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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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&#13;
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&#13;
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&#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;
&#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;
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;
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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>"Wings of the Morning" (Edgar B. Flint Memorial) at the foundry prior to patinization - side view</text>
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                <text>The flying swans represent the atmosphere of the unfolding morning. Fredericks often used swans in his sculptures to symbolize eternal life. The hand of God enfolds the spirit of man as he takes the wings of the morning. The upward flowing contours communicate the optimistic spiritual content of the sculpture.  &#13;
 &#13;
Fredericks was inspired by Psalm 139:9-10: &#13;
&#13;
"If I take the wings of the morning, and dwell in the uttermost parts of the sea; even there shall Thy hand lead me, and Thy right hand shall hold me."  &#13;
&#13;
These verses are inscribed on the pedestal of the bronze cast at Kirk in the Hills Presbyterian Church, Bloomfield Hills, Michigan. &#13;
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Series V, Box 24 Folder 13&#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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Bronze sculpture, American--20th century.&#13;
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 &#13;
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&#13;
"If I take the wings of the morning, and dwell in the uttermost parts of the sea; even there shall Thy hand lead me, and Thy right hand shall hold me."  &#13;
&#13;
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Series V, Box 24 Folder 15</text>
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