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side 1: Joe Sullivan Quartet. Sister Kate; side 2: Joe Sullivan. Fidgety Feet (Disc 6003). from the album, Joe Sullivan Quartet (Disc 701).
78 rpm.

Album cover illustration was by David Stone Martin (born David Livingstone Martin, 1913-1992). Martin was an American artist best known for his illustrations on jazz album covers for labels including Mercury, Asch, Disc, and Dial. Many of his commissions were from Martin’s longtime friend, American jazz record producer and concert promoter Norman Granz (1918-2001).

This button is from Gateway Jazz Festival in St. Louis, Missouri, in 1990. It is made of white paper with black and red ink covered with a clear film, on a two-piece metal button with a pin back. The button is printed:

MEET ME IN ST. LOUIE
FOR THE
GATEWAY
JAZZ
FESTIVAL
NOVEMBER 2-3-4, 1990
PRESENTED BY
ST. LOUIS JAZZ CLUB.

Floyd Levin (1922-2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians. Items in this collection (2011.3086) were acquired from Levin’s attendance at Jazz Festivals, conferences, and other music events.

This button is from the Willie Humphrey Preservation Hall show in New Orleans, Louisiana, in 1984. It is a made of red paper with black ink covered with a clear film, on a round two-piece metal button with a pin back. Willie Humphrey would hand out these buttons at moments when as he danced during the show. The button is printed:

WILLIE HUMPHREY
'84
PRESERVATION
HALL
I DANCED WITH WILLIE

William James Humphrey (1900-1994), born in a family of musicians, was a New Orleans jazz clarinetist. Humphrey performed with several New Orleans groups including the Preservation Hall Jazz Band and Excelsior Brass Band.

Floyd Levin (1922-2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians. Items in this collection (2011.3086) were acquired from Levin’s attendance at Jazz Festivals, conferences, and other music events.

This harmonica box was made by M. Hohner in Germany, undetermined date. This box is made of yellow and white paper with multi-color ink. There is an image of mountains on the top. This box is marked:

THE WORLD RENOWN!
(FULL CONCERT HARP
No. 3 CND
REG.U.S.PAT>OFFICE
MADE BY
M.HOHNER
(GERMANY)

This music roll was made by Mills Novelty Company in Chicago, Illinois, about 1922-1925. It is Roll #2038, playable in a Violano Virtuoso player. The tune list for this roll is as follows:

Roll #2038 - Hand Played Dance Roll
8801: Dancing Fool (fox trot), Smith-Wheeler-Snyder, copyright 1922, Waterson, Berlin & Snyder Co.
8802: You Won't Be Sorry (fox trot). Burtnett-Marcasie-Kerr, copyright 1922, Sherman, Clay & Co.
8803: Lonesome Land (fox trot), Hirsch-Arden Green, copyright 1922, Richmond-Robbins, Inc.
8804: I Love Her - She Loves Me (fox trot), Irving Caesar & Eddie Cantor, copyright 1922, Harms, Inc.
8805: Those Days Are Over (fox trot), Sterling-Moran-Von Tilzer, copyright 1922, Harry Von Tilzer Music Pub. Co.

Original artwork, of page 15, for the book New Brother New Sister, written by Jean Fielder with illustrations by Joan Esley, and published by Golden Press in New York, New York, in 1966.

Marjorie Joan Esley (1904-2000) was born in upstate New York and showed a proficiency for art at a young age. She attended the Rochester Athenaeum and Mechanics Institute (now known as RIT) and the Grand Central School of Art in New York City. During her time at RIT she became close friends with a fellow student, Eloise Wilkin, who also became an illustrator for Little Golden Books. Esley, worked as a freelance artist illustrating children’s readers for school textbooks, as well as drawing for the Girl Scout Magazine and the Post. Esley contracted with Little Golden Books to work on New Brother, New Sister and Play Street, both written by Esther Wilkin, sister-in-law of fellow illustrator, Eloise Wilkin. In addition to her work as an illustrator, Esley went on to author and illustrate several books of her own.

The concept of the "here and now” as seen in New Brother, New Sister, was Golden Books attempt to introduce and link children to everyday life experiences. Promoted in home advice columns as well as advertisements, this book and others like The New Baby, were early attempts to help 2-5-year old children welcome the new sibling to the family. The theories behind progressive education stressed the need for intellectual, personal and emotional development in order to create a well-rounded individual.

side 1: Barbara Luna with South Pacific Orchestra. Dites Moi [track 1] Mary Martin with South Pacific Orchestra. A Cock-Eyed Optimist [track 2]: side 2: Ezio Pinza with South Pacific Orchestra. This Nearly Was Mine (Columbia 4557-M), from the album, South Pacific (Columbia MM-850)
78 rpm.

This recording is of the Original Broadway cast for the 1949 musicalSouth Pacific, composed by Richard Rogers, lyrics by Oscar Hammerstein II, and book by Hammerstein and Joshua Logan. South Pacific opened at the Majestic Theatre on April 7, 1949, running for 1,925 performances. It received ten Tony Awards, including Best Musical, Best Score, Best Libretto, including awards in all four acting categories for Mary Martin, Ezio Pinza, Juanita Hall, and Myron McCormick. In 1950, the musical won the Pulitzer Prize for Drama.

