Search Content

Eagle on the Decayed Pole.

Three Persons Along carved for Chief Ksim Xsaan of the Raven tribe by Axts'ip. When it was erected ca. 1860 it stood 40 ft tall. This pole was cut down in 1918 during the religious revival at Gitlaxt'aamiks. Before being cut up and repurposed it was sold to the Royal Ontario Museum where is it still on display. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

Three Persons Along carved for Chief Ksim Xsaan of the Raven tribe by Axts'ip. When it was erected ca. 1860 it stood 40 ft tall. This pole was cut down in 1918 during the religious revival at Gitlaxt'aamiks. Before being cut up and repurposed it was sold to the Royal Ontario Museum where is it still on display. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

Three Persons Along carved for Chief Ksim Xsaan of the Raven tribe by Axts'ip. When it was erected ca. 1860 it stood 40 ft tall. This pole was cut down in 1918 during the religious revival at Gitlaxt'aamiks. Before being cut up and repurposed it was sold to the Royal Ontario Museum where is it still on display.

Three Persons Along carved for Chief Ksim Xsaan of the Raven tribe by Axts'ip. When it was erected ca. 1860 it stood 40 ft tall. This pole was cut down in 1918 during the religious revival at Gitlaxt'aamiks. Before being cut up and repurposed it was sold to the Royal Ontario Museum where is it still on display. (Info. from: http://gingolx.ca/nisgaaculture/ancient_villages/villages.html)

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).

Female and male interior house posts at the Gwa'sala winter village of T'akus in Smith Inlet. The posts likely represent ancestral figures of the house owner.

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.

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.