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 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 (oil on cavas) of Jung, Foote's work as an artist is documented chiefly in reproductions of her paintings and 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.