TABLE OF CONTENTS


Descriptive Summary

Collection Overview

Restrictions

Online Catalog Headings

Administrative Information

Detailed Description of the Collection

Series 1. Manuscripts.

Series 2. Interviews with Cage.

Series 3. Fan Mail and Mail Art.

Series 4. Cage Ephemera.

Guide to the John Cage Papers, 1937 - 1992


Descriptive Summary
Repository Special Collections & Archives, Wesleyan University
Creator Cage, John.
Title John Cage Papers,
Dates 1937 - 1992
Linear Feet 14.25 (currently described)
Archival Boxes 29 (currently described)
Abstract John Cage (1912-1992) was an experimental musician, composer, and writer.
The John Cage papers described in this document include manuscripts, interviews, fan mail, and ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations are also part of the Wesleyan Cage collection, and will be described in this finding aid in the future.
Call Number 1000-72
Location For current information on the location of these materials, please consult Special Collections & Archives staff.
Language of Material Material in English

Collection Overview

The first series, Manuscripts, contains manuscripts and corrected typescripts created by John Cage and used in speeches, performances, and published articles. Most were later collected by Cage for publication in his books. In many instances, both the original text and a later version corrected for publication exist and are housed together. This series is arranged alphabetically by title. In some instances, short pieces as well as individual book titles appear within the arrangement. Therefore, when searching for a particular piece, one should look for it under both its title and the title of the book in which it may have appeared.

The collection was arranged by Cage himself before transfer to Wesleyan, and this arrangement has been retained in nearly every instance. Folder titles that appear in quotation marks are Cage’s original folder titles for each piece, in which he also included the title of the book in which it was later published, i.e. "Composition (Silence)." Cage also noted unpublished pieces, i.e. "Listening to Music (unpublished)" and this convention has been retained in the finding aid. Many pieces noted as unpublished by Cage have subsequently appeared in print, notably in "John Cage, Writer: Previously Uncollected Pieces, Selected and Edited" by Richard Kostelanetz. New York: Limelight Editions, 1993. Folder titles not appearing in quotation marks were either not labelled by Cage or are later additions to the manuscripts series and have been added by the archivists.

Cage often typed a short note of explanation to accompany each piece that would supply background information, such as original titles or the context of its first appearance in print or when/where it was delivered. He called these notes "headnotes" and they have been noted or transcribed in the finding aid, within quotation marks, where they occur. Some folder titles had been changed by Cage or crossed out; these are also noted in the finding aid.

Other items described here are Series 2, Interviews with Cage; Series 3, Fan Mail and Mail Art; and Series 4, Cage Ephemera.

This finding aid does not presently include clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations. These are also part of the Wesleyan Cage collection and will be described in additional series.

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Restrictions

Access Restrictions

No restrictions

Copyright Notice

Copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law.

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Online Catalog Headings

These and related materials may be found under the following headings in online catalogs.

Cage, John.

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Administrative Information

Preferred Citation

[Identification of item], John Cage Papers, Collection #1000-72, Special Collections & Archives, Wesleyan University, Middletown, CT, USA.

Acquisitions Information

Gifts of John Cage.

Processing Information

Processed primarily by Leon Julius Hilton (Wesleyan class of 2007), 2007, with help from James Dutcher ('2005), Burke Giordano (’2006), Brian McKenna (’2004), and Jeffrey Makala

Encoded by Leon Julius Hilton, 2007

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Detailed Description of the Collection

