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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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                <text>Drawing, American--20th century.&#13;
Figure drawing.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Gruen, Victor, 1903-&#13;
Shopping malls--United States.</text>
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&#13;
The Boy and Bear was commissioned by the J. L. Hudson Company for architect Victor Gruenâ€™s Northland Shopping Center in Southfield, Michigan; at the time, Northland was only the second open-air pedestrian shopping mall in the United States.  The bear is carved in limestone and the boy is cast in bronze and gold-plated.  The Boy and Bear is located just outside one of the entrances to Macyâ€™s, formerly Hudsonâ€™s department store.  Three years after Fredericks started the sculpture, The Boy and Bear was dedicated in 1954.  In a 1981 interview with the Detroit News art critic Joy Colby, Fredericks said, â€œPeople donâ€™t like to go shopping in just a cement building, you know; they really donâ€™t.  If it has something that appeals to their eye and is more friendly and warm and maybe has a little fun connected with it I think they enjoy it more.â€   &#13;
&#13;
While there is no documented correlation between Rudyard Kiplingâ€™s boy (Mowgli) and bear (Baloo) in his famous novel The Jungle Book (1894) and Fredericksâ€™ The Boy and Bear, most note great similarities.&#13;
&#13;
Fredericks love for children is clearly at the heart of this sculpture.  The bearâ€™s enormous body compared to the frail boy reminds the viewer of manâ€™s special bond with animals.  The bear with his massive head lowered, ears upright, brow furrowed and gentle smile reaches out to the boy and each viewer in friendship, and appears to offer to lend an ear to listen.  Fredericks had created a special relationship with The Boy and Bear, but has also left open the possibility of relationships yet to come.&#13;
&#13;
The Boy and Bear was later cast in bronze and donated to Saginaw Valley State University where it resides today in the Marshall M. Fredericks Sculpture Museumâ€™s sculpture garden.  </text>
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Series VIII, Cabinet 1 Drawer 2 Folder 15</text>
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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;
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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Drawing, American--20th century.&#13;
Fredericks, Marshall M., 1908-1998</text>
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&#13;
Fredericks created this sculpture at the request of George Gough Booth, the founder of Cranbrook Educational Community, who wanted a â€œThinkerâ€ for the steps of the Cranbrook Art Museum similar to Auguste Rodinâ€™s renowned Thinker, a cast of which is on the steps of the Detroit Institute of Arts.&#13;
&#13;
Fredericksâ€™ replacement of Rodinâ€™s heroic male nude with a bemused chimpanzee stroking his chin is a thought provoking variation on the earlier statue. Fredericks' choice of a chimpanzee reveals his fondness for primates.&#13;
&#13;
Fredericks indicated that he â€œtried different human figures for about a month, but couldnâ€™t come up with the right Thinker. Mr. Booth came to my studio and saw this chimpanzee I was carving in my spare time and he said, â€˜This is my Thinker. Heâ€™s probably thinking far more interesting thoughts than we are.â€™â€</text>
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Series VIII, Cabinet 2 Drawer 15 Folder 1</text>
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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;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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Fredericks, Marshall M., 1908-1998</text>
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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.</text>
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Series VIII, Cabinet 2 Drawer 13 Folder 2</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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Figure drawing.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Harry S. Truman Federal Building (Washington, D.C.)</text>
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&#13;
This fountain celebrates the nation's first exploration of outer space. According to Fredericks, the sculpture "represents this age of great interest, exploration and discovery in outer space...[and] the immensity, order and mystery of the universe.â€&#13;
&#13;
The monumental central figure suggests a superhuman mythological being. Seated upon a ten-foot sphere, covered in a pattern of bright-star constellations, the figure holds two planets that he is sending off into space. The dynamic spiral orbit-form swirling around the sphere represents the speed and perpetual motion of space. Play of the water from numerous star-shaped sprays increases the feeling of movement.&#13;
&#13;
The full-scale casting of this sculpture is located in the South Court of the United States State Department Building in Washington, D.C.&#13;
&#13;
The fountain is also known as: "Man and the Expanding Universe"</text>
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Series VIII, Cabinet 1 Drawer 6 Folder 5</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;
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&#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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Figure drawing.&#13;
Fredericks, Marshall M., 1908-1998&#13;
Jesus Christ--Crucifixion--Art.</text>
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In 1946, the archdiocese of Grand Rapids, Michigan opened a new church in the Indian River area of northern Michigan. Although the local congregation consisted of only twelve families, the Diocese recognized the need to service the large number of Catholics who vacationed in the region during the summer months.  Following the appointment of Fr. Charles Brophy as the first pastor, plans began to take shape for a shrine that would attract tourists from throughout the country. Inspired by the churchâ€™s woodland setting, Fr. Brophy envisioned an indoor church for residents and an open-air church for summer visitors. &#13;
&#13;
The archdiocese commissioned prominent architect Alden B. Dow to design the church. At the longhouse-style churchâ€™s dedication in 1950, Fr. Brophy announced plans for a Calvary Hill with a large wooden cross. In order to attract the attention of passing tourists, Fr. Brophy decided to erect the worldâ€™s largest crucifix.&#13;
&#13;
After a two year delay, the archdiocese granted permission for Fr. Brophy to proceed with his plans and construction of the crossâ€™ foundation at the rear of the property commenced. A printing plant owner from Indianapolis donated the enormous redwood cross in memory of his late wife. Erected in 1954, the cross stands fifty-five feet high atop a hill overlooking Burt Lake. &#13;
