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&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Outdoor sculpture--United States. &#13;
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                <text>The businessmen backers of the 1964-65 New York Worldâ€™s Fair aspired to produce an economic boom for the city that would rival the hugely successful New York Worldâ€™s Fair of 1939-40 that brought more than 44 million visitors to the city. Many of these planners, kids during the â€™39-40 Fair, hoped that the experience would be as memorable for their children and families has it had been for them. Dedicated to â€œManâ€™s Achievement on a Shrinking Globe in an Expanding Universe,â€ the Fairâ€™s theme was â€œPeace through Understanding.â€&#13;
&#13;
The Fairâ€™s Sculpture Committee requested that Marshall Fredericks submit a proposal for a sculpture to be included at the event. Fredericks submitted several sketches and the Committee selected a sketch of two figures with swans. Originally the figures in the sketch had wings, but the review panel requested that Fredericks remove them in the final sculpture. According to the artist, the sculpture â€œdepicts human figures as if soaring in migratory flights with huge swans, an ancient symbol of eternal life.â€&#13;
&#13;
One of four major sculptures at the Fair, the sculpture stood in the Court of States at the entrance of the U S Government Pavilion. This marked the second time Fredericks contributed a sculpture to a New York Worldâ€™s Fair, as he previously exhibited a fountain at the 1939 Fair. The Freedom of the Human Spirit still stands at its original location in Flushing Meadows Corona Park in Queens borough. &#13;
&#13;
In 1983, Fredericks donated the design for this sculpture to his adopted hometown of Birmingham, Michigan in honor of the cityâ€™s fiftieth anniversary. Erected in Shain Park, the city financed the sculpture through generous donations from over one thousand individuals and corporations. In 2009, the city of Birmingham renovated the park and relocated the sculpture to an area in the center of the park. &#13;
&#13;
A small-scale casting of Freedom of the Human Spirit also serves as the annual Communications Award for the International Center for the Disabled (ICD), an organization of which Fredericks was a longtime benefactor. &#13;
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Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
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&#13;
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&#13;
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&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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Bronze sculpture, American--20th century.&#13;
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                <text>The businessmen backers of the 1964-65 New York Worldâ€™s Fair aspired to produce an economic boom for the city that would rival the hugely successful New York Worldâ€™s Fair of 1939-40 that brought more than 44 million visitors to the city. Many of these planners, kids during the â€™39-40 Fair, hoped that the experience would be as memorable for their children and families has it had been for them. Dedicated to â€œManâ€™s Achievement on a Shrinking Globe in an Expanding Universe,â€ the Fairâ€™s theme was â€œPeace through Understanding.â€&#13;
&#13;
The Fairâ€™s Sculpture Committee requested that Marshall Fredericks submit a proposal for a sculpture to be included at the event. Fredericks submitted several sketches and the Committee selected a sketch of two figures with swans. Originally the figures in the sketch had wings, but the review panel requested that Fredericks remove them in the final sculpture. According to the artist, the sculpture â€œdepicts human figures as if soaring in migratory flights with huge swans, an ancient symbol of eternal life.â€&#13;
&#13;
One of four major sculptures at the Fair, the sculpture stood in the Court of States at the entrance of the U S Government Pavilion. This marked the second time Fredericks contributed a sculpture to a New York Worldâ€™s Fair, as he previously exhibited a fountain at the 1939 Fair. The Freedom of the Human Spirit still stands at its original location in Flushing Meadows Corona Park in Queens borough. &#13;
&#13;
In 1983, Fredericks donated the design for this sculpture to his adopted hometown of Birmingham, Michigan in honor of the cityâ€™s fiftieth anniversary. Erected in Shain Park, the city financed the sculpture through generous donations from over one thousand individuals and corporations. In 2009, the city of Birmingham renovated the park and relocated the sculpture to an area in the center of the park. &#13;
&#13;
A small-scale casting of Freedom of the Human Spirit also serves as the annual Communications Award for the International Center for the Disabled (ICD), an organization of which Fredericks was a longtime benefactor. &#13;
