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Series consist of bibles, hymns, and scriptures referred to throughout Rev. Crosby’s personal and missionary activities. Series includes ephemera removed from The Holy Bible Old & New Testaments. Ephemera consists of documents such as: a letter from The Lord’s Day Alliance of Canada; a letter from the Department of Temperance, Prohibition and Moral Reform of the Methodist Church; a small flower cut-out; a note written by Crosby regarding population sizes; and articles titled “Heaven: What is it like,” “Trusting the Weaver,” “Good Resolutions/ Liquor Arithmetic – Object Lesson,” “Mission Work in British Columbia,” “Guardian” (written by Crosby), “Holiness in San Antonio,” “The Young Disciple,” “The Wealth of the West and the Safety of the Sabbath,” and “Calvary/Eternity.” Series also includes two embroidered and one non-embroidered fabric strips used as bookmarks.

ITEM LIST (with box-folder number, title, and dates):
3 [Oversized box] : Methodist Hymn Book, [186-] – [191-]
3 [Oversized box] : Holy Bible Maps, [186-] – [191-]
3 [Oversized box] : Hymns Ancient & Modern No.34, 1860 – 1871
3 [Oversized box] : A New Concordance to the Holy Scriptures, 1874
3 [Oversized box] : Holy Bible Old & New Testaments, [186-] – [191-]
3 [Oversized box] : Thomas Crosby Friendship’s Gift [embroidered bookmark], [186-] – [191-]
2-15 : Missionary resources – Ephemera, 1874 – [191-]
2-16 : Missionary resources – bookmarks, 1863 – [191-]

Series consists of photographs and photocopies of pictures, explanatory poster, and a lighting plot for the Great Hall at The Museum of Anthropology relating to the “This Is Not An Exhibit” exhibit.

Series consists of records relating to exhibits Karen Duffek curated or was involved with in another capacity. The records span the entire breadth of the intellectual creation process, including research, funding, administrative concerns, exhibition design and installation, and publication. The series includes supplemental information about artists’ careers, correspondences, contracts, final reporting, publications relating to artists and the exhibitions, grant applications, educational exhibit materials, transcripts of interviews and public lectures, event planning, budgets, photographs, as well as exhibition publication development.

The series is arranged into 12 sub-series, each one relating to a specific exhibition:
Sub-series 2-A: Robert Davidson: “The Abstract Edge” (2004-2005)
Sub-series 2-B: Edgar Heap of Birds: “Wheel: Overlays” (2007)
Sub-series 2-C: Mike Nicholl [Yahgulanaas]: “Meddling in the Museum” (2007-2008)
Sub-series 2-D: Willy White: “My Ancestors are still Dancing” (2002-2004)
Sub-series 2-E: Bill Reid: “Gathering Strength” (2000-2004)
Sub-series 2-F: Multiplicity: A New Cultural Strategy (1993-1994)
Sub-series 2-G: Carl Beam Exhibit (2011)
Sub-series 2-H: Nicholas Galanin: “Raven and the First Immigrant” (2010)
Sub-series 2-I: Annie Ross: “Forest One” (2012)
Sub-series 2-J: “A Green Dress: Objects, Memory, and the Museum” (2011-2012)
Sub-series 2-K: Ishiuchi Miyako “ひろしま Hiroshima” (2011-2012)
Sub-series 2-L: Border Zones: New Art Across Cultures (2010)
Sub-series 2-M: Bill Reid: Beyond Essential Form (1986)
Sub-series 2-N: Anspayaxw (Satellite Gallery, 2013)
Sub-series 2-O: Cindy Sherman meets Dzunuk'wa (Satellite Gallery 2014)

Series consists of binders made up of photographs, quotations, background information and photocopied text from published sources. These binders were created to provide context to Koerner’s collection of Northwest Coast Indian art. These albums were compiled by Madeline Bronsdon Rowan, who was one of the curators at the Museum of Anthropology.

Series consists of correspondence between Dean Douglas T. Kenny and other members of the Planning and Coordinating Committee, and other committees concerned with obtaining resources for continuing operation of the Museum of Man, and letters from federal and provincial government departments. Also included are budget estimates, maintenance estimates, copies of minutes from various committees, a pamphlet concerning the erosion of Point Grey Cliff, and a notice concerning the Point Grey Cliffs from the UBC Alumni Association. The majority of the correspondence is copies of outgoing correspondence.

