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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.

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.

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.

Fonds documents Brant’s pre-doctoral research in Burma. As a Fulbright scholar working with the United States Educational Foundation, Brant submitted quarterly reports to the foundation detailing his arrival and adjustment to life in Burma, as well as his sociological research in the community of Tadagale and other areas of the country. Brant also provided the U.S. Foreign Service with his observations of life in the Shan States, where Brant and his wife first lived when they arrived in Burma in 1949. After returning to the United States in 1950, Brant published articles on the research he completed while in Burma. Records in this series include academic and government reports; articles; Brant’s curriculum vitae; a digitized slide show and 8 mm movie; a grant application; notes; and photographic negatives and prints. It is likely that most of the photographs were taken by Jane Brant, but these are not identified.

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.

The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.

Fonds consists of 45 glass-plate lantern slides featuring scenes from Osterhout's work with B.C. First Nations, including Haida, Tsimshian and Kwakwaka'wakw. Images document First Nations individuals, communities, totem poles and landscapes of British Columbia.

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.

Collection consists of 48 glass lantern slides (29 of them tinted) and 2 negatives. The lantern slides include images related to four Residential Schools: Elkhorn (Manitoba), St. Michael’s (British Columbia), Shingwauk (Ontario), and Choutla (Yukon).

Collection includes images of the schools, classrooms, and different areas of the buildings (dining room, kitchen, etc.); the staff, students, and families engaged in different activities; and surroundings of the schools (cemeteries, churches, villages, etc.). Collection also includes images of landscapes and two images unidentified villages.

Collection might be similar to the Missionary Society of the Church of England in Canada fonds, at the Anglican Church of Canada Diocese of Rupert's Land, Manitoba.

Lantern slides shows were used during the 1920s and 1930s by the Church of England in Canada to promote the work of their missionaries and to raise funds. The slide shows took place during missionaries’ services, church services, Sunday school groups, and special church programs. Usually, the slide shows were complemented with a text with basic commentary on the mission and content of the slides.

Fonds consists of negative images of petroglyphs largely from the Pacific west coast of North America. Most of the images are from sites located in British Columbia, but there are also images from sites in Washington State, New Mexico, and other areas of the United States and Mexico. There are also images of artifacts, masks, totem poles, wood carvings, and graveyards. Images of family travels, landscapes, wild animals, and house cats are interspersed within the collection.

Collection consists of Haisla cultural documentation and X̄a’islak̓ala/X̌àh̓isl̩ak̓ala (Haisla language) learning material, including sound recordings, stories, a dictionary, and lessons/workbooks. The collection has been divided into two series:

1. Sound recordings
2. Textual materials

This fonds consists of textual records, photographs, negatives, slides, audio recordings, compact discs and video on DVD that relate to Kovanic’s academic and film career. The fonds relates especially to her work in Pakistan, India and Afghanistan, but also captures her work with First Nations on the Northwest coast of British Columbia.

Fonds consists of 21 photographs from the 1978 Bill Reid pole raising ceremony at Skidegate, an event at which Gill was an observer.

The fonds consists of records created by Ryckman during his tenure with the Department of Indian Affairs, primarily from the 1920s and 30s. The fonds includes contact sheets made as copies of photographs that remain in possession of Ryckman’s heirs. Records in the fonds take the form of notes and correspondence. Also included in records is a ledger which contains census information. The fonds also includes photocopies of newspaper articles relating to members of the First Nations whom Ryckman came into contact with as a result of his work as well as materials relating to Ryckman himself.

The fonds consists of the following files:

1-1, Ledger Book [Original & Copies], c. 1920
1-2, Photographs [Negatives & Contact Sheets], c. 1920
1-3, Articles and Correspondence [Photocopies], 1922-1936
1-4, Kootenays [Typed & Handwritten transcipts], c. 1932

Fonds consists of various photographic materials and a small number of textual records. Glass plate negatives document totem poles, house fronts, street scenes, church groups, school groups, weddings, the local store and maritime subjects in Alert Bay. Textual records include a Christmas card from Alert Bay Radio and two small pamphlets of photography instructions printed by "J. Mennie, Developing & Printing Service." The oldest negative dates from 1862, though the identity of its photographer is unknown.

The fonds consists of printed ephemera relating to First Nations art, correspondence, and photographs of Gitksan totem poles.

The fonds consists of four photographs taken by Richard Cotton of mortuary poles on an island in the Skeena River near Kitsilas, BC.

The collection includes material relating to Alert Bay that was created or collected by Thomas and Mildred Laurie, as well as photographs and textual records created or received by James Barclay Williams, who bequeathed the records to Mildred Laurie. The collection includes a photo album, photographs, postcards, correspondence, newspaper clippings, pamphlets, and a calendar. Photographs document Alert Bay and the surrounding area, including the B.C. Packers store, Christ Church, the native cemetery, St. Michael’s Residential School and Preventorium, Canada Packers, Hardy Bay, totem poles, a long house, and the Nimpkish Hotel. Photographs also document local events, including potlatches, weddings, an outdoor salmon barbeque, BC centenary celebrations in 1958, native ceremonies, and a visit by the Governor General.

The material is arranged in the following files:

01 - James Barclay Williams – Correspondence and press clippings, 1968-1972
02 - James Barclay Williams – Photographs, [1908?]-1967
03 - Mildred Laurie - Photo album photographs, [194-]-1974
04 - Mildred Laurie – Photographs and postcards, [194-]-[199-]
05 - Slides and negatives, 1952-1972
06 - Pamphlets, ephemera, and press clippings, 1947-2003
07 - James Barclay Williams – Photo album, 1940-1941

Fonds consists of photographic prints and text labels used in the “Emergence from the Shadow: First Peoples’ Photographic Perspective” exhibit at the Canadian Museum of Civilization, from October 22, 1999 to January 6, 2002. The images depict several different First Nations groups including Haida, Kimsquit, Bella Coola, Ulkatcho-Carrier, Chilcotin, Assiniboine, and Gitksan. The label text incorporates information which Smith recorded at the time of creation. It gives name and age (if known) of the sitters as well as lineage, employment, and style of dress.

Fonds consists of eight slides of totem poles being raised in the Haida Village at the University of British Columbia (UBC). The slides are dated May, 1962. The photographs were taken by George Szanto, the son-in-law of Geoffrey Andrew who was the Dean and Deputy President of UBC from 1947 to 1962.

The totem poles represented in the images were carved by Haida artist Bill Reid and 'Namgis artist Doug Cranmer. They were originally situated at UBC's Totem Park. They are now located on the grounds behind the Museum of Anthropology, and modelled on a 19th century Haida village.