184 10 1886 https://omeka2.svsu.edu/files/original/1991056_1dd796d25c.jpg 71439c2f247b1a3a6151259c667602f9 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 310 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. 74" x 22.75" x 23" Materials Plaster full-scale Catalog Number 1991.056 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes Female Baboon made of plaster. Legs are close together. Hands and feet are overlapping each other. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated July 26, 1991: "RE: Two large Baboon plasters: Fredericks indicated today that the two large plaster baboons in the gallery were made in the 1930's. He explained the discrepancy between the treatment of the tail in our plasters and the tails in the finished concrete casts installed at the New York World's Fair in 1939 by pointing out that he made new plaster models for the concrete casts after he had made the two plaster models in the gallery because it was practical to cast the concrete statues with the tail wrapped around the baboons rather than extending down the vertical planes of the pedestal. He recalled that the rectilinear portions of the concrete pedestal had been cast separately from the baboons themselves. At a different time Molly indicated that she had worked on construction of the tall pedestals (with integral tails) in 1985 - 86 when Fredericks was preparing the models for casting the two baboons for the Arbury's (now in MFSG Garden) and the same two baboons for his garden. I am not certain that this is the final word on the history of the large plaster baboons. I would like to hear Fredericks substantiate this story independently at some future time." July 30, 1991 TO: file FROM: Jennifer Lentz, Intern Marshall M. Fredericks Sculpture Gallery RE: Male and Female Baboons 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. MF, Sculptor copy: The New York World's Fair Fountain Asked to do a fountain for the Glass Industries Building at the New York World's Fair of 1939, Fredericks returned to the universal appeal of animals for his subject, but he gave the fountain an ingenious reversal of the common pattern of high centerpiece and water playing to the outward rim. He designed a ring of monumental baboon figures, in cast stone, fourteen feet high with their pedestals, with a baby baboon sitting in the middle of an eight-foot glass basin, into which the jets of water play from the outer circumference. This fountain no longer exists; during the war, when the site was acquired for the war effort by the Army Corps of Engineers, it was stolen and is thought to have been dumped into the East River. Molly Barth copy: The two baboons which flank the column in the reception area are [what?] from the 1939 World's Fair in New York City. Originally, these were cast in concrete. One is a male and one is a female. On the right is the male fiercely showing his teeth. On the left is the more dainty, ladylike, female baboon. (In the display case are the small maquettes of the baboons.) The full-size baboons were 16 feet tall, and they were cast in stone, not carved. They were going to be carved in a more permanent material, but World War II broke out. They dismantled the Fair and stored the concrete Baboons. To this day, no one knows what happened to the baboons. These two plaster [what?] are the only two Fredericks has left. These are the models for the bronze casts that are at the entrance to the building. 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 Baboon, Female [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Female Baboon, 1939 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.056 This is the full-scale model of one figure for Fredericks' Baboon Fountain for the 1939 World's Fair in Flushing Meadows Park, New York. The five baboons and baby baboon were created for the Glass Industries Building at the 1939 New York World's Fair. Small sketch models of this figure, as well as other figures for the fountain, are in a display case on the east end of the Main Exhibit Gallery. This is the only female figure that was part of the fountain. Her composure contrasts with the four male baboons of the group that appear more animated. 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. 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 1939 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/6350637206/in/set-72157628015891879" target="_blank">Baboon, Female, Detroit Zoo</a> Animal Animal Sculpture Baboon Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991055_cda8480024.jpg 7cc8f7007f16b0c1efa432da715166c5 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 224 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. 126" x 24" Materials Plaster full-scale Stainless Steel Catalog Number 1991.055 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July, 1 Gift to Museum and SVSU Board of Control Notes Facts: It was cast in aluminum with a marble fountain and granite for the National Exchange Club, Toledo, OH. Inscription on base: Marshall Fredericks Sculptor 1958 By the National Exchange Club The theme of the work is attributed to the time period in which it was created-the Atomic Age. Man reaching and stretching upward: a constant image used by Fredericks in various works; man in search of perfection, aspiring soaring in spirit Atomic symbol: mankind dramatic achievement and challenge; modern ideogram for atom; the ellipses signify the orbits of the electrons around the nucleus, the point in the center. Molly Barth copy: This figure holding the atom is The Birth of the Atomic Age. This is the plaster model for a unique aluminum cast at the National Exchange Club in Toledo. It stands in the center of an interior courtyard. Originally, it operated as a fountain, but the pool has been drained and filled with shrubbery in recent years. After it was cast, Fredericks strapped it on top of his station wagon and took it from the foundry to Toledo. Since it was cast in aluminum, and therefore .much lighter than bronze he could do that. It was dedicated in 1959. In the gift display case,is an award that uses a miniature version of this figure. 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 Birth of the Atomic Age [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Birth of the Atomic Age, 1959 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.055 The atom is the symbol of one of mankind's most dramatic achievements. It symbolizes the awesome challenge of the Atomic Age. In this sculpture the heroic male figure holds the model atom above his head as if in veneration. His body is smooth and idealized. The strong upward movement gives it an optimistic air. It suggests faith that the atom will be used properly in the hands of man. The sculpture was originally designed to rise out of the center of a fountain. There is a miniature version of this sculpture which was used as an award by the National Exchange Club of Toledo, Ohio. ___________________________________ 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 1959 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/6350645738/in/set-72157628015891879" target="_blank">Birth of the Atomic Age National Exchange Club Toledo, OH</a> Birth of the Atomic Age Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991054_6f76601c3e.jpg 43138a698cf7aa471bacdfef033456ae 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 720 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. 43" x 43" x 27" Materials Bronze full-scale Catalog Number 1991.054 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 9, 1992: "RE: Flying Wild Geese I asked Molly to ask Mr. Fredericks if he designed this specifically for Alvan Macauley and he said he did." "Art in Detroit Public Places" copy (by Dennis Alan Nawrocki): "Over one hundred years after the Waterman memorial by Randolph Rogers, Marshall Fredericks sculpted another interpretation of the theme of departure-the triumphant lift-off of two full-bodied geese from their marshy habitat. Placed over the grave of Alvan Macauley (1872-1952), for many years head of the Packard Motor Car Company, the sculpture also commemorates Macauley's abiding interest in wildlife. In this work Fredericks interest in minimizing detail has resulted in a dramatic image that captures the essence of the powerful flight of the geese. Carl Milles' Spirit of Transportation (1960), which stands outside Cobo Hall, is also a memorial to Macauley." Molly Barth copy: The next piece is The Flying Wild Geese. It is a bronze cast. This sculpture was originally made as a memorial for Alvin McCauley, who was president of the Packard Motor Company. He loved wildlife. The McCauley Memorial is located in Elmwood Cemetery in Detroit. Additional casts have been made for the Saginaw Art Museum, the Foreign Ministry Building in Copenhagen, Denmark, the top of the Ford World Headquarters in Dearborn. (They have a garden on the roof there, and there is a special dining room) and Alma College. 