The collection consists of 5 Super 8 video reel tapes with footage of schools and the community Iris and Jack visited during their time in Papua New Guinea. Reels include footage about: Goroka Market, Goroka Teachers College, a primary school, a show, and an Eid-el-Fitr ceremony.

Series consists of records relating to the Oceanic Art Symposium.

Series consists of 6 scrapbooks assembled by the Binnings, either as commemorative souvenirs of their travels or as gifts to their Japanese friends overseas for a period of time covering over a decade. Scrapbooks consist predominantly of photographs, but also include brief notes and newspaper clippings. One file of textual records provides notes for a souvenir album assembled by B.C.

Series consists of hand-rendered protest posters and banners and printed posters and signs relating to the APEC Leaders Meeting at the Museum of Anthropology.

Series consists of materials used in the planning and design of the MOA Expansion projects which include visible storage and the Research Centre. Records consist of correspondence, memorandum, reports, grant application, budgets, design drawings, floor plans, and meeting minutes.

Series consists of material related to membership at the Museum of Anthropology. Records pertain to membership fees, member appreciation events, member survey materials, and general museum communications with members.

Series consists of documentation from two additional committees that played a role in planning the Museum of Anthropology building. Material includes correspondence, meeting minutes, reports, and other planning documents.

The series is divided into two subseries, one for each committee (the Senate Building Needs Committee and the Users`Committee).

Series consists of images found in or related to Carter’s [date] published work. Focus is on photographic representations of First Nations communities located throughout British Columbia. Localities include: Alert Bay, Gwayasdums (Gilford Island), Karlukwees (Turnour island), Kingcome Inlet, Mamalilikulla, and Uchucklesaht. Series includes images of totem poles and community members from Ehattesaht, Kwakiutl (Kwakwaka’wakw) and Nuu-chah-nulth nations. Files are generally arranged chronologically according to subject matter and/or locality. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material.

Series includes photographs and other graphic materials related to the editing of the book

Series reflects Cunningham’s involvement in facility planning at MOA. This includes the development of the Gallery 10 orientation centre, visible storage area, and Gallery 3 development, as well as renovations to Gallery 5, theatre, the Great Hall, and the gift shop. Records in this series include blueline print, budgets, invoices, measurements, memoranda, plans, reports, and tender drawings.

Series consists of correspondence, memoranda, proposals, drafts, research notes, draft text for exhibit labels, sketches, postcards and other textual material relating to numerous projects undertaken by Shane and others in the Museum. Includes records relating to the expansion of the Museum, Museum postcards, special projects related to improving corridor cases, access to totem poles and exhibits.

Series consists of four files:

1. Publications
2. Other Materials
3. Speech Notes
4. General Notes

One accompanying compact disc contains scanned images of the Almanac, map, children’s rhymes, two Tibetan songs, and a verse for a New Year’s toast, and philatelic materials.

Series consists of photographic negatives and prints of items from Walter and Marianne Koerner's personal collection. Subjects include ceramics and First Nations art. It is likely that many of the photographs were taken by Eugene Horvath, who acted as a sort of personal assistant to Walter Koerner's collecting hobby. It is probable that most of the photographs in this series were made for use in the collection catalogues.

Series consists of research material collected by Stewart that cannot be identified as being for one particular project, as well as miscellaneous memorabilia and ephemera. Although material in this series is not necessarily connected to a particular project, it is all related thematically to Stewart’s research interests in the art and culture of First Nations peoples of the Pacific Northwest.

Includes records related to the Collections Research Enhancement Project (CREP) stream of the MRP. The purpose of this stream was to “provide enhanced access (visual, physical, and virtual) to the Museum’s collections,” with the following specific objectives:
• To bring all of the 35,000 Multi-MIMSY (database) collections records up to a consistent and standardized level
• To digitize all of MOA’s 35,000 objects, in a format appropriate for research access, according to a digitization strategy that will be developed as part of a coordinated MRP-wide IT strategy
• To develop a mounting system which facilitates object access while maintaining a high level of conservation standards, and to mount objects which require it according to this system
• To provide collections information in a format appropriate for research through the Reciprocal Research Network (RRN)
• To develop a flexible process for responding to originating communities regarding collections access, and to organize MOA’s objects within the Research Suite and visible storage in such a way as to facilitate that response
(purpose and objectives of the CREP stream taken from the MRP Program Scope Definition, 1.2.)

Heidi Swierenga (MOA Conservator) was the CREP stream lead.

Series is divided into subseries based on functions of the CREP stream.