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Count Basie and his All American Rhythm Section. side 1: Farewell Blues; side 2: Way Back Blues (Columbia 36712), from the album, Blues By Basie (Columbia C-101).
78 rpm. Both tracks were recorded in 1942. This album was released in 1944.

The cover art for this album was made by Alex Steinweiss. Alexander “Alex” Steinweiss (1917-2011) was an American artist and graphic designer. He was the first art director of Columbia Records, expanding the use of album covers and cover art. Steinweiss created album cover art from 1938 to 1973.

Golden Gate Quartet. side 1: God's Gonna Cut You Down; side 2: Jezebel (Columbia 37835), from the album, Golden Gate Spirituals (Columbia C 45).
78 rpm. Side 1 was recorded in 1946. Side 2 was recorded in 1941. This album was released in 1947.

The cover art for this album was made by Robert M. Jones (1913-1993) an American graphic designer and printmaker. Jones worked as art director for Columbia Records from 1945-1953, then for RCA Victor and affiliated labels.

This original artwork was used for the bookBugs Bunny by Warner Bros. Cartoons, Inc., with illustrations adapted by Tom McKimson and Al Dempster. Published by Simon and Schuster in New York, New York, in 1949, pg.14-15.

Many of the stories published in the early years of Little Golden Books included classics such as Mother Goose, fables and fairy tales. After the war, a new era of prosperity emerged in America. This optimism coupled with the baby boom encouraged Americans to create an idealized world, where family and home were fundamental attributes and life was full of opportunities. The introduction of TV into the home had great impact on American society and culture, and its impact on Little Golden Books was no exception.

In the 19th century, consumer products such as toys, books and games were already used as a tie into historical events, sports and famous people, and this phenomenon was expanded with the introduction of radio, movies and television. These new means of communication generated a whole new cast of characters and the impact on Golden Books was significant. A license with Walt Disney granted Little Golden Books the right to publish stories about some of Disney’s earliest creations, including favorites such as Snow White, Pinocchio, Dumbo and Sleeping Beauty. Moreover, the books began to feature television personalities like Howdy Doody, Roy Rogers and Captain Kangaroo, as well as popular Saturday morning cartoon characters like Woody Woodpecker, Bugs Bunny and Huckleberry Hound. These new agreements with Warner Brothers and Hanna-Barbera significantly reduced the development of original stories as the books featured stories taken from children’s television shows. This opened the flood gates to create consumer products associated with popular movie and cartoon personalities. This practice continues today and proves to be a very lucrative endeavor.

Born in 1911 in Atlantic City New Jersey, Al Dempster moved to California and studied at the Art Center school in LA. He joined the staff of Disney in 1939 as a layout trainee and shortly after was promoted to the Background department. His early works included Fantasia and Dumbo. He left Disney in 1945 but returned to Disney studio by 1952 where he worked on such renowned movies as Peter Pan, Lady and the Tramp, Sleeping Beauty, Santa's Toy Shoppe, Jungle Book and the Rescuers and Winnie the Pooh. He worked on more than a dozen Disney golden books. He died in 2001 and posthumously received the coveted Disney Legends Award in 2006 for his outstanding achievements and contribution to the Disney legacy.

Tom Mckimson (1907-1998) was best known for his work as an animator at Warner Bros. Studio. He joined Disney in 1928 but left in 1932 and moved over to work with Warner Bros., where he was credited with the original design for Tweety Bird. While working with Warner Bros. he also illustrated comic books for Dell Comics, including Bugs Bunny and Road Runner. He left Warner Bros. in 1947 and became the Art Director for Western Publishing, the original publishing company for Golden Books.

Original artwork, of page 41, for the book The Taxi that Hurried, written by Lucy Sprague Mitchell, Irma Simonton Black and Jessie Stanton with illustrations by Tibor Gergely, and published by Golden Press in New York, New York, in 1946.

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.

A member of the American Artists and Writers Guild, Gergely became a prominent illustrator for Little Golden Books, providing drawings for more than seventy books, including Tootle, Five Little Firemen, and Scuffy the Tugboat. His illustrations for The Taxi that Hurried and Make Way for the Thruway portray the celebrated automobile and the expanding highway system, both destined to bring dramatic social and cultural changes to American life.

Original artwork, of pages 31 - 34, for the book, Susie's New Stove: The Little Chef's Cookbook written by Annie North Bedford with illustrations by Corinne Malvern, and published by Simon & Schuster in New York, New York, in 1949.

