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&#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;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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 &#13;
After Fredericks received the commission he reportedly traveled through Kentucky to get the essence of the â€˜spirit of Kentuckyâ€™ for himself. Fredericksâ€™ intent for the project was for, â€œchildren to be able to understand and enjoy, and see something different about it each time they saw it again.â€  &#13;
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Cast in bronze and placed on a black granite surface above the tall recessed entrance, the free-form shapes and angular composition use the height of the area to point toward the dream of the settlers.  &#13;
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&#13;
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&#13;
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&#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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 &#13;
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 &#13;
Cast in bronze and placed on a black granite surface above the tall recessed entrance, the free-form shapes and angular composition use the height of the area to point toward the dream of the settlers.  &#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;
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&#13;
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&#13;
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&#13;
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&#13;
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&#13;
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&#13;
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&#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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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;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
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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Series V, Box 25 Folder 2&#13;
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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;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>View of the plumbing for "Nordic Swan and the Ugly Duckling" (Hans Christian Andersen Fountain) in Heritage Park</text>
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                <text>Animal sculpture--20th century.&#13;
Bronze sculpture, American--20th century.&#13;
Fountains.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
Public sculpture, American &#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;
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                <text>Marshall M. Fredericks Papers&#13;
Series V, Box 17 Folder 7&#13;
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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                <text>Greenville (Mich.)</text>
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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;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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                <text>View of the pool at an unidentified private residence with "Flying Wild Geese" </text>
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Bronze sculpture, American--20th century.&#13;
Fredericks, Marshall M., 1908-1998&#13;
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                <text>Atop a wooded hill overlooking a small pond in Detroitâ€™s Elmwood Cemetery stands a memorial to the late attorney turned industrialist Alvan Macauley. Commissioned by his wife and son soon after his death in 1952, the sculpture reflects Macauleyâ€™s love of nature and wildlife. On a simple granite pedestal sit two bronze geese as they take off into flight. Beneath their bodies, the tips of swamp rushes bend under the weight of the birdsâ€™ wings.&#13;
&#13;
According to the sculptor, waterfowl are a symbol of eternal life and this sculpture symbolizes â€œthe ascendency of the soul no longer imprisoned by the body.â€ It is a fitting memorial to a man said to have deeply appreciated nature and â€œpeople who worked with their hands.â€&#13;
&#13;
In addition to its original commission by the Macauley family, Flying Wild Geese also serves as a memorial to two former faculty members at Alma College. Commissioned by an Alma College alumni committee, the sculpture is set on a glacial sandstone pedestal in the collegeâ€™s Monteith Library mall. At the sculptureâ€™s dedication in 1971, Fredericks stated that â€œthe birds in flight express freedom of inquiry and symbolized Michigan and its environment.â€&#13;
&#13;
Found throughout the United States and the world, Flying Wild Geese is one of Marshall Fredericksâ€™ most popular sculptures. Many corporations, universities, cultural institutions and private individuals have chosen one of these sculptures for their collections. &#13;
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Series V, Box 11 Folder 20&#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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Detroit (Mich.)--Buildings, structures, etc.&#13;
Figure sculpture, American--20th century. &#13;
Fredericks, Marshall M., 1908-1998&#13;
Outdoor sculpture--United States. &#13;
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Stone carving.&#13;
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Series V, Box 24 Folder 3&#13;
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&#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;
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;
Video/Films/Audio: (13 linear feet) including media relating to Fredericksâ€™ work, civic interests, and life&#13;
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                <text>The erection of The Spirit of Detroit at the City-County Building (now Coleman A. Young Municipal Center) in 1958 marked the formal completion of the structure whose construction began in 1951. Located in front of a white marble wall at the entrance to the building, the sculpture depicts the cultural and religious spirit of the Detroit community.   At the time, The Spirit of Detroit was said to be the largest sculpture cast in Europe since the Renaissance period (1400 â€“ 1600).  It stands sixteen feet high and twenty-two feet across from fingertip to fingertip.&#13;
&#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;
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Series V, Box 20 Folder 8&#13;
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