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              <text>From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated September 5, 1991&#13;
&#13;
"RE: Works at Cranbrook Academy of Art Museum:&#13;
Two Sisters/Mother and Child&#13;
Childhood Friends&#13;
Torso of a Dancer&#13;
Persephone (Bacchante)&#13;
&#13;
David Rau also showed me a small-scale Childhood Friends relief which is cast in bronze and patinated green. On the label it was dated c. 1950. Our records from Cranbrook (?) indicate it is from 1958 as is the plaster original in the gallery. This small-scale version looked like an early sketch model as the surface was not smooth and the details were not defined. I didn't measure it but it looked to be about 12 x 10 inches. Since it appears to be a sketch model it could be from earlier than 1958 but I would like to verify this date."&#13;
&#13;
&#13;
&#13;
May 16, 1995 a small Childhood Friends was auctioned at Frank Boos Auction House in Birmingham, MI for about $1700.  Presage estimate was $1200 - $1600.  Mr. Fredericks signed the work before the auction. It was an early work in bronze and in need of cleaning. - Michale Panhorst</text>
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                <text>CHILDHOOD FRIENDS, 1958&#13;
	Plaster original painted green&#13;
	&#13;
	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
	1991.111&#13;
	&#13;
This playful relief created with children in mind, infuses fantasy with whimsey and warmth. It is located on the facade of the Jefferson Elementary School in Wyandotte, Michigan. The plaster model was painted green to mimic the patina on the bronze; plus Fredericks didn't want everything in the Museum to be white.&#13;
&#13;
In 1993, the six-foot sculpture at the school was restored by a conservation firm through the efforts of the parent-teacher organization. Fredericks, then age 85, visited the class and explained the lost wax process for creating sculptures. The children wrote stories about the sculpture and reports about their understanding of creating sculptures.&#13;
&#13;
This sculpture was featured, along with the sketches, on the September 1954 issue of American Artist. Fredericks used two of his children as models for the figures. In a transcript copy found in the Museum archives it states:&#13;
"The two children sitting close to each other were seated against a friendly bear, who was surrounding them protectively as if curious (about) what kind of cubs they might bye(His designs) are fresh and appealing, without being sentimental and not at all like the work of anyone else."</text>
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                <text>&lt;a href="https://www.flickr.com/photos/marshallfredericks/6350673510/in/set-72157628015891879" target="_blank"&gt;Childhood Friends, Alden B. Dow Home and Studio, Midland, MI&lt;/a&gt;</text>
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              <text>Bronze was cast by Bedi-Rassy Art Foundry&#13;
&#13;
&#13;
From Jennifer Lentz (Collection Documentation Intern 1991-1992)&#13;
Memo dated April 3, 1992&#13;
&#13;
"RE: Indian and Wild Swans&#13;
&#13;
The cast on the exterior of the Milwaukee Public Museum is mounted on white Georgian marble. It was cast by the Bedi-Rassy Art Foundry."&#13;
&#13;
MF archives:&#13;
Sculpture located at Milwaukee Public Museum on faÃ§ade of building in bronze.&#13;
One swan appears in our museum because of space constrictions but there are four swans in formation.&#13;
&#13;
The actual title according to Fredericks is "Algonquian Indian and (Whistling) Swans". Fredericks states that this work symbolizes the freedom and beauty of nature in the Great Lakes Area.&#13;
&#13;
Image symbols:&#13;
Algonquian:  North American Native American tribe formerly found along the Ottawa River and Northern tributaries of the St. Lawrence.&#13;
Swan (whistling): Native to America, its scientific name is Cyghus Columbianus. Folklore states that Native Americans would not eat the flesh of the swan because it was destined to carry the soul of the dead into eternity.&#13;
Four:  The number four in Native American culture symbolizes balance and harmony.&#13;
&#13;
	Molly Barth copy:&#13;
	The next relief on the wall, the next plaster relief is titled, "The Milwaukee Indian and Four Wild Swans," and they're located on the Milwaukee Public Museum, The Natural History Museum, and of course, we just have the one swan here, but they span an area of 36 feet.  These plaster models are the full size of the bronzes that are located on the facade of the building there.  You'll notice that the Indian isn't shooting an arrow at the swan, his bow is turned the opposite direction.  To the Indians, the swan is the symbol of eternal life, they believe when they die, their spirit flies up on the back of the swan to the Great Spirit, so you really get the feeling, the way the hands are outreached, that the swan is a spiritual symbol to the Indian.&#13;
