Iljuwas Bill Reid was a man of immense personality. He was someone who necessitated attention, though not nearly as much as his many commissions, which required the assistance of innumerable apprentices. Similarly, a publication such as this could not have been done without a team. The Wapatah Centre for Indigenous Visual Knowledge, like Reid’s studio, is a centre that brings together young researchers devoted to the study of the creative interactions of artists in zones of contact, between Indigenous and non-Indigenous. Bill Reid has always lived and worked in this contact zone.
I would first like to acknowledge two of Wapatah’s research assistants, Panya Clark Espinal (Senior Research Assistant) and Alessia Pignotti, whose keen eyes for detail and passion to locate obscure sources contributed immensely to this book. Emily Lawrence was also critical to the project in its nascent stage. Research Coordinator Natalja Chestopalova provided project management oversight and research ideation. The Centre’s Postdoctoral Fellow, Michael Rattray, provided expert advice when it counted.
I have known Dr. Martine Reid for nearly as long as I knew Bill. Over the course of writing this volume, she spent time with me recounting stories of Bill and provided key feedback on early drafts of the text. To Martine, I extend immense gratitude. Someone who gave me the assurance to write about Bill was his granddaughter, Nika Collison, Director of the Haida Gwaii Museum in Skidegate. She, too, provided timely advice and attention to detail about Bill’s relation to Haida Gwaii and its people. Thanks also to Beth Carter and her staff at the Bill Reid Gallery of Northwest Coast Art for allowing me the use of their facility and access to works. I would also like to express gratitude to the Koerner Foundation for generously supporting this project in memory of Walter C. Koerner. Finally, I would like to thank Sara Angel, who first approached me with the question of who I would like to write about—this was an easy answer. As well, I would like to thank Jocelyn Anderson, who provided timely editorial direction throughout, and the staff at ACI.
From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, The Koerner Foundation in memory of Walter C. Koerner.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
The ACI also thanks the other Title Sponsors of the 2020–2021 Canadian Online Art Book Project: Anonymous, Alexandra Bennett in memory of Jalynn Bennett, Kiki and Ian Delaney, Andrew and Valerie Pringle, and The Sabourin Family Foundation.
We thank the 2020–2021 Season Sponsors of the Art Canada Institute: John and Katia Bianchini, Linda and Steven Diener, Richard and Donna Ivey, Michelle Koerner and Kevin Doyle, Alan and Patricia Koval Foundation, Nancy McCain and Bill Morneau, The McLean Foundation, Gerald Sheff and Shanitha Kachan Charitable Foundation, TD Bank Group, and Bruce V. Walter and Erica Segal.
We are grateful to the Art Canada Institute Lead Benefactors: Anonymous, Alexandra Baillie, Marilyn and Charles Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation, Grant and Alice Burton, The Delaney Family Foundation, Jon S. and Lyne Dellandrea, James and Melinda Harrison, The Michael and Sonja Koerner Charitable Foundation, Alan and Patricia Koval Foundation, Sarah and Tom Milroy, Partners in Art, Jane and Eberhard Zeidler, and Sara and Michael Angel.
Appreciation goes as well to our Patrons: Anonymous, Christopher Bredt and Jamie Cameron, Malcolm Burrows and Barbara Dick, Debra and Barry Campbell, Connor, Clark & Lunn Foundation, Lilly Fenig, Roger and Kevin Garland, The Scott Griffin Foundation, Franca Gucciardi, matched by McCall MacBain Foundation, Lawson Hunter, Elaine Kierans and Shawn McReynolds, Judith and Wilson Rodger, Fred and Beverly Schaeffer, Michael Simmonds and Steven Wilson, Tina Tehranchian, and Robin and David Young.
Gratitude goes as well to our Founding Patrons, who supported the Art Canada Institute in its first year: Jalynn Bennett, The Butterfield Family Foundation, David and Vivian Campbell, Connor, Clark & Lunn Foundation, Albert E. Cummings, The Fleck Family, Leslie S. Gales and Keith Ray, Roger and Kevin Garland, Glorious and Free Foundation, The Scott Griffin Foundation, Gershon Iskowitz Foundation, Sandra L. Simpson, Stephen Smart, Nalini and Tim Stewart, and Robin and David Young.
