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TABLE OF CONTENTS


Descriptive Summary

Historical Note

Bibliographic Note

Scope and Content

Arrangement

Administrative Information

Access Points

Inventory

Guide to Collection on the 1939-1940 New York World’s Fair
1933-2009
(Bulk 1939-1940)

Finding Aid prepared by: Annie Tummino with assistance from Hoang Tran, Richard Jung Lee, and Wendy Jimenez. Description is in English.

Museum of the City of New York
1220 Fifth Avenue
New York, NY 10029
Telephone: 212-534-1672
Fax: 212-423-0758
research@mcny.org
www.mcny.org
Queens Museum
New York City Building | Flushing Meadows Corona Park
Queens, NY 11368
Jamaica, NY 11432
Telephone: (718) 592-9700
info@queensmuseum.org
http://www.queensmuseum.org/


Descriptive Summary

Creator Museum of the City of New York (MCNY); Queens Museum (QM)
Title Collection on the 1939-1940 New York World’s Fair
Dates: 1933-2009 (bulk dates 1939-1940)
Abstract: This finding aid intellectually unifies collections on the 1939-1940 New York World’s Fair held physically at the Museum of the City of New York (MCNY) and the Queens Museum (QM) in order facilitate more efficient researcher access to these two related collections. The collection at the QM is about 2 ½ times larger than the collection at MCNY. Parallels and divergences in the holdings are noted throughout the finding aid. Based on researcher interest, appointments to examine materials must be made with staff at the appropriate institution(s). The collections include books, pamphlets, printed ephemera, architectural drawings and blueprints, original artworks, film and audio recordings, photographic prints and negatives, architectural models, textiles, and souvenirs. The varied formats and subjects of the materials provide a uniquely holistic perspective on events that shaped the physical and cultural landscape of the city, even as their impact was felt around the globe.
Extent: 177 boxes
Location: There are 47 boxes at MCNY and 130 boxes at QM. Additionally, there are hundreds of items in the visible storage installation at QM and hundreds of design renderings in flat files at MCNY.

Historical Note

New York’s celebrated World’s Fair of 1939-1940, held on a former ash dump in Flushing Meadows, Queens, drew millions of visitors with its promise to reveal “The World of Tomorrow.” As one of the last – and the largest – of six world’s fairs that were held in the United States in the 1930s, the New York World’s Fair was the culmination of years of planning that looked to design, science, and technology to alleviate the bleak conditions of the Depression and create a brighter future.

The idea for a New York Fair was introduced in the mid 1930s by a small group of prominent businessmen. Mayor Fiorello La Guardia, Parks Commissioner Robert Moses, Fair Corporation President Grover Whalen, and President Franklin D. Roosevelt all helped nurture the Fair into existence. Groundbreaking took place on June 29, 1936, and publicity efforts were monumental in the years leading to the Fair’s opening on April 30, 1939.

As explained in the Official Guide Book, the Fair was divided into zones, each “devoted to the exposition of some highly important phase of modern life.” The zones (in alphabetical order) were: Amusement; Communications and Business Systems; Community Interests; Food; Government; Medical and Public Health; Production and Distribution; Science and Education; and Transportation. Every large nation in the world participated except for China and Germany; 33 U.S. states and Puerto Rico were also represented. Focal exhibits built and operated by the Fair served as introductions to commercial exhibits in each area. Some of the largest corporations sponsored their own buildings, while other industries co-existed in shared spaces. The Amusement area included rides, dancing, shows and other carnival-esque amusements of the time. Sculptures, fountains, and murals dotted the grounds.

The zones radiated from the Theme Center designed by Henry Dreyfus: the iconic Trylon, 700 feet tall, and Perisphere, 200 feet in diameter. The interior of the Perisphere housed the “Democracity” exhibit, designed by Norman Bel Geddes, representing a vision of a perfectly integrated, futuristic city. Similarly, the Fair’s most popular exhibit, General Motors’ Futurama (also designed by Bel Geddes) involved a 35,000-square-foot model depicting life in 1960. These innovative designers anticipated a nation of suburbs linked by superhighways.

Fairgoers were introduced to a dazzling array of consumer and household goods, as well as recent innovations like television and air conditioning. On a grander scale, they were encouraged to leave behind the practical world and be swept into a vision of the future in which no far-fetched invention was out of the question. Elektro the Moto-Man, the robot in the Westinghouse exhibit who could smoke cigarettes, count on his fingers, and recognize smells and colors, typified the embrace of modern technology. Overall, the Fair promised improved quality of life and increased leisure time.

The shadow of World War II loomed during the Fair’s second season in 1940. The official theme changed to “For Peace and Freedom,” and the Soviet Union pavilion was dismantled and replaced by the American Common. Other changes meant to boost attendance and appeal to the masses were also evident. The admissions fee was reduced from 75 to 50 cents and the new advertising campaign strove for folksiness, epitomized by the introduction of Elmer, a new mascot representing the “average” American.

By the Fair’s end on October 27, 1940, approximately 45,000,000 people had entered its gates. Despite this enormous number, attendance fell short of projections and the Fair Incorporation declared bankruptcy; backers were repaid around 40 cents on the dollar. Nevertheless, the Fair had a major impact in many spheres of American life. While commercialism certainly shaped the Fair, it is perhaps best known for its elevation of designers, architects, and engineers, whom the Official Guide Book celebrated as the “true poets of the twentieth century.”

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Bibliographic Note

“Designing Tomorrow: America’s World Fairs of the 1930s,” Exhibition at the Museum of the City of New York, 2013.
“The Iconography of Hope: The 1939 New York World’s Fair,” University of Virginia XRoads, accessed September 30, 2013:
New York Public Library, Finding Aid for the New York World’s Fair 1964-1965 Corporation.
Gelernter, David. 1939, The Lost World of the Fair. New York: Avon Books, 1995.
“The 1939 New York World’s Fair,” accessed September 30. 2013.

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Scope and Content

This finding aid intellectually unifies collections on the 1939-1940 New York World’s Fair held physically at the Museum of the City of New York (MCNY) and the Queens Museum (QM). The collection at the QM is about 2 ½ times larger than the collection at MCNY. The collections are similar in terms of intellectual subjects and physical object types represented; however, divergences in the holdings are noted throughout. Based on researcher interest, appointments to examine materials must be made with staff at the appropriate institution(s). Local versions of the finding aid are also available for researchers who have narrowed their search to one of the two institutions.

The collections include a large quantity of printed ephemera and publications. Pamphlets, brochures, programs, handbills, posters, tickets, guides, maps, and postcards document the Fair’s activities and attractions. Exhibitor advertisements and promotional materials provide evidence of the marketing of consumer goods, tourism, and culture. Reports, periodicals, and newspapers track the transformation of Flushing Meadows from swampland to Fair site, and the public’s reaction to the Fair.

Photographs by both amateur and professional photographers constitute a major aspect of the collections at both institutions. MCNY photographs are arranged in 13 subseries by creator. Highlights include Kodachrome slides by amateur photographers that show off the Fair’s dazzling colors; over 600 publicity prints demonstrating the Fair’s vaunted marketing strategies; and unique compositions by architectural photographers Richard Wurts and Samuel Herman Gottscho. QM photographs are arranged in eight sub-series by either subject or creator. Highlights include images by famed Mexican folklorist Luis Márquez; professional theater photographer Bob Golby; and skilled hobbyist Cosmo Gadalata, an Italian immigrant.

Commemorative objects range from ephemeral items to more permanent household goods. There are a variety of buttons, pins, stamps, booklets, matchbooks, makeup compacts, drinking glasses, jewelry, thermometers, wall hangings, coins, and salt and pepper shakers. More unusual items include “map canes” designed by Tony Saarg, kan-o-seat folding chairs, clothing, banners, flags, dolls, and board games. QM has hundreds of such items, while MCNY has about 70.

The MCNY Collection includes close to 400 design renderings created between 1936-1938 that illustrate buildings, displays, and objects that were considered for inclusion in the Fair. The renderings demonstrate the Fair’s artistic and social vision while standing as significant artworks on their own. The QM Collection includes technical drawings and blueprints documenting the construction of the Trylon and Perisphere, General Motors Pavilion, and other Fair structures.

