This fonds consists of documents, archival records, photographs, ephemera, and artifacts pertaining to the life and work of Hanne Wassermann Walker. These materials relate to several broad themes: health and fitness, travel, friends and family, immigration to North America, and art/photography. Hanne's collection provides a window into the early 20th century physical culture movement; the experience of Jewish Europeans in the lead-up to, during, and after World War II; and the landscapes of British Columbia between the 1940s and 1970s. The fonds is comprised of manuscripts and published materials, correspondence, government records, photographs (including negatives, metadata, and albums), and more. In addition to Hanne's extensive collection of letters, postcards, personal and official records, and assorted odds and ends (e.g. household receipts, business cards, recipes, etc.), the fonds also contains the records of her husband, George Dickson Walker.

Series consists of photography pertaining to the life of Hanne, her friends, and her family. Hanne’s early career as an influential figure of the physical culture movement during the interwar period in Europe is captured in this series through photographs by Trude Fleischmann and Edith Boeck, among others. These images depict Hanne demonstrating the fitness poses she developed, as well as group exercises she designed and taught. In addition to fitness-related photography, this series contains pictures of Hanne’s travels throughout Europe and later in North America. Her European photos feature architecture, urban and rural locales, social gatherings, and lots of time spent at the beach in places like the resort islands of Brioni, Italy. An avid hiker and camper, Hanne produced an extensive collection of landscape photography, with emphasis on mountains, lakes, and glaciers, particularly throughout the Rocky Mountains. This series also offers a look at her home life in British Columbia, her affinity for dogs and plants, her talent as an amateur sculptor, and the meticulous detail with which she recorded information about the pictures she took from 1940 to 1970. Additionally, this series includes portraits of members of a number of Vancouver families (the Koerners, Molnars, and Prentices to name just a few) between the 1940s and the early 1960s. There are also self-portraits and portraits of Hanne’s husband, George.