Series 1. Manuscripts.
Box Folder
1 1-5 “45’ For a Speaker (Silence)”
Corrected typescript (headnote), 3 p., n.d.
Corrected typescript, 45 p., n.d.
Notebook, 1954.
Typescript, 3 p., 1959. In Italian, dated Milan 1959.
Corrected typescript, 3 p., 1954-55. Draft of letter in Italian concerning concert management.
Folder
6 “200 Words,” annotated typescript, 1 p., n.d. Essay later published in Art News.
Folder
7-8 “1000 Words (Silence)”
Autograph manuscript, 47 p., n.d. Written on the versos of Cage concert posters. Original folder note reads: “Some of this incorporated in Comp. as Process: Communication.”
Corrected typescript, 6 p., n.d. Titled: “One Thousand Words.” Includes headnote: “This is my article for Journal of Beaux Arts, current issue.”
Folder
9-14 Anarchy (lecture and book manuscript)
Contents list and presentation order, typescript, 5 p., n.d.
Introduction, corrected typescripts, 13 p., n.d.
Mesostics, corrected typescripts (4 folders), n.d.
Folder
15 “Art and Technology (Published?),” corrected typescript, 2 p., 1969
Folder
16 “Arts In Dialogue (Kostelanetz),” annotated typescript, 1 p., April 1964. Titled: “Honolulu Academy of Art, April 64.”
Folder
17-19 “Audience (AYFM)”
Steno pad, n.d. Notes for “Diary: Audience 1966.”
Annotated typescript, 4 p., May 1966. Draft of “Diary: Audience 1966.”
Corrected typescript, 2 p., 1966. Final draft.
Box Folder
2 1 “Bruxelles,” annotated photocopy, 6 p., 1954. Pages numbered 79-84, document and annotations both in French. On final page: “Benedicte Pesle, Dominique De Ménil / Bk XIV Pt II Sect VII ¶ 3.”
Folder
2 “Cartridge Music (Kostelanetz),” annotated typescript, 3 p. 1962. Sections appear in Silence.
Folder
3 Chapters on Music (Music in Context with Other Goings On), steno notebook, after 1973.
Folder
4-6 “Commitment (AYFM)”
28 typed index cards with annotations, February 21, 1961. Written for Beta Symposium, Wesleyan University, Middletown, CT, Feb. 23, 1961. The lecture is to be given by shuffling cards at random to determine order, content, and duration.
Corrected typescript, 5 p., February 21, 1961. Typed version of lecture. Includes headnote. Original folder reads: “This has been given to an editor of an anthology (as yet unpublished).”
Autograph manuscript, 1 p., n.d. Note to printers describing basic layout of the text.
Folder
7 “A Composer’s Confessions (Unpublished),” corrected typescript, 31 p., February 28, 1948. Address given at the National Inter-Collegiate Arts Conference, Vassar College, February 28, 1948.
Folder
8-9 “Composition (Silence)”
Page layout sketch, 2 p., n.d. Titled: “To Describe the Process of Retitled Four Musicians At Work.” Includes annotated headnote.
Corrected photocopy, 3 p., 1952. Printed article appearing as “Four Musicians at Work” in trans/formation Vol.1, #3, 1952. Includes headnote.
Folder
10-12 “Composition As Process and Communication (Silence)”
Typescript, 13 p., n.d. Includes headnote. Includes printer’s corrections.
Typescript, 6 p., n.d. Titled: “Rutgers Original.” Includes small attached note: “From Rutgers version of Composition as Process – III, Communication.”
Page layout sketch, 1 p., n.d. Titled: “Communication.”
Folder
13-14 “Composition As Process and Indeterminacy (Silence)”
Corrected photocopy, 23 p., n.d. Titled: “Darmstadt II (Indeterminacy).” Includes headnote.
Corrected photocopy, 12 p., May 22, 1961. Titled: “Replaced by retyped copy 5/22/61.”
Folder
15-17 “Composition As Process With Changes (Silence)”
Corrected typescript, 22 p., September 1958. Lectures given at Darmstadt, September 1958. The lectures, which are carefully planned out on a timeline, are to be periodically interrupted by Music of Changes.
Corrected typescript, 1 p., May 24, 1961. Description of the 3 lectures.
Page layout sketches, 3 p., n.d. Titled: “Changes,” “Indeterminacy,” “Thoughts on Experimental Music.”
