Several men, some on horseback, stand in an open field. One man, possibly a priest, holds a cross. Some men wear western-style clothing and others wear native-style dress.
Three men stand posed for the camera. The man copy left is the same individual from the previous print wearing western-style clothing. The men standing in the centre and copy right wear traditional attire. Additional individuals stand on either side of this group, not fully visible here.
This view depicts a woman standing next to a tipi-like tent structure in the mountains. A table stands in front of the tent. A clothesline can be seen on the left side of the copy print. Trees and mountains surround this open area.
The fonds consists of 28 black and white photographs taken by Codere in 1955 during her second field work expedition to B.C. 19 of the photos were taken in and around Alert Bay, while the remaining 9 were taken on Hope Island.
Collection consists of textual records that tell of a Kispiox legend and its manifestation on a traditional pole; an accompanying photograph of the pole complements the narrative.
This fonds consists of 39 16mm film reels of Celebration of the Raven. There are also five audio reels which are soundtracks for the film. Film reels include stills and test stills and camera originals. Most reels are labeled according to the scene.
The fonds consists of 83 images associated with two books published by Douglas & McIntyre: Bill Reid by Doris Shadbolt and The Raven Steals the Light by Bill Reid. The photographers responsible for these images are R. Dereth, R. Keziere, R. Lum and B. McLemore.
Series contains textual records contextualizing the petroglyphs and pictograms found in the graphic materials. Narrations include descriptions of the sites and their geologic evolution over the years that is leading to the loss of rock surface and petroglyphs and pictograms. Text also documents E. F. Meade’s hypothesis on how some of the petroglyphs and pictographs may have been carved and painted and his interpretations on the reasons behind the locations and purpose of some of them. The author also mentions conversations with local Indigenous peoples inquiring about the petroglyphs and pictographs and areas where he could not get documented due to issues with his equipment. Lastly, narrations include quotations and references to accounts by Capt. Vancouver, Archibald Menzies, and Alexander McKenzie describing the shore and locating some of Vancouver’s descriptions based on Meade’s knowledge of the coast and archaeology.