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The Wilson Duff papers consist of textual records, photographs, negatives, slides, maps, audio recordings, compact disks and one video tape that relate to Duff's activities, correspondences, and publications as one of the foremost researchers in Northwest coast Indian history, culture and traditions. Also included in the fonds are records relating to Duff’s work as an Anthropology professor at the University of British Columbia, his advisory and curatorial consultancy work, committee membership and the exhibit Images: Stone: B.C.

Records in the Wilson Duff fonds have been organized into the following seventeen series:

Series 1: Wilson Duff’s student papers (1949-1950)
Series 2: Correspondence (195?-1975)
Series 3: Published and unpublished articles (195?-1972)
Series 4: Site visits (195-)
Series 5: Northwest Coast research (195?-197?)
Series 6: Teaching materials (1965-1976)
Series 7: Committee and consultancy records (1966-1976)
Series 8: Personal records (1965-1976)
Series 9: Photographic records (195?-1976)
Series 10: Maps (1955-1976)
Series 11: Images: Stone: B.C. (1975-1977)
Series 12: Research notes and materials (196?-1976)
Series 13: Tsimshian files (1915-1976, predominant 1957-1971)
Series 14: Recordings (1962-1976)
Series 15: Creative writing (195?  - 197?)
Series 16: Posthumous writings on Duff (197? – 199?)
Series 17: Ephemera (195? – 197?)

Fonds consists of records created by McLennan during his employment at the Museum. Fonds has been arranged into six series. The first series is titled Exhibits and relates to McLennan’s role first as a designer and photographer of exhibits and later as a curator of exhibits. Each exhibit is arranged into a separate subseries. Some of the photographs were taken by staff who worked for McLennan.

The second series is titled Projects and events. This series relates to McLennan’s role as photographer. He has recorded many events and documented projects through the use of photography. On some projects he also took on the role of designer.

The third series is titled Multiversity galleries and contains materials related to the creation of the Multiversity gallery space which occurred as part of the Partnership of Peoples Renewal project from 2007-2010.

The fourth series is titled general research and contains materials related to McLennan’s research in art on the northwest coast of British Columbia. The research series has been sub-divided into four sub-series: museums, archives and subject files, artist files, culture photographs and books.

The fifth series is titled Bill Reid and contains materials created and collected about Bill Reid and his work by McLennan.

The sixth series is titled Administration, public relations and correspondence and relates to McLennan’s administrative role at MOA, containing administrative records.

Additional digital records from this fonds are still being processed and will be added to this finding aid at a later date.

The fonds consists of black and white photographs and negatives. Subjects depicted include villages, boats and ferries, landscapes, bridges, logging clearcuts, and totem poles. Some of the photos appear to be of the Lions Gate Bridge, Stanley Park, and the Capilano Suspension Bridge.

Fonds consists of physical and intellectual descriptions of objects in the form of photographs and textual records that provide relevant background information and bibliographic citations relating to Koerner’s personal collections. Fonds consts of two series: W. and M. Koerner ceramics collection and Northwest Coast Indian art.

The fonds consists of the following series: source books by Kathie Roads (1970-1992); resignations (1976-1988); minutes (1976-1989); correspondence and memos (1975-1990); education and training (1976-1988); annual reports (1976-1989); photographs (1979-1982); subject files (1976-1991); and hours and attendance (1976-1989).

Fonds consists of photographs taken by Virginia Small’s husband, Harry M. Small during a trip to Japan between 1920 and 1922. Photos depict a variety of scenes from rural and urban life including craft and silk production, farming, fishing and ceremonial activities. In addition, the fonds includes photos, both posed and candid, of various individuals including members of the traveling party, as well as photos of landscapes and architecture.
Some photos are marked with the subject, date and location on the back with pencil.

Fonds consists of seventy-three slides of New Guinea and includes images of markets, buildings, local inhabitants, and landscapes in and around Lae, Goroka, Port Moresby, and other unidentified locations.

This fonds consists of 201 photographs taken by Virginia Kehoe of various art created by Douglas Cranmer. The photographs include large scale totem pole and canoe carving projects, and smaller scale masks, carvings and artwork projects. There are also several photographs of events attended and photographed by Virginia Kehoe.

Fonds consists of theatre programs from Victoria, opera clippings, photographs of the Chinese Carnival in 1936, a copy of the Chinese Times, and Yip’s reminiscences of the establishment of The Chinese Canadian Times in Vancouver and the Chinese Opera in Victoria.

FILE LIST:
MAN 1997-007-001 : Chinese Times, 1936, article on Chinese Times, Willie Le[-]o n.d.

MAN 1997-007-002 : Cantonese Opera clippings, n.d.

MAN 1997-007-003 : Six photographs of Chinese Carnival, Vancouver, 1936

MAN 1997-007-004 : Theatre program from Victoria, B.C., 1923

MAN 1997-007-005 : Theatre program from Victoria, B.C., with poetry on back written by Yip’s father, 1930

Fonds consists of photographs that mainly document bombings in Shanghai by military forces from Japan in 1937. It is likely that the photographs of two bombing incidents were taken when Victor was a member of the Shanghai Volunteer Corps. The images show the devastation caused by the bombings including streetscapes and details of blown out buildings and dismembered casualties. Other photographs at the beginning of the album are postcards of Shanghai in its heyday before the bombings. Textual documents are from the 1930s and 1940s and include registration cards, a birthday card, a passport as well as identification cards of Victor, Valentina and Elizabeth.