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 Flying Wild Geese [Bronze] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Flying Wild Geese, 1955 Bronze, cast 1960 Gift of Rug and Jerry Blumenthal 1991.054 Fredericks created this sculpture as a memorial for Alvan MacCauley (1872-1952), president of the Packard Motor Car Company. The subject matter reflects MacCauley's love of nature and wildlife. The MacCauley Memorial is located at Elmwood Cemetery in Detroit, Michigan. Additional casts have been made for the Saginaw Art Museum and Andersen Enrichment Center, both of Saginaw, Michigan; Foreign Ministry, Copenhagen, Denmark; Brookgreen Gardens, Pawley's Island, South Carolina; and Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan. Creator An entity primarily responsible for making the resource Fredericks, Marshall M., 1908-1998 Source A related resource from which the described resource is derived 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/6350194983/in/set-72157628015891879" target="_blank">Flying Wild Geese, Alvin McCauley Memorial, Elmwood Cemetery, Detroit</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350939868/in/set-72157628015891879" target="_blank">Flying Wild Geese, Brookgreen Gardens, Pawley's Island, SC</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350204087/in/set-72157628015891879" target="_blank">Flying Wild Geese, Christ Church, Grosse Pointe Farms, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350224699/in/set-72157628015891879" target="_blank">Flying Wild Geese, DMC Huron Valley-Sinai Hospital, West Bloomfield, MI</a><a href="https://www.flickr.com/photos/marshallfredericks/6350206383/in/set-72157628015891879" target="_blank"><br /></a> <a href="https://www.flickr.com/photos/marshallfredericks/6350234959/in/set-72157628015891879" target="_blank">Flying Wild Geese, Kellog Foundation, Batle Creek, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350979344/in/set-72157628015891879" target="_blank">Flying Wild Geese, Lennart Troels-Smith, Denmark</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350235061/in/set-72157628015891879" target="_blank">Flying Wild Geese, Northern Michigan University</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350260285/in/set-72157628015891879" target="_blank">Flying Wild Geese, Van Andel Museum, Grand Rapids, MI</a> Animal Animal Sculpture Bronze Bronze Sculpture Flying Wild Geese Marshall M. Fredericks Sculpture Museum Sculpture https://omeka2.svsu.edu/files/original/1991053_4cfdfc8984.jpg 81728243dfcbd5ec4060f20725c91fb0 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 726 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. 32" x 23" x 28" Materials Plaster full-scale Catalog Number 1991.053 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 January, 24 Gift to Museum and SVSU Board of Control Notes From Michale Panhorst (Director) Memo dated November 14, 1991: "RE: The Siberian Ram: Fredericks called perplexed about the sizes of our plaster and bronze rams. He indicated that the limestone carving in his backyard (from which he made the mold to cast our plaster and another plaster, one of which is supposedly the original for our bronze) is 44 inches high, as is the limestone carving he made that is now at the Baldwin Public Library. He is unsure how our intermediate model came about. There is a smaller (roughly half-size) version." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated February 17, 1992: "RE: Siberian Ram In 1987 Fredericks made a rubber mold of the limestone Siberian Ram in his garden in order to make the bronze for the gallery. However this mold cannot be used again. It is now in storage at the stable. The plaster cast in the gallery was made from the limestone in his garden also." MF, Sculptor copy: Examples of his exceptional skill in stone carving are the Torso of a Dancer in black Belgian marble and the Moray Eel and Fish in green granite, both in the Cranbrook Art Museum, and the Siberian Ram in limestone in front of the Baldwin Library, Birmingham, Michigan. Outstanding examples of the use of stone as part of a monument, both in imaginative concept and technical facility, are the four massive groups, in emerald-pearl granite, at the base of the Cleveland War Memorial Fountain. In fact, he seems to have been equally at home in either stone or metal (E. P. Richardson). Other label copy: Fredericks has captured the essence of the Siberian Ram by creating a balance between the delicate grace and massive strength of its body. The density of the body and the strength it possesses is counterbalanced by the elegance of its rounded form and the curving lines which culminate with the great spiraled horns. In 1941 Fredericks created a SIBERIAN RAM about half the size of this one. He did not enlarge the sculpture to this size until 1966 when the Fidelity Bank of Michigan commissioned a limestone version. In 1972 the bank gave the stone statue to the City of Birmingham, and the City placed it in front of the Baldwin Public Library. Notice that the texture of this plaster cast is different from that of other plasters in the gallery. This cast does not show the tell-tale hand of the artist in the soft clay of his original model (as is especially evident in the quarter-scale model of the SPIRIT OF DETROIT), because it was not cast from the clay original. It has a coarse sandpaper-like surface because Fredericks cast this plaster from molds made on the limestone statue at the Baldwin Public Library. The bronze cast in the MFSG Garden was made from this plaster or another made from the same rubber mold, yet its surface is extremely smooth. That smoothness probably resulted from peening the metal, a standard step in finishing bronzes cast in sand molds as was our bronze RAM. Molly Barth copy: The next plaster model is The Siberian Ram. Originally, that was carved in limestone to be used in front of a Birmingham bank. They then gave it to the Birmingham Public Library, and now it is located in front of the library, in downtown Birmingham. We have the bronze cast out in the sculpture garden. Fredericks carved one more out of limestone for his own garden at his home. But, I love the ram. The horns, and it's as though, if he gets those back legs right up beneath him, he's going to hop right up off that boulder. 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 Siberian Ram [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Siberian Ram, 1941 Plaster, 1987 Gift of Mr. and Mrs. Marshall M. Fredericks 1991.053 Fredericks first made 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, in 1972, to the Baldwin Public Library in Birmingham. In the late 1980s, Fredericks made molds from that sculpture and cast bronzes for his personal collection and for the museum. He created the 9-inch tall reduction in the mid-1990s. The museum displays three located in the Sculpture Garden, the Main Exhibit Gallery, and the 1963 limestone (formerly at the artist's residence), in the museum offices and archives room. 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 1987 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/6351444072/in/set-72157628015891879" target="_blank">Siberian Ram, Brookgreen Gardens, SC</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350699719/in/set-72157628015891879" target="_blank">Siberian Ram, Fair Lane Garden, English Garden, Dearborn, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6351444178/in/set-72157628015891879" target="_blank">Siberian Ram, Meijer Gardens, Grand Rapids, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350699891/in/set-72157628015891879" target="_blank">Siberian Ram People Mover Station, Detroit, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350699641/in/set-72157628015891879" target="_blank">Siberian Ram, Baldwin Public Library, Birmingham, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Siberian Ram https://omeka2.svsu.edu/files/original/1991052_95dac159a6.jpg 164e393d7e8890a5475adc201638c397 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 319 https://omeka2.svsu.edu/files/original/1991087-1991-090_8762201666.jpg 770a42df2694dc46174371a047874ece 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 425 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. Henry Ford figure 73" x 23" Materials Plaster full-scale Catalog Number 1991.052 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1987 July, 1 Gift to Museum and SVSU Board of Control Notes On the four reliefs: The upper left relief depicts him [Ford] 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. 