Date: 1972
Name(s): MacDonald, George F.
Description: Chief Geel of Kispiox, Walter Harris, displays his double killler whale and fireweed button blanket next to the totem pole he carved for the village.
Date: 1980
Name(s): De Menil, Adelaide
Description: Children wearing button blankets with various designs.
Date: 1972
Name(s): MacDonald, George F.
Description: Ksan carvers and dancers, Walter Harris with back to camera, Art Strerrit dancing with mask in background. Ksan village.
Date: 1995 to 2005
Name(s): Hopkins, Chris
Description: ©The Battle of Champions at the Kitselas Fortress,© shows how two designated warriors settled a dispute about access to trade routes on the Skeena River. The Tsimshian and Athabaskan communities each fronted one of their best fighters, armed with personal totems, wooden shin guards and copper daggers (weapons, apparently, worth a slave), and the resulting battle was enough to settle the issue permanently, with no further loss of life.
Date: 1972
Description: Making hemlock cakes These scenes of resource gathering and processing were initiated in order to fill some of the gaps left by earlier anthropologist and cultural observers among the Gitxsan. The Book Builders of 'Ksan produced a volume on these collecting and processing practices titled Gathering what the Great Nature provided: food traditions of the Gitksan, by the people of 'Ksan.
Date: 1885 to 1893
Description: Lean-to shelter and tent on the beach
Date: 1968
Name(s): MacDonald, George F.
Description: Camp scene The village of Gitlaxdzawk is situated on a small island in the Kitselas Canyon but is now connected to land by a dry gully created as a result of infill when the Grand Trunk Pacific Railroad tunnels were constructed between 1910 and 1913. The people of Gitlaxdzawk along with Gitsaex operated a toll system in the Kitselas Canyon in which all foreign travellers paid a tribute to Gitselasu chiefs in order to secure their passage. If the toll was not paid, large boulders would be…
Description: Closeup shot of carved wooden cane, orca and bear figures compose the handle of this cane.
Date: 1935 to 1945
Name(s): Barbeau, Marius, 1883-1969
Description: Cannibal Giant Goo-Teekhl of Klukwan. Kept by John Shorty (likely the man in the picture). The statue is discoloured due to it being fed grease. The monument originally flanked the enterance of Frog house, Ganaxtedi clan (Jonaitis 1986-Art of the Northern Tlingit).
Date: 1966
Name(s): De Menil, Adelaide
Description: The Cannibal Giant (Goo-Teekhl) or Wild Man gravestone is modeled after the Cannibal Giant pole in the Frog House of Klukwan. The Giant was captured and burned by hunters but returned in the form of mosquitos to continue to feed on them. The stone is marble and the design is adapted by a white carver with the engraved name of "Tool-cutch-a- koo-nook." The cannibal is holding a dead Tlingit.
Name(s): MacDonald, George F.
Description: Haida Canoe figures.
Description: People in a canoe near Gingolx.
Date: 1972
Description: Mask and cape display Chiefteness Portrait Mask by Freda Diesing, Haida. Cedar Bark Cape and Skirt by Alice Paul, Nuu-chah-nulth. Art works created by students of the Gitanmaax School of Northwest Coast Indian Art located at the 'Ksan Historical Village.
Date: 1966
Name(s): De Menil, Adelaide
Description: Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.
Date: 1966
Name(s): De Menil, Adelaide
Description: Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.
