of burden to the modern expressway.â€</text>
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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;
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Fredericks, Marshall M., 1908-1998&#13;
Jesus Christ--Crucifixion--Art.</text>
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                <text>In 1946, the archdiocese of Grand Rapids, Michigan opened a new church in the Indian River area of northern Michigan. Although the local congregation consisted of only twelve families, the Diocese recognized the need to service the large number of Catholics who vacationed in the region during the summer months. Following the appointment of Fr. Charles Brophy as the first pastor, plans began to take shape for a shrine that would attract tourists from throughout the country. Inspired by the churchâ€™s woodland setting, Fr. Brophy envisioned an indoor church for residents and an open-air church for summer visitors.&#13;
&#13;
The archdiocese commissioned prominent architect Alden B. Dow to design the church. At the longhouse-style churchâ€™s dedication in 1950, Fr. Brophy announced plans for a Calvary Hill with a large wooden cross. In order to attract the attention of passing tourists, Fr. Brophy decided to erect the worldâ€™s largest crucifix.&#13;
&#13;
After a two year delay, the archdiocese granted permission for Fr. Brophy to proceed with his plans and construction of the crossâ€™ foundation at the rear of the property commenced. A printing plant owner from Indianapolis donated the enormous redwood cross in memory of his late wife. Erected in 1954, the cross stands fifty-five feet high atop a hill overlooking Burt Lake.&#13;
&#13;
Considered by Fredericks to be â€œhis greatest challenge,â€ the figure of Christ took him four years to complete. Funded by contributions from over 10,000 summer visitors to the shrine, the twenty-eight foot corpus symbolizes a Christ on the cross who is still living. Fredericks chose to depict the figure without a crown of thorns or a spear wound in its side. In this design, he â€œwanted to eliminate the suffering and agony for the observer and give the face an expression of great peace and strength.â€ One day, discouraged by the challenge and long days and nights at work on the face of Christ, Fredericks came upon a worker cleaning in the studio, on his knees in front of the clay form. Fredericks knew then he was on the road to achieving his goal.&#13;
&#13;
Since its dedication in 1959, millions of pilgrims from around the world have traveled to Indian River, Michigan to visit the shrine and see Fredericksâ€™ work.</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;
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&#13;
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&#13;
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&#13;
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&#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;
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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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&#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;
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&#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;
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&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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&#13;
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&#13;
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&#13;
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Figure sculpture, American--20th century.&#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;
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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;
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&#13;
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&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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Fredericks, Marshall M., 1908-1998&#13;
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 &#13;
A 145-feet long filigreed metal mural, The Ford Empire, swept almost the entire length of the curved outer wall. On the balcony walls at either end of the foyer stood polished metal theatrical groupings of circus performers, musicians, harlequins, and dancers. Formed from literally thousands of pieces of copper, nickel, brass, stainless steel, and aluminum and plated with gold, zinc, and cadmium these pieces were hand-shaped, joined, plated, and polished. &#13;
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Series V, Box 11 Folder 28&#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;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>The crew of cadets of the Royal Norwegian Training Ship 'Christian Radich' placing a wreath on the "Cleveland War Memorial: Fountain of Eternal Life"</text>
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                <text>Backen, Capt. Kjeld&#13;
Bronze sculpture, American--20th century.&#13;
Calhoun, Jo&#13;
Christian Radich (School ship) &#13;
Cleveland (Ohio)--Buildings, structures, etc. &#13;
Figure sculpture, American--20th century. &#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998 &#13;
Granite sculpture.&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
Seltzer, Louis Benson, 1897-1980  </text>
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                <text>Caption reads: Placing a wreath at the War Memorial Fountain on the Mall today was Capt. Kjeld Backen on the Norwegian windjammer Christian Radich which will be in Cleveland until Sunday morning. Capt. Backen (behind wreath) and his crew of student trainees appeared in a morning downpour to pay their respects to Greater Clevelandâ€™s heroes of World War II and the Korean War. Attending the brief ceremony were Louis B. Seltzer (third from right), editor of The Press which conducted the fund-raising campaign to finance the fountain; Norwegian Consul Jo Calhoun and Marshall Fredericks (right), sculptor from Royal Oak, Mich., who used Norwegian granite and bronze in the memorial.</text>
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Series V, Box 7 Folder 25&#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;
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>The crew of cadets of the Royal Norwegian Training Ship "Christian Radich' and Cleveland Press Editor, Louis B. Seltzer placing a wreath at the "Cleveland War Memorial: Fountain of Eternal Life"</text>
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Bronze sculpture, American--20th century.&#13;
Christian Radich (School ship) &#13;
Cleveland (Ohio)--Buildings, structures, etc. &#13;
Figure sculpture, American--20th century. &#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998 &#13;
Granite sculpture.&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
Seltzer, Louis Benson, 1897-1980 &#13;
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Series V, Box 7 Folder 25&#13;
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                <text>V-07-25&#13;
</text>
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