The ACI wishes to thank for their support and assistance the American Craft Council (Beth Goodrich); Art Gallery of Ontario (Alexandra Cousins; Tracy Mallon-Jensen); The Bill Reid Centre, Simon Fraser University (Bryan Myles); Bill Reid Gallery (Allison Andrachuk, Beth Carter); Brechin Imaging Services (Jacqueline Vincent); British Museum; Canadian Museum of History (Vincent Lafond, Erin Wilson); Haida Gwaii Museum (Cherie Wilson); The Menil Collection (Donna McClendon); Morris and Helen Belkin Art Gallery (Teresa Sudeyko); Postmedia Licensing (Elena Novikova); Royal BC Museum and Archives (Kelly-Ann Turkington); Simon Fraser University Galleries (Christina Hedlund); UBC Archives (Candice Bjur, Erwin Wodarczak); UBC Museum of Anthropology (Katie Ferrante); Vancouver Art Gallery (Danielle Currie); Victoria Times Colonist (Bryna Hallam); Nika Collison; Jim Cox; Robert Duchesnay; Guujaaw; Sarah Milroy; Gerta Moray; Dorin Odiatiu; George Rammell; Heather Ramsay; Dr. Martine J. Reid; Ryan Swift, and Tony Westman.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credit for Cover Image
Spirit of Haida Gwaii, 1986. (See below for details.)
Credits for Banner Images
Biography: Bill Reid using callipers to measure the base of his monumental sculpture The Raven and the First Men (1980), c.1978, photograph by Bill McLennan. (See below for details.)
Key Works: Bill Reid, Skidegate Dogfish Pole, 1978. (See below for details.)
Significance & Critical Issues: Photo illustration of Bill Reid’s The Raven and the First Men (1980), photograph by Jim Cox. Courtesy of Jim Cox.
Style & Technique: George Rammell working on Bill Reid’s Mythic Messengers (1984), c.1983–84, photograph by Tony Westman. (See below for details.)
Sources & Resources: Bill Reid, The Raven and the First Men, c.1955. (See below for details.)
Credits for Photographs and Works by Other Artists
Bent Corner Chest, 1998, by Don Yeomans. SFU Bill Reid Collection, Vancouver, Bill and Martine Reid Founding Collection (2002.1.73a-b). Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid and carvers Guujaaw and Simon Dick working on a Haida canoe, UBC Museum of Anthropology, Vancouver, 1985, photograph by William McLennan. Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid carving a clay model of the sculpture Spirit of Haida Gwaii, 1986, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035106). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid carving in Skidegate, c.1976, photograph by Martine J. Reid. Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid carving the Skidegate Dogfish Pole, c.1976, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035187). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid carving Wasgo, 1961 (developed in 1990), photograph by Takao Tanabe. Collection of UBC Museum of Anthropology, Vancouver (2784/2). Courtesy of UBC Museum of Anthropology, Vancouver. Photo credit: Jessica Bushey. Courtesy of Mira Godard Gallery, Toronto.
Bill Reid at the CBC, 1950, photographer unknown. Collection of CBC Radio Canada. Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid at the CBC, Toronto, 1948, photographer unknown. Collection of CBC Radio Canada. Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid and Guujaaw carving the Skidegate Dogfish Pole, 1977, photograph by Ulli Steltzer. Collection of the Haida Gwaii Museum, Skidegate (Ph 08566). Courtesy of UBC Museum of Anthropology, Vancouver, and Princeton University Library, New Jersey.
Bill Reid at the Haida celebration held at the UBC Museum of Anthropology on the occasion of the installation of The Raven and the First Men, 1980, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035179). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid with Haida Gwaii community members at the Haida celebration held at the UBC Museum of Anthropology on the occasion of the installation of The Raven and the First Men, 1980, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035181). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid and James Hart standing on either side of a large wooden door, designed by Reid and carved by Hart, 1980, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035175c). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid with his mother and father, 1920, photographer unknown. Courtesy of
Cindy Reid and the Reid Family, and the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid in his studio, 1982, photograph by Robert Keziere. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Robert Keziere fonds. Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid with his tools in Skidegate, 1976, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035194). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid with Master of the Black Field No. 1 box, on which Reid’s Final Exam box was based, 1967, photographer unknown. Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid painting interior house pole for the Haida Village, c.1962, photograph by Derek Applegarth. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Derek Applegarth fonds (a035048). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid seated beside The Raven and the First Men at the UBC Museum of Anthropology, Vancouver, c.1980, photograph by William McLennan. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035127c). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid using callipers to measure the base of his monumental sculpture The Raven and the First Men (1980), c.1978, photograph by William McLennan. Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid (left) in Victoria with friend Bruce Mickleburgh (right), c.1940, photographer unknown. Courtesy of Rod, Norma, Paul, and Pauline Mickleburgh. Photo credit: The Bill Reid Gallery of Northwest Coast Art, Vancouver.