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. 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. 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 Ford products such as cars, planes, trains, and many Great Lakes freighters. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated August 7, 1991 "RE: Henry Ford Memorial at the Henry Ford Centennial Library 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." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated April 3, 1992: "RE: Henry Ford Memorial, Dearborn 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. 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. 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." From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated March 6, 1992: "RE: Henry Ford Memorial at the Henry Ford Centennial Library in Dearborn 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." About the Henry Ford Statue at the Henry Ford Centennial Library (from the rededication of the Henry Ford Statue Tuesday, October 16, 2007) The Henry Ford Statue Committee was formed in 1968 to raise funds for a life-size statue that would be a fitting tribute to the inventor. The committee decided that all contributions to the Henry Ford Fund would be voluntary and that the statue would be located on the grounds of the Henry Ford Centennial Library. The original plan was to have a statue of Henry Ford and a little boy, symbolizing encouragement in business and industry to future generations. The committee envisioned a statue of weathered bronze on either a marble or granite base. The noted Michigan sculptor, Marshall Fredericks, was commissioned to do the work. In fact, Fredericks was so intrigued with the project that he was willing to make a model without any monetary advance. He said, "It is a work that should be done." With plans firmly in hand, the committee set about raising the $50,000 needed for the work and decided on a target date of July 30, 1969 (Henry Ford's 106th birthday) for the dedication of the statue. However, the fund, while growing steadily, was not increasing at the rate that the committee had hoped. It was not until March of 1970 that Marshall Fredericks was actually ready to begin the comissioned work. In March of 1972 Marshall Fredericks completed a model of the statue. The actual bronze casting of the finished work was done in Italy. The Vermont Marble Company, the source of the marble for Henry Ford Centennial Library, supplied the marble for the base. Because of a delay in delivery of the marble, the dedication was not held until June 8, 1975. For over twenty-five years the statue of Henry Ford has been a part of the Henry Ford Centennial Library's landscape. However, time and Michigan weather took a toll on both the bronze statuary and the marble. In 2006, through the kindness of Cynthia and Edsel Ford II, the Henry Ford II Fund generously donated $28,500 for the restoration of both the statue and the marble base. Under the guidance of Dearborn architect J. Michael Kirk, work began to repair the marble, clean and repeating the bronze work, and regild the lettering. We are here today to thank everyone involved in the restoration project: Carl Meyeroff who first approached the Library Director in the summer of 2006, offering his assistance in securing funding for the restoration work; Cynthia and Edsel Ford II, for making sure that the funding from the Henry Ford II Fund was approved, and J. Michael Kirk, for recommending skilled craftsmen for the project and diligently monitoring their progress. Thank you to Giorgio Gikas and the crew of Venus Bronze Works and the crew of Michigan Tile and Marble for a job well done. Biography: Henry Ford was born July 30, 1863 in Wayne County, Michigan. He was the son of Irish immigrants, William and Mary Ford, who had settled on a farm in Dearborn. In addition to helping his father with the harvest, Ford also attended school in a one-room schoolhouse. However, Ford disliked both school and farm life, and at age 16, he walked to Detroit in search of employment. Ford was employed as an apprentice in a machine shop, where he learned about the internal combustion engine. After several years of learning his trade, Ford returned to the family farm and worked part-time for the Westinghouse Engine Company. Ford set up a small machine shop on the farm and began tinkering with engines and machines. During this time, Ford fell in love with Clara Bryant, who he married in 1888. Several years later, Ford and his wife moved back to Detroit when Ford was made chief engineer at the Detroit Edison Company. The position required Ford to be on-call 24 hours a day, but the irregular hours allowed him time to experiment. He had experimented with gasoline-powered vehicles and horse-less carriages for several years before his first vehicle was completed. The "Quadricycle," a vehicle with a buggy frame mounted on four bicycle wheels was completed in 1896. Ford sold the "Quadricycle" to raise capital for more creations. During the next several years, Ford continued to fine-tune his passenger vehicles. In addition, he built racing cars and even drove them himself. In 1903, Ford produced an automobile he was ready to market, and he formed the Ford Motor Company with capital from Detroit citizens. In 1908, Ford introduced the successful Model T, which was manufactured for 19 years. However, Ford's successes were not without problems. Soon after the incorporation of the Ford Motor Company, Ford was threatened by the Association of Licensed Automobile Manufacturers. After years of legal battles, Ford won his case in 1911, which made it possible for more people to become automobile manufacturers. Ford was able to market the Model T to the general public because of his advanced production technology. The Ford Motor Company's plant in Highland Park, Michigan, Ford introduced the first assembly line in 1913, which drastically reduced production time. As a result, more automobiles were made available at a lower cost. Ford also instituted the $5.00/day minimum wage, which he claimed increased productivity. However, not everyone was impressed with Ford's business practices, and in 1917, he was sued by his stockholders for diverting profits into company expansion. Although the court ruled in favor of the stockholders, by 1920, Ford was able to buy them out. He built a huge plant in River Rouge, and the company became almost entirely self-sufficient. In 1926, Ford began losing sales to General Motors because the Model T was becoming outdated. The Ford plants were shut down for five months, after which Ford introduced the Model A and later the V-8. Both models received moderate success but were outsold by General Motors and Chrysler. The problems Ford Motor Company encountered can be attributed to Ford's stubborn and authoritarian management style. Although Ford's only child Edsel had been named president in 1919, his father remained in strict control. When General Motors and Chrysler signed contracts with the United Automobile Workers, Ford refused to follow suit. He employed spies and company police to prevent his workers from unionization. Ultimately, Ford was persuaded to sign a contract with the UAW in 1941. Ford's son Edsel died in 1943, and Ford resumed the presidency. However, he had experienced two strokes by that time, and two years later handed over the presidency to his grandson, Henry Ford II. Ford died at his home on April 7, 1947. MF archives: "The Henry Ford I Memorial is in front of the new Henry Ford Centennial Library, across Michigan Avenue from the Ford World Headquarters in Dearborn. 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. 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. 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. 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. 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." 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 Henry Ford Memorial [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Henry Ford, portrait statue from Henry Ford Memorial, 1975 Plaster originals Gift of Mr. and Mrs. Marshall M. Fredericks 1991.052 Frederick's design for the Henry Ford memorial at the Dearborn Public Library across Michigan Avenue from Ford World Headquarters features a full length portrait of the company founder standing in front of a curved marble wall that holds four reliefs (two concave and two convex; the wall is that form) depicting the history of the man and the company. The full size plaster models for the reliefs are exhibited above this display case and the full size plaster model of Ford (1863 1947) stands nearby. On the four reliefs: The upper left relief depicts him [Ford] 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. 