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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
&#13;
Memo dated October 23, 1991:&#13;
&#13;
"RE: Torso of a Dancer&#13;
On the list "Principle works of Marshall M. Fredericks" that I believe Mrs. Fredericks compiled, on page 3 I noticed that one of the three Torsos is dated 1934 and the other two were dated 1938. We have been dating it to 1938. I asked Mr. Fredericks and he said c. 1934 is the original date."&#13;
&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated September 5, 1991&#13;
&#13;
"RE: Works at Cranbrook Academy of Art Museum:&#13;
Two Sisters/Mother and Child&#13;
Childhood Friends&#13;
Torso of a Dancer&#13;
Persephone (Bacchante)&#13;
&#13;
On display in he museum are two other works by Fredericks. One is Torso of a Dancer in black Belgian marble which is dated to 1939. Our list of works at Cranbrook dates it to 1938. Our bronze at the gallery is dated to 1938 also. Our bronze at the gallery is a free-standing form. In this marble one part of the rough stone was left to form a base which the Torso is incorporated into and rest upon."</text>
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                <text>Torso of a Dancer, c. 1938&#13;
Bronze, cast 1984&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1994.002&#13;
&#13;
After modeling the Torso of a Dancer in about 1934, Fredericks carved it in Belgian black marble for the Cranbrook Art Museum in Bloomfield Hills, Michigan. He subsequently used the original plaster model to create several bronze casts such as this one. Unlike all the other bronze casts in the museum, the Torso is not patinated with chemicals to produce the green or brown surface color commonly found on bronzes. Fredericks chose to leave the Torso with its raw bronze color. He finished the statue with a high degree of polish to emphasize the smooth forms, graceful lines, and strong muscles of the figure. This cast, made in 1984, exhibits the fine craftsmanship that Fredericks demanded of his founders. The Sculptor's Studio displays other versions of this sculpture.&#13;
&#13;
The nude female form is a subject that has entranced artists since the dawn of time. Fredericks' treatment is typical of sculptors working during the Art Deco period when streamlined, elegant forms predominated, yet Fredericks' realistic but slightly idealized treatment of this traditional subject also illustrates his personal, mature style.</text>
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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
&#13;
Memo dated April 7, 1991:&#13;
"RE: Boy and Bear at Grosse Pointe Central Library:&#13;
There is a small Boy and Bear located in their children's room.  It is on book marks sold there and it has become the logo for the Friends of the Grosse Pointe Public Library.  It was donated in memory of Helen Hines Thomas by her friends from Detroit Industrial School.  In the library's vertical file is one small article about this sculpture.  We do not know the date of this object at this time."</text>
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Figure sculpture, American--20th century</text>
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                <text>The Boy and Bear, 1954&#13;
Maquette &#13;
Bronze, cast c. 1987&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.134&#13;
&#13;
Fredericks was one of six artists commissioned to design sculpture for Northland Shopping Center in Southfield.  At the time it opened in 1954, Northland was the country's largest shopping center as well as the first regional shopping center.  The architects planned for sculpture to play an important role in the shopping center's courts and malls.  It is obvious that Fredericks designed this sculpture with children in mind.  As with his other large animal sculptures, he gave the bear a benevolent quality so it would not frighten children.  This bear could be a child's best friend.  The contrast of the massive body of the bear with the almost frail body of the boy on his back emphasizes this special relationship.  The bear's head is down, communicating only amicable intentions.  Its erect ears and furrowed brow suggest interest in a viewer at this low eye level.  Frederick's portrayal of the bear is not totally realistic, but like several of his other sculptures of animals, he has portrayed the bear as in a child's imagination.  The sculpture at Northland still attracts as much attention today as when it was first placed there, pleasing children and adults alike.  &#13;
&#13;
Despite similarities between this sculpture and the characters in Walt Disney's movie The Jungle Book, Fredericks disavows any influence from Walt Disney or Rudyard Kipling, the author of The Jungle Book which was originally published in 1894.  Fredericks has said that he simply wanted to make a sculpture of a boy and bear because it would be fun      &#13;
In a display case at the front of the gallery is a smaller and earlier version of this sculpture in bronze. A cast similar to this is on display in the children's room of the Grosse Pointe Public Library. </text>
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&#13;
04/30/1993-Present  SVSU</text>
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                <text>Cast April 26, 1956 by Kristiana FDRY.&#13;
&#13;
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&#13;
Sculpture was purchased from Dallas ELM INC. for the price of $20,000 in April 1993.</text>
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&#13;
&#13;
In 1976 Fredericks enlarged these figures from the thirty-inch tall version that he created while at Cranbrook in 1939.  These seven figures are in the style of jamb statues found in the portals of Gothic cathedrals.  Because these figures were attached to columns, they were elongated with unnatural proportions.  The rigid verticality and seemingly forced postures were not meant to be realistic.  They were basically architectural elements formed into sculpture.  Since these figures were created in the likeness of various spiritual individuals, their columnar form suggested them as being physical supporters of the church as well as spiritual supporters.  Fredericks' figures all share this elongated form.  They are almost amusingly balanced atop small orbs.  Fredericks seems to be mocking the strict and unnatural Gothic style.  &#13;
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The Arbury's bronze baboons were cast in the mid 1980's at the same time that Fredericks made casts for his garden."&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
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&#13;
Including the pedestals these figures stood to a height of 14 feet.  They were cast in concrete with the intent of being carved in stone at a later date.  However, World War II intervened and they were subsequently destroyed.</text>
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&#13;
The Arbury's bronze baboons were cast in the mid 1980's at the same time that Fredericks made casts for his garden."&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated July 30, 1991:&#13;
"RE: Male and Female Baboons:&#13;
On July 26, 1991 Molly told me that the Arbury's bronze Baboons that are currently on loan to the gallery were cast in 1986."</text>
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Fredericks sculpted the clowns using simple geometric shapes.  The forms are highly stylized with clean lines and sharp edges making them visually appealing. &#13;
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The bronze full-scale sculptures are located outside the Museum in the sculpture garden.</text>
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Fredericks first made the Siberian Ram in 1941, but the first documented bronze cast was not installed until 1966, when a 24 inch tall sculpture was placed in the rose garden of the Henry Ford estate in Dearborn. Fredericks carved a Siberian Ram in limestone on commission for the Birmingham Bloomfield Bank and that 30 inch tall stone sculpture was donated to the Baldwin Public Library in Birmingham where it was installed in 1972. In the late 1980s, Fredericks made molds from that sculpture and cast bronzes for his personal collection and for the Museum (#55). He created the 9 inch tall reduction in the mid 1990s.</text>
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