Description (Physical description)
Small totem pole composed of an owl (possibly) at the top, a frog and a bear.
Event Date 1927
Author: maa

Context (Related Documents)
The original European tribal names and, where possible, current tribal names have both been given in separate GLT fields.; The style and subject matter of this object conforms to those of the Fourth Period, 1910- onwards (although I think contemporary argillite carving should have a separate period). During this period argillite carving was typified by small curio items, such as small totem poles, inkwell, bookends, etc. and reflected the near demise of Haida art, and its transformation into an externally oriented commodity. This state of affairs has changed with Haida culture and art undergoing a linked revival and strengthening of position vis-a-vis the Provincial and Federal Governments (G.Crowther). (The time periods of argillite carving are derived from Carol Sheehan' s Pipes That Won' t Smoke; Coal That Won' t Burn; Haida Sculpture in Argillite, 1981, Glenbow Museum: Calgary, and Peter Macnair and Alan Hoover' s The Magic Leaves, 1984, British Columbian Provincial Museum: Victoria.); Collected by: ?Deanland. Canon in ?1906
Event Date 1/10/1992
Author: maa

Context (Other owners)
Model of Totem Pole depicted in MAA Photo P.145359.RDG were it is annotated by William Ridgeway as
"1. My model in slate of a British Columbia Totem post, given me by Canon Beanlands, Victoria. B. C."
Event Date 19/2/2020
Author: Jos Dudding

Context (Amendments / updates)
Provenance of Haida Gwaii added due to Haida attribution. Cannon Arthur Beanlands was Rector of Christ Church Cathedral, Victoria.
The Northwest Coast Collection was re-catalogued and photographed by Dr. Gillian Crowther in 1992. The revised database records were reproduced in her ‘Catalogue of the Northwest Coast Collection: Cambridge University Museum of Archaeology and Anthropology’, 1992, revised 2nd edition 1996.

Event Date 30/3/2020
Author: rachel hand