179 10 1886 https://omeka2.svsu.edu/files/original/1991114_2dafa9612f.jpg 067aec04b0a265cbd7dfbc5727ca07b8 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 533 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 5.125" x 3.625" x 6.125" Materials Bronze full-scale Catalog Number 1991.114 Object Location Location of object in collection. Main Exhibit Gallery Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lion and Mouse, Mouse [Bronze] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Mouse 1957 Bronze Gift of Mr. and Mrs. Marshall M. Fredericks 1991.114 Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1957 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6351228096/in/set-72157628015891879" target="_blank">Lion and Mouse, Eastland Center, Harper Woods, MI</a> Animal Animal Sculpture Bronze Bronze Sculpture Mouse Sculpture The Lion and Mouse https://omeka2.svsu.edu/files/original/1991113_58b94b89a6.jpg 92c3eac6d10f18c4623b21ca5a4dc5b5 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 348 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 134" x 60" Materials Plaster full-scale Catalog Number 1991.113 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes Cast by Racine Foundry and Manufacturing Company in Detroit. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992 "RE: Christ the Good Shepherd Molly told me the cast at Central United Methodist Church in Pontiac was cast by the Racine Foundry and Manufacturing company in Detroit." FROM http://www.waterfowl.or/ One of the more outstanding physical features of the current Church is the relief sculpture created for Central United Methodist by world renowned artist, Marshall Fredericks. The sculpture, entitled Thea Good Shepherd -The Child and the Lamboy is affixed to the front of the building and formed in gold anodized cast aluminum. The sculpture was commissioned especially for Central United Methodist Church at a cost of $20,000 in 1964. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Christ the Good Shepherd [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource CHRIST THE GOOD SHEPHERD, 1964 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.113 This gold anodized, cast aluminum sculpture is installed on the front of the building of the Central United Methodist Church located at 3882 Highland Road in Waterford, Michigan. The idea for this sculpture began during the summer of 1961 during a conversation with the minister of the church, Milton H. Bank. Fredericks worked directly with Elbert M. Wilmot, the representative from the church with respect to the proposal for this project. The aluminum was cast at Racine Foundry and Manufacturing Co. and the anodizing was completed at Allied Enterprises, Inc., both of Detroit, Michigan. The sculpture was completed and installed by winter 1963. The church adopted the motto, "The Church of the Good Shepherd" reflecting how the congregation has embraced the iconic nature of the story of this sculpture. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1964 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6349967943/in/set-72157628015891879" target="_blank">Christ the Good Shepherd, Central United Methodist Church, Waterford, MI</a> Christ the Good Shepherd Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka2.svsu.edu/files/original/1991112_20d59db6f4.jpg 222bdba1e26a2a0530f752468ae5f08d Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 512 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. Indian 192" h Swan 108" x 96" Materials Plaster full-scale Catalog Number 1991.112 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July, 1 Gift to Museum and SVSU Board of Control Notes Bronze was cast by Bedi-Rassy Art Foundry From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992 "RE: Indian and Wild Swans The cast on the exterior of the Milwaukee Public Museum is mounted on white Georgian marble. It was cast by the Bedi-Rassy Art Foundry." MF archives: Sculpture located at Milwaukee Public Museum on façade of building in bronze. One swan appears in our museum because of space constrictions but there are four swans in formation. The actual title according to Fredericks is "Algonquian Indian and (Whistling) Swans". Fredericks states that this work symbolizes the freedom and beauty of nature in the Great Lakes Area. Image symbols: Algonquian: North American Native American tribe formerly found along the Ottawa River and Northern tributaries of the St. Lawrence. Swan (whistling): Native to America, its scientific name is Cyghus Columbianus. Folklore states that Native Americans would not eat the flesh of the swan because it was destined to carry the soul of the dead into eternity. Four: The number four in Native American culture symbolizes balance and harmony. Molly Barth copy: The next relief on the wall, the next plaster relief is titled, "The Milwaukee Indian and Four Wild Swans," and they're located on the Milwaukee Public Museum, The Natural History Museum, and of course, we just have the one swan here, but they span an area of 36 feet. These plaster models are the full size of the bronzes that are located on the facade of the building there. You'll notice that the Indian isn't shooting an arrow at the swan, his bow is turned the opposite direction. To the Indians, the swan is the symbol of eternal life, they believe when they die, their spirit flies up on the back of the swan to the Great Spirit, so you really get the feeling, the way the hands are outreached, that the swan is a spiritual symbol to the Indian. From Archives, written by Melissa Ford: 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. 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. 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. 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. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indian and Wild Swans [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource INDIAN AND WILD SWANS, 1964 Maquette Gift of Mr. and Mrs. Marshall M. Fredericks 1994.068 This presentation model seen in the case was made in 1962, for the building committee of the Milwaukee Public Museum shows Fredericks' design for a monumental Indian and four wild swans commissioned for the facade of the new museum building. The small maquette illustrates the whole composition. The large Indian provides a more detailed representation of the main figure. The forms and textures of the model were not reproduced precisely in the full-size sculpture, as can be seen by comparison with the plaster of the enlarged Indian on the east wall of the Museum, but the presentation model served its purpose of communicating the preliminary design to the architects and owners of the building. The sculpture group was installed in December 1963, but the dedication didn't occur until 1964. Fredericks stated of the design, that the swans, "complement the simple surface (of the wall) with just the right dignified accent…(they are) stylized, artistic representations of the natural swan (having worked) with numerous studies from live specimens." The actual title according to Fredericks is "Algonquian Indian and (Whistling) Swans". Fredericks states that this work symbolizes the freedom and beauty of nature in the Great Lakes area. Each of the four swans in the completed bronze commission weighs about ½ ton and the Indian weighs just over a ton. Only one swan appears in the museum because of space constrictions. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1964 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/mrbula/67852625/in/gallery-marshallfredericks-72157628237586313/" target="_blank">Milwaukee Public Museum</a> Figure Figure sculpture Indian and Wild Swans Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka2.svsu.edu/files/original/1991111_1c76fdd163.jpg b6ea6dce8e3998f8ec4975142313b7ec Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 956 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 75" x 70" Materials Plaster and paint full-scale Catalog Number 1991.111 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March,22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated September 5, 1991 "RE: Works at Cranbrook Academy of Art Museum: Two Sisters/Mother and Child Childhood Friends Torso of a Dancer Persephone (Bacchante) David Rau also showed me a small-scale Childhood Friends relief which is cast in bronze and patinated green. On the label it was dated c. 1950. Our records from Cranbrook (?) indicate it is from 1958 as is the plaster original in the gallery. This small-scale version looked like an early sketch model as the surface was not smooth and the details were not defined. I didn't measure it but it looked to be about 12 x 10 inches. Since it appears to be a sketch model it could be from earlier than 1958 but I would like to verify this date." May 16, 1995 a small Childhood Friends was auctioned at Frank Boos Auction House in Birmingham, MI for about $1700. Presage estimate was $1200 - $1600. Mr. Fredericks signed the work before the auction. It was an early work in bronze and in need of cleaning. - Michale Panhorst Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Childhood Friends [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Animal sculpture--20th century Description An account of the resource CHILDHOOD FRIENDS, 1958 Plaster original painted green Gift of Mr. and Mrs. Marshall M. Fredericks 1991.111 This playful relief created with children in mind, infuses fantasy with whimsey and warmth. It is located on the facade of the Jefferson Elementary School in Wyandotte, Michigan. The plaster model was painted green to mimic the patina on the bronze; plus Fredericks didn't want everything in the Museum to be white. In 1993, the six-foot sculpture at the school was restored by a conservation firm through the efforts of the parent-teacher organization. Fredericks, then age 85, visited the class and explained the lost wax process for creating sculptures. The children wrote stories about the sculpture and reports about their understanding of creating sculptures. This sculpture was featured, along with the sketches, on the September 1954 issue of American Artist. Fredericks used two of his children as models for the figures. In a transcript copy found in the Museum archives it states: "The two children sitting close to each other were seated against a friendly bear, who was surrounding them protectively as if curious (about) what kind of cubs they might bye(His designs) are fresh and appealing, without being sentimental and not at all like the work of anyone else." Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1950 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350673510/in/set-72157628015891879" target="_blank">Childhood Friends, Alden B. Dow Home and Studio, Midland, MI</a> Animal Animal Sculpture Bronze Bronze Sculpture Childhood Friends Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Relief Sculpture https://omeka2.svsu.edu/files/original/1991110_456766f1f9.jpg 401e62bc7fb8094afd68df6c9389f826 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 835 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 84" x 91" Materials Plaster full-scale Catalog Number 1991.110 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes TITLE: Christ and the Children MATERIALS: Bronze MEASUREMENTS: 87"h x 96"w x 10" deep DATES: Completed 1962; cast 1989; purchased 1995; installed 1996 SIGNATURE/FOUNDRY MARKS w/lo: c Marshall M. Fredericks incised in clay bottom center DESCRIPTION: Two children stand before a robed Christ who kneels and looks proper right. Christ holds his hands up, palms out, behind the children. The girl is robed and holds a bird. The boy (who is nude) leans on Christ's proper left knee. Facial features are generalized and the sculptural forms are simple and broad, particularly Christ's robe, although Fredericks' characteristic "raked" surface treatment is evident on close inspection. Patina is medium brown. CONDITION: Generally good, but there is a 1 inch x 2 inch bright bronze spot on bottom edge of Christ's