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Ozistalis (Chief Henry Speck) worked as a fisherman, dancer, and song writer. He became chief of the Tlawitsis Nation when he succeeded his father. In the early 1960s, he became artistic director of the Kwakiutl House Project in Alert Bay, where he also pursued his artistic skills; he taught carving and dancing in Alert Bay. "His unique approach to Kwakwaka'wakw design opened a new range of possibilities for a generation of artists" (Ayotte, Gallery of Tribal Art, 1995). He was commissioned by Gyula Mayer, a Vancouver art and antiques dealer, who was interested in collecting Northwest Coast pieces for his gallery; it was Mayer who encouraged Speck to paint with watercolours. Many of these paintings by Speck and other artists at the time were sold to private collectors, museums, or were collected by Mayer. "...Speck's paintings speak to the viewer with a clarity and a sense of immediacy. A striking aspect of Speck's work is its ability to invoke a three-dimensional "space" within the confines of a limited design field" (Ayotte, 1995).

Bertram Charles (B.C.) Binning was born on February 10, 1909 in Medicine Hat, Alberta. Due to an illness at a young age, he spent much of his time drawing in seclusion. His passion for art and architecture resulted in his enrolment in 1927 at the-then Vancouver School of Decorative and Applied Arts. After spending time in the United States, in 1933 Binning was appointed to a staff position with the Vancouver School of Art. Later in 1938, B.C. Married Jessie Wyllie, the daughter of a Vancouver businessman. In 1949, he was transferred to the University Of British Columbia School Of Architecture. Soon after, he founded the Department of Fine Arts at UBC, which he headed for over twenty-five years.

With his appointment to the department of Fine Arts came a shift in his artistic direction. Whereas pre-1948 he had established himself as an internationally recognized architect, post-1948 he felt himself drawn towards expressing his creativity in oil painting. Building upon his architectural background, Binning often painted large complementary mosaic murals for various buildings and was particularly inspired by ships, marinas and seascapes in general; these were recurring themes for most of his artistic life.

The Binnings took the first of many visits to Japan in 1958. It was there that B.C. felt particularly inspired by the Japanese art and architecture he witnessed; these were a vehicle for a new and lengthy direction for his future work. While in Japan, B.C. and Jessie forged a deep relationship with Bishop Kojo Sakamoto (1875-1969), the 37th Superintendent Priest of the Kiyoshi Kojin Seicho-ji temple. A skilled calligrapher, Sakamoto’s work was influenced by colleague and friend Tomioka Tessai (1836-1924), a talented painter and calligrapher in his own right. The Binnings’ relationship with Sakamoto resulted in over a decade of frequent correspondence between Sakamoto, his family, and other Japanese friends with both B.C. and Jessie. After Sakamoto opened a successful Tessai exhibit at the Vancouver Art Gallery in 1961, B.C. convinced him to contribute his own calligraphy for an exclusive exhibit that was eventually opened in September 1966 at the Fine Arts Gallery at the University of British Columbia.

Health problems prevented Binning from actively contributing to the art community in the early 1970’s, but by this time had built up a solid repertoire of pieces that have made their mark on the Canadian art scene. After his death on March 16th 1976, Jessie continued her role as a voice and representative for her husband’s work until her own death on May 25th, 2007. Her last public presence was as a consultant for an exhibit of B.C.’s work at the Vancouver Art Gallery that ran from January through April 2007.

Jessie Binning (nee Wyllie) was an important figure in the protection of the "Binning House" in West Vancouver and the emerging culture of West Coast Modernism. Her father was a businessman and one of the early entrepreneurs to trade with Japan and took Jessie on a trip to Japan when she was 19 years old, where she developed a lifelong appreciation for Japanese culture and art. Jessie Binning was also Bertram Charles (B.C.) Binning's wife, who founded the Department of Fine Arts at UBC in 1949 and was a renowned artist and teacher in BC. Jessie and Bert build their modern house in West Vancouver in 1941 and she lived there until her death at the age of 101.