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. 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. 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 Ford products such as cars, planes, trains, and many Great Lakes freighters. 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 1975 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/6351140736/in/set-72157628015891879" target="_blank">Henry Ford Memorial, Dearborn, MI</a> Figure Figure sculpture Henry and Edsel Ford Henry Ford Henry Ford Memorial Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991051_04b2347eb4.jpg f2f425aab45f934d5c8ebc079360f0aa 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 470 https://omeka2.svsu.edu/files/original/1991051002_bdf42c82cd.jpg c3d1b2415d511d1ce6628b3e8aeffbc6 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. 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Bit Depth 8 Channels 3 Height 531 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. Center figure 96" h Four civilizations 14" x 14" 38" Materials Plaster 1/4 scale Catalog Number 1991.051.001 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes The group "Gold Star Mothers" objected to the nudity of the original design, which later became "Star Dream", which held up the projects completion. From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated March 25, 1992: "Fountain of Eternal life-- I asked Mr. Fredericks about the date of the various models at the gallery. He said they are hard to pinpoint because each was worked on over several years but he gave me the order in which they were made. First the Site Model, second the Architectural Model, third the 1/100 scale model which we don't have at the gallery, fourth the Inch-To-The-Foot Scale Model, fifth the Quarter-Scale Model." Rebecca Unger Eleonore Adams Intro to Humanities 1010 July 28, 2004 Cleveland War Memorial: The Fountain of Eternal Life On Memorial Day, 1964, a dedication ceremony of the Fountain of Eternal Life was held at the Civic Center Mall A in downtown Cleveland, Ohio. The sculpture stands as a memorial to honor those who have died in the various wars of the twentieth century and beyond. The work was commissioned in 1945 and took seventeen years to complete. Funding for the project was heavily promoted by the Cleveland Press (Ewing A4). The sculptor, Marshall M. Fredericks, who spent much of his childhood growing up in Cleveland and graduated from the Cleveland School of Art, served in WWII, seemed an appropriate artistic choice. He not only taught for a time in Cleveland but he also studied and traveled extensively in Europe, later teaching at Cranbrook Academy of Art in Michigan. His commissioned work includes many fountains and sculptures worldwide (Marshall Fredericks Ondish). The sculpture stands forty-six feet high. The figure and the sphere are modeled in bronze. The basin and four secondary sculptures are carved out of polished Norwegian emerald-pearl granite. There are many cultural symbols and relief patterns representing the cultures of the world. The overall fountain is 2,500 square feet (Ondish). A quote from Marshall Fredericks concerning the creation of the sculpture and its interpretation states: "This Figure expresses the main theme of the Fountain, namely, the spirit of mankind rising out of the encircling flames of war, pestilence, and the destructive elements of life, reaching and ascending to a new understanding of life. Man rising above death, reaching upward to his God and toward Peace" (Ondish). I casually experience The Fountain of Eternal Life daily as I walk to or from work. The area called Mall A is well maintained and the sculpture and fountain are pleasing to my visual senses without knowledge of the sculptor's intent. The Mall invites the public to enjoy the sensory space through visual participation. The sculpture is in the round and participation can be enjoyed regardless of direction or of distance as it is very visible from the streets surrounding the Mall. As a person with an artistic nature, I am drawn to the fountain and the statue as it seems to have a positive message of eternal striping and rising above all. Approaching the memorial, I find my eyes are drawn up toward the sky by following the statue's up-reaching arm as if he is trying to touch the clouds reaching for life or peace. As my eyes return to ground level, I realize that flames are striking at the man's legs and feet as they are shooting up through the filigree globe. His feet are not consumed by the flames but are visible. I think that the representation of the flames as war and human conflict show that humanity constantly strives to rise above. However, his feet are well defined in the sculpture showing freedom or the ability for man to break free from war and conflict. The figure is a man with a strong muscular physic, which represents the emotional strength and fortitude of mankind. The fountain waters continually nip at the base of the globe where the flames shoot out. This is representative of the cleansing of conflict within man. According to one of the plaques at the fountain, "the bronze sphere symbolizes the superstitions and legends of mankind with the figure as man rising from the flames and reaching for eternal peace"(quote, Fredericks). The sphere is not solid but is a smooth filigree appearance with many different animals, birds and fowl. My interpretation of the filigree is that man's superstitions and legends, do not fill his life therefore, cannot hold him down. There are four granite three-dimensional sculptures surrounding the bronze sculpture. Each represents one of the four civilizations of the world: Nordic, Eastern, Southern and Western (Ondish). This work of art is for all peoples and about all peoples. In conclusion, The Fountain of Eternal Life presents a perpetual service to the Cleveland community memorializing those who have lived and died in service to our country. The Memorial not only represents man's struggle to obtain peace, it reminds those who choose to participate in its presence, that man is able to rise above conflict. It is a vital reminder that has inspired surviving servicemen to insure that all Cleveland area names are honored whose lives have been lost to war. A re-dedication of this memorial is scheduled for July 23, 2004 at 11:30 AM to further honor those missed in prior wars as well as the more recent wars and conflicts (Ewing A4). For those who have not known war, The Fountain of Eternal Life represents the continual quest for peace that man wants above all to obtain. Works Sited Ewing, James. "5,516 vets to be honored by name." Plain Dealer 19 July 2004: A1+. Greater Cleveland Veterans Memorial Inc. - GIVEN History and Mission. 22 July 2004. http://www.clevelandvetsmemorial.or/GCH_History.html. . Fredericks, Marshall M. The Fountain of Eternal Life. Veterans Memorial Plaza, Cleveland, Ohio. Marshall M Fredericks Abbreviated Biography. 9 July 2004. Marshall Fredericks Sculpture Museum. http://www.svsu.edu/mfsm/about.htm. . Ondish, Andrea. "Re: Cleveland War Memorial." E-mail to Rebecca Unger. 13 July 2004. Welcome to the Marshall M. Fredericks Sculpture Museum. 