The QM Collection is notable for its holdings on the Dream of Venus Pavilion, a surrealist multi-media installation created by Salvador Dalí for the Fair’s Amusement Area. Photographic prints, notes, manuscripts, invitations, and sound recordings document the pavilion’s initiation, design, and execution.

Both institutions have a small quantity of administrative records documenting the Fair’s planning and execution. The MCNY collection includes material donated by John A. Blum, a Fair employee who promoted the Coronation Scot exhibit, a British train on display in the Transportation zone. The QM collection includes complete Information Manuals referenced by Fair staff for the 1939 and 1940 seasons and reprographic copies of slides documenting the design and execution of the Trylon and Perisphere.

Finally, both collections include a variety of unique objects, from Fair artifacts to exhibit-related pieces. The QM has sanitation, police, and guide uniforms; a scale model of the New York City building; sculptures from Corning’s Glass Exhibit; and caricature drawings of Fair visitors. QM also has audiovisual materials include 8 mm and 16 mm home movies of the Fair, and 55 oral history interviews with Fair workers and visitors conducted in 1980. The MCNY collection includes Fair-related drawings by notable artists and cartoonists; a quarter-size bronze model by William Zorach for the "Builders of the Future" monument installed in the Communications and Business Systems zone; and a pair of George and Martha Washington mannequins that were part of a costume display in the New York City exhibit.

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Arrangement

The collection is arranged in the following series:

Series I: Administrative
Series II: Promotional
Series III: Visiting the Fair
Series IV: Zones and Exhibits
Series IV-A: Collection on Dalí’s Dream of Venus
Series V: Press and Publications
Series VI-A: MCNY Photographs
Series VI-B: QM Photographs
Series VII: Commemorative Objects
Series VIII: Design Renderings
Series IX: Artwork
Series X: Audiovisual

Some series are further arranged in sub-series; see series descriptions for more detail. The majority of the material has been interfiled and arranged based on subject and/or object type. Provenance has been preserved for design renderings, artwork, most photographic collections, and the Jean and Julien Levy Collection on the Dream of Venus Pavilion.

Series or sub-series which exist at only one museum will note which location in parenthesis following the title in the Series or Sub-Series description.

Series and Sub-Series Descriptions

Series I: Administrative, 1934-1942

This series documents the management, duties, and activities of the 1939 New York World’s Fair Incorporated, including communications with exhibitors, vendors and personnel. A significant amount of the MNCY material was donated by John A. Blum, who worked for the Fair in 1938-1939, first in the Department of Information and later in the Department of Special Events, where he promoted the Coronation Scot exhibit. QM holdings include a group of original technical drawings by engineering firm Waddell and Hardesty for construction of the Trylon and Perisphere, along with a cover sheet signed by Fair President Grover Whalen and the Chief Engineer. These are complemented by reprographic copies of slides by McAllister-Keller Company documenting the design and execution of the Trylon and Perisphere, including renderings, engineering calculations, and photos. Another QM highlight is a model of the New York City building by J. J. Wenner (architect Aymar Embury II).

Series II: Promotional, 1936-1941

This series consists of publicly released bulletins, reports, press kits, pamphlets and other publications aimed at promoting the Fair to citizens, the media, corporations and government officials and agencies. The materials range from colorful brochures and posters to highly technical reports detailing expenditures and architectural plans. The Fair Corporation created the majority of the materials, although a smaller quantity was created by ancillary or collaborating institutions. For example, the Society of American Magicians held a conference in New York City in 1939 to coincide with performances by its members on the Fair grounds, and schools and universities created Fair-related classes and tours.

For internal publications see Series I: Administrative. For coverage of the Fair, see Series V: Press and Publications. For materials promoting specific areas or attractions see Series IV: Zones and Exhibits.

Series III: Visiting the Fair, 1938-1940

This series provides evidence of the visitor experience navigating the Fair and the larger New York Metropolitan area. The Fair Corporation, government agencies, and commercial entities all produced literature. Maps, guides, pamphlets, and brochures show routes to the Fair, inside the Fair and around the city by train, bus, and car. Non-Fair attractions such as historic places and museums are also highlighted, in keeping with the goal of jumpstarting the economy through tourism. The Fair’s Official Guide Book offers detailed explanations of the Fair’s organization, exhibits, and themes. Admissions ephemera includes hotel certificates, school trip passes, twenty-admission ticket packs, passes for special or specific events, and souvenir ticket booklets. Both institutions have hundreds of postcards; the selection at MCNY includes many filled out with hand written messages. QM has scrapbooks filled with news clippings and other paper ephemera that provide a more personal perspective on the fair going experience.

This series is arranged in four sub-series:

Sub-Series A: Admissions
Sub-Series B: Guides
Sub-Series C: Maps
Sub-Series D: Postcards
Sub-Series E: Scrapbooks (QM)

For maps or guides relating to specific areas or attractions see Series IV: Zones and Exhibits.

Series IV: Zones and Exhibits, 1937-1940

This series is comprised of brochures, pamphlets, programs, souvenirs, maps, news releases, guides, and three-dimensional objects relating to specific buildings, pavilions, exhibits, and attractions. In order to mirror the Fair’s internal organization, all objects are grouped in sub-series by zone and arranged alphabetically by exhibit.

Printed materials include brochures and programs from the Fair’s most iconic attractions, including Futurama, American Jubilee, Billy Rose’s Aquacade, and “Railroads on Parade,” as well as a wide variety of others. Large quantities of pamphlets advertise commercial products and tourism opportunities. Also included are invitations to dedications for various pavilions and menus for restaurants on the grounds.

Three-dimensional exhibit related objects of special note include:

• Models that were part of Corning’s “Miracle of Glass” exhibit in the Glass Building in the Production and Distribution zone (QM)
• Sculptural studies by Ottavio Mastrovito for his Agriculture sculpture (the finished 12 foot high work was exhibited in the Court of Nations) (QM)
• Handmade table cloth and napkins exhibited in the Italian Pavilion (QM)
• Quarter-size bronze model by William Zorach for the "Builders of the Future" monument installed in the Rose Court in the Communications and Business Systems zone (MCNY)
• George and Martha Washington mannequins that were part of a costume display in the New York City exhibit (MCNY)
• Ceramic mug, plates, and snack bowls that were part of the American Potter exhibit in the Community Interests zone; as well as a mold used to create the plate (QM and MCNY)

The QM is also home to a 27-piece watershed relief map that was created by the Department of Water Supply, Gas, and Electricity for the 1939 Fair. The final product was too large for the allotted space and thus never displayed at the Fair, although it was later displayed at the Grand Central Palace in the City’s Golden Anniversary or Jubilee Celebration. It has been conserved and is now on long term view at the QM.

This series is arranged in 11 sub-series:

Sub-Series A: Amusement
Sub-Series B: Communications and Business Systems
Sub-Series C: Community Interest
Sub-Series D: Food
Sub-Series E: Government: Domestic
Sub-Series F: Government: International
Sub-Series G: Medical and Public Health
Sub-Series H: Production and Distribution
Sub-Series I: Science and Education
Sub-Series J: Theme Center
Sub-Series K: Transportation

The materials in Series VI: Photographs have also been grouped by zone and filed by exhibit to facilitate cross-referencing.

Series IV-A: Jean and Julien Levy Collection on Dalí’s Dream of Venus, 1936-1939 (QM)

On June 15, 1939, Salvador Dalí’s Dream of Venus opened in the Amusement Area of the 1939 New York World’s Fair. Not immediately evident on the official World’s Fair map, it was often discovered by visitors in line at the neighboring popcorn stand.

The idea for a pavilion had been the brainchild of Julien Levy, the preeminent New York gallerist for the Surrealists, and architect Ian Woodner. It was originally conceived as a “Surrealist House” and was to include all the well known European Surrealists represented by Levy. Prior to its realization, Dalí had been engaged in a sensational window display for the department store Bonwit Teller, which generated a lot of press and ended in jail time for Dalí. Recognizing an opportunity, the business minds of the Fair elected Dalí as their Surrealist representative.