Original artwork, of page 18, for the book Tootle, written by Gertrude Crampton with illustrations by Tibor Gergely, published by Golden Press in New York, New York, in 1945.

Born in Budapest, Hungary into a middle-class Jewish family, Tibor Gergely (1900-1978) was captivated by art and culture at a young age. Known as a graphic illustrator and a caricature artist, Gergely’s early works documented Jewish life before the rise of Hitler. By 1939 the political situation in Europe was dire, and Gergely and his wife immigrated to America. They settled in New York and his love affair with the city never waned. He was enchanted with his new life in a postwar New York that included skyscrapers, rushing traffic and the excitement of life in the big city.

By 1940 Gergely was working for the American Artists and Writers Guild and became a popular illustrator for Little Golden Books, providing drawings for more than seventy books, including illustrations for The Taxi that Hurried, Make Way for the Thruway, Five Little Firemen and Tootle. His portrayals of America's rapidly expanding transportation systems and the recognition of public servants foretold the dramatic social and cultural events that would impact American society in the 1950s.

Jelly Roll Morton. side 1: Bert Williams; side 2: Jungle Blues (Circle JM-45/46), from the album, Jelly Roll Morton, Volume 6: The Jazz Piano Soloist (Circle Limited Edition #306).
78 rpm.

This recording is part of a limited edition 45 twelve-inch record set, The Saga of Mr. Jelly Lord. The set is comprised of interviews and musical performances of musician Ferdinand "Jelly Roll" Morton (1890-1941) recorded by American ethnomusicologist Alan Lomax (1915-2002) at the Coolidge Auditorium, Library of Congress, from May 23, 1938 to December 14, 1938. In the interviews, Morton recounts his experiences, both in New Orleans and on the road, as a popular musician of the early twentieth century.

The Saga of Mr. Jelly Lord limited edition record set was issued by Circle Sound Inc., incrementally with two albums every three months, beginning in late 1947. The recordings were pressed on red vinylite. Album design and typography for this set was by Jimmy Ernst (born Hans-Ulrich Ernst, 1920-1984), a German-born American painter.

This sheet music is for the song “We Mustn’t Say Goodbye,” with lyrics by Al Dubin and music by James V. Monaco. It was published by Edwin H. Morris and Co., Inc. in New York, New York in 1943.

"We Mustn't Say Goodbye" was featured in the 1943 United Artists American WWII film Stage Door Canteen, directed by Frank Borzage and starred Cheryl Walker, Lon McCallister, and Margaret Early

Original artwork, of the cover, for the book, Gaston and Josephine, written by Georges Duplaix with illustrations by Feodor Rojankovsky, and published by Simon & Schuster in New York, New York, in 1949.

At an early age, Latvian-born Feodor Rojankovsky (1891-1970) discovered his passion for drawing and was captivated with animals an d the natural world. He entered the Moscow Academy of Fine Arts but was drafted into the Russian Army during World War I, where he worked as a sketch artist documenting the war. In 1927, he moved to Paris to continue his study of art and became interested in fashion, theatrical set design and illustrating children’s books.

Rojankovsky’s keen sense of observation and his vivid imagination, coupled with his love for nature, was a major source of inspiration for his artwork. Flat, richly detailed, colorful illustrations evoked the fanciful drawings of the folklore tradition of European fairy tales. When the Nazi influence spread through Europe, Rojankovsky fled to the United States. His talents were quickly recognized and, like many of the other Golden Book illustrators, he was hired to work for the Artists and Writers Guild in New York. He created illustrations for numerous Little Golden Books, including The Three Bears and Farm Favorites.

Most of Feodor Rojankovsky’s characters were animals who took on human traits and characteristics. Gaston and Josephine are two French pigs who decide to run away from their home in the French countryside. The story follows their escapades as they make their way to the docks to board an ocean liner and embark on their journey to the United States.

This original artwork, for pages 12 and 13, was used for the book Bullwinkle, written by David Corwyn with illustrations by Hawley Pratt and Harry Garo. It was published by Little Golden Press, in 1962.

Hawley Pratt (1911-1999) was an illustrator, animator and film director. He began his career as an artist for Walt Disney Studios in 1933 and after the Disney animators’ strike in 1941, Pratt joined Warner Bros. Cartoons. While at Warner Bros., Pratt worked with renowned animator Isadore “Friz” Freleng on Freleng's Oscar-winning cartoons including Tweety Pie, Speedy Gonzalez and Birds Anonymous. Pratt is often credited as the creator of the animated Pink Panther character portrait. He later went on to direct or co-direct episodes of The Pink Panther cartoons for television.

Harry Garo (1923-1994) worked as an illustrator in 1926 for American Stories, the first American magazine devoted totally to Science Fiction. Known for its sensational covers, this series helped define the genre known as “pulp fiction,” named for the poor, irregular quality of the paper used for printing. In the early 1960s Garo worked on a few Golden Books with Hawley Pratt, including Bullwinkle, Bullwinkle the Hero and Bullwinkle and the Fireman. Garo also illustrated a series of books known as the VIP series, educational books for the juvenile reader exploring different occupations that deal with various modes of technology and transportation such as farmers, railroad engineers and bus drivers. He even illustrated a book for teaching students how to read a map.