9 July 2004. Marshall Fredericks Sculpture Museum. http://www.svsu.edu/mfsm/welcome.htm. . MF, Sculptor copy: The Cleveland War Memorial In 1964, almost two decades after it was first commissioned and following years of study and preparation, Fredericks brought to fruition what stands as the pinnacle of his work with freestanding groups. The War Memorial fountain in Cleveland, Ohio, was to be placed in a long quadrangle of park formed by rectangular blocks of public buildings. At one end of the park is an office tower, at the other a sports stadium. Fredericks made many studies, building a scale model of the entire architectural complex, to determine the best spot for the fountain, how it was to be best lighted at night, trying various compositions for the central figures. In the center of the work soaring upward movement symbolizes eternal life, the universal human hope/dream/religious faith, which springs up everywhere in the human heart. His initial concept, two figures side by side, grew finally into a single figure soaring out of flame-like forms rising from the earth. Below the central helical shaft of forty-six-foot-high rising forms are four massive blocks of dark green granite set in the fountain's pool. In their intricate carvings the eye discerns the four quarters of the earth, in representing the idea that all peoples and civilizations recognize man's immortal spirit. A sphere, filigreed in its entirety and illuminated from within, supports the central figure. Around it streams the river of life, bearing with it animals, plants, birds, the shining sun. A universal ideal is given an expression neither obvious, not liturgical, calling upon the spectator to study and reflect. Note: In 2004 the War Memorial in Cleveland was rededicated and renamed, The Cleveland Veterans Memorial. Marshall Fredericks, Sculptor, p. 14 "Symbolizes mankind's continual quest for spiritual peace and hope for a better world." Copy found in Marshall's Archives: "This memorial fountain is dedicated to the honor and memory of those brave men and women who gave their lives in the Second World War for the preservation of their ideals. It symbolizes man's immortal Spirit rising through the thoughts and hopes of all peoples and civilizations above the flames of war and tribulation toward Peace and Eternal Life. It's not a literal portrayal of any individual or of any of the destructive and ugly aspects of war, rather it symbolizes the noble spirit of Mankind…It attempts to express a hopeful and inspiring thought that might be encouraging and helpful to those who are left behind. The fountain is composed of a large granite basin in which water will continually move and spray. In the center are the sculptured portions, set in the basin rim are polished bronze plaques containing the names of over five thousand men and women who gave their lives for their country. Carved in the basin is the inscription from the Thirty-sixth Psalm, 9th verse "For with Thee is the Fountain of Life; In Thy Light shall we see light." Four monolithic granite carving weighing approximately ten tons each, depict the four great civilizations of the earth, geographically: Nordic, Eastern, Southern, and Western cultures. Centered within is the 10 ½ foot sculptured and filigreed bronze sphere representing the Universe as man has imagined it throughout history. Its over-all design contains symbols of eternal Life, Spirit, and Dominion derived from ancient myths and legends. The monumental central figure, also in bronze, towers 43 feet above the basin. This figure expresses the main theme of the Fountain, namely, the spirit of mankind rising out of the encircling flames of war, pestilence, and the destructive elements of life, reaching and ascending to a new understanding of life. Man rising above death; reaching upward to his God and toward peace." Thematic tour copy: The central male figure, Peace, rises out of a concealing flame as a symbol of valor rising from the destroying flames of the great holocaust. The flames come out of a filigreed globe. The images on the globe are symbols that relate to peace, eternal life, resurrection, etc. I always tell visitors that Fredericks not only does the artwork but also the research on the symbolic nature of the imagery he uses. He claims "libraries are a wonderful source of information". The globe symbols are as follows: Wind represented as swirling linear forms around the images: There are 4 winds and different cultures have different deities that represent the winds and the deities blow the winds. Ancient Greek: North is Boreas; South is Notus; East is Eurus; and West is Zephyris. Native Americans also claim there are 4 winds and Chinese claim there are 8 winds. The winds can foretell the weather; therefore it is the divinities that control the fortunes of seafaring men. Images on globe: Sun: male, kingship, and male deities; individuality, ego, personality, growth; China: yang- power in heavens; Maya: divine right and ruler; Native American: female; Norse: deity in chariot; Phoenix: associated with the crucifix; it appears during periods of peace; renews itself eternally; resurrection symbol; reincarnation; Dragon: western symbol: evil serpents; associated with water; eastern: good deity Swan: happy death; faithful, purity; associated with music, poetry and divination; discernment Baboon: associated with the moon-full moon-because of its shape; known as hailer of the dawn Pegasus: power and thunderbolts, fame born from the blood of Medusa when Persius beheaded her; good was created from evil; Crocodile/alligator: African myth: powerful intermediaries between the divine and human worlds and oracles for water deities. Lion: divine solar power, ferocity and death, warlike; great mother; protector; masculinity; bible; courage, strength and power; royalty, dignity and pride; resurrection (Jews. Christians and Babylon) Dolphin/porpoises: sacred fish associated with healing wells and the sea; prophecy and wisdom; savior and resurrection; Greco-Roman: carried gods and human souls; Nordic Civilization Poseidon/Neptune/Thor: sibling of Zeus and Hades; god of all bodies of water; first to tame horses and sometimes portrayed in chariot drawn by seahorses; attribute is the trident, a traditional three-pronged fishing tool. Thor is the ancient Scandinavian god of thunder and his attribute is a mighty hammer. Thor calms the seas; there is popular story of him fishing for the world serpent. Dolphins/porpoise: linked to Apollo and his gifts of prophecy and wisdom; association with healing and the sea; savior and rescuer in myths; Greco Roman carrier of the gods and human souls. Two sharks: symbolize the dangers of nature 4 fish: associated with the name Christ; Eucharistic symbol; sea creature Turtle: strength endurance and bearers of the world; Native American: earth and earth mother-support of world; immortality, patience, wisdom, great experience, associated with water and safety at sea. Southern Civilization According to Fredericks, the large figure is a generic figure to represent the peoples of African continent (southern civilization). The small human-like figure to its left is a fetish figure. He explained that Africans made many small human figures which were symbolic figures of little gods. There are thousands of them in a museum in Denmark made by craftsmen. The human figures on the left of the sculpture are kneeling in subservience or worship of the natural world represented by the crocodile, lion, and ape. African mask: MF drew this image from one in a museum he visited. In Africa wearing a mask and taking part in masquerade rituals demonstrates skills in performance and status in society; masks bring the nature powers into town or the village; principally associated with male initiation societies. Crocodile: powerful intermediaries between the divine and human worlds and oracles for water deities. African People: generic representation of the people of this civilization. See paragraph above about the people in the sculpture. Western Civilization Dionysus/Bacchus and grapes: fertility god and protector of the vine; linked with wine and revelry and indulged in orgies; attribute is grapes. Artemis/Diana and two dogs: she is the twin sister of Apollo, virgin and huntress; attributes are: silver bow and arrow, and protector of wildlife; associated with the moon; she's often depicted with a stag or dog. Eastern Civilization: Buddha in a reclining position: Marshall referred to him as Buddha but several attributes of Asian Deities such as Shiva, Krsna, Vishnu and Budhha are depicted including the 4 arms of Shiva and Lakshmi. (Excerpt from 1000 Symbols, p. 130) "Buddha was born in the 6th century BCE as Prince Siddhartha, a member of the Gautama clan of the Sakya tribe on the border between Nepal and the modern Indian state of Bihar. The title of Buddha, meaning 'Wise' or 'Enlightened One', was bestowed on him after his enlightenment. This he achieved at the age of 39, after seven weeks of meditation under a Bodhi Tree in the village of Bodhgaya. He abandoned his wife and child for the ascetic life. For the next 41 years until his death at the age of 80, he preached his philosophy, repudiating some aspects of Hinduism-such as ritual worship and sacrifice-and denouncing the caste system. In its place, he offered a moral code of conduct that mentions neither heaven nor hell, nor any religious sanction, but relies on the self-discipline and autonomous spirit of the individual to guide him or her towards salvation. He taught that to live is to suffer, and the wheel of birth and rebirth will continue to turn unless humans can contain their desires, and so release them from this process. To achieve this, people should follow the Eightfold Path of Buddhism, which leads