Dalí, with the help of his wife, Gala, created the Dream of Venus Pavilion in short eight weeks, with much of the work taking place at a manufacturing factory in Long Island City, Queens. The project was funded by rubber baron W.M Gardner and London millionaire poet and art collector Edward James.

Visitors to the pavilion were beckoned into the pink cement grotto by scantily clad women flanking a ticket kiosk in the shape of a fish’s head, and the recorded murmuring of Sirens. Inside they encountered a series of psycho-sexual "dreams" that combined painting, mannequins, and objects. One scene portrayed a nude Venus reclining on a thirty-six foot long red satin bed under a canopy of rubber telephones and umbrellas. Another consisted of a 30-by-20 foot water-filled tank with female swimmers diving among mannequins in front of a surrealist tableau.

The realization of the exhibition was not without production battles. Dalí expressed consternation at efforts to interfere with his vision in a manifesto, “The Declaration of Independence of the Imagination and the Rights of Man to his own Madness.” He specifically took issue with the Fair’s Amusement Area Committee for forbidding him to erect a woman with the head of the fish on the exterior of the pavilion. Dalí purportedly hired a plane to drop leaflets of the manifesto over New York City.

For the general public, Dream of Venus served as an introduction to the often-mystifying Surrealist movement. Now, it is recognized as one of the earliest full-scale multimedia installation pieces.

Bibliographic Note

• “Salvador Dalí’s ‘Dream of Venus’” by Jim Long, accessed January 9, 2014:

• Text by Valerie Smith for the “Salvador Dalí: Dream of Venus” exhibition at the Queens Museum, June 22–September 21, 2003

• Salvador Dalí’s Dream of Venus: the Surrealist Funhouse from the 1939 World’s Fair by Ingrid Schaffner, photographs by Eric Schaal. Princeton Architectural Press, 2002.

Scope and Content

The collection consists of 116 items documenting the initiation, design, execution, and context of the “Dream of Venus” Pavilion at the 1939 New York World’s Fair. The bulk of the collection is comprised of gelatin silver prints, supplemented by smaller quantities of manuscripts, published materials, and a 78 rpm vinyl record.

Many of the photographs were taken at the manufacturing facility in Long Island City, Queens, where the paintings, ornaments, and mannequins were created for the pavilion. Photographers George Platt Lynes and Horst P. Horst were recruited for a studio shoot of female models styled by Dalí and his wife, Gala. The women were naked except for aquatic themed accessories made of squid, starfish, eels, and lobsters.

Outside of the studio shoot, the majority of the photographs are by Eric Schaal, who documented various stages of the Pavilion’s realization. These include shots of Dalí and Gala creating plaster casts and sculpting ornaments over chicken-wire in Long Island City, as well as a variety of interior and exterior scenes of the installation at the Fair site. Images include the grotto’s façade and entrance, interior painted backdrops, costumed female performers, swimmers in the water-tank, and Venus reclining on her bed.

Scrapbooks and type-written proposals by Julien Levy and Ian Woodner trace the development of the project, from creative visions to financial estimates. Hand and type-written notes in French and English document the creative process, including draft lists of potential names for the exhibit. Catalogs and invitations from the Julien Levy Gallery and Dalí’s “Declaration of Independence” manifesto and “New York Salutes Me” statement provide additional context.

Finally, there is a 78 rpm recording of Ruth Ford as Venus, whose chants lured visitors into the exhibit, as well as several drafts of the narration. The recording has been reformatted as an mp3.

This series is arranged in the following sub-series:

Sub-Series A: Manuscripts and Proposals
Sub-Series B: Published Materials
Sub-Series C: Photographs
Sub-Series D: Sound Recordings and Lyrics

Language of Materials Note

Items in English except for notes and lyrics in French.

Acquisition Note

Materials were acquired from the Jean Farley Levy and Julien Levy Estate in 2004 (partial gift of Eric Strom). Julien Levy (1906-1981) was a pioneering New York art dealer and gallery owner in the 1930s and 1940s. His gallery was an important venue for surrealists and other avant-garde artists. Accession 2004.2.1 – 2004.2.116.

Series V: Press and Publications, 1937-1993 (bulk 1938-1940)

This series consists of coverage of the Fair in newspapers, magazines, and other publications. The Fair was debated and analyzed by diverse sectors of society; many newspapers published special sections on the Fair, and popular and trade magazines produced special issues. Together, the materials document the Fair’s construction, development, activities, and milestones as well as its reception by the public and critics.

Many newspapers and clippings in the collection were rapidly deteriorating. Preservation copies were made of all fragile clippings. The originals of all items in stable condition were re-housed in acid-free folders. At MCNY, items available through public library databases in the New York area were recorded, with all bibliographic details, in an appendix (available upon request).

This series is arranged in four sub-series:

Sub-Series A: Books
Sub-Series B: Clippings
Sub-Series C: Newspapers
Sub-Series D: Serials

For publications by the Fair see Series I: Administrative and Series II: Promotional.

Series VI-A: MCNY Photographs, 1937-1942

This series is arranged in 13 sub-series by creator (or by donor, if the creator is unknown). Mediums include gelatin silver prints, color slides, negatives, albums, contact sheets, and stereopticon cards. Many of the photographs were taken by amateur photographers, including George B. Bader and William A. Dobak, who utilized the recently introduced Kodachrome film medium to capture the Fair’s brilliant colors. The series also includes over 600 Publicity Department photos, many with captions providing contextual information. The Fair’s publicity apparatus, led by Fair President Grover Whalen, was known for its monumental marketing efforts, including the incessant distribution of photographic news releases.

Some of the photographers are well known. Celebrated architectural photographers and firms such as Richard Wurts, the Wurts Bros., Samuel Herman Gottscho, and Gottscho-Schleisner Inc. all donated Fair-related photographs. Carl Van Vechten, a significant figure in the Harlem Renaissance and New York City arts scene, donated over 500 prints documenting the Fair.

This series is arranged in 13 sub-series:

Sub-Series A: 1939 New York World’s Fair Publicity photographs, 1937-1940
Sub-Series A: 1939 New York World’s Fair Publicity photographs, 1937-1940
Sub-Series C: Frank W. Ballard photograph albums, 1939-1942
Sub-Series D: William A. Dobak photographs, 1939-1940
Sub-Series E: Samuel Herman Gottscho photographs, 1939-1940
Sub-Series F: Morris Jaffe photograph album, 1939-1941
Sub-Series G: William J. Mueller photographs, 1939
Sub-Series H: John Neva photographs, 1939-1940
Sub-Series I: Joe Seckendorf photographs, 1939
Sub-Series J: Carl Van Vechten photographs, 1938-1940
Sub-Series K Richard Wurts “Building the New York World’s Fair” exhibition photographs, 1938
Sub-Series L: World’s Fair photographs within larger collections, 1937-1940
Sub-Series M: Small photographic collections, 1939-1940

Sub-Series A: 1939 New York World’s Fair Publicity photographs, 1937-1940 (MCNY)

This sub-series consists of over 600 gelatin silver prints from the Publicity Department of the 1939 New York World’s Fair. Many are accompanied by typed captions that provide contextual information and demonstrate the Fair’s marketing strategies. The photographs are arranged in subsub-series by zone and filed alphabetically by exhibit. The General subsub-series includes images of notable guests, special events, parades, performances, fireworks, general scenes, personnel, visitors, and aerial views.

This sub-series is arranged in 12 subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interest
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Medical and Public Health
SubSub-Series 8: Production and Distribution
SubSub-Series 9: Science and Education
SubSub-Series 10: Theme Center
SubSub-Series 11: Transportation
SubSub-Series 12: General

Administrative and Biographical History Note

The Publicity Department photographs were donated by Harry C. Anderson, John A. Blum, and Walter A. Lucas. Blum worked for the Fair from 1938-1939, first in the Department of Information and later in the Department of Special Events. Based on the markings on the photos, it is likely that Anderson and Lucas also worked for the Fair’s Publicity Department.