proper right knee where relief appears to have been abraded (perhaps during shipment). Toe of Christ's proper rt. sandal is also bright. Girl's proper rt. foot was broken during storage at Fredericks' stable and was welded by Todd Erickson (C.C.S. Sculpture Faculty). Welding join across Christ's foot and sandal is cracked for about 3 inches from inside edge. Bright green corrosion is evident in several spots: Two one-inch streaks on Christ's robe 5 and 12 inches from bottom, Four spots on Christ's right sleeve, Four spots on Christ's left shin, band of spots around boy's waist, and several spots on Christ's left sleeve. Corrosion removed w/brass wire brush and waxed 6/96. PHOTOGRAPHS/SLIDES/VIDEOS: Photos and slides made 6/96 PROVENANCE: Collection of the artist 1989-1995 Gallery purchase 12/95 w/funds from anonymous donor BIBLIOGRAPHY: LOCATION OF REPLICAS w/materials and dates: Aluminum cast installed on St. John's Lutheran Church, Parish Education Building, Tabard. Wayne, IN in 1962. Bronze cast installed on St. Hugo of the Hills Catholic Church, Bloomfield Hills, MI in 1989. Plaster original MFSG. OTHER INBY: Cast by Bedi-Makky, 1989, at the same time the cast was made for St. Hugs. Data sheet compiled by Michael W. Panhorst 6-14-96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Christ and the Children [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource CHRIST AND THE CHILDREN, 1962 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.110 This relief was commissioned for the St. John's Lutheran Church in Fort Wayne, Indiana. In a letter from Mr. Harold Gerbers to Marshall dated February 25, 1960, it states: "Dear Mr. Fredericks, National Sculpture Society, through Mr. Witherspoon has presented me with literature pertaining especially to beautiful work that you have completed. I had requested help in possibly having a bas-relief depicting Christ with the children at his feet on the façade of our proposed new school. After seeing pictures of tremendously fine works of art that you have done for future generations to enjoy, I hesitate to even ask such a famous person to consider our request. Having Christ stand out on the front of our school with small children at his feet with maybe a child on his knee would be a tremendous feature of our Lutheran school where Christ would be a main part of all subjects taught. I have no idea what cost would be and materials would depend on the cost. My hope is that with the bit of material I am submitting that you might possibly give me a rough estimate as to cost on several possibilities. We are not a wealthy congregation and our school is quite an undertaking for us. People probably won't like "extras" but maybe some of us could undertake paying for the proposed project if it does not frighten us all together with "figures" out of reach. Thank you for your consideration. Cordially, Harold H. Gerbers" Fredericks, of course, accepted the commission. Another bronze of this same relief is on the facade of the Museum in the Sculpture Garden. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1962 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350713084/in/set-72157628015891879" target="_blank">Christ and the Children, St. John Lutheran Church, Fort Wayne, IN</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350676008/in/set-72157628015891879" target="_blank">Christ and the Children, St Hugo, Bloomfield Hills, MI</a> Christ and the Children Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka2.svsu.edu/files/original/1991109_7fb000413e.jpg f8d305e3caea45b812119beca98efbf9 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 913 Width 1024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 71.5" dia Materials Plaster Catalog Number 1991.109 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz: "Molly told me that Eero Saarinen and Associates were the architects on the U.S. Embassy in London where an aluminum cast is located. It was cast by the Flour City Ornamental Iron Company in Minneapolis, Minnesota. " From Michale Panhorst: "There is a Great Seal on the United States at Seaholm High School in Birmingham [MI} from 1946. It is a rectangular shaped marble memorial with a bronze or aluminum eagle. This is not the same sculptural form as our Great Seal." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Great Seal of the United States Rendition [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource RENDITION OF THE GREAT SEAL OF THE UNITED STATES, 1960 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.109 The style of this relief differs from the other works in the Museum. It is very detailed because the Seal of the United States is a standard design. It was established in 1782 to symbolize sovereignty. The American eagle, with an escutcheon, or shield, on its breast, symbolizes self-reliance. The thirteen vertical stripes on the escutcheon came from the flag of 1777. The eagle grasps an olive branch with 13 leaves and 13 olives in its right talon and 13 arrows in its left. (13 represent the number of US states in 1777.) It prefers to live in peace but can wage war. In its beak is a scroll. It is not inscribed here but it is usually inscribed "E pluribus unum", or "One out of many". Above its head is the 13-star "new constellation" of the 1777 flag, enclosed in a glory, or golden radiance, breaking through a cloud. The relief was cast in aluminum and is located at the American Embassy in London, England. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1960 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350852600/in/set-72157628015891879" target="_blank">Eagle and Nimbus, Birmingham War Memorial, Shain Park, Birmingham, MI</a> Great Seal of the United States Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief https://omeka2.svsu.edu/files/original/1991108_add426390e.jpg 849140f124ef950a6afc3e724d96e2b3 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 652 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 35.5" x 31.5" Materials Plaster Catalog Number 1991.108 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 15, 1992 "RE: William Beaumont, M.D., portrait relief Molly told me she was not sure if the relief on Mackinaw Island was cast in bronze or copper. I called to inquire and found out that the building the relief is housed in is called the Beaumont Memorial. It is open to the public from June 15 to Labor Day. Marsha Hamilton told me her records indicate that the relief is made of bronze. The memorial is on the site where Alexis St. Martin was shot which allowed Beaumont to do his famous studies. The building was a house originally. In 1955 it was acquired through the Michigan Medical Society who restored it and made it the Beaumont Memorial. Molly also told me that The Family: Protected by Healing Herbs on the outside wall of Beaumont Hospital was done at the same time as the portrait relief. It was a gift of Mrs. Louis G. Erb in memory of her late husband. The architect was Thomas Elerbe." HISTORY: DR. WILLIAM BEAUMONT'S EARLY YEARS The Beaumonts came from England to the American colonies in 1635. Dr. Beaumont's father and paternal uncles all fought in the Revolutionary War. After the war, his father Samuel Beaumont became a farmer in Lebanon, Connecticut; two of William's uncles - William and Daniel Beaumont - moved to the Champlain area in New York, close to the Canadian border. Dr. Beaumont's parents, Samuel and Lucretia, had a total of nine children; William was their second child, born in Lebanon, Connecticut on November 21, 1785. Lebanon was then the sixth largest town in Connecticut. As a boy, William's schoolmaster (and role model?) was Silas Fuller, who himself became a medical doctor in Lebanon and served in the War of 1812 as a regiment surgeon. In 1807, William left Lebanon for Champlain, where he became the town's schoolmaster and served as secretary for the local debating society. HIS MEDICAL TRAINING In early 1809, William began "reading" under Dr. Benjamin Moore of Champlain. (NOTE: There were few medical schools then in the U.S., so it was common for potential doctors to be trained by reading medical subjects under the direction of an established doctor, and then paying for an apprenticeship with a doctor.) In the spring of 1811, William began his apprenticeship with Dr. Benjamin Chandler and Dr. Truman Powell in St. Albans, Vermont; in June 1812, the Third Medical Society of Vermont approved William to practice "Physic and Surgery." THE START OF DR. BEAUMONT'S ARMY CAREER On September 13, 1812, at age 26, Dr. William Beaumont enlisted as a surgeon's mate in the U.S. Army, a position that paid $30 a month. He was assigned to the Sixth Infantry Regiment in Plattsburgh, New York. Soldiers sometimes slept outdoors without shelter, quite miserable during a wet and windy winter; hospitals were set up in buildings, barns, or even tents. Medically, it was common for the soldiers to come down with dysentery, pleurisy, pneumonia, sore throats, and rheumatism. In those days, typhus was treated with wine, opium, snakeroot, and mercury; for rheumatism pain, Beaumont prescribed opium, wood resin, and turpentine. Beaumont was proud of that fact that not one of his 200+ cases died. Dr. Beaumont saw his first "action" in the War of 1812 in April 1813, when the Sixth Regiment led the charge at York, the capital of Upper Canada. The British retreated while blowing up the main magazine; the explosion caused heavy casualties and injuries. Beaumont and the other surgeons were amputating arms and legs for two straight days; they also trephined fractured skulls (this meant using a cylindrical saw to remove bone, attempting to relieve pressure on the brain). After the war ended, Beaumont left the Army and in June 1815 he began private practice in Plattsburgh, NY, where he met his future wife, Deborah Green Platt. Dr. William Beaumont, circa 1821 Dr. Beaumont re-entered the Army in December 1819, this time as a post surgeon. He was sent to Fort Mackinac, on a small island in Lake Michigan, near the Canadian border. The post hospital was then in a converted storehouse that Beaumont described as "wholly unfit," "insupportably cold and smoky in winter" (when snow came into the wards) and open to "every shower in summer" (when patients' beds had to be moved to avoid being rained on). They had a shortage of medical supplies, and didn't even have a thermometer for months. In August 1821, Beaumont took a leave and traveled to Plattsburgh, where he and Deborah were married. When they moved to Fort Mackinac, they brought with them Melancton Smith, the 11-year-old stepson of Deborah's sister Ann Green Smith. The boy's father was Colonel Melancton Smith of Plattsburgh, who had died in 1818; Colonel Smith met Dr. Beaumont during the War of 1812, when Smith commanded the fort where Beaumont was attached at the Battle of Plattsburgh in August 1814. Young Melancton Smith lived with the Beaumonts for several years, and eventually entered the Navy and became a rear admiral. HIS FIRST CHAPTER WITH ALEXIS ST. MARTIN On June 6, 1822, in the American Fur Company on Mackinac Island, a French-Canadian voyageur named Alexis St. Martin was shot in the upper left abdomen; the musket wound was "more than the size of the palm of a man's hand," Beaumont wrote, and affected part of a lung, two ribs, and the stomach. Dr. Beaumont treated the wound, but he was repeatedly unsuccessful in fully closing the hole in St. Martin's stomach; for a while, the hole had to be covered to prevent food and drink from coming out. St. Martin was now unable to work as a voyageur, so in April 1823 Beaumont hired him as the family's live-in handyman - chopping wood, mowing a field, etc. [NOTE: A voyageur's job was to paddle a canoe to pick up furs from Indian trappers to deliver to the fur company; some voyageurs sold furs directly as traders.] DESCRIPTION OF WOUND: The hole in St. Martin's side was a permanent open gastric fistula, large enough that Beaumont could insert his entire forefinger into the stomach cavity. Diagram of Alexis St. Martin's