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Fonds consists of matted prints of engravings made from sketches created by John Webber as official artist on Captain James Cook’s third voyage. Prints depict landscapes, animals, people, clothing styles, architecture, and events that were encountered on the voyage in places such as New Zealand, the Friendly Islands (Tonga), the Sandwich Islands (the Hawaiian Islands), Nootka Sound (Vancouver Island, BC), and Van Dieman’s Land (Tasmania).

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.

Fonds consists of a copy of Wilson’s “Kitlope Report: Various Haisla Artifacts.”

The fonds consists of the audiocassettes for eleven interviews conducted by Gerry Scott for his thesis.

The fonds consists of photographs created by Ronnie Tessler from 1986 to 1987 documenting a canoe project by the 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 the same period depict a totem pole raising at Capilano Mall in North Vancouver and portraits of Les Baker, a model Tait wanted to use for a “white man” mask.

During their time living in Bella Bella, the Houstons took many photographs of the lives of the Heiltsuk First Nation community documenting the day-to-day lives of the Heiltsuk First Nation as well as ceremonial activities. The color slides document the construction, painting, and launching of the Gi’wa, a Heiltsuk canoe which sailed with the Lootaas, the Haida canoe built by Bill Reid for Expo 86. Some of the slides document the welcome feast at Bella Bella in honor of the Haida crew of the Lootaas. The color slides also document several potlatches and wedding feasts held in the community hall, and the local Sports Day parade. Slides also depict the role of the fishing in the community, such as smoking salmon and processing roe. Other photos document gravestones on a nearby cemetery island, derelict canneries, petroglyphs and pictographs, totem poles and house posts, all in or near Bella Bella.

Fonds consists of textual records of St. Eugene Mission from 1908-1970. Includes history, diaries, correspondence, financial records, Ktunaxa census lists, reports, programs, building specifications, clippings, and ephemera.

The fonds consists of 7 photographs taken by Robert Keziere on October 20, 1982 of artist Bill Reid working in his Kerrisdale (Vancouver) studio. The film remained unprocessed until 2009, when it was developed and the prints, contact sheet, and DVD were created. The DVD contains image files in multiple resolutions.

Fonds contains the following series: Minutes (1993-1997), Artwork by Children (1985), Native Ministries Consortium (1991-1997), Reference and Liaison (1981-1998), Healing Fund (1988-1986), Land Claims Campaign (1987-1996).

Fonds consists of a single record series: Educational materials relating to women's issues (1981-1996).

This fonds consists of six 16mm film reels of Celebration of the Raven. There are also two 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 collection consists of nine large watercolour illustrative panels commissioned by the UBC Museum of Anthropology, eight of which were commissioned for the exhibit The Four Seasons: Food Getting in British Columbia Prehistory, which ran from April to November 1979. The other watercolour is from an unidentified exhibit or sourcebook.

Collection illustrates the gathering of information and writing of the book “Paddling to Where I Stand.” Collection includes interviews to Agnes Alfred conducted by Martine J. Reid and Daisy Sewid-Smith between 1979 and 1985. Interviews are documented as audio and video recordings and their written transcriptions. Collection includes other materials gathered by Martine J. Reid and Daisy Sewid-Smith for the edition and publication of the book. Collection also contains the manuscripts and draft for the book; correspondence between Martine J. Reid, Daisy Sewid-Smith and other people; eulogies and funeral pamphlets; Agnes Alfred’s family information; historical notes; and miscellanea. Collection includes photographic materials with photographs included in the book and additional photographs gathered by Martine J. Reid and Daisy Sewid-Smith during their research. Collection includes portraits of Agnes Alfred’s parents.

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

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.

In 1976, a group of students from the Kyuquot Elementary, a First Nations elementary school on the West coast of Vancouver Island, decided to make a filmstrip that documented their lives in the fishing village. The children’s intention behind making these photographs was to raise money for a summer field trip to Victoria, Vancouver, and the Okanagan. As part of the fundraiser, the children made a visual map depicting their daily travel to school by boat and a hand-written order form for the film. Collection consists of documents created by the Kyuquot Elementary School and Mr. Moore, a former Assistant Professor of Anthropology in the 1970s. The collection consists of one correspondence letter written by Mr. Moore requesting a copy of their filmstrip, four pages of typewritten filmstrip descriptions, one handwritten map and flyer created by the Kyuquot Elementary School and one 70 frame color filmstrip that was digitized in 2017. [At the time of processing, it was unknown if the fundraiser was successful.]

Fonds consists of records relating to Ed Searcy’s work in pastoral ministry, his studies, his teaching and writing, and his work in the wider church. Fonds comprises the following record series: Sermons (1974-2008); Lectures and addresses (2000-2007); Leadership-related records ([1991]-2003); Publications and manuscripts (1989-2015); Student papers (1974-2002); Audiovisual recordings (2001-2015); and Significant documents (1976-2015).

Fonds consists of a paper written for Anthropology 301 taught by Professor Dr. Michael Kew, entitled [Red Cod Island Village or Ninstints Village] - A Memorial, with accompanying colour slide images of the carved poles of Anthony Island, a permanent village of the Kunghit Haida, located on the southern shores of Haida Gwaii.

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.

The fonds consists of photographs, slides, negatives, maps, and textual records created and gathered by Gladys Young Blyth. These contain local scenes such as lighthouses, totem poles, Seafest activities, fish boats, crab traps, North Pacific Cannery, Kwinitsa Station, and the seaplane base at Seal Cove. The maps and sketches are of Kitselas, Port Essington, Union Passage and Tuwartz Inlet, Otter Passage to Bonilla Island, Work Channel, and a copy of the plan of the Kit-Kah-Tla Indian Reserves Coast District, 1891-1892. Her reference notes refer to the Hudson's Bay Company, First Nations, Grand Trunk Pacific Railway, the pictograph at Tyee, and the net building industry.

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.

The fonds reflects Minn Sjolseth's artistic career and travels to First Nations communities throughout British Columbia and Alaska with her husband Anthony Carter. Contents of the fonds depict First Nations cultures in British Columbia between 1960 and 1980, including Haida, Coast Salish, Kwakwaka'wakw, Gitsegukla, Kispiox, and Nisga'a. Several of the contents depict notable figures, including Chief Dan George and August Jacks.

The fonds includes textual records including correspondence, ephemera, newspaper clippings; graphic materials such as photographs, slides, negatives, and transparencies that depict Sjolseth’s travels and artworks; and artworks produced by Sjolseth including paintings, drawings, and prints.

The fonds is organized into the following series:

1. Personal records
2. Artwork an Exhibition records
3. Artworks

The fonds consists of a Hobler's autobiography Incidents Along the Way, the log book for the Sistiutil, construction drawings and documents for the Sistiutil, and a 1966 Faculty Handbook.

Fonds contains the following series: Native Ministries Consortium (1986-2004), Reference and Liaison (1966-2008, 1983-2005 predominant), and Residential Schools Issues (1986; 1993-2008).

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