&#13;
	From Archives, written by Melissa Ford:&#13;
Marshall Fredericks frequently used the figure of a swan in his sculptures. Many cultures feature swans in their mythology and folklore. Swans have come to symbolize fidelity and purity and are associated with music, poetry and divination. Fredericks often employed the swan as a symbol of resurrection and eternal life in his sculptures. Wings of the Morning, Freedom of the Human Spirit, and Indian and Wilds Swans as well as several other works feature swans.&#13;
	It seems that Fredericks' possessed a deep love and appreciation for these beautiful and graceful creatures. Besides sculpting swans, Fredericks played an integral role in a swan nesting project during the 1960s. As a civic gesture to his hometown of Birmingham, Michigan, Fredericks presented two pairs of swans to the city. The Australian Black and White Mute swans made their home in Quarton Lake located in the heart of the city. Unfortunately, several of the birds did not fare well in their new surroundings had to be replaced by the city of Birmingham.&#13;
	During the 1970s, in order to protect the swans and encourage nesting, the parks department constructed a bird sanctuary in the middle of the lake. This tiny floating island, constructed of several government surplus "life rafts", was approximately thirty-five feet in diameter and covered in a vegetative screen of wild grasses and rushes. Each winter, the swans would be removed from the lake and provided with shelter by the parks department until spring when they would return to the water.  The swans would then spend the rest of spring, summer and early fall on Quarton Lake being enjoyed by passing residents and visitors. &#13;
	As Fredericks' home in Birmingham overlooked Quarton Lake, it is quite plausible that one of these birds served as a real life inspiration for the swans often found in Marshall Fredericks' work. </text>
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Animal sculpture--20th century</text>
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                <text>INDIAN AND WILD SWANS, 1964&#13;
	Maquette&#13;
	&#13;
	Gift of Mr. and Mrs. Marshall M. Fredericks&#13;
	1994.068&#13;
&#13;
This presentation model seen in the case was made in 1962, for the building committee of the Milwaukee Public Museum shows Fredericks' design for a monumental Indian and four wild swans commissioned for the facade of the new museum building. The small maquette illustrates the whole composition. The large Indian provides a more detailed representation of the main figure. The forms and textures of the model were not reproduced precisely in the full-size sculpture, as can be seen by comparison with the plaster of the enlarged Indian on the east wall of the Museum, but the presentation model served its purpose of communicating the preliminary design to the architects and owners of the building. The sculpture group was installed in December 1963, but the dedication didn't occur until 1964.&#13;
&#13;
Fredericks stated of the design, that the swans, "complement the simple surface (of the wall) with just the right dignified accentâ€¦(they are) stylized, artistic representations of the natural swan (having worked) with numerous studies from live specimens."&#13;
&#13;
The actual title according to Fredericks is "Algonquian Indian and (Whistling) Swans". Fredericks states that this work symbolizes the freedom and beauty of nature in the Great Lakes area.&#13;
&#13;
Each of the four swans in the completed bronze commission weighs about Â½ ton and the Indian weighs just over a ton. Only one swan appears in the museum because of space constrictions.</text>
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                <text>&lt;a href="https://www.flickr.com/photos/mrbula/67852625/in/gallery-marshallfredericks-72157628237586313/" target="_blank"&gt;Milwaukee Public Museum&lt;/a&gt;</text>
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&#13;
&#13;
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Memo dated April 3, 1992&#13;
&#13;
"RE: Christ the Good Shepherd&#13;
&#13;
Molly told me the cast at Central United Methodist Church in Pontiac was cast by the Racine Foundry and Manufacturing company in Detroit."&#13;
&#13;
&#13;
FROM  http://www.waterfowl.or/&#13;
