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Subseries contains images of First Nations leaders: Chief Joe Mathias and Mary Hayes.

Sub-series consists of photographic prints and photocopies collected from other institutions for use on object labels in MOA's Great Hall. Items were originally housed in two large binders with dividers.

Subseries contains mainly digital files with some accompanying textual records of records which mostly pertain to ideas that McLennan had for books he wanted to write. In some cases an actual book was created and published, and in other cases a book was printed (not published) to show perspective donors. Potential book subjects are listed as follows: argillite, Charles Edenshaw [file contains an assemblage of digital images that could be used in a publication], Edenshaw exhibit [file contains records related to the Edenshaw exhibit “Signed Without Signature”], Explorers [notes for the beginning of an idea for a book], Gisaxstala, MOA books [these books were made as talking pieces to show prospective sponsors of gallery space what could be done in the galleries, and what had not yet been done], Port Essington, Raven Rattle, Seeing, Thinking, Serenipitous Assembly, Site Specific, Weavers Workshop. Other subjects included in this subseries pertain to book ideas or contacts who would have been interested in sponsoring book including Elspeth McConnell and Michael Audain.

Subseries contains binders of copies of images that McLennan has ordered, and some cases paid for, from other institutions, in addition to some that he has taken himself. He has arranged them in binders according to culture. He created these binders as an easy reference system for faculty, students, community members, and artists to use when identifying and comparing cultural artistic styles, and traditional customs. First Nations included in the culture photographs include: Tsimshian, Haisla, Kwakwaka’wakw, Northern First Nations, Ktunaxa, Kinbasket, Okanagan, Salish, Tlingit, Tahltan, Tsilhqot’in, Secwepemc, Stl’atl’lmx, Nlaka’pamux, Heiltsuk, Nuxalk, Oweekeno, Gitxsan, Haida, Nuu-chah-nulth and Nisga’a. A file also pertains to differentiating between different styles of canoes.

Subseries contains largely photographs of artworks of Northwest Coast First Nations artists located at various cultural heritage institutions as well as in private collections. The majority of the information within the files was collected by McLennan for research purposes, and includes textual documentation about the lives of the artists, correspondence with the artists, information about exhibits based on the artists’ work and newspaper clippings and other stories about the personal life of the artists.

Subseries contains resources acquired by McLennan due largely in his research interest in Northwest coast art and design. The series consists largely of photographs taken by McLennan during his travels to museums and archival institutions of artifacts. There are also collections of photographs acquired by McLennan from archival institutions which he had copied. Correspondence between professionals at museums and archives is also sometimes located within the file with the photographs. The museums and archives which have files in this subseries are geographically very diverse. As a note of interest, some objects were taken out especially for McLennan, when access to them by the general public would not normally be granted.

One copy of booklet that contains photographs taken by Bill McLennan. The book was donated by it's author, Laurence A.G. Moss. Moss was a visiting curatorial fellow at MOA (under Marjorie Halpin) in the mid-1980s. During that time, Bill assisted Moss in taking photographs that ended up in this book and associated exhibition.

Teh full title of the book is Art of Lesser Sunda Islands: A Cultural Resource at Risk. The book contains 13 photographs by McLennan

Subseries contains images of the unveiling of the club given to Captain Cook as well as research materials collected by McLennan on Captain Cook.

Subseries consists of material created by Jacquie Gijssen and Karen Duffek, two MOA employees who were in charge of McLennan’s office while he was working on Expo ’86. During this time, they visited Robert Davidson at his studio in Semiahoo Village where he was carving three totem poles for the Pepsi Cola Sculpture Garden. Karen interviewed Robert about the work on two occasions and Jacquie photographed the work on the pole over the year of 1986. The series consists of interview notes by Karen and negatives and slides by Jacquie.

Subseries consists of a program and information related to a basket weaving exhibit held at the Bellevue Arts Museum called American Indian Baskets: Trees, Reeds and Grasses.

This subseries consists of images showing objects from the MOA on display at the president of the University of British Columbia’s house, and one textual record listing the labels for these objects.

Photographs show Jill Baird standing with two youth from the Musqueam First Nation standing next to a weaving exhibit.

Subseries consists of copies of prints and negatives from museums around the world depicting indigenous peoples in Victorian portraiture style photographs during the turn of the 20th century. McLennan acquired these copies with the intention of proposing an exhibit which never materialized. There is also a file of accompanying documentation including correspondence regarding the loans of photographs and other research materials.

This subseries consists of records relating to McLennan’s teaching work at the Freda Diesing School of Northwest Coast Art in Terrace B.C. from 2006 until 2011. McLennan has continued to teach in 2012-2013, and may return after his retirement from the MOA at UBC.

Subseries contains a significant number of digital images on CD-ROMs of scans of silver bracelets from MOA, as well as various other institutions including the Royal Ontario Museum and the Canadian Museum of Civilization, in order to facilitate study of these bracelets as a flat image. Bracelets were scanned and then added to a database. These scans contributed to the Signed Without Signature exhibit at MOA on works by Charles and Isabella Edenshaw. CD-ROM 7 also includes photographs of Arthur Erickson’s birthday party at MOA.

Subseries consists of photographs documenting the carving of a totem pole by Jim Hart for MOA. The slides document the entire process of carving from start to finish. The totem pole is listed as the House Frontal Totem Pole on the MOA catalogue, carved by artist Jim Hart, purchased by MOA, and raised on October 12, 1982. McLennan noted that the pole was carved based on fragments of an old pole which came to MOA in 1948. These fragments remain in a carving shed.

Subseries consists of correspondence and accompanying photographs collected in anticipation of a potential metals project that never occurred at the Museum.

Subseries consists of correspondence and accompanying documentation regarding the creation and installation of northwest coast art at the British Columbia pavilion as part of the Canada pavilion in Seville, Spain in 1992 as part of the Universal Expo of Seville (Expo ’92).

Subseries consists of information provided by the Vancouver Organizing Committee for the 2010 Olympic Winter Games held in Vancouver regarding an Aboriginal Arts Program for the Olympics. The package includes background information about the program and application information for those wishing to apply.

This subseries contains records relating to an exhibit built at the Canadian Museum of Civilization. McLennan was the project manager and design developer for this project. He oversaw the completion and installation of six west coast First Nation house designs: Coast Salish, Haida, Tsimshian, Bella Coola, Oweekeno, and Kwakwaka'wakw. The records include newspaper clippings, correspondence, photographs, and notes.