Fonds consists of records relating to the numerous culture and language projects that Powell and Jensen worked on since 1976. The communities with which they worked include:
• The Quileute of La Push
• The Kwakwaka’wakw of Alert Bay
• The Gitxsan of Kispiox, Gitanyow, and surrounding villages
• The Nuu-chah-nulth of Vancouver Island
• The Musqueam of Vancouver
• The Seton Lake St'at'imc (Lillooet) of Shalalth
• The Shuswap of Alkali Lake, Soda Creek, Dog Creek, Canim Lake, and Sugar Cane
• The Haisla of Kitamaat
• The Nisga’a of Gingolx (Kincolith) and New Aiyansh

Most of the projects had an end goal to produce a book, language education materials, or teacher training materials. Often the education materials incorporated cultural lessons throughout. The records created in the production of the books are varied and reflect the intrinsic connection between language, culture, and daily activities in the communities. Powell and Jensen were co-editors for nearly all of the language books and materials produced. Although some of the projects reflected in the records were done primarily by Powell or primarily by Jensen, the vast majority of the work involves collaboration between the two in some aspect. As Jensen and Powell immersed themselves in the communities they worked for, often their personal photographs and records are interspersed with those relating to their work. This community involvement enhanced their relationships with the people with whom they were working and allowed them to experience and participate in cultural activities as part of those communities. This close relationship is reflected in and is integral to their work. Jensen and Powell have two sons: Nels, born in 1978, and Luke, born in 1981. Their sons travelled with them to the communities in which they worked and lived, and on their work trips and sabbaticals. Nels and Luke are also present in many of the photographic records.

The records contain a mixture of research, field notes, administrative records, and publications at various stages, in addition to audio and visual records. Field notes, for the most part handwritten, and archival research into language and culture groups was undertaken by Powell, whilst the majority of the photography, found in a variety of formats, was done by Jensen. Manuscripts and final publications were a combined effort and are included at various stages. Administrative records, including grant proposals, are found throughout.

Fonds consists of 13 series of records. Series are arranged according to community and/or project, and include:

1. Quileute
2. Chinook Jargon
3. Kwak’wala (U’Mista)
4. Gitxsan
5. Nuu-chah-nulth
6. Salishan
7. Shuswap
8. Haisla
9. Tait
10. Northwest Coast artists
11. Northwest Coast groups
12. UBC totems/events
13. Publications

Fonds consists of nitrate negatives, copy negatives, prints and postcards of China and Japan, specifically of Hong Kong, Shanghai, Beijing (Peking), Yokohama and Nagasaki. These images were taken by Stuart Schofield during a geological survey expedition in 1923-24. In 1925, Mrs. Florence Schofield compiled the photographs into an album and provided comments for the photos from her memory of the trip.

An accrual to this fonds was discovered in the backlog. It is not known whether this accrual was part of the original accession. In adding this accrual, the case file was consulted and the photocopy of Dr. Schofield’s journal was discovered. This was added to the binder that contains the prints, negatives, and postcards.
Dr. Elizabeth Johnson was responsible for organizing this fonds and she has identified some places and people that were not originally identified by Mrs. Schofield. Her annotations appear in square brackets.

Accrual #2010-06 was added after Dr. Johnson’s organization. This included photographs and postcards. One postcard is dated 1969, but most appear to be ca. 1923-1924 like the original materials.

Fonds consists of photographic material created by Dr. Stephen Inglis and a series of twenty-four black and white prints depicting potters in a small community in India or images of fertility statues photographed by colleague Walter Huber. The colour negatives show local artisans and their works. The black and white photos mounted on cards were created between 1974 and 1977 and show Indian craftspeople, particularly Bengalis and Tamils. The images may have been created for the purpose of Dr. Inglis’s PhD research.

CAPTION LIST FOR PRINTS:
AC 2002-48-001 Siva murthi, Bastarnar
AC 2002-48-002 Siva Murthi, Bastarnar
AC 2002-48-003 Danteshwari Mandir Murthi, Dantewara
AC 2002-48-004 Amarkantak (source of Narbada River)
AC 2002-48-005 Danteshwari Mandir Murthi
AC 2002-48-006 Gharwa Cire-perdue Caster, Jagdalpur
AC 2002-48-007 Kumar, Nagarnar
AC 2002-48-008 Nagarnar Kumar family Terracotta mata murthis and guardian figures
AC 2002-48-009 Maria pillar, old form no longer made, near Gidam
AC 2002-48-010 The Eyes Have It
AC 2002-48-011 Kumar, Nagarnar
AC 2002-48-012 Danteshwari Mandir Murthi
AC 2002-48-013 L’Eternelle Idole, Rodin
AC 2002-48-014 Siva murthi, Bastarnar
AC 2002-48-015 Maria commemorative pillar, Bastarnar (“Bison-Horn”)
AC 2002-48-016 Kumar (demonstrating pottery wheel) Nagarnar village nr, Jagdalpur
AC 2002-48-017 Sonmura (source of Son River near Amarkantak Baba)
AC 2002-48-018 Assi Ghat, Benares Summer ‘76
AC 2002-48-019 Kumar, Nagarnar
AC 2002-48-020 Waiting for the bus near Jagdalpur
AC 2002-48-021 Kumar, Nagarnar
AC 2002-48-022 “Bison-Horn” Maria commemorative pillar, detail, Bastarnar
AC 2002-48-023 Gharwa, Jagdalpur
AC 2002-48-024 From Sonmura looking northwest
*Please note that AC 2002-48-01 through AC 2002-48-024 are attributed to Walter Huber