to wisdom, calmness, knowledge, enlightenment and release." (Excerpt, from 1000 Symbols, p. 126) Shiva: 'the Destroyer', represents darkness and is the angry god. He is one of the three gods of the Hindu Trinity or Trimurti, and is seen as a pre-Vedic god allied to the lord of beings on Indus Valley seals. He is depicted above holding two of his attributes: a thunderbolt and stylized conch shell and has 4 arms. Ganesh: son of Shiva; god of fortune and wisdom who intercedes with other gods; he's normally depicted as a pot-bellied figure with an elephants head, 4 arms and one tusk. He sits on a rat signifying shrewdness. He received his elephant's head when he lost his own and was brought back to life using the nearest available head, that of an elephant. He's god of new ventures and good luck. Story about Ganesh's broken tusk as told by Vaibhavi Sindha, a SVSU student. "Why Lord Ganesh has a broken tusk? Lord Ganesh loved to eat food. One day as he sat down to eat, the moon (Lord Chandra) was watching him. Ganesh kept on eating and his stomach enlarged. At a certain point, his stomach burst open and all the food spilled out. Looking at this, the moon laughed at Ganesh and made fun of him, so Ganesh got mad and broke one of his tusks and threw it at the moon. That's the reason why the moon is half on that specific day called Ganesh-chatwithi Day." Water Buffalo: Nandi, the white bull; Chinese Buddhism: the ox signifies wise thought. Dancing woman: Devi, Shiva's wife or Sita, wife of Rama. Rama: squatting ape. The ape Hunuman helped to rescue Rama's wife from a powerful king in Celon. Ramas right elbow rests in the curve of his waist while his hands are palms out and engaged fingers extended point to a small dancing female figure possibly Sita, his wife. Molly Barth copy: Please step over here, and I'll show you the rest of the "Cleveland War Memorial, The Fountain of Eternal Life." Over here is a photograph of "The Cleveland War Memorial," and it's in downtown Cleveland and it looks out to Lake Erie. Down below in the water, you can see the four carvings, two of which, we just spoke of, and you saw the plaster models for. Then, right next to it in the display case, you see the original site model with the minute little fountain there. Then in this other display case you see the architectural model. Then, in this next display case is the one-inch to one-foot scale model; of the fountain; then, over here by the window is the one-quarter scale model, so in this photograph over here, this plaster model is actually four-times the one that's in that picture. It's 46 feet tall, it's the World's largest fountain. It took Mr. Fredericks 19 years from start-to-finish of this monument [add comment to put this in context] to do this piece. Fredericks was returning from World War II when he received word that he had been given this commission. He started it in 1945, but he had many political delays, so he worked on other things during those 19 years. It was dedicated on Memorial Day in 1964. In the quarter-scale plaster model you see that the figure is reaching up above the flames of war. The sphere that he is on has all the mythological legends and stories pertaining to eternal life wrapping around in spiral bands. The sphere is hollow and filigreed. At night, it lights up and the sprays of water are beautiful. It has amber and white alternating lights in the sphere, and there are lights in the basin. It has The Eastern Civilization, The Western Civilization, The Nordic Civilization and The Southern Civilization. Almost 5,000 Cleveland men and women gave their lives in World War II and the Korean Conflict, and their names are on bronze plaques on the top edge of the basin. This war memorial was for World War II and the Korean War, but it really is a peace memorial. It was designed to be for the living, and to be uplifting. The models for this fountain show how Fredericks goes about creating. He starts very small with the first model that you saw, and keeps enlarging it and enlarging it until he gets to the monumental size. In the gallery, are seen the different scale models that he used as he enlarged. From 1995 Mary Iorio of Cranbrook, interview with Fredericks: It took two years to carve each of the four civilizations. Numerous representations of eternal life from around the world are in the sphere including the swan and phoenix. Fredericks commented that no mother, sister or brother wants to see symbols of war when they visit the memorial to mourn, so he didn't want to make statues of soldiers or infantrymen. From Joy Colby interview-1981: "But now those quarries (in Norway), while they're still very, very active, they don't quarry the big blocks anymore." Why is that? "Well, basically because of labor. It's difficult to quarry them and the workmen can earn more and it's easier on them to quarry smaller blocks and sell smaller blocks for cemetery purposes and building blocks rather than, for instance, some of those blocks which I have used weighed almost fifteen tons each. On the Cleveland fountain there are four blocks that originally weighted about fifteen tons and after they were carved, they weighted a little over ten tons each. Well, such blocks today you couldn't get. They're just too big to handle. Then the foundry, too, eventually, because of labor problems and very high taxation which they have there, much higher than we have, closed down so now they just cast little tiny things. And the big one (foundry) in Copenhagen which is one of the finest in the world; Rasmussen who cast for Thorwaldsen, Milles and all these famous people, they closed for the same purpose after one hundred and fifty years of operation. So therefore, there was really not any purpose to work over there anymore without the granite and without bronze. And then shipping became impossible. The ships no longer came directly to the State and up the Great Lakes. They circled-went around past Europe and South America, Africa and so on, took circuitous routes so that no longer was simple. So now it isn't logical to do that any more." So it would really be impossible to make sculptures the size of the Cleveland Peace Memorial and the Spirit of Detroit? It would be very difficult to do sculptures of that size? "Yes, it is and it's terribly costly now. I think that's one of the reasons why there's so much other construction in art today. So-called pieces made out of beams, or timber, or sheets of metal, tubing and what-not, because it already exists. It's just a matter of sticking it together by welding or what have you. It's so much simpler. You can see now at Meadowbrook some of the things that are just made from drawings and are built by construction companies. It's a much simpler way of doing it and much less expensive, of course, and a lot less worry involved; it's somebody else's chores. And there aren't the many steps that you have to take: the miniatures, the intermediate models, the clay models and the plaster models and then the wax models and the sand molds and all the dozen different steps. There's really only one step; the drawing and from that, there it is twenty feet high. I think that's one of the reasons for the growth of that art. It's really a more sensible, more practical…the Cleveland fountain today, when you think of the carving that took-the whole thing took nineteen years. That's a working life for some people." It is. "and there are so many complications with the electrical things and the water lines and the plumbing and the pumps and the caring and the castings, the steel framework inside covered with lead, and all these things that you have to do; the engineering even is a tremendous chore. I think it just gets to be such a problem that most artists today don't want to do it. It's easier even to make a cardboard mock-up like the Picasso in Chicago, or Calder to make a drawing of two or three views of a drawing and have it made by a construction company. It's easier. It isn't the way I work. It isn't the way I would ever want to work. I could do that very easily, but it isn't my nature to do that." He worked on this commission starting in 1945 when he received it. The final (committee-accepted) one-figure design was completed about 1949. See Marshall Fredericks, Sculptor book, pages 154 to 159. Groundbreaking was in 1955 and the dedication was 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 Fountain of Eternal Life [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Fountain of Eternal Life: Peace Arising from the Flames of War, 1964 Cleveland War Memorial, quarter scale model Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.051 The