Folder
18 “Cunningham Stories (Kostelanetz),” annotated typescript, 5 p., n.d.
Folder
19-23 “4 Statements on Dance (Silence)”
Corrected typescript, 4 p., ca. 1939. Titled: “Goal: New Music, New Dance.” Includes general headnote, a headnote for this section, a magazine clipping in which the article first appeared (Dance Observer, 1939), and a page layout sketch.
Magazines, November 1944. Two copies of Dance Observer (Nov. 1944) in which “Grace and Clarity” appeared. Includes headnote.
Autograph manuscript, 10 p., autumn 1956. Speech written by Cage to be delivered in St. Louis and at Principia College. It later appeared as “In This Day…” in the January 1957 Dance Observer. Includes headnote.
Magazine clipping, 1 p., January 1957. “In This Day…”, Dance Observer (Jan. 1957).
Magazine, 1957.Titled: “2 Pages, 122 Words On Music and Dance.” Dance Magazine (Nov. 1957) in which the article appeared. Includes headnote.
Folder
24 “Defense of Satie (Kostelanetz),” corrected typescript, 11 p., 1951. Given at the first Satie festival, 1951.
Folder
25-26 “To Describe the Process of Composition Used in ‘Music for Piano 21-52’ (Silence)”
Corrected typescript, 5 p., n.d. Includes headnote by Cage.
Annotated article, 1959. A copy die Reihe, No. 3, in which the essay was published.
Folder
27-47 “Diary (AYFM)”
Autograph manuscript, 7 p., n.d. Titled: “…included in Document #5 Comprehensive Design Strategy.”
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 19 p., n.d.
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 7 p., n.d. Story written on back of dry cleaning lists.
Corrected typescript, 18 p., 1967. Final draft of “Diary…1967.” Includes headnote and coversheet.
Page proofs, 9 p., 1967. From Something Else Press, Great Bear Pamphlet series edition of “Diary…1967.”
Autograph manuscript, 5 p., n.d.
Autograph manuscript, 3 p., n.d.
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 3 p., n.d. Titled: “Intentions for Pt. II.”
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 1 p., n.d.
Corrected typescript, 1 p., 1966. First page of “Diary...1966.”
Typed letter signed, 1 p., August 25, 1966. To Cage from Jose de la Torre Bueno, Editor of the Wesleyan University Press, discussing ideas for A Year From Monday. Notes by Cage on verso.
Autograph manuscript, 1 p., 1966. On back of envelope postmarked August 26, 1966.
Autograph manuscript, 2 p., 1967. Outline for “Diary…1967.”
Steno pad diary, 1966. Labeled: “A.”
Box Folder
3 1 Steno pad diary, 1966. Labeled: “B.”
Folder
2 Steno pad diary, 1967. Labeled: “1.”
Folder
3 Steno pad diary, n.d. Labeled: “III.”
Folder
4 Steno pad diary, n.d.
Folder
5 Steno pad diary, n.d.
Folder
6 Steno pad diary, 1966-67.
Folder
7 Steno pad diary, 1967. Labeled: “2.”
Folder
8 Steno pad diary, 1965.
Folder
9 Photocopy of annotated typescript, 1 p., n.d. Titled: “Headnote: How to Improve I.”
Folder
10 Typescript, 1 p., n.d. Titled: “Headnote: How to Improve II.”
Folder
11 Typescript, 1 p., n.d. Titled: “Headnote: How to Improve III.”
Folder
12 Corrected typescript, 19 p., early September 1966. Final draft of “Diary…1966.” Includes headnote and coversheet.
Folder
13 Typescript, 1 p., n.d. Titled: “Note to Ray Grimaila.”
Folder
14 Corrected typescript, 3 p., 1966. Final draft of “Diary…Audience 1966.” Includes headnote.
Folder
15 Corrected typescript, 1 p., n.d. Headnote by Cage on “Diary…1965”.
Folder
16 Corrected typescript, 16 p., November-December 1965. Draft of “Diary: How to Improve the World (You Will Only Make Matters Worse) 1965,” with title page.
Folder
17 Corrected typescript, 1 p., n.d. Labeled: “This is example.”
Folder
18 Sample mockup of final printed copy.
Folder
19 Typescript, 15 p., n.d. Final draft of “Diary…1965.”
Corrected typescript, 15 p., n.d. Corrected photocopy of previous document.
Box Folder
3 20-27 “Diary (M)”
Autograph manuscript, 1 p., n.d.