&#13;
Considered by Fredericks to be â€œhis greatest challenge,â€ the figure of Christ took him four years to complete. Funded by contributions from over 10,000 summer visitors to the shrine, the twenty-eight foot corpus symbolizes a Christ on the cross who is still living. Fredericks chose to depict the figure without a crown of thorns or a spear wound in its side.  In this design, he â€œwanted to eliminate the suffering and agony for the observer and give the face an expression of great peace and strength.â€  One day, discouraged by the challenge and long days and nights at work on the face of Christ, Fredericks came upon a worker cleaning in the studio, on his knees in front of the clay form.  Fredericks knew then he was on the road to achieving his goal.&#13;
&#13;
Since its dedication in 1959, millions of pilgrims from around the world have traveled to Indian River, Michigan to visit the shrine and see Fredericksâ€™ work.</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;
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&#13;
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Ephemera:(8 linear feet) containing portfolio postcards, posters, etc.</text>
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In 1945, a group of University of Michigan alumni petitioned the Board of Regents to rename Michigan Stadium in honor of legendary former football coach Fielding H. Yost.  Although Yost played an integral role in the stadiumâ€™s design and construction, he discouraged the effort. Instead he suggested erecting a memorial at the stadium dedicated to the universityâ€™s war victims. &#13;
&#13;
Numerous artists submitted proposals to the memorial committee, but Fredericksâ€™ proposal best captured the spirit of Yostâ€™s request. The proposed sculpture would depict a â€œmonumental American eagle grasping in its talons the laurel wreath symbolizing the eternal protection of the honored memory of the war dead and â€¦through dynamic forms and outlines represent the strength, courage and vitality of the young men and women to whom the memorial is dedicated.â€&#13;
&#13;
At the memorialâ€™s unveiling in 1950, University of Michigan President Alexander G. Ruthven spoke of the monumentâ€™s significance, saying â€œIt will always stand as evidence of our indebtedness to the gold star sons and daughters of Michigan who died that we might live as free men and women.â€ &#13;
&#13;
A gift from the Board in Control of Intercollegiate Athletics, the memorial stands on the lawn near the southwest corner of the Ann Arbor, Michigan stadium. Cast in bronze, the one and a half ton eagle has a wingspan of twenty-four feet and rests on a granite base inscribed with the phrase â€œIn memory of the men and women of the University of Michigan who gave their lives for their country.â€&#13;
&#13;
Fredericks cast several small-scale versions of American Eagle for cultural, educational and religious institutions throughout Michigan. Despite a reduction in size, the sculpture retains a sense of mass and power.</text>
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Series VIII, Cabinet 1 Drawer 1 Folder 6</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;
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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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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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&#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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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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&#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;
Financial (30 linear feet) document the day-to-day operations of running a studio&#13;
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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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        <name>Pencil</name>
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        <name>Steno Pad Paper</name>
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      <tag tagId="144">
        <name>The Friendly Dragon</name>
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                    <text>a:1:{s:16:"copyright_notice";s:79:"Use of this image requires permission from the Marshall M. Fredericks Archives.";}</text>
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                    <text>copyright_notice:Use of this image requires permission from the Marshall M. Fredericks Archives.
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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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              <text>Ink drawing</text>
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          <name>Physical Dimensions</name>
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            <description>A name given to the resource</description>
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                <text>Sketch for "Black Elk: Homage to the Great Spirit"</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Black Elk, 1863-1950.&#13;
Drawing, American--20th century.&#13;
Figure drawing.&#13;
Fredericks, Marshall M., 1908-1998</text>
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            <name>Description</name>
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                <text>Ink on paper&#13;
8" x 4.75"&#13;
&#13;
Originally created to support the Tower of the Four Winds, Black Elk Neihardt Park, Blair, Nebraska. The Peace Pipe points from the Heart of Man to the Heart of God. Black Elk prays through tears, "Oh, make my people live."</text>
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            <name>Creator</name>
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                <text>Fredericks, Marshall M., 1908-1998</text>
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                <text>Marshall M. Fredericks Papers&#13;
Series VIII, Cabinet 1 Drawer 2 Folder 12</text>
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            <name>Rights</name>
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                <text>Use of this image requires permission from the Marshall M. Fredericks Archives.</text>
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                <text>VIII-01-02-12</text>
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            <name>Language</name>
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                <text>eng.</text>
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            <name>Identifier</name>
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                <text>VIII.1998.001.479</text>
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