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Pole of the Whale was carved for Chief Hieek of the Eagle tribe. This pole stood 40 ft tall when it was erected ca. 1860. The pole was cut down in 1918 along with many other poles in the village during the religious revival of 1918. The Whole Being Pole, carved for Chief Gook, is in the background. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

Unidentified man with Pole of the Whale. Pole of the Whale was carved for Chief Hieek of the Eagle tribe. This pole stood 40 ft tall when it was erected ca. 1860. This pole was cut down in 1918 along with many other poles in the village during the religious revival of 1918. The Whole Being Pole, carved for Chief Gook, is in the background. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html…

On the left, The Whole Being Pole, carved for Chief Gook. In the centre the Pole of the Whale, carved by Chief Hleek. On the right, Split Eagle and Whale, carved for Chief Minesqu. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

View of the Nass River and part of the village.

Eagle on the Decayed Pole was carved for Chief Txas-diyee of the Eagle tribe by Txaa-kw'ihleen. When it was erected ca. 1870 it stood 50 ft tall. This pole was repatriated to the Nisga'a Nation and is on display at the Nisga'a Museum in Laxgalts'ap (Greenville). (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

Houses and poles along the beach.

Monuments lining the beach at Xaina.

Xaina village.

Locals and visitors pose in front of houses and monuments.

Contrast of Tlingit and European style houses at Klukwan.

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.

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.

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.

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.

Plank houses and frames on beach