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Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).

Geographic Location: UBC Carving Shed

Item is a b&w negative of a photograph of the continuation of the work on the pole. The photograph shows this second stage of doing rough cuts on the totem pole: getting the design on, plugging any damaged areas, making the first cuts, cutting all the figures, designing and cutting any add-on pieces, making the background uniform. This stage is hard manual labour, with the carvers using bigger adzes just to clear away a lot of wood. It should be noted that there’s no really easy delineation between these stages (Stage One = Rounding the pole; Stage Two = Roughing the pole) because some figures are worked ahead of others. But the change is signaled by switching from heavier tools (2-handed adzes and mallets) to smaller ones (single-handed adzes and curved knives. The textual info is in WHERE THE PEOPLE GATHER or paperback TOTEM POLE CARVING).

Geographic Location: UBC Carving Shed

Child wearing a frontlet. The man on the viewer's left may be Robert Davidson. The location of this photograph is uncertain.

Item is a photograph of a geisha wearing traditional clothing playing a shamisen. Possibly by photographer Tamamura Kozaburo

Item is a photograph showing people dressed up as warriors for a parade celebrating the proclamation of the Meiji Constitution in 1889 in front of building in Tokyo. A label on the glass slide reads, "The Japanese Army of 100 Years Ago”, but this is not the accurate description of the scene.

Photograph of the Nippon-bashi and Mitsukoshi (日本橋と呉服店三越/Mitsukoshi department store and Nihonbashi bridge) from Tokyo Meisho (東京名所/Views of Tokyo).

Child wearing a mask at the Museum of Anthropology.

Children's drawings. These were likely done as part of a program at the Museum of Anthropology and may have involved a school group from Strathcona.

School group in the foyer at the Museum of Anthropology.

Totem poles in the Great Hall at the Museum of Anthropology.

Museum of Anthropology grounds and Great Hall. The totem poles were carved by Mungo Martin.

Baskets on display in visible storage at the Museum of Anthropology.

View of the Museum of Anthropology around the time of its official opening in May, 1976.

View of the Museum of Anthropology around the time of its official opening in May, 1976.

K'san doors at the Museum of Anthropology.

Visitors viewing items in a display case in visible storage at the Museum of Anthropology.

Display in the Museum of Anthropology for the exhibition "Encounter 1778: Drawings, watercolours, and sketches by John Webber at Nootka Sound."

Visitors in Gallery 3 (now the O'Brian Gallery) at the Museum of Anthropology during its official opening.