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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 consists of records relating to the <i>Through My Eyes</i> exhibit held at the Museum of Vancouver. The exhibit is a collaborative effort curated by 27 First Nations people of different Northwest Coast communities allowing them to “present their personal perspective” of their culture and its objects. McLennan was involved through managing the development, production and implementation of this collaborative effort. Records include photographs and slides of potential exhibit artifacts, media reviews, student paper reviews, exhibit project statements, transcripts of interviews done with First Nations artists, correspondence, consent forms for interviews and audio cassettes of the taped interviews which detail McLennan discussing various pieces of First Nations art with several artists.

Subseries consists of records relating to the exhibit “My Ancestors are Still Dancing” at MOA. As part of a “living” exhibition, Tsimshian weaver William White from Lax Kw’alaams was commissioned to publicly weave a child-size robe in Gallery 8. The exhibit displayed William White’s weavings, historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. The exhibit was installed in 2001 and ran through until September 28, 2002. Records include acquisition/artifact lists, artist biography, budget, correspondence, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, grant applications, internal forms (consent forms), installation diagrams, map, meeting agendas memoranda, notes, object records, photographs and slides, photocopies of photographs, professional guidelines, reports, schedules, recorded audio research interviews, transcripts of research interviews, travelling exhibit, and visitor comments.

Subseries consists of a record relating to Elizabeth Johnson’s activities as instructor for Anthropology 302. Record consists of a lecture outline.

Subseries consists of records relating to Elizabeth Johnson’s research, writing, and publication activities including: The Clothing and Textile Collection at the University of British Columbia Museum of Anthropology; Experimentation in University Museums; Exorcizing the Ghosts of History: Canadian Museums, First Nations and the Negotiation of Repatriation; Bridging the Gaps: A Museum-based Heritage Awareness Programme; Welcome to the Museum of Anthropology!; Material History Review; Clothes that Are Not Worn (except…): The Politics of the Clothing Collection at the Museum of Anthropology. Records include papers, articles, publications, correspondence, calendar of events, abstracts, notes, and Elizabeth Johnson’s short biography.

Subseries consists of a draft icon design for a Museum of Anthropology mobile application. There is no information about the purpose of or plans for this application. As of 2016, the application has not been created.

Sub-series consists of articles, reprints, and Photostats collected by Duff for his Anthropology lectures at the University of British Columbia.

Photographs, pictrostats and negatives showing images of canoes, fishing, coastal villages, and people. Some of the photographs were taken by Duff (as noted on the verso of the image) and brief descriptions and locations are noted on some of the photographs. Specified locations include Victoria, Alaska, Bella Coola and the B.C. coast. Also included in many of the files are faded black and white photocopies of the photographs.

Subseries consists of material that documents cultures rather than specific objects which may be found in the museum’s collection. The records in this subseries primarily take the form of published material, but general reference material is also included. This subseries at one point also included Audrey Hawthorn’s reference photograph collection of ca. 4000 items: 35mm slides, various black and white prints and negatives. These items however have since been amalgamated with the MOA General Photograph Collection.

This subseries consists of photographs from the history of the Museum of Anthropology, including the original museum location in the basement of UBC Library through to the opening of the museum at its current location in 1976.
Subjects include:

• Activities of the B.C. Totem Pole Preservation Committee
• Totem pole restoration by Mungo Martin
• Early images of Totem Park, including the opening ceremony
• Raising of the Mungo Martin memorial pole in Alert Bay
• Visit to UBC by Governor General Vincent Massey
• Carving and construction of the Haida House by Bill Reid and Doug Cranmer
• Images of displays from the Museum of Anthropology's original location in the old library basement
• Exhibitions held at the Museum of Anthropology, especially through the 1950s and 1960s
• Images of Expo 1967 in Montréal
• The Museum of Anthropology's Northwest Coast exhibit for "Man and His World", held in Montréal
• Opening Exhibition of the Vancouver Centennial Museum, curated by the Museum of Anthropology
• Design plans, models, and inspirations for the new Museum of Anthropology building
• Images of the new Museum of Anthropology building at various stages of construction
• Moving totem poles from Totem Park to the new Museum of Anthropology building
• Packing objects in the old Museum of Anthropology location in the library basement
• Moving objects into the new Museum of Anthropology
• Official opening of the Museum of Anthropology's new location
• Visible storage and early exhibition in the Museum of Anthropology's new location
• Reassembly of the Haida House on the grounds of the new Museum of Anthropology building
• Activities and classes held at the Museum of Anthropology's new location

Sub-series consists of textual records related to an exhibit on visible storage space at the museum. Records include meeting minutes from the Textile Committee and reports by Michael Ames, Moya Robinson, Herb Watson, Audrey Shane, and the Royal Ontario Museum.

Sub-series consists of mostly textual records in addition to photographs, negatives, slides and contact sheets. The textual records are both handwritten and typed notes, as well as publications of other authors. Research topics undertaken by Halpin include Tsimshian art, Marius Barbeau’s work, the Kitwancool, Gitksan art and William Beynon. Photographs and negatives are mostly of masks, totem poles and rattles.

Subseries contains copies of various published and unpublished essays related to Sawyer’s research on Northwest Coast artifacts, including essays written by Frederica de Laguna, Aldonia Jonaitis, Sylvia Albright, James Haggarty and Richard Inglis, Philip Drucker, Bill Holm and more. Other research materials include maps and newspaper clippings related to the Northwest Coast.

ref # 13-2-D

Subseries consists of material primarily relating to various committees which Audrey Hawthorn was a part of during her tenure at the museum. Records include those of the Committee on Museum (1942-1949), the Museum Programme Committee (1969-1976) the senate committee, and the Users Committee/Planning Coordinating Committee (1973). These committees dealt largely with issues surrounding the collection, budget and human resources. The subseries also contains notebooks used by Audrey Hawthorn from 1949-1971, which focus on a wide range of subjects including artifact drawings. The subseries consists of notes, minutes, financial statements, correspondence, budgets, memoranda, ephemera, spiral bound notebooks, and reports.

Subseries consists of records created as a result of keeping financial account of the museum’s activities. Among these records are expense ledgers, receipts, account statements, and statements of purchases. Files with more extensive descriptions contain material which may relate to the purchase of items in the collection.