Fonds consists of audio, video, and visual materials created by Basil and Edythe Hartley. Materials include video footage of the Haisla people, which Hartley shot while working in Kitimaat from 1941-1944, a voiceover for the footage which Hartley’s widow, Edythe McClure, created in ca. 1983, a letter, and three photographs of Kitimaat people and landscapes. The three audio cassettes all contain the same 1983 recording.

Fonds consists of records relating to Hughes' academic and pastoral work, as well as to her interest in the changing place of women within the broader church. Fonds contains three record series: Lecture notes [ca. 1960]; Preaching and speaking notes (1940-1978); and Reference materials (1927-1947).

The fonds consists of records created and collected by Harry B. Hawthorn in a number of different capacities: as researcher, professor, Dean of Anthropology and Director of the Museum of Anthropology. Textual records in the fonds include correspondence, transcripts, research notes and clippings from publications. Much of the graphic materials relate to Harry Hawthorn’s interactions with aboriginal communities as an anthropologist, a professor, and as the Director of MOA. Other images relate to his personal life, documenting his youth in New Zealand, his life as a father and anthropologist, and his later established professional roles.

Collection consists of 81 b&w photographic prints of the Brooks heads and one of the Vancouver airport.

The fonds consists of 16 photographic prints, some of which are hand-coloured, stamped “B.W. Leeson Quatsino, B.C.”, labelled on the front or back with explanatory information, or signed in ink. One print of a longhouse is stamped “The Leeson Collection Copyright 1914.” The photographic subject matter relates to British Columbia’s Kwakiutl First Nations and the British Columbia landscape. Also included is a copy of Susan Roper's Portraits of the Indians of Quatsino by Benjamin W. Leeson, produced by the Research Project on Early B.C. Photography at the Vancouver Public Library around 1972, and 23 duplicate slides which accompany it.

The fonds consists of photographs created by Ronnie Tessler from 1986 to 1987 documenting a canoe project by the Nisga’a carver Norman Tait. The project was abandoned in the summer of 1987, and the canoe was left uncompleted. The photographs depict models for the canoe, transportation of the log for the canoe to the Museum of Anthropology, ceremonies performed throughout the project, and various stages of work on the canoe and model. Additional photographs from the same period depict a totem pole raising at Capilano Mall in North Vancouver and portraits of Les Baker, a model Tait wanted to use for a “white man” mask.

This fonds consists of textual records, photographs, negatives, slides, audio recordings, compact discs and video on DVD that relate to Kovanic’s academic and film career. The fonds relates especially to her work in Pakistan, India and Afghanistan, but also captures her work with First Nations on the Northwest coast of British Columbia.

The fonds consists of records created and accumulated by Delgado since 1964. The fonds contains correspondence, personal records, photographs, slides, negatives, video recordings, audio recordings of interviews with Delgado, and files focusing on: projects (shipwreck and historic sites), expeditions, lectures and education, and writing. The fonds also focuses on Delgado’s work with the National Park Service in the US, his work with the Vancouver Maritime Museum and with the Institute for Nautical Archaeology. Records also focus on Delgado’s work on The Sea Hunters television program.

The fonds is divided into eleven series: Correspondence series (Personal correspondence sub-series, Outgoing correspondence sub-series, Incoming correspondence sub-series), Personal records series, Projects series (Miscellaneous projects sub-series, Maritime archaeology sub-series, S.S. Central America sub-series), Expeditions series, Sea Hunters series (Episode files sub-series, Photographs sub-series, Slides sub-series, Video recordings sub-series), Writing series (Books and publications sub-series, Reports sub-series, Correspondence sub-series, Article drafts sub-series, Published articles sub-series, Publicity and reviews sub-series), Newspaper clippings series, Lectures and education series, Audio recordings series, Images series (Photographs sub-series, Titanic images sub-series, Slides sub-series), and Video recordings series.

The fonds comprises records created by Duke from approximately 1946 to 2006. They are related to all aspects of Duke’s life and career. Among other types of records, the fonds includes: drafts of Duke's articles, essays and speeches; personal and production photographs; annotated working scripts of various television and film productions; personal and administrative correspondence; legal records, personal and administrative correspondence pertaining to the takeover of CKVU-TV; awards; personal notes; journals; press clippings featuring work by and about Duke; ephemera collected by Duke; and audio/visual material.

Series have been determined during archival processing and are primarily based on the various activities that Duke engaged in over his life and working career (see the Arrangement note below for more details about series arrangement). The series are: CKVU (1974-1991); CBC (1984-2005); Friends of Canadian Broadcasting (1994-2004); Banff Television Festival (1997-2004); Vancouver Awards Show (1987-1990); general business correspondence (1965-1990); personal correspondence (1948-2007); essays and articles (1940-2005); personal notes (1981-2005); personal journals (1945-2005); agendas (1977-1984); personal publicity (1960-2004); film and television works (1950-2000); speeches (1980-2004); research (1993-2003); ephemera (1946-ca. 1990); audio recordings ([ca. 1969-ca. 2002]); videocassettes ([ca. 1990-ca. 2002]); and photographs ([ca. 1940]-2006).

The fonds consists of 83 images associated with two books published by Douglas & McIntyre: Bill Reid by Doris Shadbolt and The Raven Steals the Light by Bill Reid. The photographers responsible for these images are R. Dereth, R. Keziere, R. Lum and B. McLemore.