File mainly contains historical images of the Heiltsuk, Nuxalk, and Wuikinuxv First Nations. These images depict village life, architecture and house posts, and regalia. The file contains images of a group of Nuxalk who traveled to Berlin to perform there. Images that are not historical depict a ceremony happening in the Great Hall at UBC MOA, unidentified artists working on a set of drawings, and what appears to be the Acwsalcta High School in Bella Coola. Non textual records include photocopies of photographs, and photocopies of museum catalogue cards.

File contains images of the First Nation artists involved with the Through My Eyes exhibit. The images show them looking at objects in the Vancouver Museum's collection. The artists shown in the photographs are Cyril Carpenter, Ben Davidson, Robert Davidson, Norman Tait, Isabel Rorick, Doreen Jensen, Judge Alfred Scow, Lyle Wilson, Dolly Watts, Bill Reid, Glen Tallio, Richard Hunt, Terry Starr, Tim Paul, Richard Summer, Dempsey Bob, Jim Hart, and William White.

File contains images of canoes from various Northwest Coast First Nations communities including Tsimshian, Haida, Nuxalk, Kwakwaka'wakw and Nuu-chah-nulth.

File contains images of various First Nations Cultural groups from the Pacific Northwest. The images include negatives and slides of Northwest Coast villages, totem poles, longhouses, and First Nations peoples dressed in regalia.

File contains photocopied images of Haida and Nuxalk masks housed at the Pitt Rivers Museum. Other textual records include information on featured Northwest Coast masks and correspondence between McLennan and the museum. The photographs contain images of masks and other Northwest Coast artifacts such as hats, combs, and carvings housed at Pitt Rivers Museum.

Subseries contains photographs and textual records pertaining to the "Northwest Coast Indian Art Work" exhibit which was displayed at the BC Pavilion at the World's Fair in Seville Spain in 1992. The photo depict some of the artists involved in the project painting on a wooden screen. The textual records include copies of correspondence addressed to and written by McLennan about the artwork showcased at the World Fair. Other textual records include background information about the art work and brief biographies of the artists involved in the project.

This file contains correspondences from Nancy Turner to Wilson Duff. A letter and accompanying manuscript concern Turner's text "Bella Coola Ethnobotany", which was drafted for publication in Syesis. The publication provides the traditional names, use and preparation methods, and oral history notes for 135 plants used by the Nuxalk people.

A small greeting card with a print of totems poles painted by A. Fairbairn on the cover includes a message from Turner that details names of people she met at Skidegate and Masset who provided ethnobotanical information for her research.

File consists of photocopied excerpts from the <i> Bella Coola Indians </i> manuscript.

Item is an audio recording of Mrs. Marget Siwallace providing Nuxalk translations of words to an interviewer, Randy Bouchard as part of the How to Write the Haida Language project. According to the recording, Mrs. Marget Siwallace, age 62, was formerly of Kimsquit and at the time of the recording was living in Bella Coola. She is featured in the book Bella Coola: Life in the Heart of the Coast Mountains by Hans Granander. 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 on First Nations subject matter.

This file contains a letter and attached report written by Wilson Duff at the request of Barrie Reynolds, chief ethnologist at the National Museum of Man [Canadian Museum of History]. The contents relate to the valuation of a collection of Northwest Coast cultural belongings and other items that a Mr. Birmingham intended to sell to the museum. Duff provides an overarching analysis of the collection and comments on the discrepancies between (1) museum valuation and its emphasis on ethnological information, and (2) an art market in which investors view objects and belongings based on aesthetic qualities and their potential as investment pieces.