Ben Houstie is a Heiltsuk artist born in Bella Bella, BC (Waglisla) in 1960. Ben’s works include: original paintings, limited edition prints, carved cedar rattles, and paddles. He has worked with Cheryl Hall, Robert Hall, David Gladstone, and Beau Dick. In 1988, Ben worked under Bill Reid painting several drums of Bill’s designs and 20 paddles for the Canadian Museum of Civilization in Ottawa. Ben also painted several reconstructed artworks in 2000 for the Museum of Anthropology’s "The Transforming Image" exhibition. He is known for producing small original paintings and miniature wood masks. As a child, Ben watched master carver, Mungo Martin, working on the world’s largest totem pole, in Alert Bay, B.C. He is a survivor of the St Michael’s residential school in Alert Bay and his art serves as a form of healing and cultural connection. His great grandfather is Daniel Houstie and his son is Christopher Houstie. From: https://sa-cinn.com/ben-houstie-artcards-prints/

Dorothy Grant, OC, is an internationally renowned fashion designer and traditional Haida artist. She is a member of the Raven Clan of Kaigani Haida, and learned to sew and weave traditional Haida garments and ceremonial regalia from her maternal grandmother. In the early '80s, she was the first Indigenous designer to combine traditional Haida artwork with contemporary fashion.

Doreen Jensen, also known as Hahl Yee, was born on May 13 1933 in Kispiox, just north of Hazelton, British Columbia. The name Hahl Yee belongs to the Killerwhale family crest from the House of Geel of the Fireweed Clan. Jensen attended the Gitanmaax School of Northwest Indian Design where she learned to carve under the guidance of Tony and Henry Hunt. Doreen Jensen was also known for her work promoting aboriginal artwork, teaching Gitxsan language classes, and helping to revitalize traditional practices. She was a respected cultural leader and historian. In 1983, she curated an exhibit at MOA entitled “Robes of Power” which emphasized the strength of traditional design and craftsmanship. The exhibited highlighted the importance of regalia to First Nation ceremonies and the key role that women played in producing robes. Jensen went on to teach Gitxsan language classes at UBC and traditional art practices such as drum making, cedar baskets and bead work at Emily Carr College of Art and Design in Vancouver. In 1993, Doreen Jensen was acknowledged by the Vancouver YMCA and was rewarded with the “Woman of Distinction” award. She also received the Golden Eagle Feather from the Professional Native Women’s Association and has been honoured with a name given to her by James Sewid and family at one of their potlatches. In 2008, she was also nominated for the BC Governor General Award in recognition of her passion for culture and tradition. Jensen passed away in 2009 leaving behind a lifetime of contribution to a revitalizing First Nation culture, language and artwork.

In 1974 and 1975, Dan Jorgensen traveled in Papua New Guinea’s Sanduan Province where he studied the initiation cult and mythology of the Telefolmin people. In 1981 Dan Jorgensen received his PhD in anthropology from UBC, writing a thesis about his travels and studies in Papua New Guinea. Since 1977 he has been a faculty member of University of Western Ontario in the Anthropology department. He specializes in the anthropology of religion

Deborah Taylor, on graduating from the University of British Columbia, went to Nigeria in the early 1970s for her MA in primitive arts.

Mr. James Fyfe Smith was born April 1, 1869. His wife, nee Mary Gertrude Banamy was born August 24, 1873. The Fyfe Smiths immigrated to Canada from Australia in 1904. James Fyfe Smith became an importer of hardwood and set up his company, J. Fyfe Smith Co. Ltd. in Vancouver. The family traveled extensively between 1900-1932 to Japan, Australia, Hong Kong and the Philippines. During these numerous trips, the Fyfe Smiths and their daughter Florence accumulated large collection of ethnographic objects, including items from the Northwest Coast of British Columbia, New Zealand, Fiji, Samoa, and Japan.

Joan Goodall served as a nurse in Burma during and after the Second World War. Goodall was a volunteer at the UBC Museum of Anthropology (MOA) before the Volunteer Associates was organized. During her volunteer work at MOA, Goodall worked in the Library and then in Ethnology, serving as chairman of the Ethnology Committee and the Nominating Committee. Joan Goodall passed away on 18 January 1982.

John Webber was an English artist most famous for the drawings he created while accompanying the explorer Captain James Cook on his third and final voyage. Webber studied fine arts in Switzerland and Paris. Returning to England in 1775, he came to the attention of the English naturalist Sir Joseph Banks, who appears to have introduced him to Captain James Cook. Cook subsequently hired Webber to accompany him aboard the HMS Resolution as a topographical artist, supplying drawings to supplement the official written account of the journey.

In July 1776, the expedition departed England and sailed for the Pacific. After visiting Australia, the Hawaiian Island (which Cook named the Sandwich Islands), and a number of other South Sea islands, Cook’s ships reached the coast of North America, which they charted while attempting to discover the Northwest Passage. In the spring of 1778, the expedition spent a month retrofitting their vessels at Nootka Sound, where Webber was active sketching landscapes and the indigenous peoples they encountered. Having charted the remainder of the North American coastline to the Bering Strait, the expedition returned in February 1779 to Hawaii, where Cook was killed following a dispute with the Hawaiians.