Autograph manuscript, 1 p., n.d.
Corrected typescript, 24 p., n.d. “Diary…1969.”
Autograph manuscript, 1 p., n.d. Notes for “Diary…1970-71.”
Typescript photocopy, 13 p., May 1971.“Diary…1970-71.” Includes notes to printer.
Page proofs photocopy, 14 p., 1971. “Diary…1970-71.”
Corrected typescript, 6 p., n.d. Titled: “RE and Not RE Fuller and Mao.”
Autograph letter signed, 1 p., February 11, 1971. Signed: “Dick.” Used in “Diary…1970-71.”
Box Folder
4 1 Steno pad, n.d. Titled: “Diary V, Spring/Thanksgiving.” Labeled: “I.”
Folder
2 Steno pad, n.d. Titled: “Diary V.” Labeled “I.”
Folder
3 Steno pad, n.d. Notes for “RE and Not RE Fuller and Mao.”
Folder
4 Steno pad, 1971-72. Titled: “VII, 1971-72.” Labeled: “1.” Inside cover contains rough outline of Diary as a whole.
Folder
5 Steno pad, n.d. Titled: “Black Elk Speaks.” Labeled: “2.”
Folder
6 Steno pad, n.d. Labeled: “I.”
Folder
7 Steno pad, n.d. Labeled: “II.”
Folder
8 Steno pad, n.d.
Folder
9 Steno pad diary, 1970-71. Original folder reads: “Also fragments of ________ re M.C. / Foreword to M.”
Folder
10 Typed letter signed, 1 p., October 15, 1969. To Cage from John Russell, writer for Art News. Notes by Cage on front and back.
Box Folder
4 11-15 “26 Statements Re Duchamp (AYFM)”
Notebook, 9 p., n.d.
Corrected typescript, 3 p., n.d. Includes headnote.
Page layout sketch, 2 p., n.d. Includes attached note to printer.
Magazine article, 2 p., n.d. “These Verses are Music.” Includes 36 mesostics.
Magazine, 1963. Complete copy of Mizue: A Monthly Review of the Fine Arts (Tokyo), September 1963, in which “26 Statements Re Duchamp” was printed.
Box Folder
4 16-17 “Electronic Souls (Kostelanetz)”
Typed letter signed, 1 p., January 12, 1966. Letter to the Village Voice regarding an article Cage had enjoyed.
Newspaper clipping, 1 p., January 20, 1966. Village Voice clipping in which the above letter was printed.
Box Folder
4 18-23 “Emma Lake (AYFM)”
Autograph manuscript, 20 p., 1965. Notes for “Diary: Emma Lake Music Workshop 1965.”
Autograph manuscript, 13 p., 1965. Notes.
Autograph manuscript, 9 p., August 15-21, 1965. Early draft.
Typescript, 1 p., n.d.
Corrected typescript, 7 p., n.d. Final draft of essay. Includes headnote and attached note to printer. Original folder reads: “appearing soon in Canadian Art.”
Page layout sketch, 1 p., n.d.
Box Folder
5 1-7 Empty Words
Dedication, manuscript, 1 p., n.d.
Headnotes, corrected typescripts, 14 p., ca. 1979
“The Future of Music”
Manuscript (fragment), 13 p., n.d.
Corrected typescript, 20 p., n.d.
“How the Piano Came to be Prepared”
Typescript, 5 p., n.d.
Corrected typescript, 5 p., n.d.
Wesleyan University Press Correspondence, 1977-1979
Incoming correspondence regarding the production process, permissions, and corrections to the manuscript (approx. 75 pieces), with some copies of outgoing correspondence and annotations by Cage. Includes copy of original book contract.
Box Folder
5 8 “Experimental Music (Silence),” corrected typescript, 10 p., Winter 1957. Address given to the convention of the Music Teachers National Association in Chicago in the winter of 1957. Includes headnote by Cage.
9-10 “Experimental Music: Doctrine (Silence)”
Corrected typescript, 2 p., n.d. Titled: “The Material of Music and Actions Relevant to Its Nature.”
Magazine, 1955. Includes headnote by Cage and complete copy of The Score and I.M.A. Magazine, June 1955, in which the article appeared.
Box Folder
5 11 “On Film,” manuscript, 10 p., 1956. Address to Creative Film Foundation, April 6, 1956.
12 Forerunners of Modern Music (Silence),” magazine, 1949. Includes headnote by Cage and complete copy of The Tiger’s Eye 7(1), March 1949
13 “The Future of Music: Credo (Silence),” corrected typescript, 3 p., 1939. Includes headnote by Cage.
14-25 “Series Re Morris Graves”