Biographical information on Anderson was not located; however, a 1928 photograph on the cover of the L.A. Times was taken by a Harry C. Anderson, leading one to speculate that he was a professional news photographer. Lucas authored several books on railroads and trains, including From the Hills to the Hudson, a History of the Paterson and Hudson River Rail Road (1944), Pocket Guide to American Locomotives (1953), 100 Years of Steam Locomotives (1957), and 100 Years of Railroad Cars (1958).

Acquisition Note

Harry C. Anderson donated 520 photographs in 1953, Activity 11934. John A. Blum donated 82 photographs in 1981, Activity 22705. Walter A. Lucas donated 35 photographs in 1948, Activity 08939. Because publicity photographs were interfiled and not every photo is labeled, it is possible there are additional unidentified sources.

Sub-Series B: George B. Bader photographs, 1939-1940 (MCNY)

This sub-series consists of 101 Kodachrome slides by George B. Bader. Railroads are the most frequently depicted subject with over 30 images of locomotives, the majority from the “Railroads on Parade” show.

Sculptures are the second most frequently depicted subject, including The Astronomer, George Washington, Time and Fates of Man, Moods of Time, and Four Freedoms in the Theme Center area; Speed in the Communications and Business Systems zone; Golden Sprays in the Food zone; Dances of the Races and the Four Victories of Peace in the Production and Distribution zone; and Riders of the Elements and Europa in the Transportation zone.

The Government zone is well represented, including the Italian Pavilion, British Pavilion, U.S. Federal Building, Hall and Lagoon of Nations, League of Nations, and Court of States. There are also a variety of depictions of the Trylon and Perisphere. Smaller quantities of additional buildings and exhibits are represented including (in alphabetical order): Court of Power, Electric Utilities courtyard, Ford, General Electric, Hall of Petroleum, Heineken’s on the Zuider Zee, Parachute Jump, Sun Valley, U.S. Steel. The General subsub-series includes pedestrians, courtyards, walkways, and the Greyhound trolley.

The slides are physically arranged by accession number. To facilitate access, they are intellectually arranged in Appendix B in the following subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Food
SubSub-Series 4: Government: Domestic
SubSub-Series 5: Government: International
SubSub-Series 6: Production and Distribution
SubSub-Series 7: Theme Center
SubSub-Series 8: Transportation
SubSub-Series 9: General

Biographical and Acquisition Note

George B. Bader was a Holy Cross alumni, class of 1916. Presumably he was an amateur photographer. Deed paperwork was not located; however, the donation box was labeled “2x2 Kodachrome slides of the New York World’s Fair 1939-40 taken by Dr. George B. Bader,” accession numbers F2012.67.1-101.

Sub-Series C: Frank W. Ballard photograph albums, 1939-1942 (MCNY)

This sub-series consists of three photograph albums created by Frank Ballard. The first album consists of 359 photographs documenting the opening of the Fair and the 1939 season. The second album consists of 408 photographs documenting the 1940 season. The third album consists of 734 photographs documenting the demolition of the Fair. The albums include occasional news clippings. A majority of photographs were taken during the day, but there are also nighttime photographs. Pages are in brittle condition and adhesives used to affix the photos have deteriorated.

Biographical Note

Frank W. Ballard Sr. (1893-1975) owned the Long Island Blueprint Co., founded in 1921. He was an amateur photographer, used a Speed Graphic camera, and did his own darkroom work.

Acquisition Note

These scrapbooks were donated in 1989 by Frank W. Ballard Jr. with the assistance of Rev. Louis D. Springsteen, accession numbers 89.95.1-3.

Sub-Series D: William A. Dobak photographs, 1939-1940 (MCNY)

This sub-series consists of 283 Kodachrome slides by William A. Dobak. Sculptures are the most frequently depicted subject, followed by the Trylon and Perisphere. Dobak captured most of the sculptures in the Theme Center/Central Mall area. He also captured many others throughout the Fair: Shot Putter and Wings in the Amusement Area; Europa, Riders of the Elements, and Spirit of the Wheel in the Transportation zone; Mercury, Speed, and Time in the Communications and Business Systems zone; American Womanhood and The Harp in the Community Interests zone; Golden Sprays in the Food zone; the Celestial Sphere in the Government zone; and Dances of the Races in the Production and Distribution zone.

The Government zone is well represented, including the New England pavilion, five U.S. states, the U.S. Federal building, eleven nations, the Pan American Union and the League of Nations. Amusement area subjects include “American Jubilee,” “Billy Rose’s Aquacade,” “Frank Buck's Jungleland,” “Little Miracle Town,” National Cash Register and the Parachute Jump, among others. There are a substantial number of images of the “Railroads on Parade” show as well as fireworks and light shows.

Additional buildings and exhibits represented (in alphabetical order) include A.T. & T., Business Systems and Insurance, Communications, Consolidated Edison, DuPont, Eastman Kodak, Firestone, Gas Industries, General Electric, General Motors, Marine Transportation, Metals, Petroleum, Swift Premium Meats, U.S. Steel, Works Progress Administration, and Wonder Bakery. The General subsub-series includes scenes of crowds, fountains, flowers, flags, murals, ponds, and models.

The slides are physically arranged by accession number. To facilitate access, they are intellectually grouped in Appendix C in the following 11 subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interest
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Medical and Public Health
SubSub-Series 8: Production and Distribution
SubSub-Series 9: Theme Center
SubSub-Series 10: Transportation
SubSub-Series 11: General

Biographical Note

William A. Dobak (1905-1987) was a lifelong employee of AT&T who took photographs as a hobby. At the time of the 1939 New York World’s Fair he lived nearby in Flushing, Queens. Many of his images appear in Trylon and Perisphere: 1939 New York World’s Fair, which was published in conjunction with exhibitions at seven NYC institutions in 1989 on the 50th anniversary of the Fair.

Acquisition Note

Donated by Mrs. Norma Dobak in 1989, accession numbers X2012.66.1-283.

Sub-Series E: Samuel Herman Gottscho photographs, 1939-1940 (MCNY)

This series consists of 40 images of the World’s Fair taken in 1939. Subjects include the Trylon and Perisphere; the Electric Farm in the Community zone; the Schaefer Center building and interior in the Food zone; the Florida Building and interiors of the Italian Line Restaurant in the Government zone; and the Ford Building and exhibits, General Motors building, Railroads Building and exhibits, and the “Railroads on Parade” show in the Transportation zone.

Biographical Note

Samuel Herman Gottscho (1875 – 1971) grew up in Brooklyn, New York, and started taking photographs as a hobby at age 21. Later in life, after attending several architectural photography exhibitions and meeting architects in the area, he decided to pursue architectural photography more seriously. At age 50, after 23 years as a traveling salesman, Gottscho became a professional full time photographer, forming the Gottscho-Schleisner firm with William Schleisner. During the 1930s Gottscho was often grouped with the leading art photographers of the time. He was known for his depictions of Rockefeller Center, Times Square, the World's Fair, office skyscrapers, retail stores, city living, hotels, apartment houses, and new housing projects. After World War II he shifted his focus, primarily photographing wildflowers in their natural settings.

Acquisition Note

Donated by Gottscho-Schleisner, in 1950, accession numbers 50.137.1-40.

Sub-Series F: Morris Jaffe photograph album, 1939-1941 (MCNY)

This sub-series consists of one large photo album containing 454 prints taken by Morris Jaffe when he was 20 years old. Each page contains two to four photos with handwritten captions. 308 photographs document the 1939 season, including Opening Day; 128 photographs document the 1940 season; 4 photographs document the Fair’s construction; and 13 photographs document the Fair’s demolition. Photographs are mounted on orange, blue, and black paper.

Biographical Note

Morris Jaffe credits his father for nurturing his interest in photography. In 1953, Jaffe won the Village Camera Club’s contest for Print of the Year, awarding him a one-man show at the Club’s gallery on Bank Street in New York City. Jaffe married Edith, and the couple eventually became successful photographers. Jaffe was also a photo consultant for Bristol-Myers Company in New York City.

Acquisition Note

The album was donated in 1987 by Morris Jaffe’s widow, Edith Jaffe, accession number 87.77.

