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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated August 7, 1991&#13;
&#13;
"RE: Henry Ford Memorial at the Henry Ford Centennial Library&#13;
&#13;
They had limited information regarding the memorial at the library but a reference librarian suggested contacting Ford Motor Company's Archives, (313) 271-1620. Marcy Jefferson from the Henry Ford Estate suggested contacting the Dearborn Historical Society of Dr. Van D. Mericas of Dearborn who was mentioned in an article obtained from the library from the Dearborn Guide Newspapers, June 12, 1975. The library is on the south side of Michigan Avenue just east of M 39."&#13;
&#13;
&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated April 3, 1992:&#13;
&#13;
"RE: Henry Ford Memorial, Dearborn&#13;
&#13;
Molly gave me some additional information from her notes. The foundry that cast the figure and the reliefs was the Mengel Art Foundry in Detroit. The Verde Antique marble came from Vermont Marble Company in Proctor, Vermont.&#13;
In 1948 the people of Dearborn formed the Henry Ford Statue Committee to gather funds for a memorial for Henry Ford however fund raising didn't get off the ground. In 1968 there were new plans for a memorial and by 1975 the funds were raised. Thus it was funded by small contributions from local people and Mr. Fredericks contributed most of his services.&#13;
There is a book at the Henry Ford Centennial Library which lists all the donors. Mr. Fredericks also designed a commemorative medallion commissioned by Manufacturers Bank to be given out at the dedication of the memorial. There are three quotes on the back of the Verde Antique marble wall by Henry Ford. "Education is the greatest force of civilization." "I deeply admire the men who founded this country and I think we ought to know more about them and how they lived and force and courage they had." "work is the natural thing to do."&#13;
&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated March 6, 1992:&#13;
&#13;
"RE: Henry Ford Memorial at the Henry Ford Centennial Library in Dearborn&#13;
&#13;
I called the Industrial Archives to see if they have any correspondence regarding the memorial.  The woman I spoke to said if there was any correspondence it would be there but it would be nearly impossible to find.  It sounded like she was the only person working there and most of the records are not catalogued."</text>
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                <text>Henry Ford Memorial, historical reliefs, 1975&#13;
&#13;
&#13;
Childhood, upper left relief&#13;
Plaster original&#13;
&#13;
The Ford Empire, upper right relief&#13;
Plaster original&#13;
&#13;
Formative Years, lower left relief&#13;
Plaster original&#13;
&#13;
Ford Cars, lower right relief&#13;
Plaster original&#13;
The following description was prepared by Fredericks at the time of the installation of the sculpture and reliefs:&#13;
	&#13;
	"The Henry Ford Memorial is in front of the new Henry Ford Centennial Library, across Michigan Avenue from the Ford World Headquarters in Dearborn.&#13;
	&#13;
	The four bronze reliefs flanking the over life size figure of Mr. Ford are intended to tell the story of his life. Inasmuch as most people will never read a book or even an article about Mr. Ford, they can learn a great deal about him (without effort) through these sculptures.&#13;
	&#13;
	The upper left relief depicts him during his childhood. It shows the farm activities in which he participated, including an anvil, as he was an expert blacksmith; early school life including McGuffy's Readers which he loved; the actual school house he attended, school desks, bell, etc. The great steam road engine he first saw and which inspired him to be a mechanic, with him running beside it, with a farm wagon and horses rearing up in fright; and he, as a youth, doing his watch repairing.&#13;
	&#13;
	The lower left depicts him as a young man, timbering and cutting lumber. Henry and his wife, Clara, riding in the sleigh he made. The "Square House" he built by hand; the famous steam engine he operated; and Henry and Clara bicycling.&#13;
	&#13;
	The lower right relief shows many of the vehicles Mr. Ford created including the first tractor; his first car with him driving; the famous model "T"; the first truck; his first commercial car; and two of his famous racing cars including "Old 99" with himself at the wheel and his friend Barney Oldfield assisting.&#13;
	&#13;
The upper right shows most of the buildings historically important to the Ford Empire, including his first little workshop and the Ford World Headquarters. Also, depicted are many of the Ford products such as cars, planes, trains, and the Great Lakes freighters."</text>
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                <text>&lt;a href="https://www.flickr.com/photos/marshallfredericks/6351140736/in/set-72157628015891879" target="_blank"&gt;Henry Ford Memorial, Dearborn, MI&lt;/a&gt;</text>
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Plaster original&#13;
&#13;
	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
	1991.086&#13;
	&#13;
A series of four reliefs: Old Man River-River God, Old Man River-River God alternative, French Explorer, and Cotton Pickers.  These were created for a competition for a commission of a government building in Louisiana.  The themes of the sculptures are derived from the history of the location: Mississippi River, French settlers in that area of the country, and a cotton growing state.</text>
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&#13;
Memo to file&#13;
&#13;
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	 Collection Documentation Intern&#13;
	 Marshall M. Fredericks Sculpture Gallery&#13;
&#13;
Re: FORD EMPIRE, HARLEQUIN and CIRCUS PARADE&#13;
&#13;
Molly gave me additional information on these works from her notes. The three reliefs took two years to complete. HARLEQUIN and CIRCUS PARADE express the gaits of the theater, musicians and performers. In FORD EMPIRE there are 10,000 mitered joints.  In 1974-75 the Renovation Committee of the Detroit Symphony Orchestra wanted to move the reliefs to the Detroit Historical Museum and replace them with a fabric design. Mr. Fredericks fought hard to keep them in place. The Civic Center Commission decided they would stay in Ford Auditorium.&#13;
&#13;
&#13;
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                <text>THE FORD EMPIRE, 1954&#13;
	Copper, brass, and aluminum on wood&#13;
	&#13;
	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
	1991.082&#13;
	&#13;