Corrected photocopy, 24 p., 1973. Titled: “Series Re Morris Graves.” Includes printer’s instructions and headnote by Cage.
Autograph manuscript, 1 p., 1973. Rough draft of coversheet for “Series Re Morris Graves.”
Corrected typescript, 1 p., 1973. Coversheet, signed.
Corrected photocopy, 1 p., 1973. Coversheet.
Corrected typescript, 1 p., 1973. Titled: “Directions for Printing Series Re Morris Graves.”
Autograph manuscript, 1 p., n.d. Diary entries.
Corrected typescript, 27 p., 1973.
Steno pad, 1973. Labeled: “Series Re (Morris) Graves I.”
Steno pad, 1973. Labeled: “Morris Graves II.”
Steno pad, 1973. Labeled: “Morris Graves III.”
Steno pad, 1973.
Steno pad, 1973.
Box Folder
6 1 Steno pad, 1973.
Folder
2 Steno pad, 1973. Includes envelope with additional notes.
Folder
3 “Morris Graves (Kostelanetz),” typescript, 2 p., 1957. “Museum of Art of Ogunquit / Fifth Annual Exhibition / June 29 – September 9, 1957.”
Folder
4-8 “Happy New Ears (AYFM)”
Typescript, 2 p., n.d. Titled: “Headnote With Title for Two Japanese Texts.”
Autograph manuscript, 3 p., 1963. Short address given on Japanese radio in December 1963.
Steno pad, n.d.
Corrected typescript, 9 p., n.d. Final draft of essay. Includes two-page headnote.
Page layout sketch, 1 p., n.d.
Folder
9-10 “On the History of Experimental Music In the United States (Silence)”
Corrected typescript, 15 p., ca. 1959. Includes headnote by Cage.
Spiral-bound notebook, n.d. Includes five pages of additional notes.
Folder
11-17 “How to Pass, Kick, Fall, and Run (AYFM)”
Typescript, 1 p., n.d. Titled: “Headnote: How to Pass, Kick, Fall, and Run.” Headnote by Cage describing his role in the dance by Merce Cunningham of the same title.
Autograph manuscript, 7 p., n.d.
Corrected typescript, 2 p., n.d.
Annotated typescript, 71 p., n.d. Collection of anecdotes Cage used when performing the piece, some of which were published in A Year From Monday. Includes headnote.
Pocket notepad, n.d.
Pocket notepad, n.d.
Pocket notepad, n.d.
Folder
18 “Indeterminacy (Stories) (Silence)”
Corrected typescript, n.d. Over 150 pages.
Box Folder
7 1-3 Corrected typescript, 68 p., ca. 1959. Includes headnote.
Corrected typescript, 8 p., n.d. French translation of selected stories.
Corrected typescript, 8 p., n.d. Labeled “(Histoires diverses à utiliser en bas de pages, etc.)” French translation of selected stories.
Box Folder
7 4 “Interview (Iona),” corrected magazine clipping, 10 p.,1969. Titled “Things To Do,” North American Review, Winter 1969.
Folder
5-6 “Interview by Larry Austin Re HPSCHD”
Corrected photocopy, 9 p., June 19, 1968. Interview transcript. Original folder reads: “Published in Source Magazine.”
Corrected photocopy, 11 p., n.d. Interview transcript.
Folder
7-8 “Interview with Mimaroglu”
Typed letter signed, 1 p., May 25, 1965. To Cage from Ìlhan Mimaroglu regarding their interview.
Corrected photocopy, 9 p., n.d. Titled: “John Cage Interview.” Transcription of Cage interview.
Folder
9-23 “Two Statements on Ives (AYFM)”
Autograph manuscript, 6 p., n.d. Draft.
Typescript, 1 p., n.d. Titled: “Headnote: Two Statements on Ives.”
Corrected typescript, 1 p., n.d. Titled: “Headnote: Two Statements on Ives.”
Typescript, 1 p., n.d. Titled: “Headnote: Two Statements on Ives.”
Typescript, 1 p., n.d. Titled: “Headnote: Two Statements on Ives.” Published version.
Typed letter, 1 p., September 13, 1965. Letter to Irving Glick from Cage requesting a transcript of remarks Cage made about Ives.
Typed letter signed, 1 p., September 24, 1965. Response to Cage’s transcript request from Irving Glick.
Corrected photocopy, 3 p., 1965. Copy of transcript requested from Irving Glick with Cage’s additions.
Typed letter, 1 p., September 27,1965. Letter to Irving Glick from Cage thanking him for sending the transcript.
Autograph manuscript, 10 p., n.d. Copy of the transcript written in blue and red ink by Cage. Includes breath and pause notation.