project file of this sculpture in the MFSM archives states: "This memorial fountain is dedicated to the honor and memory of those brave men and women who gave their lives in the Second World War for the preservation of their ideals. It symbolizes man's immortal Spirit rising through the thoughts and hopes of all peoples and civilizations above the flames of war and tribulation toward Peace and Eternal Life. It's not a literal portrayal of any individual or of any of the destructive and ugly aspects of war, rather it symbolizes the noble spirit of Mankind…It attempts to express a hopeful and inspiring thought that might be encouraging and helpful to those who are left behind. The fountain is composed of a large granite basin in which water will continually move and spray. In the center are the sculptured portions, set in the basin rim are polished bronze plaques containing the names of over five thousand men and women who gave their lives for their country. Carved in the basin is the inscription from Psalm 36:9, 'For with Thee is the Fountain of Life; In Thy Light shall we see light.' Four monolithic granite carvings weighing approximately ten tons each, depict the four great civilizations of the earth, geographically: Nordic, Eastern, Southern, and Western cultures. Centered within is the 10 ½ foot sculptured and filigreed bronze sphere representing the Universe as man has imagined it throughout history. Its over-all design contains symbols of Eternal Life, Spirit, and Dominion derived from ancient myths and legends. The monumental central figure, also in bronze, towers 43 feet above the basin. This figure expresses the main theme of the Fountain, namely, the spirit of mankind rising out of the encircling flames of war, pestilence, and the destructive elements of life, reaching and ascending to a new understanding of life. Man rising above death; reaching upward to his God and toward peace." It's located at the Civic Center Mall A, Cleveland, Ohio. It was commissioned in 1945, groundbreaking was 1955, and it was dedicated on Memorial Day 1964. 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/6349855229/in/set-72157628015891879" target="_blank">Cleveland War Memorial, Cleveland, OH</a> <a href="https://www.flickr.com/photos/marshallfredericks/6349855375/in/set-72157628015891879" target="_blank">Cleveland War Memorial, Cleveland, OH</a> Cleveland War Memorial: Fountain of Eternal Life Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Peace Arising from the Flames of War Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991050_462bea04f3.jpg fe188880141195b09cd595384e82dade 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 307 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. 34" x 8.5" Materials Plaster full-scale Catalog Number 1991.050 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 January, 24 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 "Michael Emmet Taylor-- His grandparents comissioned Fredericks to do this work. His grandfather was Vice President of General Motors who worked mostly in the Chevrolet division." Taylor, Michael Emmet January 06, 2005 On Tuesday, January 4, 2005, MICHAEL EMMET TAYLOR, age 68, at Atlantic General Hospital in Berlin. Born in Grosse Pointe, Michigan, he was the son of the late Nelson Moore Taylor and Norma Elizabeth Coyle Taylor. He is survived by his devoted wife of 42 years, Jean Donnelly Taylor; a son, Brian Taylor and his wife Nina of North East, MD; two daughters, Lynn Goddard and her husband Kurt of Fairfield, Connecticut and Alicia Taylor of Ocean City; five grandchildren; a brother, Timothy Taylor of St. Joseph, Michigan; a sister, Jill Buyan of Los Angeles, CA and several nieces and nephews. Mr. Taylor was a graduate of the University of Detroit High School and the College of Holy Cross in Worcester, Mass. He was a retiree after 20 years of service with Ford Motor Division. He continued to work as an employee of Norris Ford in Dundalk, MD for 8 years. He was a member of St. John Neumann Catholic Church in Ocean Pines. A Mass of Christian Burial will be offered on Saturday at 12 noon at St. John Neumann Catholic Church. The Rev. Thomas Protack will be the Celebrant. Friends may call on Saturday from 9:30 A.M. to 11:30 A.M. at the Burbage Funeral Home in Berlin. Interment will be at a future date in Worcester, Mass. In lieu of flowers, donations may be made to the Dr. and Mrs. Nelson Taylor Memorial Fund c/o Dr. Donald Meis, 10625 Emerald Point, Sun City, AZ 85351 or to the Holy Cross Fund in memory of Michael E. Taylor Class of 1958, Holy Cross College, One College St., Worcester, Mass 01610-2395. Molly Barth copy: Michael Emmett Taylor was commissioned by his grandfather, a vice-president of one of the three American automobile companies. Michael Emmett Taylor is so real, it's as though he's about to throw that ball and step off that pedestal. Fredericks captured the life of that little boy with his protruding little stomach, and his plump arms and legs. This was cast in bronze in 1937, and is in the family's collection. Fredericks said that when little Michael came into his studio to pose, he dragged his little ducky with him. He was a good little model. Michael Emmet Taylor died in 2005. 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 Michael Emmett Taylor [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Michael Emmet Taylor, 1937 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.050 Fredericks was commissioned to do this full-length portrait sculpture of Michael Emmet Taylor by his grandfather, Vice President of General Motors, Chevrolet division. When young Michael was brought to Frederick's studio for his portrait sitting, he had a small ball in his hand. The youngster kept playing with the ball so Fredericks included it in the portrait. 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 1937 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.) Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Portrait of Michael Emmet Taylor https://omeka2.svsu.edu/files/original/1991049_b63e71ab1a.jpg 5430bb0b74fa32ee6562a5832db99527 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 708 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. 15" x 18" x 28" Materials Plaster full-scale Catalog Number 1991.049 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 March, 24 Gift to Museum and SVSU Board of Control Notes Molly Barth copy: The next plaster model is The Moray Eel and Fish--an eel with the dinner that he has just caught. This was carved in green granite for the side of the steps to the Art Museum at Cranbrook, where Fredericks taught for 9 1/2 years. You know that I don't care for moray eels, but I love the forms of this sculpture, the way the moray eel goes in and out. I love the designs of this sculptural form. Fredericks had done The Moray Eel and Fish while at Cranbrook, Carl Milles saw it and wrote a letter to Booth. He said, "If you don't purchase it for Cranbrook, the Metropolitan Museum will purchase it, I know." So, of course, Cranbrook purchased it. It is at the side of the steps to the entrance to the Art 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 Moray Eel and Fish [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Moray Eel and Fish, 1941 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.049 While at Cranbrook, Fredericks designed and carved this sculpture to catch water for birds. It was reported that his mentor Carl Milles wrote a letter to George Gough Booth, the founder of the Cranbrook Educational Community that said, "If you don't purchase it for Cranbrook, the Metropolitan Museum will." A carving in green granite, it was placed on the steps of the Cranbrook Art Museum and remains there today. It received Honorable Mention in Sculpture at the "Fifty-Second Annual Exhibition of American Paintings and Sculpture," Art Institute of Chicago, 1941. 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 1941 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/6350511899/in/set-72157628015891879" target="_blank">Moray Eel and Fish Cranbrook, Bloomfield Hills, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Moray Eel and Fish Plaster Plaster Model https://omeka2.svsu.edu/files/original/1991048_37b256e3a9.jpg 6910aa8dcfaf1956cec20524d1eb6da1 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 881 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. 