One of the more outstanding physical features of the current Church is the relief sculpture created for Central United Methodist by world renowned artist, Marshall Fredericks. The sculpture, entitled Thea Good Shepherd -The Child and the Lamboy is affixed to the front of the building and formed in gold anodized cast aluminum. The sculpture was commissioned especially for Central United Methodist Church at a cost of $20,000 in 1964.</text>
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	1991.113&#13;
&#13;
This gold anodized, cast aluminum sculpture is installed on the front of the building of the Central United Methodist Church located at 3882 Highland Road in Waterford, Michigan.&#13;
&#13;
The idea for this sculpture began during the summer of 1961 during a conversation with the minister of the church, Milton H. Bank. Fredericks worked directly with Elbert M. Wilmot, the representative from the church with respect to the proposal for this project.&#13;
&#13;
The aluminum was cast at Racine Foundry and Manufacturing Co. and the anodizing was completed at Allied Enterprises, Inc., both of Detroit, Michigan.&#13;
&#13;
The sculpture was completed and installed by winter 1963.&#13;
&#13;
The church adopted the motto, "The Church of the Good Shepherd" reflecting how the congregation has embraced the iconic nature of the story of this sculpture.</text>
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Fredericks created the clay model for these casts in the 1930's  when his work was characterized by a more naturalistic treatment  of surface textures than during his earlier years.  The sketchy  finish of these reclining animals evokes the roughness of their  woolen coats.  Shadows in the crevices contrast with highlights  on the upper surfaces, thus animating the sculptural forms.&#13;
&#13;
Close comparison of the two sculptures reveals a difference in  the surface details.  The sculptor's treatment of the fur at the  animals ankles is more precise on the Lamb on the left, and  several letters of the sculptor's signature are missing on the  Lamb on the right.  This may be the result of deterioration of  the rubber molds used to make the wax models for these lost wax  castings.  According to the artist, the bronze on the left was  cast in the 1930's by Amos Mazzolini at the Antiock College in  Yellow Springs, Ohio.  The other cast was probably made about  1988.  Like many of Fredericks' bronzes, neither have foundry  marks.&#13;
&#13;
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It's sort o a great big smooth frog and it has great big round polished gold eyes that are half a sphere and they're just like mirrors so when you look in them you can see yourself all distorted like you do in a circus. So every time you go there you see all this. It worked out fine. So I did three, that's all. I did another one but it was of a dragon, I called it The Friendly Dragon. The architect said he didn't think he would use it because he said the children would be frightened of a dragon. But children love dragons and it's not an ugly dragon, it's a friendly dragon with a big smile and it's cozy and you can sit on its back on those humps on its back. It's just that he never was a child, I guess, so he doesn't know. So they put up a thing, a structural beam thing. I've never seen a child near it so maybe they didn't get the audience that they wanted really. I think maybe I'll do that Dragon. I like dragons anyway, they're special.&#13;
&#13;
JC&#13;
Why are dragons special to you?&#13;
&#13;
MF&#13;
Well, Rozzie- one time I guess it was when I was sixty, Rozzie and the children got Earl Krentzin to make a  walking stick for me with a dragon on top, which I love. And because she said that all these things, like all these big commissions which, you know, could kill you almost believe me the problems, Joy, are so manifold you can't believe in a thing like that Cleveland fountainâ€¦ And to do it all alone, I mean without a big staff or anything, or if I were some company that does it for you like they do today, you know, their sculpture things are manufactured things, the things I do are sculpture things. And she said that all these things have been dragons that I've fought against, you know. And in a way that's really true, they been sort of dragons that you have to conquer and slay one way or another.</text>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Sculpture Museum</text>
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&#13;
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        <name>Sculpture</name>
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