Sub-Series G: William J. Mueller photographs, 1939 (MCNY)

This sub-series consists of 58 gelatin silver prints taken by William J. Mueller in 1939. The prints are arranged in subsub-series by zone and filed alphabetically by exhibit. Of note, Mueller captured some of the more risqué aspects of the Amusement area, including the “Living Magazine Covers” exhibit, where for a small fee one could photograph topless women posing in mock-ups of magazine covers.

This sub-series is arranged in eight subsub-series:

SubSub-Series 1: Amusement zone
SubSub-Series 2: Communications and Business Systems zone
SubSub-Series 3: Food zone
SubSub-Series 4: Government zone: International
SubSub-Series 5: Production and Distribution zone
SubSub-Series 6: Theme Center
SubSub-Series 7: Transportation zone
SubSub-Series 8: General

Biographical Note

William J. Mueller was born in 1910 in New Rochelle, New York. He served in the Army during World War II and became an Assistant Vice President with the Chase Manhattan Bank in Eastchester, New York. After retiring in 1975 he moved to Sarasota, Florida, where he passed away in 1999.

Acquisition Note

William J. Mueller’s daughter, Virginia M. Teerlink, donated Mueller’s photographs in 1996 and 1997, accession numbers 97.81.1-16 and 96.74.1-14. Based on the total number of photographs, it appears that she made a third donation for which there is no gift paperwork.

Sub-Series H: John Neva photographs, 1939-1940 (MCNY)

This sub-series consists of approximately 2,248 negatives and two sets of contact sheets. The photographs depict a wide array of subjects including Fair construction, exhibits, parades, events, sculpture, and artwork. A majority of the images are from the International, Transportation, and Amusement zones. The images are arranged by accession number.

Biographical Note

John Neva attended the World’s Fair as a member of the press. The deed paperwork does not explicitly specify whether he took the photos. He also donated three World’s Fair press passes, two of which include employment credentials and signatures. One pass dated June 14, 1939 lists Neva as a writer for Facetas of Havana x La Voz and has a small photograph attached. The second lists him as a staff member of Amerique and grants access for the Fair’s opening weekend, May 11-12, 1940. The third is a general pass valid for the whole 1940 season.

Acquisition Note

Donated by John Neva in 1946, accession numbers 40.200.1-2248.

Sub-Series I: Joe Seckendorf photographs, 1939 (MCNY)

This sub-series consists of 221 negatives and 280 prints. The photographs include daytime and evening shots of buildings, exhibits, and sculptures; most frequently in the Amusement, Transportation, and Theme Center areas. Visitors, participants, crowds and lines, fountains, light displays, events, and unidentified buildings and sculptures are grouped in General.

The prints are arranged in 10 subsub-series based on Fair zones:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Production and Distribution
SubSub-Series 8: Theme Center
SubSub-Series 9: Transportation
SubSub-Series 10: General

Biographical and Acquisition Note

Donated by Joe Seckendorf, a resident of Jamaica, Queens, in 1977. The deed does not specify whether he was the photographer, but does include the acronym FPSA (Fellow of the Photographic Society of America) next to his name, and the Photographic Society of America lists him as a 1972 Fellow on their website. Activity 21667, X2013.160 and X2013.168.

Sub-Series J: Carl Van Vechten photographs, 1938-1940 (MCNY)

This sub-series consists of 540 gelatin silver prints by Carl Van Vechten taken between 1938 and 1940. The prints are arranged in subsub-series by zone and filed alphabetically by exhibit. Sculptures found throughout the grounds, the International Pavilions in the Government zone, and the Amusement area attractions are particularly well represented. SubSub-Series 10: General, includes portraits of Carl Van Vechten, Favis Marinoff, and Morris Best, buildings under construction, murals, parades, and employees. A majority of photographs have handwritten captions on the back listing location, date, and subject.

This sub-series is arranged in 10 subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Production and Distribution
SubSub-Series 8: Theme Center
SubSub-Series 9: Transportation
SubSub-Series 10: General

Biographical Note

Carl Van Vechten (1880-1964) was a music and dance critic for the New York Times, a novelist, a photographer, and an important player in the Harlem Renaissance in the 1920s and 1930s. The Museum’s larger Van Vechten collection includes theater ephemera, Christmas cards, and over 2000 photographs.

Acquisition Note

Donated by Carl Van Vechten in 1953, accession numbers X2010.8.1-540.

Sub-Series K Richard Wurts “Building the New York World’s Fair” exhibition photographs, 1938 (MCNY)

This sub-series consists of 50 photographs by Richard Wurts featured in an exhibition at the Museum of the City of New York, “Building the New York World’s Fair,” from November 2, 1938 to January 9, 1939. The collection consists of one set of 8 x 10 publicity prints and one set of exhibition quality prints mounted on 11 x 14 boards. The photographs capture the construction of many Fair structures and sculptures, including the Trylon and Perisphere, several aerial shots taken from the top of the Trylon, and images of construction workers, surveyors, and World’s Fair policemen. There is one photograph by Joseph G. Lootens of Wurts with his camera at the Fair. The photographs are arranged by accession number based on the order in the exhibition catalog.

Biographical Note

Richard Wurts joined his family’s photography business, the Wurts Bros., in the 1920s. The Wurts Bros. was established in 1894 by Richard’s father (Lionel Wurts) and uncle (Norman Wurts). One of the first architectural photography studios in New York City, the firm gained recognition and many prominent clients over the decades, including Cass Gilbert (The Woolworth Building), Consolidated Gas Company (now known as Con Ed), and Skidmore, Owings & Merrill (the firm now building One World Trade Center). Richard Wurts was best known for his images of the 1939 New York World’s Fair, featured in the late 1938 exhibition “Building the New York World’s Fair” at the Museum of the City of New York and later in the 1977 publication The New York World’s Fair, 1939/1940 in 155 photographs.

Acquisition Note

Donated by Richard Wurts in 1940, activity number 04385.

Sub-Series L: World’s Fair photographs within larger collections, 1937-1940 (MCNY)

This sub-series is comprised of photographs of the 1939 New York World’s Fair located within larger non-World’s Fair collections. When known, collections are listed by creator. If the creator is unknown or the collection contains mixed creators, it is named after the donor. Of significance, Kay Simmon Blumberg donated 190 negatives of the World's Fair taken while Blumberg was studying with Berenice Abbott at the New School and afterwards privately with Abbott at her studio. The Wurts Bros. and Gottscho-Schleisner, Inc. photographs each contain approximately 30-75 Fair-related photographs. The remaining collections contain less than 20 Fair-related images and as few as one.This sub-series is arranged in 10 subsub-series:

SubSub-Series 1: Wurts Bros.
SubSub-Series 2: Samuel Herman Gottscho
SubSub-Series 3: Gottscho-Schleisner, Inc.
SubSub-Series 4: Kahn & Jacobs collection on Sigurd Fischer and William Ward
SubSub-Series 5: John Albok
SubSub-Series 6: Irving Underhill
SubSub-Series 7: Museum of the City of New York’s photomural
SubSub-Series 8: Benjamin Blom
SubSub-Series 9: Harry J. Fields
SubSub-Series 10: Speed's Flying Service, Inc.
SubSub-Series 11: Carl Van Vechten
SubSub-Series 12: Kay Simmon Blumberg

Sub-Series M: Small photographic collections, 1939-1940 (MCNY)

This series consists of small donations (25 or less photographs) and one small subject-based collection with uknown creators:

SubSub-Series 1: Gladys Hatos Zurkow photographs, 1939-1940
SubSub-Series 2: John A. Blum photographs, 1939
SubSub-Series 3: Michael L. Radoslovich photographs, 1939
SubSub-Series 4: Stereopticon cards, 1939
SubSub-Series 5: Samuel Geierson, 1939-1940
SubSub-Series 6: Unknown Creator, 1939-1940

SubSub-Series 1: Gladys Hatos Zurkow photographs, 1939-1940 (MCNY)

This subsub-series consists of seventeen acetate negatives. Subjects include the Amusement area (“American Jubilee,” Parachute Jump); Communication and Business Systems zone (Time sculpture); Government zone (Italy, Belgium, Court of States); Theme Center (Trylon and Perisphere, Constitutional Mall); Transportation zone (“Railroads on Parade” show); and general scenes and unidentified buildings.