64" x 72" x 90" Materials Plaster full-scale Catalog Number 1991.048 Object Location Location of object in collection. Main Exhibit Gallery Provenance 1988 January, 24 Gift to Museum and SVSU Board of Control Notes From Jennifer Lentz (Collection Documentation Intern 1991-1992) Memo dated July 30, 1991: "RE: Friendly Frog On July 26, 1991 I asked Molly if Fredericks specifically designed this as a slide for children and she said he did." RESEARCH The Friendly Frog has found a new home at Applewood! Purchased from the Children's Museum in late 2004, guests will find The Friendly Frog just inside the estate's Lot K entrance gate on a brand new "lily pad"! The smiling amphibian was created out of terrazzo and concrete by renowned sculptor Marshall Fredericks (1908-98). Working from studios in Royal Oak and Bloomfield, Fredericks left a rich legacy of famous pieces that include The Spirit of Detroit to mark a chief government building for that city, and Christ on the Cross at Indian River. A bronze replica of The Friendly Frog is on view at Frederik Meijer Gardens in Grand Rapids. A cast of the frog is owned by the Marshall M. Fredericks Sculpture Museum at Saginaw Valley State University. The Friendly Frog's first home was the Genesee Valley Shopping Center, which commissioned it in 1970 near the time of its opening. The frog's richly textured surface and gracefully slanted back naturally invite climbing and sliding. Children strolling through Genesee Valley found it irresistible, but eventually the shopping mall decided to part with it. In 1986, Genesee Valley turned the frog over to the Children's Museum, then housed at the North Bank Center in downtown Flint. The museum was able to put it on exhibit there, introducing it to a new generation of children. But when the Children's Museum moved to its current quarters at 1602 West Third Avenue, the staff was advised that the floor would not sustain the weight. Carefully stored by Hank Frazzles at C & S Motors since 1993, the sculpture was brought to Applewood in 2004. The Friendly Frog quickly became a favorite spot for photographs and brought back many fond memories for visitors. Its new "pad" includes a colorful slip-resistant surface, water features, seating and pots of beautiful flowers. Be sure to bring the little ones in your life to Applewood this summer to meet The Friendly Frog, join The Friendly Frog Fan Club and create new memories! 29 March 1990 TO: File FROM: Michael W. Panhorst, Director Marshall M. Fredericks Sculpture Gallery RE: THE FRIENDLY FROG The terrazzo cast of the frog is now at The Children's Museum in Flint--not at the Sloan Museum. The Children's Museum received the frog about six years ago (i.e., 1984). According to an individual at the museum, the Genesee Valley Mall was redecorating and that is why the frog was removed. The museum also indicated that the frog weighed about 5,000 pounds. The frog is now displayed in an exhibit area and children are allowed to climb on it. It is one of the children's favorite things. Molly Barth copy: The next plaster model is the original model for the Friendly Frog.[date/] This was cast in terrazzo, a synthetic marble made of chips of marble that are mixed with a clear resin that hardens. Then, it is highly polished just like marble or granite. It was located at the Genesee Valley Shopping Center in Flint until just recently when it was moved to the Children's Museum in Flint. It was quite a sight to see as it travelled down I-75 on the flatbed of a semi-truck. The terrazzo cast has gold-plated just like this plaster model does. Children would slide down it at the mall and still do at the Children's Museum. I even remember sliding down it a long time ago. 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 Friendly Frog [Plaster] Subject The topic of the resource Animal sculpture--20th century Description An account of the resource Friendly Frog, 1970 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.048 Fredericks designed this large, friendly, appealing sculpture as a children's slide. The original cast of this sculpture was located at the Hudson wing of the Genesee Valley Shopping Center in Flint, Michigan for 16 years where children did use it as a slide. In 1986 the mall donated it to the Flint Children's Museum and when they moved to their new quarters (1602 W. Third) in 1993, the building's floor was not strong enough to support the frog's 6,600 pound concrete and terrazzo weight. So, for 11 years the frog was stored at C & S Motors on Dort Highway, a trucking company whose owner served on the Flint Children's Museum Board. In 2004, newspaper articles in the Flint Journal Press ("Lonely Frog: Artist would croak if he could see 'Friendly' sculpture now") and letters to the editor prompted the relocation of the frog from the trucking company's storage area to Applewood Estates, the Charles Stewart and Ruth Rawlings Mott Estate. The Ruth Mott Foundation purchased the sculpture from the Flint Children's Museum in 2004, and now it resides permanently on the 30-acre estate that is open to the public several days each year for special events and festivals. As of spring August 9th 2004, Friendly Frog resides in a new landscape complete with frog-friendly water features and a cushioned lily pad. 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.) Relation A related resource <a href="https://www.flickr.com/photos/marshallfredericks/6350300525/in/set-72157628015891879" target="_blank">Friendly Frog, Applewood Estates, Flint, MI</a> <a href="https://www.flickr.com/photos/marshallfredericks/6350301239/in/set-72157628015891879" target="_blank">Friendly Frog, Meijer Gardens, Grand Rapids, MI</a> Animal Animal Sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model The Friendly Frog https://omeka2.svsu.edu/files/original/1991047_0e584e18ab.jpg 50c7f6fcc85aa0d54a7bbad6528d94ad 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 646 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. 17.75" x 10" x 15" Materials Plaster full-scale Catalog Number 1991.047 Object Location Location of object in collection. Main Exhibit Gallery Provenance 03/22/1989 gifted to MFSM Notes Notes: Finished piece for Dallas Public Library weighed 880 pounds of cast aluminum and was 20 feet in height. The cost was $100,000 with $35,000 to Mr. Fredericks and $65,000 cost for materials and installation. Molly Barth copy: On this pedestal, there is a head of a portrait of a young boy. This is all that Fredericks has left of a piece that is titled Youth in the Hands of God. It was made for the Dallas, Texas library. The sculpture was cast in aluminum and is 20 feet high. It is a relief that was designed to hang right on the granite facade of the library. It was dedicated in 1960. Recently, the library had grown so much they sold the building and built a new library. I don't think they realized that the relief could be removed, but they ended up selling the building and the relief. Fredericks is hoping that someday it will be donated to the gallery, but, as far as I know, it's vacant. As you know, Texas went through a recession when so many people went bankrupt. Hopefully, that Youth in the Hands of God relief will end up being here at the gallery. I should mention that Youth in the Hands of God was also cast in Norway and brought over by boat, but the rest of the plaster model was destroyed. All that is left is the head of the youth. 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 Head of Youth [Plaster] Subject The topic of the resource Figure sculpture, American--20th century Description An account of the resource Head of the Youth, from Youth in the Hands of God, 1956 Plaster original Gift of Mr. and Mrs. Marshall M. Fredericks 1991.047 This is the only surviving portion of the full-scale plaster original model for Youth in the Hands of God, a sixteen-foot tall aluminum cast, made in Norway, commissioned for the facade of the Dallas Public Library, Dallas, Texas. This fragment is less well preserved than many of the original plasters in the Museum. Note the stained discoloration across the head in general. The restorations around the eyes, ears, and lips were reworked about 1987 to regain the original appearance. The complete aluminum cast of the Youth in the Hands of God was relocated from Dallas Public Library to this Museum in 1993 and is installed on the facade of the Arbury Fine Arts Center. 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 1956 Rights Information about rights held in and over the resource Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum Identifier An unambiguous reference to the resource within a given context 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/5908376481/in/set-72157604118554937" target="_blank">Youth in the Hands of God</a> Figure Figure sculpture Marshall M. Fredericks Sculpture Museum Model Plaster Plaster Model Youth in the Hands of God