As an artist aboard the HMS Resolution, Webber created some 200 sketches during the four-year voyage. Upon the expedition’s return to England in 1780, Webber was commissioned to supervise the engraving of 61 of these drawings for publication in official journals, a task that took him until 1785. Between 1784 and 1792, Webber exhibited 50 works at the Royal Academy of Arts in London and was elected an Associate of the Royal Academy in 1785, and a Royal Academician in 1791.

John Williams was a Reverend in the Anglican Church of England, and was commissioned as a missionary in 1816 by the London Missionary Society. In 1917, Williams and his wife Mary Chawner voyaged first to Australia and from there to the Society Islands in the South Pacific Ocean. Their first missionary post was established on the island of Raiatea. Williams and his wife later engaged in mission trips to the Polynesian islands with other London Missionary Society representatives. The couple was also involved in mission work in the Cook Islands, specifically the islands of Aitutaki and Rarotonga. In 1834 the Williamses returned to Britain. During this time, John William oversaw the printing of the New Testament which he had translated into the Rarotongan language. While in London Williams published a work titled “Narrative of Missionary Enterprises in the South Sea Islands” that helped expand awareness in England of the South Seas Islands region. Throughout their careers, the Williamses were well known for the success of their mission work

In 1837, John Williams returned to the Polynesian islands on the mission ship Camden, commanded by Captain Robert Clark Morgan. In 1839, John Williams and fellow missionary James Harris were engaging in missionary work on the New Hebrides [Republic of Vanuatu] islands. On November 20, 1839, Williams and fellow missionary James Harris landed on the island of Erromango. As they approached the shore they were attacked and killed by the people living on the island, and ritualistically cannibalized. Unbeknownst to the missionaries, a few days prior, traders had landed on the island of Erromango and the people erroneously thought Harris and Williams were returning traders. In 1839, a memorial stone in Williams’ honor was erected on the island of Rarotonga.

Jonathan Griffin was a UBC student. In 1974 Griffin took a trip to Anthony Island in Haida Gwaii, where he took extensive pictures of the conditions of the poles at a deserted Haida village.

Marie-Claire Delahaye worked as a nurse in Barotseland in western Zambia from 1956 – 1960 and again from 1962 – 1965. In that time she spent one year at Mwandi, one year at Nalolo and two and a half at Senanga. Upon her return in 1962 she lived for one year at Lealui before returning to Senanga until 1965. Delahaye spoke Silozi, the language of the Lozi people, exclusively while living in Zambia. She worked in missionary hospitals and dispensaries.

Dr. J.E. Michael Kew was born in Quesnel, British Columbia in 1932. Kew received his B.A. at the University of British Columbia in 1955 and was appointed the Assistant Curator of Anthropology at the Provincial Museum in Victoria from 1956-1959. Following a four-year period in Saskatchewan, where he was employed as a Community Development Officer at the Department of Natural Resources and a Research Assistant in Anthropology at the University of Saskatchewan, Kew returned to the University of British Columbia in 1965 as Instructor of Anthropology. During his appointment as Visiting Assistant Professor of Anthropology, Kew obtained his Ph.D. at the University of Washington, Seattle in 1970.

As part of his curatorial responsibilities at the Museum of Anthropology (MOA), Dr. Kew curated a special exhibition of Central Coast Salish art objects in 1980 entitled Visions of Power, Symbols of Wealth: Central Coast Salish Sculpture and Engraving. In preparation for the exhibition, Dr. Kew was funded by a grant from SSHRC in 1979 to visit North American museums housing Central Coast Salish sculptural objects. The objective of his travels was to create a collection of images and documentation of the sculptures found in the various museums. The majority of the objects exhibited in Visions of Power, Symbols of Wealth came from the collections of the former National Museum of Canada and the Museum of the American Indian. The collections of the British Columbia Provincial Museum, Royal Ontario Museum, American Museum of Natural History, Field Museum of Natural History, Brooklyn Art Museum, Thomas Burke Memorial Washing State Museum and the British Museum are also represented.

At the Museum of Anthropology, Michael Kew worked as Curator of Ethnology from 1977 to 1979. He curated a MOA exhibit on central Coast Salish three-dimensional art ca. 1993-1997. He also served as chair of the Ways and Means Committee beginning in 1993 when the committee was established.

No biographical information available.