Biographical Note

Aladlar (Alfred) Hatos immigrated from Hungary in 1899 and raised Gladys and her brother, Alexander, on 14th Street in Manhattan. No further biographical information on Gladys was located. Alexander Hatos worked for the Pennsylvania Railroad for 45 years and was an amateur photographer who documented the destruction of Penn Station and the construction of Madison Square Garden.

Acquisition Note

Gladys Hatos Zurkow donated a small quantity of family papers and photographs in 1995. The deed stipulates that some of the photographs were taken by Alexander Hatos; however, the World’s Fair negatives are unattributed, Activity 26489.

SubSub-Series 2: John A. Blum photographs, 1939 (MCNY)

This subsub-series consists of several photographs taken at the National Cash Register Company in Ohio. Blum visited the company in his capacity as a staff member of the Fair.

Biographical and Acquisition Note

John A. Blum worked for the Fair in 1938-1939, first in the Department of Information and later in the Department of Special Events. Blum donated these photographs in 1981, along with a large quantity of administrative papers, ephemera, and publicity photographs, Activity 22705.

SubSub-Series 3: Michael R. Radoslovich photographs, 1939 (MCNY)

This collection consists of photographs of the Spiral Fountain in the Community Interest zone and the Long Island Rail Road (LIRR) entrance to the Fair, both structures designed by Michael Radoslovich.

Biographical and Acquisition Note

In addition to his work for the 1939 New York World’s Fair, Radoslovich served as a faculty member at Cooper Union and as Director of Architecture for the New York City Board of Education. Radoslovich donated these prints in 1941, activity number 05047.

SubSub-Series 4: Stereopticon cards, 1939 (MCNY)

These 16 stereopticon cards are labeled “Copyright 1939 Rogers & Rogers” on the top left and have numbered captions on the bottom right. The stereopticon viewer became popular in the U.S. in the second half of the 19th century as a method to view images of countries and cultures from around the world. The viewer is designed so that one picture appears to dissolve while the next is forming. The donor is unknown.

SubSub-Series 5: Sam Geierson photographs, 1939-1940 (MCNY)

These four negatives show views of the Amusement Zone, primarily of the Parachute Jump.

Biographical and Acquisition Note

No known biographical or acquisition information.

SubSub-Series 6: Unknown creator, 1939-1940 (MCNY)

This collection consists of prints and negatives arranged by subject. These photographs were previously interfiled and do not have a connection to a donor or gift. Of note, there are images of President Roosevelt speaking on Opening Day in 1939, and 63 negatives of the “Railroads on Parade” show in the Transportation zone.

Series VI-B: QM Photographs, 1933-1940

Much of the QM photographic holdings on the 1939 New York World’s Fair were collected over several decades and interfiled by subject. Accession numbers track the provenance of the majority of the objects, although some were never formerly accessioned and are not linked to donors. Mediums include prints, slides, negatives and contact sheets. Select photographic collections are grouped by provenance due to their unique qualities or special significance and arranged by photographer or donor name.

See sub-series descriptions for more detailed information:

Sub-Series A: Subject Arranged photographs
Sub-Series B: Contact Sheets
Sub-Series C: Albums
Sub-Series D: Jim Grabow photographs
Sub-Series E: Luis Márquez photographs
Sub-Series F: Cosmo Gadaleta photographs
Sub-Series G: Sam Fox photographs
Sub-Series H: Bob Golby photographs
Sub-Series I: Samuel Herman Gottscho portfolio

Series IV-A: Dali’s “Dream of Venus” Collection also contains photographs.

Sub-Series A: Subject Arranged photographs, 1933-1940 (QM)

These photographs capture diverse aspects of the Fair, including construction, pavilions, exhibits, sculptures, special events, scenery and visitors. Duplication of images and subjects across mediums is common. Mediums include prints, slides, negatives, transparencies, and contact sheets. Many small prints were disassembled from larger albums per QM policy in the 1980s. Photographs are arranged in subsub-series by zone and filed alphabetically by exhibit. The General grouping includes visitors, notable figures, personnel, aerial views, constructions and scenery.

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Medical and Public Health
SubSub-Series 8: Production and Distribution
SubSub-Series 9: Theme Center
SubSub-Series 10: Transportation
SubSub-Series 11: General

Acquisition Note

The photographs were collected over several decades and originate from a number of sources, including the Fair’s Publicity Department, news photography companies like Underwood & Underwood, amateur and professional photographers. Notable donors include, Irene Feldman, Charles Schwartz, and Alex Siodmak. Some items are reproductions obtained from other museums and archives for which Queens Museum does not hold the rights.

Sub-Series B: Contact Sheets, 1939-1940 (QM)

This sub-series consists of contact sheets arranged by donor or creator. Some of them appear to be by-products of institutional planning for exhibitions.

Sub-Series C: Albums, 1939-1940 (QM)

This sub-series consists of albums of black-and-white photographs lovingly constructed by Fair visitors. These personal creations show friends and family members posing in front of pavilions and exhibits. They also capture the Fair’s expansive scenery, from fireworks and parades to sculptures and shots of the general public. Each album is listed in the inventory by creator, when known; or by donor, when the creator is unknown. The prints are often accompanied by captions, and sometimes complemented with printed ephemera. Of note, the album donated by Helen Nugent (number 1989.65.1) contains longer, diary-like entries. Many of the albums are in delicate condition.

The three albums created by William H. Ross (donated by his son, Larry; numbers 1996.5.1-3) consisted of double-sided black and white images printed on thick paper, hole punched in metal binders. These prints have been removed from the binders and sleeved in archival plastic, but the original order has been retained.

Acquisition Note

These albums were collected over several decades. Accession information is listed in the inventory.

Sub-Series D: James Grabow photographs, 1939-1940 (QM)

This sub-series consists of about 60 small prints (most are 2.5 x 3.5) documenting multiple visits to the Fair by Daniel W. Grabow and Louise Liebich Grabow with family members and friends. Hand written captions provide context including dates and names of people and pavilions. The Grabow’s first visit was just outside the grounds 15 days before the Fair opened, with views of construction in the background. They attended Opening Day on April 30th, 1939 and made subsequent visits in May and July 1939, as well as in August 1940.

The photographs are arranged in subsub-series by zone and filed alphabetically by exhibit. The General subsub-series includes pictures of the Grabow family and friends:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: International
SubSub-Series 6: Medical and Public Health
SubSub-Series 7: Production and Distribution
SubSub-Series 8: Theme Center
SubSub-Series 9: Transportation
SubSub-Series 10: General

Acquisition Note

The majority of the photographs were donated by James Grabow in 2011; they were part of accession 2011.1.1-569, which also included a large quantity of printed materials that were interfiled by subject. Grabow also donated two photographs in 2014; accession 2014.42.

Sub-Series E: Luis Márquez photographs, 1940 (QM)

This sub-series consists of 13 digital prints created from scanned archival negatives. The images are by Luis Márquez, who was asked by the Mexican government to redesign the Mexican Pavilion for the 1940 season of the Fair. Many of the photographs juxtapose dancers in indigenous costume with the Fair's futuristic architecture. Photographs are listed alphabetically at the item level with titles supplied by the archivist.

Biographical and Historical Note

Luis Márquez (1899-1978) was a photographer and folklorist known for his idealized, sympathetic portraits of the country's indigenous people. Márquez was also a celebrated filmmaker in the Mexican movie industry, a collector of traditional Mexican costumes, and a consultant for television shows, publishing houses and the Mexican government. His photos were used on postcards and postage stamps, tourism posters, almanacs and calendars.

The 1939-1940 Fair took place during a high point of the "Mexicanist" period in NYC, in which Mexican art and culture were celebrated. In 1940 the Museum of Modern Art held its Twenty Centuries of Mexican Art show, and Macy’s held a month long event called “Mexico in Manhattan.” Within this receptive climate Márquez injected his own particular brand of kitsch, presenting Mexico as an attractive tourist destination for the American public. His images of the fairgrounds, including pavilions, exhibits, sculptures, and fountains, won him first place in the Photography Competition organized by the Fair.