wound (from Dr. Beaumont's book, Experiments and Observations on the Gastric Juice and the Physiology of Digestion, 1833) St. Martin "was accidentally wounded by a discharge from a musket. The contents of the weapon, consisting of powder and duck-shot, entered his left side from a distance of not more than a yard off. The charge was directed obliquely forward and inward, literally blowing off the integument and muscles for a space about the size of a man's hand, carrying away the anterior half of the 6th rib, fracturing the 5th rib, lacerating the lower portion of the lowest lobe of the left lung, and perforating the diaphragm and the stomach. The whole mass of the discharge together with fragments of clothing were driven into the muscles and cavity of the chest. When first seen by Dr. Beaumont about a half hour after the accident, a portion of the lung, as large as a turkey's egg was found protruding through the external wound. The protruding lung was lacerated and burnt. Immediately below this was another protrusion, which proved to be a portion of the stomach, lacerated through all its coats. Through an orifice, large enough to admit a fore-finger, oozed the remnants of the food he had taken for breakfast. His injuries were dressed; extensive sloughing commenced, and the wound became considerably enlarged. Portions of the lung, cartilages, ribs, and of the ensiform process of the sternum came away. In a year from the time of the accident, the wound, with the exception of a fistulous aperture of the stomach and side, had completely cicatrized. This aperture was about 2 1/2 inches in circumference, and through it food and drink constantly extruded unless prevented by a tent-compress and bandage." [From Anomalies and Curiosities of Medicine by George M. Gould and Walter L. Pyle (Philadelphia, 1896)] It was not until August 1, 1825 that Dr. Beaumont - now stationed at Fort Niagara - began his experiments with St. Martin, becoming the first person to observe human digestion as it occurs in the stomach. Beaumont tied quarter-ounce pieces of food to the end of a silk string and dangled the food through the hole into St. Martin's stomach. (The food items were "high seasoned alamode beef," raw salted lean beef, raw salted fat pork, raw lean fresh beef, boiled corned beef, stale bread, and raw cabbage.) St. Martin went back to his household duties. Beaumont pulled out the string one, two, and three hours later, to observe the rate of digestion for the different foods. Five hours after he first put the food into St. Martin's stomach, Beaumont removed the food pieces because St. Martin was suffering stomach distress. The next day, St. Martin still had indigestion, which Beaumont treated. On August 7, 1825, Beaumont had St. Martin fast for 17 hours, and then took the temperature of St. Martin's stomach (it was 100 degrees) Beaumont removed gastric juice from St. Martin's stomach, then observed the rate of digestion of a piece of corned boiled beef "test-tube" style, while also placing the same-sized piece of meat directly into St. Martin's stomach. The stomach digested the meat in two hours; the vial of gastric juice took 10 hours (maintained at about 100 degrees). The next day, Beaumont repeated the experiments using boiled chicken, which he found digested slower than the beef. The experiments showed that gastric juice has solvent properties. In September, St. Martin returned home to Canada (where he married and had children), so Beaumont was unable to experiment on him further at this time. ARMY MEDICAL SERVICE IN WISCONSIN In 1826, Beaumont was assigned to Fort Howard, Green Bay, which was then in Michigan Territory. (Beaumont simultaneously had a private practice in Green Bay.) The medical problems he saw included fevers, diarrhea, dysentery, and rheumatism; Beaumont connected the health issues with the area's weather (sudden changes in weather, cold weather, hot weather that turned the water bad, damp weather, etc.). Beaumont thought that the numerous wounds and sprains he saw were caused by alcohol abuse, as soldiers in those days were rationed an entire "gill" of whiskey a day (two gills a day if a soldier was on manual labor duty for 10 or more days). The military continued the daily whiskey ration until 1830. In 1828, Dr. Beaumont was transferred to the Fifth Regiment's headquarters in St. Louis, Missouri, but - while en route to St. Louis - he stopped at Fort Crawford in Prairie du Chien, Wisconsin, whose commander ordered Beaumont to stay so their medical officer could go on leave. This "stopover" lasted four years. Fort Crawford's biggest medical problem was malaria, caused by mosquitoes and the area's problem of flooding each spring (Prairie du Chien is where the Wisconsin and Mississippi Rivers join.). In 1830, almost 75% of the fort's troops had malaria. It was at Fort Crawford where Dr. Beaumont began a lifelong friendship with Captain Ethan Allen Hitchcock, whose grandfather was the famous Revolutionary War hero Ethan Allen of Vermont; Hitchcock eventually became a Major-General. HIS SECOND CHAPTER WITH ALEXIS ST. MARTIN In June 1829, Alexis St. Martin returned to the Beaumonts, this time bringing his wife and family to Fort Crawford. Beaumont was busy with his medical work so did not have time to resume experiments with St. Martin until December 1829 through March 1830. One set of observations was to try to determine any relation between digestion and weather. By observing St. Martin on different days and times and in varying weather conditions, Beaumont saw that dry weather increases stomach temperature, and humid weather lowers it (a healthy stomach being 100 degrees). Dr. Beaumont was busy treating patients with "intermittent fever" during the area's summer flood and fall rains in 1830. In January 1831, Beaumont just observed the normal process of digestion in the stomach. St. Martin would eat a normal meal and resume his work, and Beaumont would periodically take samples from St. Martin's stomach. Another experiment compared what happened