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&#13;
Correspondence: (13 linear feet) including personal, foreign ministry, and general correspondence as well as special letters and card received by Fredericks&#13;
&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
&#13;
Photographs: (25 linear feet) including photographs in a variety of sizes, negatives, and slides relating to Fredericksâ€™ teaching career, projects, civic activities, and personal life&#13;
&#13;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
&#13;
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&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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&#13;
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Bronze sculpture, American--20th century.&#13;
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                <text>The businessmen backers of the 1964-65 New York Worldâ€™s Fair aspired to produce an economic boom for the city that would rival the hugely successful New York Worldâ€™s Fair of 1939-40 that brought more than 44 million visitors to the city. Many of these planners, kids during the â€™39-40 Fair, hoped that the experience would be as memorable for their children and families has it had been for them. Dedicated to â€œManâ€™s Achievement on a Shrinking Globe in an Expanding Universe,â€ the Fairâ€™s theme was â€œPeace through Understanding.â€&#13;
&#13;
The Fairâ€™s Sculpture Committee requested that Marshall Fredericks submit a proposal for a sculpture to be included at the event. Fredericks submitted several sketches and the Committee selected a sketch of two figures with swans. Originally the figures in the sketch had wings, but the review panel requested that Fredericks remove them in the final sculpture. According to the artist, the sculpture â€œdepicts human figures as if soaring in migratory flights with huge swans, an ancient symbol of eternal life.â€&#13;
&#13;
One of four major sculptures at the Fair, the sculpture stood in the Court of States at the entrance of the U S Government Pavilion. This marked the second time Fredericks contributed a sculpture to a New York Worldâ€™s Fair, as he previously exhibited a fountain at the 1939 Fair. The Freedom of the Human Spirit still stands at its original location in Flushing Meadows Corona Park in Queens borough. &#13;
&#13;
In 1983, Fredericks donated the design for this sculpture to his adopted hometown of Birmingham, Michigan in honor of the cityâ€™s fiftieth anniversary. Erected in Shain Park, the city financed the sculpture through generous donations from over one thousand individuals and corporations. In 2009, the city of Birmingham renovated the park and relocated the sculpture to an area in the center of the park. &#13;
&#13;
A small-scale casting of Freedom of the Human Spirit also serves as the annual Communications Award for the International Center for the Disabled (ICD), an organization of which Fredericks was a longtime benefactor. &#13;
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&#13;
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&#13;
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                <text>This sculpture represents Fredericks' interpretation of Hans Christian Andersen's popular story, The Ugly Duckling. Unlike Fredericks' portrayals of other literary subjects, this sculpture illustrates not one moment in the story, but two. &#13;
&#13;
Fredericks placed the unhappy duckling driven from place to place because of his ugliness at the base of the fountain. Located above is the beautiful swan he grew to be. &#13;
&#13;
Fredericks emphasized the difference between the young and mature bird. The earthbound duckling is awkward and heavy, with stubby wings and tail while the swan soars overhead in an open form which appears almost weightless. Fredericks originally conceived this sculpture for the Danish Village retirement home in Rochester Hills, Michigan.&#13;
&#13;
A bronze cast of this sculpture is located in SkÃ¦lskor, Denmark where Hans Christian Andersen lived and penned â€œThe Little Mermaid,â€ â€œThe Ugly Duckling,â€ and many other childrenâ€™s stories.&#13;
&#13;
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Subject Files: (24 linear feet) document Fredericksâ€™ civic interests such as Disabled Americansâ€™ Denmark meeting (DIADEM), Rebild National Park, and Danish Consular work, as well as fraternal organizations and the Marshall M Fredericks Sculpture Museum&#13;
&#13;
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&#13;
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&#13;