Raised in New Jersey, Corinne Malvern (1901-1956) was a child actress who, along with her sister, performed in traveling plays, vaudeville and movies. After an accident in her teens, Malvern was forced to give up her acting career and later attended the Art Students League of New York. Proficient in watercolor, pastel, pencil and ink and paint, she launched a career as a commercial artist, and was known for her fashion illustrations and magazine covers. Shortly after, she teamed up with her sister, a children’s author, and began drawing children’s books, including seventeen for the Little Golden Book series, including Doctor Dan, Nurse Nancy, How Big?, Susie’s New Stove, and 5 Pennies to Spend.

The illustrations in Susie's New Stove reflect the traditional gender roles of the 1940s and 1950s and portrays the idyllic setting of home sweet home. The simple recipes included in the books gave little girls the chance to practice their culinary and homemaking skills. This is in stark contrast to the social upheaval that would emerge in the 1960s, challenging and altering perceptions of gender roles and civil rights.

Susie’ New Stove featured the “Little Chef” toy stove which had a working hot plate that could boil water. High-end models had a working hot plate and two functioning ovens that could be heated to 375 degrees. "Little Chef" is a trademark term used by Tacoma Metal Products, Tacoma Washington. maker of the stove.

Kid Rena's Delta Jazz Band. side 1: Gettysburg March; side 2: Lowdown Blues (Circle J-1035), from the album, Kid Rena's Delta Jazzband (Circle S-10).
78 rpm. These recordings were made at the Hotel Roosevelt and recorded by local radio station WWL on August 21, 1940.

Album design and typography was by Jimmy Ernst (born Hans-Ulrich Ernst, 1920-1984), a German-born American painter.

Burl Ives. side 1: Darlin' Cory; side 2: Leather-Winged Bat [track 1] Cotten-Eyed Joe [track 2] (Columbia 36736), from the album, The Wayfaring Stranger (Columbia C 103).
78 rpm. Both tracks were recorded in 1941. This album was released in 1944.

Jim (James) Flora (1914-1998) created the cover art for this album. Flora was a successful commercial illustrator during the 1940s-1970s as well as an author and illustrator for children’s books. He was best known for his unique and quirky album cover art for RCA Victor and Columbia during the 1940s and 1950s. Flora created numerous paintings, drawings, etchings, and sketches throughout his prolific career.

This sheet music is for the song “That Old Black Magic,” with words by Johnny Mercer and music by Harold Arlen. It was published by Famous Music Corporation in New York, New York in 1942.

”That Old Black Magic” was featured in the 1942 Paramount Pictures musical, Star Spangled Rhythm, directed by George Marshall and others and starred actresses and actors on the Paramount Roster. “Star Spangled Rhythm” received an Academy Award nomination for Best Original Song in 1943. The sheet music cover features images of many of the stars appearing in the film.

This sheet music is for the song “That’s For Me,” with music by Richard Rodgers and lyrics by Oscar Hammerstein II. It was published by Williamson Music, Inc. in New York, New York in 1945.

”That’s For Me” was featured in the 1945, 20th Century Fox musical film, State Fair, directed by Walter Lang and starred Jeanne Crain, Dana Andrews, Dick Haymes, and Vivian Blaine. State Fair was the only Rodgers and Hammerstein musical written originally for film.

Original artwork, of pages 15, 35, 38, 39, and 42, for the book Johnny's Machines, written by Helen Palmer with illustrations by Cornelius De Witt, and published by Simon & Schuster in New York, New York, in 1949.

Cornelius De Witt (1905-1956) was born in Germany but spent most of his life in and around New York. De Witt worked successfully in several mediums including printmaking, painting and illustration. De Witt‘s realistic style of drawing created distinctly visual images and in turn children found the books easy to read and comprehend. He was best known for his Golden book on the human body.

Rex Stewart's Big Seven. side 1: Bugle Call Rag; side 2: Solid Rock (H.R.S. [Hot Record Society] 2005).
78 rpm.

Hot Record Society was an American jazz record label, founded by Steve Smith in 1937, dedicated to reissuing out-of-print early Dixieland or traditional jazz, also referred to as “hot jazz.” The HRS original advisory board included John Hammond, Marshall Stearns, Charles Edward Smith, Wilder Hobson, Bill Russell, Charles Delaunay, Hugues Panassié, and Sinclair Traill. In addition to re-issuing records, HRS released new recordings of jazz on its own label until 1947. HRS also sold both new and used records in its mid-town Manhattan shop beginning in 1939.