AC2002-48-025  48-76 are 51 colour negatives that depict local craftspeople and shrines in India.

AC2002-22-001 22-160 are black and white photographic prints mounted on white card. The images depict local Indian craftspeople, particularly Bengalis and Tamils. Some are identified with location and what is happening in the photo, while some are unidentified.

Fonds consists of scans of two albums of photographs and one enlarged photograph captured by Stanley Read during two separate vacations through interior British Columbia with his wife, Ruth. Also included in the fonds is a scan of a journal which Stanley Read used to document the daily events of one of these trips, during which Stanley and Ruth travelled through Gitksan territory/Skeena Country. The photographs capture Gitksan totem poles, people, and wilderness encountered on their travels.

The fonds reflects the religious work and family history of Rev. George Stallworthy and his descendants. The fonds consists of correspondence and drawings related to the family's time in the South Pacific; 20 photographic portraits of family members; sermons, article reprints, and correspondence related to George Burnett Stallworthy's religious work and life; and a scrapbook containing memoranda, correspondence, photographs, clippings, pamphlets, genealogical research, and other ephemera from the Stallworthy family up to 1925.

The fonds is arranged into files based on the content and medium of the records.

The fonds consists of records relating to Skooker Broome’s function as a designer and as a coordinator for building services at UBC's Museum of Anthropology and contains detailed records relating to producing, planning, designing, and installing exhibits at the Museum of Anthropology. Records include correspondence, drawings, notes, memos, minutes, reports, photographs, proofs, labels, and other materials.

The fonds is arranged into three series:

Series 1: Exhibition & design series
Series 2: Special projects & events series
Series 3: Facilities & services series

See attached pdf document for series descriptions and file list.

The fonds consists of one file titled Interview Transcripts, which contains recorded interviews, transcripts, and printed copies of transcribed interviews of research done by Sharon Fortney towards her PhD thesis titled Forging New Partnerships: Coast Salish Communities and Museums. Forney's thesis explores what motivates Coast Salish communities to participate in museum representations; considers the legal implications of such representations with respect to aboriginal rights; and analyzes of the diverse experiences of Coast Salish individuals in specific museum projects and partnerships with the goal of progressing museum and community interactions along a path to equal partnership.

The audiotapes in the fonds contain interviews with Coast Salish community members and artists regarding museums. The CD-R contains transcripts of interviews and is located in the temporary CD storage box. Sharon Fortney's curriculam vitae, thesis abstract, and 10 interviewee consent forms are located in the case file.

The fonds consists of photographs of Gloria Kaplan with various indigenous artists, whose names have been recorded in the image titles and IPTC metadata. The photographs were taken by Selig Kaplan with the intention of documenting the artists from whom the Kaplans acquired artwork or anticipated acquiring artwork from.

The fonds consists of records relating to Rosa Ho’s functions as a Curator of Art and Public Programmes at the Museum of Anthropology at the University of British Columbia. Records include correspondence, memoranda, handwritten notes, minutes, object lists, reports, brochures, press releases, newspaper clippings, interview transcripts and tapes, financial statements, grant applications, publication drafts, policy information, mission statements, and other materials. The records are predominantly from 1988 to 1999, while Rosa was the Curator of Art and Public Programmes. The records largely pertain to events, programming, and exhibitions held at the Museum of Anthropology. Also included in the fonds are records relating to external projects and publications.

The fonds is arranged in the following 11 series:

1. Public programme planning
2. Exhibition planning
3. Institutional planning
4. Museum of Anthropology committees
5. Collections – information, acquisition and documentation
6. Inuit research
7. BC First Nations research
8. Pow Wow
9. Volunteers and education
10. External publications and projects
11. Administration

The fonds consists of photographs created by Ronnie Tessler between 1986 and 1987 documenting a canoe project by Nisga’a carver Norman Tait. The project was abandoned in the summer of 1987, and the canoe was left uncompleted. The photographs depict models for the canoe, transportation of the log for the canoe to the Museum of Anthropology, ceremonies performed throughout the project, and various stages of work on the canoe and model. Additional photographs from this period depict a totem pole-raising ceremony at Capilano Mall in North Vancouver, as well as portraits of Les Baker, a model Tait wanted to use for a “white man” mask. The fonds is arranged into a single series: Norman Tait canoe project and related materials.