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The collection consists of writings, correspondence, photographs, and other materials documenting the personal and professional affairs of Modernist-era painter Marsden Hartley. Writings contain notes and drafts, autograph and typescript, for numerous writings, chiefly essays. Correspondence is spread out over the many groupings in the collection and features large files of outgoing letters to Norma Berger, Hartley's niece, Carl Sprinchorn, and Adelaide S. Kuntz, as well as incoming letters from artists, writers, cultural figures, and institutions. Correspondents include Hart Crane, Robert McAlmon, Henry Miller, Marianne Moore, Arnold Ronnebeck, Elizabeth Sparhawk-Jones, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, William Carlos Williams, and Edmund Wilson. There are also third-party letters between Berger and others concerning Hartley's work. Other materials include photographs, three oil paintings by Hartley, notebooks, and objects.

The papers document the life, work, and adventures of Marshall Bond between 1897 and 1935, and also include a few papers of his father, Hiram G. Bond, and his son, Marshall Bond, Jr. Bond's Klondike experience is well documented by his diary from 1897-98, letters to his family, draft chapters of a memoir about his experiences, and photographs. The photographs include one of the dog who inspired Jack London's novel The Call of the Wild; several of the Bond family's California home, on which London based the setting for the beginning of the novel; and forty-five commercially produced photos of the Klondike region and Dawson by E. A. Hegg and other photographers.
The bulk of the collection is correspondence, which includes Bond's letters to his family from the Klondike, from Goldfield, Nevada in 1904, from Mexican villages under attack by Pancho Villa in 1918, and from hunting trips in Alaska in 1911 and Africa in 1927. It also includes his incoming and outgoing correspondence with business associates and friends, which documents mining ventures and other matters, including a plan to settle Boer refugees in Mexico. Bond's letters to Herbert H. White report intelligence about Germans in the American Southwest during World War I.
The correspondence includes one letter from Jack London to Marshall Bond, in which London confirms that the character "Buck" was indeed based on the Bonds' dog, and Judge Miller's house in the novel on Judge Bond's house in Santa Clara.
The collection also includes photographs taken in 1926 of surviving associates of Billy the Kid, a few World War I letters from the front, copies of newspaper articles by Bond, maps of the Yukon Territory, and a typescript of a book by Marshall Bond, Jr.

The papers consist chiefly of handwritten copies of maps, survey reports, and other legal documents related to litigation by Martha Bradstreet to gain title to land throughout the Mohawk River Valley in New York State. The land, including portions of Cosby's Manor and Utica, was originally the property of Major General John Bradstreet (1714-1774), the stepfather of her father, Samuel Bradstreet. Survey reports and maps in the collection served as evidence for litigation by Martha Bradstreet against owners and tenants of the land, and document landownership in the regions, as well as partitions and subdivisions made during the early nineteenth century within the Mohawk River Valley communities, especially in Utica, as well as Deerfield, Masonville, and Tompkins. The papers also include newspaper clippings, printed notices, copies of court records, and a holograph manuscript of Bradstreet's An Offering at the Altar of Truth (1827), detailing thirty-five cases she brought in federal courts and the unfavorable rulings made by Justice Alfred Conkling (1789-1874) of United States District Court for the Northern District of New York. Correspondence includes letters pertaining to her litigation, as well as personal letters to and from her husband Matthew Codd in the first decade of their marriage (in Series III), and from friend Clarissa "Clara" Bartlett Gregory Catlin (1807-1845) (in Series II).

A collection of one hundred drawings by the self-taught African American artist Mary A. Bell, featuring glamorously dressed and accessorized women and men engaged in courtship activities, or women centered in domestic or garden settings. Many of the images have religious iconography as well as animals, birds, plants, and children, with houses or other buildings placed distantly in the background. The drawings range in size from 78 x 52 to 51 x 39 cm. and were executed in crayon, colored pencil, and graphite on a lightweight wove tissue or pattern paper. Bell mounted each drawing on a second sheet of lightweight paper that she wrapped around all four edges to create the effect of a frame, then attached small paper tags to the top edges of the frames onto which she inscribed a title, phrase, description, or other caption; some drawings have larger paper tags attached to their versos with poems or lengthier inscriptions. Bell signed a few drawings with her initials "M.B." and included Carl Van Vechten's initials ("Mr. C.V.") in one work titled "Happy thoughts." The drawings are not dated but were made in the years after her retirement and before her hospitalization.

