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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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Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
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                <text>In this sculpture, a large brown and small black bear sit back to back in quiet thought. Although in nature these two animals are enemies, Fredericks portrays the two in a gentle humanistic way, stressing tolerance.  &#13;
&#13;
Notice the differences in the bearsâ€™ ears and noses.  Also if you look closely at the small bearâ€™s knees you will notice a tear drop sculpting style, known as one of Fredericksâ€™ trademarks. &#13;
&#13;
Carson Pirie Scott &amp; Company originally commissioned Two Bears for Lincoln Square, a shopping center in Urbana, Illinois.&#13;
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Series V, Box 23 Folder 4&#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;
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;
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&#13;
Notice the differences in the bearsâ€™ ears and noses.  Also if you look closely at the small bearâ€™s knees you will notice a tear drop sculpting style, known as one of Fredericksâ€™ trademarks. &#13;
&#13;
Carson Pirie Scott &amp; Company originally commissioned Two Bears for Lincoln Square, a shopping center in Urbana, Illinois.&#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;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
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                <text>Side view of the plaster model of "Christ on the Cross" at K &amp; M Machine - Fabricating Inc.</text>
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Fredericks, Marshall M., 1908-1998&#13;
Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum&#13;
Sculpture--Conservation and restoration--United States.&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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Series V, Box 25 Folder 5&#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;
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Saginaw Valley State University. Marshall M. Fredericks Sculpture Museum&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
&#13;
Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#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;
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Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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&#13;
In keeping with a long tradition in western art, the sculptor personified time with figures representing night and day.  Night possesses long, smooth, graceful curves.  Night floats upon a swan in flight, holding a small bird in her hand.&#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;
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&#13;
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                <text>Mrs. Dorothy (Honey) Arbury studied with Fredericks when she attended Kingswood School at the Cranbrook Educational Community in Bloomfield Hills, Michigan, in the 1930s. She met him through her uncle, Alden B. Dow, a prominent architect in Midland, Michigan, with whom Fredericks worked on architectural sculpture projects. In 1963, Mrs. Arbury was on the founding Board of Control of Saginaw Valley College, which later became Saginaw Valley State University (SVSU). She remained active on that board and on the SVSU Foundation Board into the 1990s. Mrs. Arbury and her husband, Ned Arbury, and Fredericks and his wife, Rosalind Fredericks, formed the idea of a permanent exhibit of Fredericks' work adjacent to the university's then-new facility for the art, music and theater departments. SVSU and the Arburys worked together toward an agreement to have the Marshall M. Fredericks Sculpture Gallery and Sculpture Garden built adjacent to the art department. &#13;
&#13;
The gallery opened to the public in the Arbury Fine Arts Center in May 1988. About half of the $7.2 million of private money raised for the building went to design and construction, restoration, transportation and installation. Fredericks oversaw installation of the more than 200 mostly plaster models in the permanent exhibit gallery. &#13;
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Through the years, private donors have made it possible for some of the bronze casts to be made for the Sculpture Garden. Fredericks gave the balance of the collection in 1994. After his death in 1998, the gallery received his remaining tools, equipment, archives, architectural site models, sculptures and more. With the growth of the collection, the Board of Advisors elevated the gallery to museum status in 1999. In October 2003, the $2.5 million Phase II Capital Campaign expansion became a reality, nearly doubling the museum's size. The addition includes the Sculptor's Studio, a classroom, archives vault, research reading room, two temporary exhibition galleries and a gift shop.&#13;
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This fountain was also proposed for Northern Michigan University, c. 1989. Also unrealized.&#13;
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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;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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              <text>Sepia print</text>
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                <text>Side view of the small scale plaster model of "Henry Ford" for the "Henry Ford Memorial"</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="451513">
                <text>Marshall M. Fredericks Papers.&#13;
Series II, Box 13, Folder 23</text>
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            <name>Date</name>
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                <text>undated</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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                <text>II-13-23</text>
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                <text>Artists' studios--United States.&#13;
Figure sculpture, American--20th century.&#13;
Ford, Henry, 1863-1947.&#13;
Fredericks, Marshall M., 1908-1998</text>
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            <description>An account of the resource</description>
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                <text>The idea to create a memorial honoring Henry Ford took root in 1948 when the Dearborn, Michigan Chamber of Commerce conducted a poll of Dearborn residents and learned that most of the populace favored such a proposal. The Dearborn Chamber of Commerce initiated a fundraising drive to finance a life-size full-length bronze of the auto magnate and commissioned Marshall Fredericks to design the sculpture.&#13;
