The fonds consists primarily of drafts and research materials used to write his book "Frontier Theatre: A History of Nineteenth Century Theatrical Entertainment in the Canadian Far West and Alaska", published in 1982. Fonds includes musical scores and librettos, programs, photographs, scrapbook and four unpublished plays: "Murder Pattern," 1936; "Ascend as the Sun"; "Earth Song", by Herman Voaden; and "The Dragon", by Bertram Brooker.

Fonds consists of research data collected for three book projects on music history in Canada, B.C., and Victoria, including photocopies or slides of 1850-1950 newspaper articles, reviews, retrospective articles, and biographical data. Also included are some original programs from the period.

Fonds consists of 6 series: Khutzeymateen, 1981-1993; Ecological Reserves, 1972-1989; Reports, 1982-1996; Photographs, ca.1987; Audiocassettes, 1987-1988; Videos, 1987-1990. The Khutzeymateen series consists of correspondence, grizzly sanctuary proposals, maps, educational programming, press clippings, and office files. The Ecological Reserves series consists of maps and descriptions of B.C. reserves. The Reports series consists of reports on bear, timber, and ecological studies, management proposals, and other publications. The Photographs series consists of Khutzeymateen slides and prints. The Audiocassettes series consists of lectures. The Video series consists of videos about grizzlies in the Khutzeymateen and Canada, and wilderness issues.

Fonds consists of manuscripts, correspondence, family documents, photographs, memorabilia about Georgia and Abkhazi family, and miscellaneous pamphlets. The manuscripts include a typescript of "Manuscript of (Mrs.) Peggy Pemberton-Carter written during internment in Lunghua Prison Camp, Shanghai", accompanying watercolours by Deirdre Fee and Lilian Schlee; typescript of "Dragon Aunt Remembers, 1900-1980", unpublished; photocopy of typescript "The Curious Cage", and an extensive photograph collection of the development of the Abkhazi garden.

Fonds consists of office logs, a daily record of events, 1972-1992; Downtown Women's Place Project file, 1992-1993; posters, 1987-1994; pamphlets, 1972, 1987, 1990; and several newsletters: Victoria Status of Women News, 1972-1990; Times Feminist, 1991-1995; Waves, 1978-79; and Women's Centre and Transition House News, 1974.

Fonds reflects Wise’s artistic inspirations, philosophical development, research interests, interactions with fellow artists and patrons, and relationships with galleries, art dealers, schools and arts organizations. The fonds consists of correspondence, sales lists, exhibition catalogues and lists, photographs, clippings, sketches, poems and calligraphy, scrapbooks and notebooks, teaching materials, curricula vitae and biographical documents, publications, and seals and other objects used by Wise in his art practice. Correspondents include Robert Amos, Pat Martin Bates, Pat Bovey, Brian Brett, Lin Chien-Shih, Stephen Cummings, Fleming Jorgensen, Stephen Gislason, Colin and Sheila Graham, Robin Hopper, Nick and Karin Koerner, Ramon Kubicek, Lobsang Lhalungpa, Chin-Shik Lin, Brian Longworth, Max Maynard, Avon Neal, Gary Lee Nova, Toni Onley, P.K. Page, Syn Richards, Martin Segger, Doris Shadbolt, Madeleine Shields, Robin Skelton, Huston Smith, Pete Trower, George Woodcock, and Myken Woods. The fonds has been arranged into four series: art practice; biographical; publications and essays by others; and teaching. The art practice series consists of five sub-series: photographs; posters; exhibition catalogues; correspondence; prose, poetry and small works; and notebooks, scrapbooks and clippings.

The fonds consists of rough drafts and notes for Sward's poetry and prose fiction; publicity material for poetry readings given by Sward; correspondence relating to monetary appraisal of Sward's papers, correspondence between Sward and Wayne Carver, and correspondence regarding grants; Sward's daily journals, lecture notes and notebooks; publications, including magazines, brochures, chapbooks and booklets; Sward family photographs and photographs of Sward with friends and fellow writers, and slides of art works by Judith Sward; art work for publications by Soft Press; film, "The July Movie", by Frederick Edell; and, correspondence, essay and notebook of Irina Schestakowich.