Robert Davidson [Jr.], silver work
- 25-05-05-a038576
- Item
- 1971
Part of Anthony Carter fonds
Image of silver work by Haida artist Robert Davidson Jr.
Anthony Carter
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Robert Davidson [Jr.], silver work
Part of Anthony Carter fonds
Image of silver work by Haida artist Robert Davidson Jr.
Anthony Carter
Robert Davidson [Jr.], silver work
Part of Anthony Carter fonds
Image of silver work by Haida artist Robert Davidson Jr.
Anthony Carter
Examples from How to Write the Haida Language
Part of MOA General Media collection
Item is an audio recording of Mrs. Gertrude Kelly providing Skidegate Haida translations of words to an interviewer, Randy Bouchard as part of the How to Write the Haida Language project. According to the recording, Mrs. Gertrude Kelly was formerly of Skidegate and at the time of the recording was living in Vancouver. Randy Bouchard co-founded the BC Indian Language Project in 1968 (https://www.memorybc.ca/british-columbia-indian-language-project) and is the author of numerous books pertaining to First Nations subject matter.
(Replica) Haida thunderbird and whale #16, Thunderbird Park, Victoria, B.C.
Part of E. Polly Hammer fonds
Part of E. Polly Hammer fonds
(Replica)?, Haida sea wolf #2, Totem Park - UBC, Vancouver
Part of E. Polly Hammer fonds
The Wasgo is a monster of Haida legend that had the ability to transform between wolf and sea creature. Carved and painted by Bill Reid and Doug Cranmer in 1962.
(Replicas)?, mortuary poles (Haida), dwelling house and sea wolf, Totem Park, UBC, Vancouver
Part of E. Polly Hammer fonds
MOA Object ID numbers correspond to poles in the image from left to right.
A50030 carved by Bill Reid and Doug Cranmer (1961-62) as the frontal pole for the front of the Haida house, at the University of British Columbia, for display in Totem Park. Moved to the new Museum of Anthropology grounds in 1978. Pole was removed from the Haida House in 2000-09 and placed in a greenhouse tent for conservation treatment and drying. Pole was then re-raised in the Great Hall of the Museum on Oct. 31, 2002.
(Replica)? Haida dwelling house, Totem Park, UBC, Vancouver
Part of E. Polly Hammer fonds
Mortuary House frontal pole by Bill Reid and Doug Cranmer (1960-61) moved from Totem Park to MOA in 1978.
First Nations community members
Part of Anthony Carter fonds
File consists of images of First Nations adults and children in Bella Coola, Klemtu, Bella Bella, Haida Gwaii, and Hartley Bay, BC.
Anthony Carter
(Replica) Haida mortuary pole, Thunderbird Park, Victoria, B.C.
Part of E. Polly Hammer fonds
(Replica) Haida house front and poles #14, 15, 16 + 17, Thunderbird Park, Victoria, B.C.
Part of E. Polly Hammer fonds
(Replica)?, Haida memorial pole #4, 6, Totem Park, UBC, Vancouver
Part of E. Polly Hammer fonds
Double mortuary pole by Bill Reid and Doug Cranmer (1960-61). Moved from Totem Park to MOA in 1978.
(Replica)?, Haida grave house #5, Totem Park, UBC, Vancouver
Part of E. Polly Hammer fonds
Mortuary House frontal pole by Bill Reid and Doug Cranmer (1960-61) moved from Totem Park to MOA in 1978.
Part of Anthony Carter fonds
Series consists of images found in or related to Carter's 1969 published work. Focus is on photographic representations of First Nations communities and individuals throughout Haida Gwaii. Geographic locations include Anthony Island (Ninstins), Masset, Skedans, Skidegate, Tanu and Yan. Series also contains images related to the 1969 Masset pole raising ceremony in honor of Robert Davidson, Jr. 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.
Anthony Carter
Argilite carvings, Sharon Hitchcock
Part of Anthony Carter fonds
Image of argillite carvings by Haida artist Sharon Hitchcock, located at the Museum of Anthropology at the University of British Columbia.
Anthony Carter
Final lecture of Anthropology 301, April 3, 1974, “Resurgence of Indian Culture”
Part of Wilson Duff fonds
Item is an audio recording of a lecture given by Wilson Duff on the “Resurgence of Indian Culture.” On side A, Duff speaks on the failings of colonialist education systems, First Nations traditional knowledge, and his interpretations of Haida art. Works discussed include a Raven rattle and a chest carved by Charles Edenshaw. Side B continues with Duff’s observations on government interest in, and appropriation of, First Nations art and culture as symbols of Canadian identity, and cultural repatriation.
Argillite carvings by Sharon Hitchcock
Part of Anthony Carter fonds
File consists of an image of an argillite carving by Haida artist Sharon Hitchcock.
Anthony Carter
Interview with Haida Elder Percy Brown
Part of MOA General Media collection
Item is an audio recording of an interview with Percy Brown, a Haida Elder and well-known singer, about birds, animals, fish, whaling and trapping terminology on Haida Gwaii, British Columbia. He is interviewed by two unidentified women. In the first half of the recording, he is asked questions about local birds, for example, partridges, puffins and sea gull, in order to determine Haida names for the birds and to determine if the birds are native to Haida Gwaii. He is asked similar questions about various types of vegetation, for example, plant roots. He also provides information about historic uses of trading and trapping in Haida Gwaii. Percy Brown is featured in the 1979 LP Songs from Masset, referenced in the publication Northern Haida Songs by John Enrico and Wendy Bross Stuart which is available in the MOA Reading Room, call number 12.7c HAI ENR.
Part of Anthony Carter fonds
File consists of image of Haida artist Rufus Moody, taken in what appears to be a home. A woman identified as Lucette is featured as well in a number of the images, possibly his wife. Also included is an image of some of his argillite carvings.
Anthony Carter
Lecture by Haida artist Bill Reid
Part of MOA General Media collection
Item is an audio recording of a lecture by Haida artist Bill Reid, who discusses the transition in Northwest West Coast art from its primarily ceremonial function within First Nations society to the present day when, in his words, art is made almost exclusively for sale to the non-Indian community. The recording is Lecture #8 in the University of British Columbia's Center for Continuing Education Lecture Series on Traditions of North West Coast Indian Culture.