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&#13;
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&#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;
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&#13;
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&#13;
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&#13;
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Figure sculpture, American--20th century. &#13;
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Series V, Box 10 Folder 19&#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;
A 145-feet long filigreed metal mural, The Ford Empire, swept almost the entire length of the curved outer wall. On the balcony walls at either end of the foyer stood polished metal theatrical groupings of circus performers, musicians, harlequins, and dancers. Formed from literally thousands of pieces of copper, nickel, brass, stainless steel, and aluminum and plated with gold, zinc, and cadmium these pieces were hand-shaped, joined, plated, and polished. &#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;
A 145-feet long filigreed metal mural, The Ford Empire, swept almost the entire length of the curved outer wall. On the balcony walls at either end of the foyer stood polished metal theatrical groupings of circus performers, musicians, harlequins, and dancers. Formed from literally thousands of pieces of copper, nickel, brass, stainless steel, and aluminum and plated with gold, zinc, and cadmium these pieces were hand-shaped, joined, plated, and polished. &#13;
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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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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;
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Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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Fredericks, Marshall M., 1908-1998&#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. </text>
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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;
Clippings/Articles/Books: (28 linear feet) including media articles, journals, etc. about Fredericks and his work&#13;
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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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                <text>â€œI did â€¦ 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.â€ (Marshall Fredericks, from a 1981 interview with Joy Colby, The Detroit News art critic.) &#13;
&#13;
Throughout his long career, Fredericks often returned to his joyful and whimsical work that involved animals. â€œThe Friendly Dragon, cast twice in 1991, as a pair for the Meijer Gardens, Grand Rapids, Michigan, is a childâ€™s magical dream.  Like a Maurice Sendak illustration (popular author of Where the Wild Things Are), Fredericksâ€™ dragon presents a danger that has become approachable, a wild animal that has become as friendly as a pet.â€  (Marshall M. Fredericks, Sculptor, p. 14)  &#13;
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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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