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The Arthur Davison Ficke Papers document the personal lives and literary interests of Arthur Davison and Gladys Brown Ficke. Major correspondents include Witter Bynner, Floyd Dell, Edna St. Vincent Millay, Edgar Lee Masters, and John Cowper Powys. In addition to manuscripts of Ficke's own works, the papers contain manuscripts of poems by Witter Bynner, Edgar Lee Masters, and others.

The papers document the personal life and literary career of Bryher. Her extensive correspondence includes letters from H. D., Robert MacAlmon, Kenneth MacPherson, Norman Holmes Pearson, Sylvia Beach, Norman Douglas, Horace Gregory, Islay Lyons, and Edith Sitwell, and from many other figures in the fields of literature, psychoanalysis, and film. There are manuscripts of many of her works, including fragments of an unpublished volume of autobiography; financial and personal papers; material collected by Bryher on "boys' books" authors such as R. M. Ballantyne and G. A. Henty; and documentation of Bryher's interest in film and the making of Borderline (1930).

The collection consists of material documenting aspects of the life and work of the Jungian analysts Gerhard Adler and Hella Adler. Material includes drawings, sketchbooks, diagnostic and other notes, handwriting samples, correspondence, and other material. Included are numerous oil, gouache, watercolor, chalk, and pencil "dream drawings," and drawings and sketches in books, on loose sheets, oil boards, and card scrolls.

Correspondence, writings and photographs that document the translations, psychoanalytic practice and scholarship of Gregory Zilboorg, the relationship between Gregory and Margaret Zilboorg (neé Stone), and Gregory Zilboorg's photographic portraiture.

The papers document the personal life and literary career of H. D. Major correspondents include Richard Aldington, Bryher, Helen Wolle Doolittle, Robert McAlmon, Brigit Patmore, Norman Holmes Pearson, George Plank, and Ezra Pound. There are manuscripts of many of her works, including Her (1927), The Walls Do Not Fall (1944), Helen in Egypt (1961), and her memoir End to Torment (1958). The collection also contains personal papers, subject files, and photographs, including items related to the film Borderline (1930).

The papers contain correspondence, drafts of unpublished books, essays, and other writings, together with personal papers documenting Toomer's life, primarily after his Harlem Renaissance period, and papers on Marjory Latimer Toomer. Correspondents include Charles Dupee, Waldo Front, Mabel Dodge Luhan, Margaret Naumberg, and Russell S. Walcott.

The Luhan collection consists of letters, manuscripts, photographs, and personal papers documenting the life and work of Mabel Dodge Luhan. There is correspondence with psychoanalyst Abraham Arden Brill, Dr. Eric P. Hauser, and friend and assistant Walter Willard Johnson. There are smaller groups of letters to Charlotte Becker and Robert Edmond Jones, as well as incoming letters from John Reed. Writings include drafts of several manuscripts: typescript carbon drafts of "Hildegaard" and Una and Robin; a holograph draft of Edge of Taos Desert; a holograph and typescript draft of the unpublished "Family Affairs"; holograph and typescript drafts of Movers and Shakers; the original holograph manuscript of the unpublished novel "Water of Life"; and the first draft of Winter in Taos.There are early photographs of Luhan, photographs of friends, including Dorothy Brett and Robinson and Una Jeffers, and photographs of Luhan's homes in Taos, New Mexico, and Florence. Personal papers include the painting of Luhan by Mary Foote.

The Luhan papers consist of correspondence, writings, photographs, scrapbooks and personal papers documenting the life and work of Mabel Dodge Luhan.Series I, Correspondence, consists chiefly of incoming letters from family, friends, fans and publishers. Luhan's activities and relationships in New York and New Mexico, with artists, writers, labor leaders and Native American Indians, are well documented. Correspondents include John Evans, John Collier, Gertrude and Leo Stein, Hutchins Hapgood, Neith Boyce, Maurice Sterne, Alfred Stieglitz, Carl Van Vechten, Robert Edmond Jones, D.H. and Frieda Lawrence, Dorothy Brett and Georgia O'Keeffe. The one significant group of outgoing letters is to psychoanalyst Smith Ely Jelliffe.Series II, Writings, contains a variety of writings: articles, essays, short stories, novels, poetry, reviews, book-length autobiographical and non-fictional work, and writings of others. There are drafts of Lorenzo in Taos, three of the four published volumes of Intimate Memories, and several unpublished autobiographical writings.Series III, Photographs, consists of portraits and snapshots of people and places, including Mabel Dodge and Tony Luhan, family, friends, Native American Indians, and Luhan's homes in Florence and Taos. There are photographs by James Edward Abbe, Ansel Adams, Laura Gilpin, Ernest Knee, Edward Weston and others.Series IV, Scrapbooks, consists of seventeen scrapbooks containing clippings and letters devoted to Luhan's published books and to subjects of interest to her. Clippings on subjects deal with modern art and literature, the 1913 Armory Show, Luhan's salon, labor issues, D.H. Lawrence, Native American Indians and Taos. Clippings include articles by Luhan and friends.Series V, Personal Papers, is organized into ten subseries: Artwork, Clippings, Diaries, Financial and Legal Records, Invitations and Announcements, John Evans Papers, Medical Records, Postcards, Printed Ephemera and Other. The Artwork subseries includes work by D.H. Lawrence, Maurice Sterne and Marsden Hartley. Series VI, Subject Files, consists chiefly of clippings on friends and family.

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.