Bill Reid watching memorial pole being raised in the Haida Village at Totem Park at the University of British Columbia, 1962, photograph by George Szanto. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, George Szanto fonds (a035985). Courtesy of UBC Museum of Anthropology, Vancouver.
Bill Reid watching memorial pole being raised in the Haida Village at Totem Park at the University of British Columbia, 1962, photograph by George Szanto. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, George Szanto fonds (a035984). Courtesy of UBC Museum of Anthropology, Vancouver.
Bracelet, c.1880, by Daxhiigang (Charles Edenshaw). Collection of the UBC Museum of Anthropology, Vancouver, Bequest of Bill Reid, 2009 (2776/2). Photo credit: Kyla Bailey. Courtesy of UBC Museum of Anthropology, Vancouver.
Bracelet, c.1885, by Daxhiigang (Charles Edenshaw). Collection of the UBC Museum of Anthropology, Vancouver, Elspeth McConnell Collection, 2017 (3260/178). Photo credit: Alina Ilyasova. Courtesy of UBC Museum of Anthropology, Vancouver.
Bracelet, 1909, by Daxhiigang (Charles Edenshaw). Collection of the UBC Museum of Anthropology, Vancouver, Donated in memory of great-grandmother Martha Edenshaw, 2016 (3164/1). Photo credit: Kyla Bailey. Courtesy of UBC Museum of Anthropology, Vancouver.
Carving, c.1951–52, by Henry Young (attributed). Collection of the British Museum, London, Purchase, 1971 (Am1971,07.2). Courtesy of the British Museum, London.
Compote, pre-1888, by Daxhiigang (Charles Edenshaw) (attributed). Collection of the Alaska State Museum, Juneau.
Cover of Bill Reid by Doris Shadbolt (Douglas & McIntyre, 1986). Photo credit: Art Canada Institute.
Cover of Bill Reid Collected (Douglas & McIntyre in collaboration with the Bill Reid Foundation, 2016). Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Cover of Bill Reid and the Haida Canoe (Bill Reid Gallery of Northwest Coast Art, Vancouver, 2011). Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Cover of Raven’s Cry, 1965, by Christie Harris. Photo credit: Art Canada Institute.
Cover of The Raven Steals the Light (Douglas & McIntyre, 1994; 1996). Photo credit: Art Canada Institute.
Cover of Solitary Raven: Selected Writings of Bill Reid (Douglas & McIntyre, 2000). Photo credit: Art Canada Institute.
Cover of The Spirit of Haida Gwaii (Douglas & McIntyre; University of Washington Press, 1997). Photo credit: Art Canada Institute.
Dagger Handle, c.1850–80. Collection of the UBC Museum of Anthropology, Vancouver, Elspeth McConnell Collection, 2017 (3260/39). Photo credit: Kyla Bailey. Courtesy of UBC Museum of Anthropology, Vancouver.
Daxhiigang (Charles Edenshaw) with his works in Masset, British Columbia, c.1890, photograph by Harlan Ingersoll Smith. Collection of the Canadian Museum of History, Ottawa (88926). Courtesy of the Canadian Museum of History, Ottawa.
Dish, c.1850–1920, by Daxhiigang (Charles Edenshaw) (attributed). Collection of the UBC Museum of Anthropology, Vancouver, Purchase, 1960 (A7051). Photo credit: Kyla Bailey. Courtesy of UBC Museum of Anthropology, Vancouver.
Figure, c.1850. Collection of the UBC Museum of Anthropology, Vancouver, Elspeth McConnell Collection, 2017 (3260/67). Photo credit: Alina Ilyasova. Courtesy of UBC Museum of Anthropology, Vancouver.
First launch of Loo Taas, 1986, photograph by Guujaaw. Courtesy of Guujaaw.
Fishing boat near Anthony Island (SGang Gwaay), 1957, photograph by Harry Hawthorn. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039815). Courtesy of UBC Museum of Anthropology, Vancouver.
Front view of a canoe prow, UBC Museum of Anthropology, Vancouver, 1985, photograph by William McLennan. Courtesy of UBC Museum of Anthropology, Vancouver.
Frontlet to a Headdress Representing a Thunderbird, c.1875–1880, by Heiltsuk peoples. The Menil Collection, Houston, Gift of the Heye Foundation, The Museum of the American Indian, Washington, D.C. (1970-107 DJ). Courtesy of The Menil Collection, Houston. Photo credit: Hickey-Robertson, Houston.