to food placed in a vial of gastric juice (temperature not controlled), food placed in a container of water, and food eaten by St. Martin; he learned that gastric juice needed heat to digest (i.e., that cold gastric juice has no effect on food). Beaumont used more variety of food samples while at Fort Crawford; he found that vegetables are less digestible than other foods, and milk coagulates before the digestive process. St. Martin sometimes became irritable doing experiments (it was stressful for him to have food removed from his stomach), and Beaumont observed that being angry can hinder one's digestion. In April 1831, St. Martin and his family left for their home in Canada, traveling by canoe or portage all the way to Montreal. HIS THIRD AND LAST CHAPTER WITH ALEXIS ST. MARTIN In late 1832, Beaumont began a leave from the Army, intending to conduct further experiments on the digestive system. He located Alexis St. Martin in October, dropped off his wife Deborah and children in Plattsburgh (where Deborah's family lived), and traveled with St. Martin to Washington, D.C. Beaumont again tried different foods with St. Martin, including raw oysters, sausage, mutton, and "boiled salted fat pork." Beaumont focused on gastric juice, but did not study the importance of saliva on digestion; sometimes, he put food directly into St. Martin's stomach (once, he put in 12 raw oysters). He also observed that exercise helped the production and release of gastric juice. (Another limitation on Beaumont's work is that he could not obtain a chemical analysis of the gastric juice, as chemical analysis was severely limited in the mid-nineteenth century.) Dr. Samuel Beaumont In mid-April 1833, Beaumont went to Plattsburgh, New York, where Beaumont was reunited with his family and began work on publishing his observations in a book, "Experiments and Observations on the Gastric Juice and the Physiology of Digestion." Dr. William Beaumont's cousin, Dr. Samuel Beaumont, had published a small newspaper prior to becoming a doctor himself (he apprenticed under William), so Samuel was quite helpful to William with the book's initial printing in 1833 (and with its second edition in 1846). Sometime in April or May 1833, St. Martin left for Canada due to the death of one of his children; he expected to rejoin Beaumont by June 1 for more experiments, but as it turned out, St. Martin and Dr. Beaumont never again saw each other. BEAUMONT'S MOVE TO ST. LOUIS, MISSOURI In July 1834, William Beaumont began service at his last Army post, at Jefferson Barracks near St. Louis, Missouri. Beaumont made several attempts to get Alexis St. Martin to come to St. Louis, but Beaumont was unwilling to pay enough money for St. Martin's family to come with him. It was here that the Beaumonts became close friends of Robert E. Lee and his family; Lee was then a young Army lieutenant who was responsible for improving the St. Louis harbor, making it safer for boats. Beaumont participated in the new local medical society, which soon became the state medical society. In 1839, the Army wanted to send Dr. Beaumont to Florida, as medical officers were greatly needed in the battlefield due to the war against the Seminoles. Beaumont resigned from the Army rather than move to Florida. His St. Louis medical practice now earned him about $10,000 a year, despite a depression in the city. BEAUMONT'S LIFE AFTER THE ARMY He continued his private medical practice in St. Louis. In March 1853, Dr. Beaumont slipped on an icy step while exiting a patient's home, hitting his head severely. The occipital hematoma became infected, his condition deteriorated, and he died on April 25. He was buried in Bellefontaine Cemetery in St. Louis. MEMORIALS, LINKS TO OTHER SITES William Beaumont is memorialized now by a number of medical history organizations and a building in Washington. Also: " William Beaumont Hospital in Michigan " Beaumont Memorial building on Mackinac Island " Beaumont Life Sciences Building ("Beaumont Hall") on the SUNY Plattsburgh Campus " William Beaumont Army Medical Center (WBAMC) in El Paso, Texas (their page on Dr. Beaumont is at http://www.wbamc.amedd.army.mil/revision-a/admin/wbeaumont.asp, and their cafeteria is named "Saint Martin Dining Facility") POSTSCRIPT - WHAT HAPPENED TO ALEXIS ST. MARTIN Alexis St. Martin lived 58 years after his accident. After returning home to Canada for good, he worked as a farmer and itinerant laborer ("chopping wood by the cord," he described it). After the doctor's death, St. Martin did make a brief visit in 1856 to Dr. Beaumont's home in St. Louis, where he spoke with Deborah Beaumont. After Deborah's death, St. Martin frequently corresponded with Dr. Beaumont's son Israel; in 1879, he wrote that he had "been ill for six years . . . I am suffering a little from my gastric fistula, and my digestion grows worse than ever." His lawyer, Judge Baby of Montreal, said that St. Martin was "very much addicted to drink" in his 80's. When St. Martin died at age 86 on June 24, 1880 in St. Thomas de Joliette, Canada, his family deliberately let his body decompose in the hot sun for four days and then buried it in the Catholic churchyard in a deep unmarked grave, with heavy rocks atop the coffin, hoping to prevent anyone from examining his stomach or performing an autopsy. Years later, to commemorate St. Martin's contribution to medical science, a committee finally persuaded one of St. Martin's granddaughters to disclose the grave's location; in 1962, a plaque was placed on the church's wall near the grave, stating Alexis' history, and that "through his affliction he served all humanity." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Beaumont, M.D. [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource WILLIAM BEAUMONT, M.D., 1955 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.108 In 1822, Dr. William Beaumont (1785-1853), an army surgeon at Fort Mackinac, was called to treat Alexis St. Martin, a fur trapper working for the American Fun Company on Mackinac Island, who had accidentally been shot in the stomach. St. Martin recovered, but his abdominal wound failed to heal, leaving an opening through which his stomach could be seen. Dr. Beaumont hired St. Martin as a handyman since he could no longer work as a voyageur and persuaded St. Martin to cooperate in digestion research. Dr. Beaumont fed him various foods over a period of years in order to watch the course of digestion, and later wrote a book reporting his conclusions which remain accurate to this day. St. Martin, except for his unusual wound remained healthy and lived to the age of 86. William Beaumont is memorialized through his namesake institutions: William Beaumont Hospital in Royal Oak and Troy, Michigan; William Beaumont Medical Center at Fort Bliss, Texas; and Beaumont Life Sciences Building at the State University of New York, Plattsburgh Campus. This bronze relief is located in the Mackinac Island Museum, Mackinaw Island, Michigan, and at the William Beaumont Hospital in Royal Oak, Michigan. It is located on the site where Alexis St. Martin was treated allowing Beaumont to do his famous studies on digestion. In 1955, the Beaumont House was acquired through the Michigan Medical Society and restored to be the Beaumont Memorial. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1955 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6351551390/in/set-72157628015891879" target="_blank">William Beaumont,Richard and Jane Manoogian Mackinac Art Museum, Mackinac Island, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351551178/in/set-72157628015891879" target="_blank">William Beaumont, Beaumont Hospital, Royal Oak, MI</a> Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaque Plaster Plaster Model Portrait Plaque Relief William Beaumont M.D. https://omeka2.svsu.edu/files/original/1991107_40200601f8.jpg cd366d0710c7f80788318a9cc827b80a Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 685 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 36" x 31.5" Materials Plaster Catalog Number 1991.107 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 March, 22 Gift to Museum Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alden B. Dow Architect [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource ALDEN B. DOW ARCHITECT, 1971 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.107 Alden Dow was born in Midland, Michigan on April 10, 1904, to Herbert Henry and Grace A. (Ball) Dow. From his father, who founded The Dow Chemical Company, came his pioneer spirit. His parents gave him the love of beauty, as expressed in flowers, nature and landscaping, the desire to innovate and search for the inter-reactions which led to the development of ideas of quality,' and the inspirational leadership affecting so many of lives he would influence. Early in his life, Alden Dow developed an interest in design and in the motion and rhythm of the world around him. Floor plans, model trains, recording his world through his movie camera, all captivated and held his interest. As a young boy, Alden and his two younger sisters, Margaret & Dorothy, would design floor plans with leaves out in their yard. According to Alden's youngest sister Dorothy, a friend asked Alden Dow what he wanted to be when he grew up. Alden, only 8 years old, replied without hesitation, "An architect, of course." He attended the Midland Public Schools and, following the custom of the day, went to the University of Michigan to study engineering in preparation to enter his father's company. But he found his interests lay in a different direction and after three years, Dow became a student of architecture at Columbia University, graduating in 1931. Alden Dow married Vada Bennett in 1931, daughter of Earl Bennett (another of The Dow Chemical Company's great pioneers). After a year and a half association with the offices of architects Frantz and Spence of Saginaw, Michigan, Alden and Vada Dow spent a memorable summer (1933) with Frank Lloyd Wright at Taliesin in Spring Green, Wisconsin. Wright, who shared an interest in nature, in the relationships of structural systems and materials to a design, and in the effect of a building as an environment upon those living in it, was a kindred spirit. Returning to Midland, Dow opened his self-designed architectural office in1934. The building is acknowledged to be a classic in the successful and delicate blending of landscape and architecture using Dow's three guiding principles of honesty, humility and enthusiasm.' Alden B. Dow, Inc. was formed in November, 1941 with Dow as president and treasurer. In 1963, the name was changed to Alden B. Dow Associates, Inc. There is a long list of architects who received their training under his guidance. Alden Dow's early work was primarily in the residential field. His own unique system of Unit Block construction dominated his homes of the 1930s. In subsequent decades new materials and styles were developed. His ability to work harmoniously with clients resulted in homes that were personal reflections of the client, yet distinctly 'Now.' At the 1937 Paris International Exposition, he was awarded the "Diploma de Grand Prix" for the best residential design in the world in recognition of the John Whitman residence and his own home and studio designs. He was a registered architect in Arizona, Ohio, Michigan, New York, North Carolina, Texas, and Florida, designing over 60 homes in the Midland, Michigan area alone. During World War II, he designed and personally supervised the construction of the entire town of Lake Jackson, Texas. This bronze plaque is located at the Alden B. Dow Museum of Science and Arts, Midland, Michigan, and the Grand Traverse Performing Arts Center, Interlochen Center for the Arts, Interlochen, Michigan. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1970 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Alden B. Dow Portrait Relief Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaque Plaster Plaster Model Portrait Plaque Relief https://omeka2.svsu.edu/files/original/1991106_99caa442ee.jpg 8ed307e634d9d4e684b92fb7cd826e8b Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 639 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 36.5" x 30.5" Materials Plaster Catalog Number 1991.106 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1989 March, 22 Gift to Museum and SVSU Board of Control Notes Molly Barth copy: The subject of the next portrait relief is Arthur Vandenberg. He was a senator from Michigan. A cast of this portrait relief is located at the University of Michigan. It was dedicated as a memorial, and was cast in bronze. It was dedicated to him from a fraternity there, because he went to the University of Michigan. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Arthur H. Vandenberg [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource ARTHUR HENDRICK VANDENBERG, 1951 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.106 Arthur Hendrick Vandenberg was the United States Senator from Michigan; born in Grand Rapids, Michigan on March 22, 1884. He attended the public schools and studied law at the University of Michigan at Ann Arbor, graduating in 1904. He was the editor and publisher of the Grand Rapids Herald from 1906-1928. He was appointed Senator on March 31, 1928, as a Republican to fill the vacancy caused by the death of Woodbridge N. Ferris. He was subsequently elected on November 6, 1928 for the term ending January 3, 1935, then reelected in 1934, 1940 and 1946 served until his death. He served as President pry tempore of the Senate during the Eightieth Congress; was a delegate to the United Nations Conference at Sun Francisco in 1945; delegate to the United Nations General Assembly at London and New York in 1946; United States advisor to the Council of Foreign Ministers at London, Paris, and New York in 1946; and delegate to Pan American Conference at Rio de Janeiro, Brazil, in 1947. He died in Grand Rapids, Michigan, April 18, 1951, and is interred in Oak Hill Cemetery. The plaque, on the Rackham Memorial Building at the University of Michigan, was dedicated Sept. 6, 1951. There is a smaller one in the Alumni Memorial at the Delta Epsilon Fraternity Chapter House in Ann Arbor of which he was a member. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Arthur H. Vandenberg Portrait Relief Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaque Plaster Plaster Model Portrait Plaque Relief https://omeka2.svsu.edu/files/original/1991105_4720263810.jpg 328bc49503a387d59e8645d72373424a Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 768 Width 668 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marshall M. Fredericks Sculpture Museum Objects Collection Sculpture Physical Dimensions The actual physical size of the original image. 36.5" x 31" Materials Plaster Catalog Number 1991.105 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) From a Memo dated March 25, 1992 RE: Conversation with Mr. Fredericks about the history of several works in the gallery "Blain--Molly told me the original cast was stolen from the Blain Hospital in 1961, probably just for the copper. In approximately 1982 another cast was made for the hospital. The hospital was incorporated into another hospital which closed in 1987 and the relief was given to the Detroit Historical Museum. Blain hospital was founded by Alexander Blain, M.D.F.A.C.S. in 1924. Alexander Blain Sr. was a Civil War hero. The hospital made pins of the plaque for 20 years of service." Molly Barth copy: Alexander Blain, Senior, and Alexander Blain, M.D., are the subjects of the next relief. Dr. Blain started the Alexander Blain Hospital in Detroit. He was the first in forming the hospital in this area. Fredericks did this as a memorial. It was cast in bronze and installed on the outside of the hospital. The first portrait relief was stolen so they asked for another cast. Luckily, Fredericks still had this model, so another cast was made and put inside the hospital. Recently, several hospitals in the Detroit area merged together. The actual hospital still exists, but it is no longer called the Alexander Blain Hospital. The portrait relief of Dr. Blain and Mr. Blain, was removed and donated to the Detroit Historical Museum. The next portrait relief is of Tracey McGregor. This was cast in bronze and placed on the McGregor Elementary School. Another cast is at the University of Virginia, and there is a bronze cast of just the head and shoulders of Tracey McGregor at the McGregor Building on the campus of Wayne State University in Detroit. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alexander Blain Senior, Alexander Blain Jr. [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Alexander Blain, Senior, and Alexander Blain, M.D., are the subjects of the next relief. Dr. Blain started the Alexander Blain Hospital in Detroit. He was the first in forming the hospital in this area. Fredericks did this as a memorial. It was cast in bronze and installed on the outside of the hospital. The first portrait relief was stolen so they asked for another cast. Luckily, Fredericks still had this model, so another cast was made and put inside the hospital. Recently, several hospitals in the Detroit area merged together. The actual hospital still exists, but it is no longer called the Alexander Blain Hospital. The portrait relief of Dr. Blain and Mr. Blain, was removed and donated to the Detroit Historical Museum. The next portrait relief is of Tracey McGregor. This was cast in bronze and placed on the McGregor Elementary School. Another cast is at the University of Virginia, and there is a bronze cast of just the head and shoulders of Tracey McGregor at the McGregor Building on the campus of Wayne State University in Detroit. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Date A point or period of time associated with an event in the lifecycle of the resource 1961 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University Center (Mich.) Alexander Blain Sr. and Alexander Blain M.D. F.A.C.S. Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Relief