&#13;
Fredericksâ€™ original model for the memorial consisted of a sixty-year-old Henry Ford standing with one hand on the shoulder of a teenage boy and the other hand pointing towards the future. Although approved by the Ford family, Fredericks never executed the design, as fundraising proved to be difficult, causing the project to be put on hold.&#13;
&#13;
In 1967, almost twenty years after the original proposal, the Inter-Service Club Council of Dearborn revived the project, calling upon residents of the city to raise funds for the monument through public subscription. Unfortunately many Dearborn residents thought that the teenage boy in the model was Edsel Ford, Henry Fordâ€™s son, and not a representation of Henry Ford in his youth, as the artist intended. Although a historically inaccurate assumption, the confusion persisted, causing the Henry Ford Statue Committee to scrap the original concept in favor of a new design.&#13;
&#13;
Located at the Henry Ford Centennial Library, the final memorial is a life-size bronze figure of Henry Ford in his familiar pose, standing with his hands in his pockets, situated at the center of a serpentine marble wall. At the memorialâ€™s unveiling in 1975, Fredericks remarked â€œThis pose, the thoughtful look, represents him in the best way. I like to see him thinking.â€ Intended to tell the story of Fordâ€™s life, bronze reliefs depicting his early childhood, adolescence and the growth of the Ford Empire accompany the central figure. The reverse side of the memorial features three engraved quotations attributed to this legendary innovator. </text>
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                <text>Unidentified photographer</text>
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        <name>Henry Ford Memorial</name>
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        <name>II1323</name>
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        <src>https://omeka2.svsu.edu/files/original/side-view-of-the-small-scale-model-of-night-from-night-and-day-fountain_936d172efd.tif</src>
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                  <text>Marshall M. Fredericks Archives Collection</text>
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              <description>An account of the resource</description>
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                  <text>The Marshall M. Fredericks Collection consists of 200 linear feet of materials, including:&#13;
&#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;
Books and Magazines: (16 linear feet) including books and magazines which do not directly relate to Fredericks or his work&#13;
&#13;
Drawings: (10 linear feet) including life figure drawings, sculpture project sketches, presentation drawings, working drawings, etc.&#13;
&#13;
Awards/Medals/Memorabilia: (16 linear feet) including awards and medals given to Fredericks as well as medals he designed&#13;
&#13;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
&#13;
Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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          <description>If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <elementText elementTextId="320110">
              <text>Black and white print</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image.</description>
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            <elementText elementTextId="320111">
              <text>3.25" x 4.25"</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Side view of the small-scale model of "Night" from "Night and Day Fountain"</text>
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          <element elementId="49">
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            <description>The topic of the resource</description>
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                <text>Animal sculpture--20th century. &#13;
Artists' studios--United States.&#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#13;
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="320102">
                <text>The Henry J. McMorran Auditorium in Port Huron, Michigan commissioned the Night and Day Fountain as well as a gold anodized aluminum Sculptured Clock for the building.  Completed two years before the fountainâ€™s installation, Fredericks conceived the sculptures and clock as a unified design concept. &#13;
&#13;
In keeping with a long tradition in western art, the sculptor personified time with figures representing night and day.  Night possesses long, smooth, graceful curves.  Night floats upon a swan in flight, holding a small bird in her hand.&#13;
&#13;
In comparison to Night, Day is more angular with more pronounced muscles and veins in his arms and hands.  Day rests upon an otter which is hunting in a school of Northern pike.&#13;
</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="320103">
                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 16 Folder 9&#13;
</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="320104">
                <text>n.d.</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="320105">
                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
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              <elementText elementTextId="320106">
                <text>V-16-09&#13;
</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="320107">
                <text>image/jpeg</text>
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            </elementTextContainer>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="320108">
                <text>Image</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="320109">
                <text>Royal Oak (Mich.)</text>
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        <name>Figure</name>
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        <name>Figure sculpture</name>
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        <name>Henry J. McMorran Auditorium</name>
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      <tag tagId="1781">
        <name>Model</name>
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      <tag tagId="190">
        <name>Night</name>
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        <name>Night and Day</name>
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      <tag tagId="188">
        <name>Night and Day Fountain</name>
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      <tag tagId="1786">
        <name>Plasteline</name>
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        <name>Plasteline  Model</name>
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        <name>Sculpture</name>
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