Guujaaw on beach with Skidegate Dogfish Pole before it is raised, 1978, photographer unknown. Courtesy of Guujaaw.
Guujaaw and other community leaders at Athlii Gwaii, October 31, 1985, photograph by Mark van Manen. Material republished with the express permission of: Vancouver Sun, a division of Postmedia Network Inc.
Haida canoe being steamed at the UBC Museum of Anthropology by Bill Reid and team, 1985, photograph by William McLennan. Courtesy of UBC Museum of Anthropology, Vancouver.
Haida Gwaii community members carrying the Skidegate Dogfish Pole, 1978, photograph by Ulli Steltzer. Collection of the Haida Gwaii Museum, Skidegate (Ph 08512). Courtesy of the Haida Gwaii Museum, Skidegate, and Princeton University Library, New Jersey.
Haida Heritage Centre at Kay Llnagaay, c.2020, photograph by Dorin Odiatiu. Courtesy of Dorin Odiatiu.
Haida House, 2020, photograph by Cory Dawson. Courtesy of UBC Museum of Anthropology, Vancouver.
Haida poles that were restored and raised at Prince Rupert (the pole on the right originally stood at the village of T’aanuu), 1968, photograph by Adelaide de Menil. The George and Joanne MacDonald Research Collection, The Bill Reid Centre at Simon Fraser University, Burnaby (3608). Courtesy of The Bill Reid Centre, Burnaby.
Headdress with Body Representing a Wolf, c.1930, by Willie Seaweed (attributed). The Menil Collection, Houston (1973-24 DJ). Photo credit: Adam Baker.
House Frontal Totem Pole (gyaagang), c.1850, photographed in 1957 by Harry Hawthorn in its original setting at Ninstints (Nans Dins, SGang Gwaay Llnagaay) on Anthony Island (SGang Gwaay), before its transfer to the University of British Columbia. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039818). Courtesy of UBC Museum of Anthropology, Vancouver.
House 16: Strong House Pole, 1901, photograph by C.F. Newcombe. Collection of the Royal BC Museum, Victoria (RBCM E44 PN100). Image RBCM E44 PN100 courtesy of the Royal BC Museum and Archives.
Installation view of Arts of the Raven: Masterworks by the Northwest Coast Indian, exhibition at the Vancouver Art Gallery, 1967, photographer unknown. Collection of the Vancouver Art Gallery Photography Archives. Courtesy of the Vancouver Art Gallery.
Launch of the Loo Taas canoe, 1986, photograph by Ulli Steltzer. Collection of the Haida Gwaii Museum, Skidegate (Ph 08535). Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver, and Princeton University Library, New Jersey.
Loo Taas, photographer unknown. Courtesy of Guujaaw.
Loo Taas being paddled at the opening of the Haida Heritage Centre at Kay Llnagaay, 2007, photograph by J. Baird. Courtesy of UBC Museum of Anthropology, Vancouver.
Loo Taas at False Creek, Vancouver, Expo 86, 1986, photographer unknown. Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Masks surrendered under duress by the Kwakwaka’wakw people after Chief Dan Cranmer’s potlatch in 1921, photographer unknown. Collection of the Royal BC Museum, Victoria (PN 12191). Image PN 12191 courtesy of the Royal BC Museum and Archives.
Memorial pole being raised in the Haida Village at Totem Park at the University of British Columbia, 1962, photograph by George Szanto. The Haida House appears to the left and a mortuary double pole to the right. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, George Szanto fonds (a035986). Courtesy of UBC Museum of Anthropology, Vancouver.
Naka’pankam (Mungo Martin) restoring a totem pole, 1949, photographer unknown. UBC Archives Photograph Collection (UBC 1.1/1528). Courtesy of the University of British Columbia Library, Vancouver.
Northeast corner of Yates Street and Douglas Street, Victoria, British Columbia, 1947, photograph by Duncan Macphail. Collection of the Royal BC Museum, Victoria (I-01691). Image I-01691 courtesy of the Royal BC Museum and Archives.
Raven Rattle, c.1850, by Albert Edward Edenshaw (attributed). The Charles and Valerie Diker Collection of Native American Art, The Metropolitan Museum of Art, New York, Gift of Charles and Valerie Diker, 2019 (2019.456.12).
Respect to Bill Reid Pole, 2000, by Jim M. Hart. Collection of the UBC Museum of Anthropology, Vancouver (Nb1.752). Photo credit: Ryan Swift.