This is the small scale model of The Ford Empire relief. It was located at the Ford Auditorium constructed on the Detroit reverifies during 1955-1956, as the new home of the Detroit Symphony Orchestra. The building was an impressive example of the modernism of the time, but had acoustical problems. Perhaps the most notable feature of the building's interior was the expansive, curvilinear lobby, the walls of which were graced with some of Marshall Fredericks' most delicate and refined sculptures. 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, harlequin, and dancers. These pieces were done in repoussâ€š and formed metal. They are neither carved, nor cast, but rather formed from literally thousands of pieces of copper, nickel, brass, stainless steel, and aluminum, plated with gold, zinc, and cadmium which were hand-shaped, joined, plated, and polished.&#13;
&#13;
	Fredericks stated in a 1981 interview:&#13;
	"I made a little model of that piece and designed it in scale model exactly as it would be in big size. Physically, it was an extremely difficult thing to design and make. It took almost three years and it's huge. And while it looks from a distance as though they are wires, actually some of the sections are two inches in diameter. It tells the story, of course, of the Ford Empire. One end of the big group represents the forces and products of nature. On the other end, the skills and talents of man and all the different professions and so on, and these two come together and form the Ford empire which is represented with all the actual buildings and products of Ford. So, it told the story of the building in the center and then on the ends it told the other aspect of the building which is the entertainment world-the harlequin and the circus trains. And it seemed to fit in."</text>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum</text>
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Plaster original&#13;
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&#13;
Indian Rider, 1955&#13;
Plaster original&#13;
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&#13;
Indian and Bears, 1955&#13;
Plaster original&#13;
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Bears:&#13;
&#13;
Indian, Deer, and Wolves, 1955&#13;
Plaster original&#13;
A heavily stylized native American covered in a blanket cloak stands with a deer and two wolves in this composition.  Vegetation can be seen in the upper left of the composition.&#13;
&#13;
&#13;
The two top reliefs of this series of four are Indian and Bears and Indian, Deer, and Wolves.  They are both abstracted images and relate in style (geometric) to each other.&#13;
&#13;
The two bottom reliefs of this series of four are Pony Express Rider and Indian Rider.  They relate more thematically and stylistically than the top two.  They have more curvilinear features and the horses face each other.&#13;
&#13;
Molly Barth copy:&#13;
Fredericks made these four plaster reliefs, The Pony Express Rider, Indian Rider, The Indian with the Deer and Wolves, and Indian with Sun and Bears, with the intention of enlarging them and carving them in stone.  The only replicas of these plasters are the bronze casts Fredericks has at his home.</text>
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&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.078&#13;
&#13;
Indian Rider, 1955&#13;
Plaster original&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.079&#13;
&#13;
Indian and Bears, 1955&#13;
Plaster original&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.080&#13;
&#13;
Indian, Deer and Wolves, 1955&#13;
Plaster original&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.081&#13;
&#13;
This relief series was originally created c. 1940, and cast in bronze, c. 1955. Marshall designed these reliefs with hopes of getting a commission in the western United States. These are the only sketch models in the scale of one inch to one foot.  They were intended to be 10' high and carved in stone. The bronze casts were located in Fredericks home.&#13;
&#13;
Images of the four reliefs can be seen on page 115 of the book Marshall M. Fredericks, Sculptor.</text>
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The last relief on the wall is the Eagle from the Federal Office Building in Cincinnati, Ohio.  This is a quarter-scale model.  The one on the building is 21 feet tall and it is cast in aluminum.  The 13 stars represent the original 13 colonies/states.  &#13;
	&#13;
		Fact: 21 feet</text>
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Plaster Original&#13;
&#13;
The Victory Eagle on the facade of the Veterans Memorial Building in Detroit is 30 feet high and projects 4Â½ feet from the wall in high relief. Seven free-standing pylons were originally placed in front of the building along the walkway leading to the entrance. Twenty feet high and carved with incised relief, they depict scenes from the military history of Detroit and the United States.</text>
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This relief originally hung over the Postmaster's door and was done under the Section of Fine Arts Public Buildings Administration Federal Works Agency. Fredericks received this commission as a result of an honorable mention in the Section of Fine Arts World's Fair Competition. &#13;
	A mare and colt dominate the center portion of the relief.  Balancing on either side are a ewe with two lambs and a sow with one of her pudgy shoats.  Each of the animals expresses a vitality that suggests the active life and abounding health of the locality.&#13;
&#13;
Molly Barth copy:&#13;
The next relief is the model for Farm Animals.  A terracotta cast is located at the post office in Sandwich, Illinois.  The mare and colt and pigs and sheep with the little lambs represent farming, the chief industry in Sandwich, Illinois at that point in time, 19??.  [comment on W.P.A.]  </text>
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&#13;
	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.076&#13;
&#13;
&#13;
Fredericks received this commission as a result of an honorable mention in the Section of Fine Arts World's Fair Competition. The finished terracotta relief originally hung over the Postmaster's door and was done under the Section of Fine Arts Public Buildings Administration Federal Works Agency. &#13;
	&#13;
A mare and colt dominate the center portion of the relief.  Balancing on either side are a ewe with two lambs and a sow with one of her pudgy shoats.  Each of the animals expresses a vitality that suggests the active life and abounding health of the locality.&#13;
&#13;
An image of this relief can be seen on page 36 of the book Marshall M. Fredericks, Sculptor.</text>
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	&#13;
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	Marshall designed the series for a national competition in 1939 in hopes that they would be placed on a government building in Washington DC, but the building was never built.  The series consisted of 12 reliefs.  Three are in the museum; Cotton Pickers, Colt and Pigs, and Steers.  Later Marshall grouped these three with The Guests Have Arrived and Chimpanzee (Philosopher).</text>
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