[Bill Reid carving Spirit of Haida Gwaii model]
- 1-5-2 (27.2)-a035104
- Stuk
- 1986
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
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[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
[Bill Reid carving Spirit of Haida Gwaii model]
Image of Bill Reid carving a model of his sculpture The Spirit of Haida Gwaii. The photograph was taken by William McLennan in Reid's Granville Island studio.
Wakas pole raising 1987 photographs
Consists of photographs documenting the raising of the Wakas Pole in Stanley Park in 1987.
[Bill Reid with the Spirit of Haida Gwaii model]
Image of Bill Reid with a model of The Spirit of Haida Gwaii. The image was taken by William McLennan in Reid's Granville Island studio.
Fonds consists of a copy of Wilson’s “Kitlope Report: Various Haisla Artifacts.”
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Susan Point carving Flight (Spindle Whorl)
Image of Susan Point (Musqueam) carving Flight (Spindle Whorl) in a workshop. The work appears to be near completion.
The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.
Zonder titel
File consists of photographic prints depicting Salish cultural objects from other institutions. Many of the prints are annotated with handwritten, stamped, or typed information about the contents of the images or their original repositories. The contents of this file were used to create object labels for Canada Museum of History Object ID VII-G-359 and MOA Object ID A1780; A1781; A50003; A50004; and A50005 a, b, & c in MOA's Great Hall.