The papers document the life and literary career of Mary Barnard and consist of writings, correspondence, travel papers, diaries, photographs, and audiovisual materials, dating from the 1890s to 2001. Writings include drafts of published and unpublished works, research materials, and notebooks. Correspondence pertains mostly to Barnard's writing career and personal relationships, but also includes family correspondence. Correspondents include Ezra and Dorothy Pound and William Carlos Williams. Travel papers include diaries written by Barnard, passports, brochures, maps and printed ephemera. The collection also includes a small amount of daily calendars, photograph albums, artwork, and audio and video cassettes.

Series I, Papers of Mary Butts, consists of correspondence, writings, photographs, and artwork. Series II, Family Papers, contains papers of Butts's daughter Camilla Rodker Bagg, her mother Mary Colville-Hyde, her brother Anthony Butts, her aunts Ada and Irlam Briggs, and her first husband John Rodker, and photographs and artwork. Series III, Papers of Others, contains a draft of Robert H. Byington's biography of Butts, "The Quest for Mary Butts;" the writings, research files, and research correspondence of Butts researcher Herbert Frank Ingram; and a single file of notes about Butts compiled by Stanley Revell.

The Mary Cadwalader Jones Correspondence contains letters from various individuals, including notable writers, poets, politicians, and artists, including Edith Wharton, Grover Cleveland, Ruth Draper, Edgar Lee Masters, Augustus Saint-Gaudens, Nikola Tesla, and H.G. Wells.

Scripts, correspondence and photographs documenting the film productions of Mary Ellen Bute and Ted Nemeth. The films represented in this collection include "Passages from James Joyce's Finnegan's Wake," "Skin of Our Teeth," and "Out of the Cradle Endlessly Rocking."

The papers consist of correspondence, photographs, notes, drafts, and printed material documenting the life and work of Mary Foote, an American painter and disciple of Carl Gustav Jung. Foote's work to edit and distribute Jung's theories is documented by her notes, annotated drafts, and Multigraph editions of his seminars including "Dream Analysis," "The Interpretation of Visions," and "Psychological Analysis of Nietzsche's Zarathustra," among others, by correspondence with Jung and others in his circle, and by photographs. Printed versions of publications by and about Jung are also present, including an English translation of "Septem sermones ad mortuos" (privately printed: Edinburgh, 1925) and copies of the Eranos Jarbüch (Zurich), 1933-38. In addition to a portrait of Jung (oil on canvas), Foote's work as an artist is documented by reproductions of her paintings and by photographs of Foote in her studio and with other artists in Paris and in the United States, including Frederick MacMonnies, Janet Scudder, Ellen Emmet Rand, Leslie Emmet, Rosina Emmet Sherwood, Lydia Emmet, and Jane Emmet De Glehn. Her personal correspondence and photographs document her lifelong connection with the Emmet family, her friendships with Mabel Dodge Luhan and Robert Edmond Jones, and her relationships with her sister, brothers, nieces and nephews. Some material in the collection reflects later efforts of Foote's family to document her career, and research and writing about Frederick MacMonnies by Foote's great-nephew Edward J. ("Toby") Foote.

The papers contain correspondence, writings, financial records, audiovisual material, photographs, printed material, personal papers, scripts, scrapbooks and other material that document Mary Hunter Wolf's career as an actor, director, and theater educator. Correspondence, printed material, project files, and other material document Wolf's work with the Center for Theatre Techniques in Education (CTTE) and other educational theater projects. Also documented are her activities with the American Actors Company, the American Shakespeare Festival Theatre and Academy, the Society of Stage Directors and Choreographers, and other organizations as well as her professional associations with Agnes De Mille, Katherine Dunham, Horton Foote, Jerome Robbins, Andrius Jilinsky and others. Files relating to her direction of stage productions of The Respectful Prostitute, Only the Heart, Out of Dust, Ballet Ballads, Musical Americana, Carib Song, Great to be Alive! and others are also included in the collection. Personal papers include correspondence, greeting cards, photographs, and academic, legal, and financial records.