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The fonds consists of conference packages given to each delegate, including conference programme, biographies of recognition awards recipients, names of conference attendees, and blank evaluation forms. Also included in original material used for producing the art exhibit catalogue in 1993.

The fonds consists of Women’s History Network/BC correspondence from 1996 to 1999.

The fonds consists of material relating to the operations of The Wonder Press. These include printing samples, supply orders, supplier catalogues, and correspondence. The fonds also contains reference and printed materials collected by the Press, and its founder, Lillian Wonders.

The collection consists of mss, photographs, correspondence, clippings, prints. Mostly concerned with Zillah Hobart's W.W.I experience in Russia. She was the mother of Connla Wood (husband of B. Anne Wood). Also consists of documents relating to the family of Zillah Cicely Nita May (Hobart) Wood, 1894-1967. Also consists of documents relating to Connla T. Wood, son of Zillah Cicely Nita May (Hobart) Wood.

The collection consists of 23 First World War ordnance maps produced by the United Kingdom War Office.

The collection consists of 28 b/w photographs. Includes an oversized 1916 photograph of the 143rd Battalion C.E.F. and other materials pertaining to the 143rd Battalion (B.C. Bantams).

The collection consists of two volumes. The first volume is hardcover and contains clippings from Toronto newspapers. Some of the text extends into the 1930s but all of the photographs are from 1914-1919. The second volume is unbound. Its clippings are from an unknown source. Included with this volume are some loose clippings from the same sources, together with newspapers from Hamilton and Toronto.

The collection consists of 123 pen-and-ink drawings and watercolours titled: Sketches of the War : France/Belgium in 2 volumes and is dedicated in a pasted in letter: "To my Daughter Adele." The sketches vary from satirical cartoons to more detailed and naturalistic renditions. They are often accompanied by an ironic title and are often signed with the artist's initials, "J.M." The artist's satirical targets include the officers and high command of both combatant sides; the disjuncture between reported and actual events, and the death of civilians as a fact of modern warfare.

The collection consists of: 2 leaves of typescript with holograph corrections of explanatory notes on the plates for "The Demon of Progress in the Arts" (1954); 10 leaves of typescript with holograph revisions of "Chapter I: The 'Do-Nothing Mode'" (about Lewis' father); 21 leaves of carbon typescript with holograph corrections of chapters 4-6 of "Painting as a Sport" ; 7 leaves of carbon typescript with holograph corrections with a note to "Mrs. Gilliat"; 3 leaves of a holograph review of Swabey's "The English Church and Usury"; 19 leaves of a typescript review with holograph corrections of Harry Slochower's "No Voice is Wholley Lost".