On the Vermont marble wall behind the figure are the official seals of Wayne County, Michigan and the City of Detroit. Engraved on the wall is a verse from II Corinthians: â€Now the Lord is that Spirit, and where the Spirit of the Lord is, there is Liberty.â€ Designed to continue the thought indicated in the inscription on the wall, the sculpture is in the form of a kneeling man with outstretched arms. In his right hand he holds a father, mother and child representing family, which, according to Fredericks, is â€œprobably the noblest human relationship.â€ In his left hand, the figure bears a sphere with rays emanating from it signifying deity. Fredericks chose the sphere because it is an object complete in itself with no beginning and no end. &#13;
&#13;
This sculpture took Fredericks four years to complete and meant a great deal to the sculptor, who once remarked, â€œI pray only that this work in some small way inspire those who see it.â€ Fredericks appears to have gotten his wish as the citizens of Detroit immediately embraced this giant figure as the cityâ€™s cultural icon by giving it the affectionate nickname, â€œThe Jolly Green Giant.â€ The sculpture is also frequently dressed in local sporting teamsâ€™ jerseys during playoff action, and The Spirit of Detroitâ€™s image appears as the central element in the logos of the cityâ€™s departments and services.&#13;
&#13;
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&#13;
Project (Job) Files: (7 linear feet) including correspondence between Fredericks and both sculpture commissioning clients and vendors that helped to fabricate the pieces&#13;
&#13;
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&#13;
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&#13;
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&#13;
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              <text>Note: One of Frederick's personal books was titled "The Great Ape" by Robert and Ada Yerkes can be found in the Sculptor's Studio on a work table.&#13;
&#13;
Note: Apparently Booth didn't see it until dedication day and had no idea of what it would be even though he asked for a Thinker.  At the time in America (1930s) the Darwin theories were hot news and then you have many museums who wanted to have one at the entrance to their museum.  I'm sure that Booth was impressed with the DIA's Thinker and wanted one, too.&#13;
&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated September 18, 1991&#13;
&#13;
"RE:  I Spoke with Mrs. Suture who told me the date on the plaque is September 12, 1965.  She is going to contact me with further information on it including height."&#13;
&#13;
Molly Barth copy:&#13;
At the entrance to the Marshall M. Fredericks Sculpture Gallery to the right of the doors is the bronze "Thinker."   Mr. Booth, the founder Cranbrook, wanted a "Thinker," just like August Rodin's "Thinker" for the steps of the art museum at Cranbrook, and he came to Fredericks and asked if he could do a "Thinker" for Cranbrook.  Fredericks tried different things, but, of course, to copy Rodin's "Thinker" in any way was unthinkable.  So, Fredericks made this chimpanzee, and Mr. Booth came into his studio and looked at it for a moment, and said, "It just may be he's thinking far more interesting thoughts than we are.  I'll take it!"  It's there today, on the steps of the art museum there at Cranbrook, carved in black granite.  We have a later bronze cast.  This "Thinker" has a brown patina.  Visitors may feel and touch this bronze; but please do not touch the other sculptures inside the gallery - particularly the white plaster models.&#13;
&#13;
From 1995 Mary Iorio of Cranbrook, interview with Fredericks: Fredericks had a pet monkey while at Cleveland School of Art.</text>
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                <text>The Thinker is a bronze sculpture of a seated chimpanzee with arms folded and legs crossed.  His head rests on his proper right hand and is tilted back slightly giving the appearance of being in deep  thought. &#13;
&#13;
LABEL:&#13;
&#13;
The Thinker, 1938 Bronze, cast 1988  &#13;
Gift of Mr. and Mrs. Ned Arbury 1991.001 &#13;
&#13;
Fredericks created this sculpture after George Gough Booth, the   founder of Cranbrook Educational Community, asked him to make a   "Thinker" for the steps of the Cranbrook Art Museum similar to   Auguste Rodin's renowned Thinker, a cast of which is on the steps of the Detroit Institute of Arts. The pose Fredericks' Thinker   assumes is a direct reference to Rodin's sculpture; however,   Fredericks' replacement of Rodin's heroic male nude with a   bemused chimpanzee is a thought provoking variation on the   earlier statue. Fredericks' choice of a chimpanzee reveals his   fondness for primates. Fredericks indicated that when Booth saw   the compact composition of the chimp stroking his chin, he   commented that it was not like Rodin would have done, but Booth   was sure the chimp was thinking much more interesting thoughts   than most of us are.</text>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum</text>
