Lot 312
[MUSIC]. A group of 6 items associated with African American singers and music, highlighted by a Williams' Colored Singers collection of scored music with lyrics.
Sale 1118 - African Americana
Feb 28, 2023 10:00AM ET
Live / Cincinnati
Estimate
$200 - $300

Sold for $189

Sold prices are inclusive of Buyer’s Premium
Lot Description
[MUSIC]. A group of 6 items associated with African American singers and music, highlighted by a Williams' Colored Singers collection of scored music with lyrics.

"Williams' Colored Singers: The World's Greatest Harmonizing Octette." Sheet music followed by a three-page collective biography of the singing group, Chicago: Williams' Lyceum Bureau, circa 1920s. 24pp, 7.5 x 10.75 in. (dampstaining, adhesive repair at spine, light soil).  Front wrap featuring individual photographs of each singer; back wrap with one group photograph of the singers posed with luggage beneath the sign "Williams Jubilee Singers Touring Europe" and another photo of just the males singers in performance attire.

The Williams' Colored Singers, also known as the Williams' Jubilee Singers, were organized in Chicago in 1904 by Charles P. Williams of Holly Springs, Mississippi. Williams had previously been associated with the Dixie Jubilee Singers. The group toured initially on the west coast before expanding their tour to include the rest of the country. They later embarked on a successful European tour which included England, Scotland, Holland, and Germany. This collection of scored music includes a mixture of traditional American folk songs and African American gospel and spirituals. Titles include "My Old Kentucky Home Good Night," "Peter, Go Ring Dem Bells," "Steal Away," "John Brown's Body," and "Roll, Jordan Roll."

[With:] W.C. Handy's Famous Comic Blues for the Ukulele. New York: Robbins-Engel, Inc., 1925. 17pp, 8 vo. (modern adhesive repair at interior spine, scattered spotting and dampstaining, oxidation of metal staples at spine). Booklet features a vibrant blue and green pictorial cover with ukulele arrangement by the "Father of American Blues" W.C. Handy. Includes "St. Louis Blues," "Beale Street Blues," Aunt Hagar's Blues," and "Yellow Dog Blues." -- A Collection of 25 Famous Negro Spirituals Including Such Favorites as '"Swing Low Sweet Chariot" "Deep River" "Nobody Knows the Trouble I've Had." New York: Robbins Music Corporation, ca 1924. 47pp, 9 x 12 in. (owner identification sticker at top center of cover, creasing and wear to cover, adhesive repair at spine). Transcribed and arranged by Hugo Frey.  -- A small 2-sided paper promotional card issued by James E. Gayle & Sons, Music Publishers and Book Distributors of New Orleans, LA. 3 1/2 x 5 1/2 in. (a vertical crease running nearly the entirety of the card, light toning). Card highlights the new 1941 Gospel hit "Just off the Press / 'He'll Rock A-My Soul'" as sung by "The Gayle's Jubilee Singers" and the song book "The New Victory." James E. Gayle (1889-1963) originally hailed from Natchez, Mississippi, but moved to New Orleans in his youth. His music publishing business became a mainstay of New Orleans, and for decades music of the Black Protestant church in New Orleans was almost exclusively sold through his company. He organized the Gayle Jubilee Singers in the mid-1920s with a focus and style similar to the Fisk Jubilee Singers, but his music and publishing evolved beyong Negro Spirituals to encompass the emerging accompanied gospel singers and choirs of the '30s and '40s.

[Also with:] The Swanee River and a Biography of Stephen C. Foster.  Orlando, Florida: Robinsons, Inc., 1958. 6 x 8 in. 52pp plus chronology (adhesive residue on cover, scattered marks, toning). -- An invitation for a "Leap Year Dance" to feature the the music of "The Townsmen / Maryland's Finest Dance Band" and "Booker Coleman /15 Scintillating pieces of  / Washington's best black jazz."  28 February 1936.

This lot is located in Cincinnati.
Property from a 35-Year Collection from the Southern United States
Condition Report
Hindman strives to describe historic materials in a manner that is respectful to all communities, providing descriptive contexts for objects where possible. The nature of historical ephemera is such that some material may represent positions, language, values, and stereotypes that are not consistent with the current values and practices at Hindman.

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