Autograph manuscript, 2 p., n.d. Copy of transcript including breath and pause notation. Nearly identical to version reproduced in A Year From Monday. Sheets measure 11” x 17”.
Autograph letter signed, 2 p., April 7, 1964. To Michael Zahn from Cage. Reproduced in A Year From Monday. (p. 37-40).
Autograph letter signed, 4 p., April 8, 1964. To Zahn from Cage.
Typed letter signed , 1 p., September 29, 1965. To Cage from Michael Zahn.
Typed letter signed, 1 p., January 12, 1967. To Michael Zahn from Cage with Zahn’s response (January 14, 1967).
Folder
24-44 “Johns (AYFM)”
Index cards in French and English, 30 cards, n.d. Includes quotes from published sources about Jasper Johns.
11”x23” poster, 1 p. with 1 p. supplement, 1963.
Clippings, 3 p., 1959, 1964.
Notes, 4 p., n.d.
Corrected magazine article, 1 p., March 1963. Article about Johns in Arts and Architecture with highlighting by Cage
Typescript, 1 p., Jan. 20, 1958. Press release about Johns by Leo Castelli.
Notes, 1 p., n.d.
Notes, 2 p., n.d.
Notes, 2 p., n.d.
Booklet, 8 p., Sept. 1961. French, English, German and Spanish translations of brief biography of Johns by Piere Restany.
Notes, 81 p., n.d. Notes in prose and mathematical calculations. Includes preliminary text for “Jasper Johns: Stories and Ideas.” Pages organized in groupings assembled by Cage in their original folder.
Notes, 4 p., n.d.
Notes, 1 p., n.d.
Notes, 1 p., n.d.
Notes, 1 p., n.d.
Typescript, 5 p., n.d. Interview transcript with Jasper Johns.
Autograph manuscript, 9 p., n.d. Early drafts.
Autograph manuscript, 1 p., n.d. Early draft.
Notes, 5 p., n.d. Notes, drafts, and calculations.
Corrected typescript, 4 p., n.d.
Corrected typescript, 19 p., 1964. Final draft of essay. Includes two-page headnote, coversheet, and attached note to printer.
Box Folder
8 1-4 “Julliard Lecture (AYFM)”
Typescript, 1 p., n.d. Headnote.
Autograph manuscript, 46 p., n.d. Lecture text written on the versos of posters from The Living Theater of concerts featuring Cage’s “Music of Changes.”
Autograph manuscript, 1 p., n.d. “David Tudor’s program at piano.”
Autograph manuscript, 2 p., n.d. Lecture text.
Corrected typescript, 29 p., 1952. Final draft, with headnote and note to printer.
Folder
5 “Ladies and Gentlemen,” corrected typescript, 6 p., 1960. Includes rough and final drafts of a lecture given by Cage at the Wesleyan University Center for Advanced Studies.
Folder
6-16 Jack Lenor Larsen, Inc.
Documents reflecting Cage’s employment as art director for the Jack Lenor Larsen textile firm, including examples of advertisements he created.
Correspondence, 6 pieces, 1956-58.
Catalog proofs, 1957.
Christmas card, 1957.
Drapery advertisement, 1957.
Naugahyde advertisement, 1957.
Private Opening invitation, 1957
Stationery, ca. 1957.
Telegram advertisement, 1957.
Ticket stub advertisement, 1957.
Woolweaves advertisement, 1957.
Merce Cunningham Dance Company Program, ca. 1950s. Designed by Cage.
Folder
18 Last Evening with Marcel Duchamp, by Robert Lebel, corrected typescript, 4 p., n.d.
English translation of the article "Dernier soiree avec Marcel Duchamp,"L'Oeil 167 (November 1968), p. 18-21. Corrections not in Cage’s hand.
Folder
18-20 “Richard Lippold”
Steno pad and small plastic Batman figurine, n.d.
Corrected typescript, 4 p., n.d. Draft of “Grand St. and Monroe (for RL Twenty Years Later).”
Exhibition program, April 17-May 12, 1973. Programs for Richard Lippold Show at the Willard Gallery, New York featuring Cage’s poem.
Folder
21 “Listening to Music (Unpublished),” typescript, 7 p., 1937.
Folder
22 “Looking at Painting from a Musical Point of View (Unpublished),” autograph manuscript, 6 p., n.d.
Folder
23-25 M
Corrected typescript and accompanying Wesleyan University Press correspondence, 1973-74.
Jacket art and corrected page mockup drawings, n.d.
Corrected printer’s proofs (blues), 1973.
Folder