Bibliographic Note

• “At the Queens Museum: Luis Márquez In the World of Tomorrow” by Carolina A. Miranda, accessed January 9, 2014:

• Brochure for “Luis Márquez in the World of Tomorrow: Mexican Identity and the 1939-1940 New York World’s Fair,” an exhibition at the Queens Museum in 2010.

Acquisition Note

Donated by the Universidad Nacional Autónoma de México (UNAM) (National Autonomous University of Mexico), in 2011 and 2012, Accessions 2011.5.1-10 and 2012.12.1-3.

Sub-Series F: Cosmo Gadaleta photographs, 1939-1940 (QM)

This collection consists of a single album and approximately 400 4x5 inch black-and-white negatives documenting Italian immigrant Cosmo Gadaleta’s visits to the New York World’s Fair in 1939 and 1940. The images convey significant skill and artistry, and were carefully organized and labeled. Some of his descriptions contain typos which reflect an Italianization of the spelling. Gadaleta often photographed sculptures and pavilions from many different angles and in varied light conditions; side-by-side they combine to create a richer and more layered perspective. The album also contains a small selection of paper ephemera.

Arrangement

The album has been retained as a discreet object. Gadaleta wrote cursive captions on the album’s black pages in white ink. The arrangement of the negatives reflects Gadaleta’s organization. He enclosed approximately 1-10 at a time in enclosures with hand written titles on the outside. These original enclosures have been retained within the archival folders for context.

Biographical Note

Cosmos D. Gadaleta emigrated from Italy to Hackettstown, New Jersey in 1905. He ran his own barbershop and became an amateur historian on Abraham Lincoln and the Civil War. An artist in Italy, Gadaleta continued to pursue his interest in art and photography in the United States. He developed and enlarged his own photographic prints, gaining recognition in various exhibits and contests. He passed away in 1954.

Acquisition Note

Patricia G. Warne donated her grandfather’s photographs to the Queens Museum in 2014, Accession 2014.24.

Sub-Series G: Sam Fox photographs, 1939-1940 (QM)

This sub-series consists of 91 black-and-white negatives of the 1939-1940 New York World’s Fair. Fox most frequently photographed the Theme Center, followed by the Transportation Zone and the International section of the Government Zone. He took smaller quantities of images (about 2-7 each) of the Amusement, Communication and Business, Community, Food, Production and Distribution and Domestic Zones. The General grouping includes images of a band performing and of an athletic event that presumably took places on the grounds. Biographical information on Sam Fox has not yet been located.

These negatives have been catalogued at the item level and are physically organized in accession number order. They are intellectually grouped in the inventory by Fair zone and exhibit for ease of access.

This sub-series is grouped in the following subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Production and Distribution
SubSub-Series 8: Theme Center
SubSub-Series 9: Transportation
SubSub-Series 10: General

Acquisition Note

Donated by Sam Fox in 1981, accession 1981.7.

Sub-Series H: Bob Golby photographs, 1939-1940 (QM)

This sub-series consists of 248 black-and-white negatives, accompanied by corresponding contact prints. While Golby photographed buildings and sculptures across the Fair’s zones, he concentrated his efforts in the international area, with many shots of the Lagoon of Nations, Italy Pavilion, and Soviet Union Pavilion in particular. He also captured the Trylon and Perisphere during the daytime, at dusk, and in the evening; as well as many of the sculptures and statues in the Theme Center area.

These negatives have been catalogued at the item level and are physically organized in accession number order. They are intellectually grouped in the inventory by Fair zone and exhibit for ease of access.

This sub-series is grouped in the following subsub-series:

SubSub-Series 1: Amusement
SubSub-Series 2: Communications and Business Systems
SubSub-Series 3: Community Interests
SubSub-Series 4: Food
SubSub-Series 5: Government: Domestic
SubSub-Series 6: Government: International
SubSub-Series 7: Medical and Public Health
SubSub-Series 8: Production and Distribution
SubSub-Series 9: Theme Center
SubSub-Series 10: Transportation
SubSub-Series 11: General

Biographical Note

Bob Golby (born in 1901) was a professional photographer who primarily documented theater, dance, and opera in New York City from the 1940s to the 1970s. Many of his photographs were printed in the New York Times and his archive resides at the Harry Ransom Center at the University of Texas at Austin. He also photographed and donated images of the 1964/1965 Fair to the Museum.

Acquisition Note

Donated by Bob Golby in 1987, Accession 1987.110.

Sub-Series I: Samuel Herman Gottscho portfolio, photographs created in 1939-1940; portfolio published in 1980 (QM)

This sub-series consists of a portfolio of ten images by Samuel Herman Gottscho documenting buildings, scenes and sculptures at the 1939-1940 New York World's Fair. The portfolio was published in an edition of 250 copies under the supervision of Doris Schleisner, daughter of Samuel Gottscho, in 1980. The ten dye-transfer prints were made by Color Corporation of America (Florida) and copyrighted by Daniel Wolf Press. Gottscho’s dynamic compositions chronicle the architecture of individual pavilions, as well as the Fair’s iconic symbols, the Trylon and Perisphere. Titles of the images are listed in the inventory in the order they appear in the portfolio.

These negatives have been catalogued at the item level and are physically organized in accession number order. They are intellectually grouped in the inventory by Fair zone and exhibit for ease of access.

Biographical Note

Samuel Herman Gottscho (1875–1971) grew up in Brooklyn, New York, and started taking photographs as a hobby at age 21. Later in life, after attending several architectural photography exhibitions and meeting architects in the area, he decided to pursue architectural photography more seriously. At age 50, after 23 years as a traveling salesman, Gottscho became a professional full time photographer, forming the Gottscho-Schleisner firm with William Schleisner. During the 1930s Gottscho was often grouped with the leading art photographers of the time. He was known for his depictions of Rockefeller Center, Times Square, the World's Fair, office skyscrapers, retail stores, city living, hotels, apartment houses, and new housing projects. After World War II he shifted his focus, primarily photographing wildflowers in their natural settings.

Acquisition Note

Donated in 2003 by Daniel Wolf, Accession 2003.8.1-10WF39.

Series VII: Commemorative Objects, circa 1936-1940

By 1938, 400 manufacturers had been given permission to use official New York World’s Fair designs. Many Fairgoers celebrated their visit by purchasing and holding fast to a variety of souvenirs, from ephemeral items to more permanent household goods. Highlights include Map Canes created by Tony Sarg, Vitex knives from the Glass Center, an RCA radio, tables and chairs embossed with the Trylon and Perisphere, Kan-O-Seat folding chairs, charm bracelets, clothing, banners and flags. Additionally, there are a variety of makeup compacts, buttons, pins, stamps, booklets, drinking glasses, and coins, among many other souvenirs. The QM collection contains hundreds of such items, many on display in their Visible Storage Gallery; while the MCNY Collection contains about 70. Object names are based on definitions in Getty’s Art and Architecture Thesaurus.

For objects displayed in Fair exhibits, see Series IV: Zones and Exhibits.

Series VIII: Design Renderings, 1936-1939

This series consists of illustrations of buildings, displays and objects that were considered for inclusion in the Fair. They were created by delineators, also known as architectural illustrators, whose job it was to create realistic portrayals of complex ideas. The designs were created between 1936-1938, before the Fairgrounds were constructed, and used to garner support and enthusiasm. While some of the designs were built as shown, a number of others changed considerably or were never realized. The renderings were printed on souvenirs, postcards and other merchandise and stand as significant artworks on their own. The illustrators worked under the supervision of the Fair’s Board of Design, the body often credited with creating the artistic and social vision of the “World of Tomorrow.”

MCNY has 391 design renderings organized by accession number, the majority of which were donated by the Legal Department of the 1939 New York World’s Fair in 1940 and 1941. Artists include John Wenrich, Edward Punnet Chrystie, Hugh Ferriss, Theodore Kautzky, Chester P. Price, Nemhard N. Culin, Emrich Nicholson, Cornelius M. Flynn, Eric Mose, Lloyd Morgan, and Frank Rudolph Paul, among others.