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                <text>&lt;a href="https://flic.kr/p/aFfST3"&gt;&lt;strong&gt;The Thinker, Brookgreen Gardens, Pawley's Island, SC&lt;br /&gt;&lt;/strong&gt;&lt;/a&gt;</text>
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                <text>&lt;a href="https://flic.kr/p/aFfSSG"&gt;&lt;strong&gt;Birger Sandzen Memorial Gallery, Lindsborg, KS&lt;/strong&gt;&lt;/a&gt;</text>
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                <text>&lt;a href="https://flic.kr/p/aFfSY9"&gt;&lt;strong&gt;The Thinker, Millesgarden, Lidingo, Sweden&lt;/strong&gt;&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.flickr.com/photos/marshallfredericks/6350712853/in/set-72157628015891879"&gt;&lt;strong&gt;The Thinker, Holstebro, Denmark&lt;/strong&gt;&lt;/a&gt;</text>
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                <text>http://omeka.svsu.edu/admin/files/show/9433&lt;br /&gt;&lt;br /&gt;</text>
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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated September 11, 1991&#13;
&#13;
"RE: The Lion and Mouse - Lion and Monkey&#13;
Molly told me that the Lion and Monkey was the predecessor of the Lion and Mouse although they were both created in 1957. The lion is in the same position but the monkey sits upon his left knee.  Mr. Fredericks thought it would not be best to put the figure on the knee because he thought that children could sit there. He changed it to The Lion and Mouse with Aesop's fable in mind.  Molly said she is aware that in Aesop's story the mouse frees the lion from the hunters net by gnawing through it. Although when Mr. Fredericks tells the story he says that the mouse pulled a thorn out of the lion's paw. She had not heard of the story of Androcles and the Lion."&#13;
&#13;
&#13;
&#13;
Molly Barth copy:&#13;
The first plaster model is the Lion and the Mouse.  The J. L. Hudson Company commissioned Fredericks to make this for Eastland Shopping Center in St. Clair Shores.  The original sculpture for the shopping center was made from this plaster model.  Here in the gallery, but the one that's at the shopping center is carved in limestone, the lion, and the little mouse that's on the paw of the lion, is cast in bronze and then gold-plated.  Of course you all know the story of The Lion and the mouse.  Well, let me tell you the story of the "Lion and the Mouse."  One day, that lion came across this wee, little mouse and he was going to eat him, but the mouse said, "No! One day, I will be able to help you," and that lion just laughed at that mouse and he said, "How could you ever help me?," and he said, "I  just know I can, one day!"  So because he just thought it was so funny, he let the mouse go.  But one day, the mouse heard the lion making a ferocious kind of cry, so he came across him, and he said, "What's the matter?"  and he said, "Oh, my paw hurts so terribly!" so the mouse looked and he saw a thorn in his paw and he pulled that thorn right out of the lion's paw, and the lion was forever grateful to that wee, little mouse that he thought could never help him.  That little mouse did show the lion what he could do, and they were forever friends.&#13;
&#13;
Carl Fredericks:&#13;
The lion and the monkey was Marshall's first attempt and he did cast a maquette. But a dear Scandinavian lady he knew due to his Scandinavian work and who lived locally reminded him that there was a fable that the kids learned in school about the lion and the mouse. So he changed it and won the commission for the Eastland Mall project. She often visited the studio and would tell me this story. </text>
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                <text>The Lion and Mouse, 1957&#13;
Plaster original&#13;
&#13;
Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
1991.002&#13;
&#13;
Fredericks stated that this sculpture illustrates the well known  Aesop Fable of "The Lion and the Mouse." The mouse, whose life  was spared by the lion, helps that same lion to escape a horrible fate. A fitting moral to the story is that kindness is seldom thrown away, be it given to the mightiest, lowliest, or smallest of creatures. Fredericks rendition illustrates the conclusion of the story in which the lion comes to friendly terms with the mouse.&#13;
&#13;
The J. L. Hudson Company commissioned this sculpture for Eastland Center in Harper Woods, Michigan. Like many of Fredericks'  sculptures, he designed it specifically for children. Both  animals are humanized with friendly facial expressions. The  lion's reclining position and his crossed legs are very  human-like, yet his huge round head is stylized with uniformly  coiled ringlets and his knees are stylized and abstracted. These artistic intentions make the king of the jungle appealing to  children and adults alike.</text>
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