Rooftop Cheer After Skidegate Dogfish Pole Raising (left to right: Ernie Wilson, Phil Gladstone, Wes Pearson), 1978. Photo credit: Ulli Steltzer. Collection of the Haida Gwaii Museum, Skidegate (Ph 08576). Courtesy of the Haida Gwaii Museum, Skidegate, and Princeton University Library, New Jersey.
Skidegate Dogfish Pole raising ceremony in Skidegate, Haida Gwaii, 1978, photograph by Kuldip Gill. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Kuldip Gill fonds (a033408). Courtesy of UBC Museum of Anthropology, Vancouver.
Skidegate Dogfish Pole raising ceremony in Skidegate, Haida Gwaii, 1978, photograph by Kuldip Gill. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Kuldip Gill fonds (a033410). Courtesy of UBC Museum of Anthropology, Vancouver.
Skidegate Dogfish Pole raising ceremony in Skidegate, Haida Gwaii, 1978, photograph by Kuldip Gill. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Kuldip Gill fonds (a033426). Courtesy of UBC Museum of Anthropology, Vancouver.
Skidegate Dogfish Pole raising ceremony in Skidegate, Haida Gwaii, 1978, photograph by Kuldip Gill. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Kuldip Gill fonds (a033407). Courtesy of UBC Museum of Anthropology, Vancouver.
Skidegate longhouse designed by Rudy Kovach (left) with totem pole by Bill Reid (right), 1978, photograph by George F. MacDonald. Courtesy of The Bill Reid Centre at Simon Fraser University, Burnaby.
The Skidegate Project, 1977, by Rudy Kovach. SFU Bill Reid Collection, Vancouver, Bill and Martine Reid Founding Collection (2002.1.87). Courtesy of the Bill Reid Gallery of Northwest Coast Art, Vancouver.
Sophie Gladstone as a young woman in Skidegate, c.1920, photographer unknown. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, William McLennan fonds (a035139-1). Courtesy of UBC Museum of Anthropology, Vancouver.
Studio assistant working on Skaana—Killer Whale, Chief of the Undersea World, c.1982–84, photograph by Tony Westman.
T’aanuu, 1897, photograph by C.F. Newcombe. The George and Joanne MacDonald Research Collection, The Bill Reid Centre at Simon Fraser University, Burnaby (5230). Courtesy of The Bill Reid Centre, Burnaby.
Totem Pole, 1951, by Naka’pankam (Mungo Martin). Collection of the UBC Museum of Anthropology, Vancouver, Purchase, 1951 (A50040). Photo credit: Jessica Bushey. Courtesy of UBC Museum of Anthropology, Vancouver.
Totem pole on Haida Gwaii near Ninstints (Nans Dins, SGang Gwaay Llnagaay) on Anthony Island (SGang Gwaay), 1957, photograph by Harry Hawthorn taken during the expedition to Anthony Island. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039830). Courtesy of UBC Museum of Anthropology, Vancouver.
Totem pole on Haida Gwaii near Ninstints (Nans Dins, SGang Gwaay Llnagaay) on Anthony Island (SGang Gwaay), 1957, photograph by Harry Hawthorn taken during the expedition to Anthony Island. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039828). Courtesy of UBC Museum of Anthropology, Vancouver.
Totem poles on Haida Gwaii near Ninstints (Nans Dins, SGang Gwaay Llnagaay) on Anthony Island (SGang Gwaay), 1957, photograph by Harry Hawthorn taken during the expedition to Anthony Island. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039838). Courtesy of UBC Museum of Anthropology, Vancouver.
Totem poles by the shore of Ninstints (Nans Dins, SGang Gwaay Llnagaay) on Anthony Island (SGang Gwaay), 1957, photograph by Harry Hawthorn. Collection of the Audrey & Harry Hawthorn Library & Archives, UBC Museum of Anthropology, Vancouver, Harry B. Hawthorn fonds (a039807). Courtesy of UBC Museum of Anthropology, Vancouver.
Twenty-five hundred community members gathered at the public raising ceremony of Jim Hart’s Respect to Bill Reid Pole, UBC Museum of Anthropology, Vancouver, October 1, 2000. The pole was commissioned to replace Reid’s House Frontal Totem Pole, 1961-62, which Reid created for Totem Park at the University of British Columbia. This pole was re-raised inside the UBC Museum of Anthropology’s Great Hall for preservation on October 31, 2002. Courtesy of UBC Museum of Anthropology, Vancouver.
A view of the Indians of Canada Pavilion at Expo 67, 1967, photographer unknown. The murals were painted by Francis Kagige. The Kwakiutl totem pole was carved by Tony and Henry Hunt.
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