QM has two renderings: “Design for Heinz Dome Building Mural” by Domenico Mortellito and “Study for a Community Arts Center at the New York World's Fair” by Frederick Lee Ackerman, John Vredenburgh Van Pelt and Joshua D. Lowenfish.

Series IX: Architectural Elements and Fair Artifacts, 1939-1940 (QM)

This series is comprised of three-dimensional objects that were either components of Fair structures or by-products of Fair operations. Items include tile trim from the original New York City Building; a large metal “General Plan” sign used to direct visitors; and police, girl guide, and sanitation uniforms

Series X: Artwork, 1939-2009

This series consists of artwork depicting or related to the Fair. Holdings include:

• Gouache paintings of Fair scenes and pavilions by Pierre Montiel created in the 1980s (QM)
• Two pastel caricatures of Fair visitors from the 1940 season (QM)
• 1940 Guide Jacket altered by Lee Mingwei as part of the Mending Project in 2009 (QM)
• Drawings by notable artists and cartoonists John H. Cassel (1872-1961), Rollin Kirby (1875-1952), Rea Irvin (1881-1972), and James Thurber (1894-1961) (MCNY)

Series XI: Audiovisual, 1937-1984 (QM)

Materials are arranged in the following sub-series. See sub-series descriptions for more detail:

Sub-Series A: Moving Images, 1937-1984, bulk 1939-1940
Sub-Series B: Sound Recordings, 1937-1939
Sub-Series C: Dawn of a New Day Oral Histories, 1980

Sub-Series A: Moving Images, 1937-1984, bulk 1939-1940 (QM)

This sub-series consists of moving images from or about the 1939-1940 Fair. Many films are duplicated across formats, including 8 mm, 16 mm, Betacam SP, U-Matic, VHS and DVDs. The collection is particularly strong in original amateur films, many of which were digitized by Northeast Historic Film and are now accessible on the website http://www.fairfilm.org/. A number of additional amateur films require reformatting for preservation and accessibility. See the inventory for a complete list.

In addition to home movies, there are a number of promotional films and newsreels that were produced by participating exhibitors and the World’s Fair Committee. Full versions or selected clips of most of these films are available online. Such holdings include To New Horizons by General Motors, The Middleton Family at the Fair by Westinghouse, In Tune with Tomorrow by Chrysler, and The City by the American Institute of Planners. There is also footage of the speech by RCA President David Sarnoff for the opening of the RCA Pavilion 10 days prior to the Opening of the Fair. The ceremony was televised and watched by viewers inside the RCA Pavilion and on the 62nd floor of Radio City in Manhattan. Finally, there are copies of the 1984 documentary The World of Tomorrow by Lance Bird and Tom Johnson.

Sub-Series B: Sound Recordings, 1939-1940 (QM)

This sub-series consists of several sound recordings documenting events and exhibits at the Fair. Three compact discs from WNYC public radio contain archival footage documenting the sale of the first ticket book by Fair President Grover Whalen to Mayor Fiorello LaGuardia in February 1939; President Franklin Delano Roosevelt’s Opening Day remarks on April 30th 1939; and various recordings from the last week of the Fair in October 1940. There are cassette tapes with recordings of the Fair’s “Dawn of a New Day” theme song composed by George and Ira Gershwin and performed by CBS radio bandleader Horace Heidt and his Musical Knights; sound from the AT&T Voice Operation Demonstrator (Voder) exhibit; and audio of the Novachord, a new instrument released at the Ford Building.

Sub-Series C: Dawn of a New Day Oral Histories, 1980 (QM)

This sub-series consists of interviews with Fair visitors and workers conducted in 1980 in conjunction with the Dawn of a New Day exhibition at Queens Museum under the direction of Warren I. Susman. Susman was a cultural historian who taught at Rutgers University, where he served as chairman of the History Department from 1973-1979. He is best known for authoring Culture as History: The Transformation of American Society in the 20th Century, first published in 1984 by Pantheon Books. He passed away from an untimely heart attack in 1985 at the age of 58.

Dawn of a New Day was an exhibition curated by Helen A. Harrison at the Queens Museum from June 21st through November 30th 1980 on the occasion of the Fair’s 40th anniversary. An accompanying book published by New York University Press was edited by Harrison and included an essay by Susman.

Dates on the transcripts indicate that the interviews took place between August and October, 1980. Unfortunately, documentation of the goals and uses of the interviews was not located. There is one administrative file containing hand written notes and synopsis’ (presumably created in 1980), as well as a typed inventory created after 1988.

Scope and Content

This sub-series consists of 18 audio cassette tapes containing 55 interviews. Transcripts were located for all but three of the interviews. Transcripts do not always follow the interviews verbatim - lengthy monologues are sometimes condensed and less relevant details excised.

These narratives provide direct glimpses into the personal experiences of a stenographer, ticket taker, a burlesque dancer and a Fair Committee Administrator, among other Fair workers. Interviews were also conducted with a variety of local residents who attended the Fair.

Tape number 1980.8.16WF39 consists of Susman providing instructions regarding oral history protocols. He wanted the interviews be five to ten minutes maximum, and more like a freeform monologue than a formal interview. This is reflected in the style of the interviews. Names, dates, and other identifying information were not provided in the recordings.

Many discrepancies regarding spelling of interviewee names were found upon comparison of the transcripts with the labels on the cassette tapes. These ranged from minor differences (for example, Radlauer versus Radlawer) to substantial differences (for example, Iribern versus Irrizary). In the absence of authoritative documentation, spellings from the transcripts were used in the inventory, with discrepancies noted in parenthesis. Some interviewees are anonymous or only provided a first name.

The Collection on the 1964-1965 New York World’s Fair also contains oral histories with Fair visitors that touch on their experiences at the 1939-1940 Fair.

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Administrative Information

Preferred Citation for Museum of the City of New York

Title, date. Collection on the 1964-1965 New York World’s Fair, 1959-1967. Museum of the City of New York. Accession # (if applicable).

Preferred Citation for Queens Museum

Title, date. Collection on the 1964-1965 New York World’s Fair, 1930-2012. Queens Museum. Accession # (if applicable).

Acquisition Information

Materials were obtained from diverse sources over several decades. Donors include average fairgoers and their family members, amateur and professional photographers and filmmakers, Fair employees, the Fair Corporation, and avid World’s Fair collectors. Complete donor lists are available upon request from each institution. You may also consult the archivist for specific acquisition information for particular objects. For more information email the Museum of the City of New York at research@mcny.org or the Queens Museum at info@queensmuseum.org.

Custodial History

The collections were compiled over several decades by staff of the Museum of the City of New York and the Queens Museum. The collection is not housed collectively; materials are managed, respectively, by each institution, in their own collections storage facilities.

Related Material

Museum of the City of New York / Queens Museum:

Collection on the 1964-1965 New York World’s Fair

Collections in Other Repositories:

• New York Public Library, New York World's Fair 1939-1940 records
• New York Public Library, Schomburg Center, New York World's Fair Negro Week Records
• MTA Bridges & Tunnels Special Archive
• Queens Historical Society
• Queens Library, New York World’s Fair Collection
• New York City Municipal Archives, Grover A. Whalen Papers
• New York City Department of Records, Municipal Archives Collections, Department of Parks, 1850-1960
• New York City Department of Environmental Protection Archive has records relating to the Relief Map of the NYC Water Supply System
• Donald G. Larson Collection on International Expositions and Fairs, California State University, Fresno
• World’s Fair Historical Society
• Luis Márquez Romay Photographic Collection, Manuel Toussaint Photographic Archives, Instituto de Investigaciones Estéticas, UNAM, Mexico City
• Flushing Council on Culture and the Arts
• La Guardia and Wagner Archives, La Guardia Community College
• National Museum of American History Library
• Wolfsonian–Florida International University

Processing Information

This project was made possible by a Council on Library and Information Resources (CLIR) Hidden Collections grant. The Museum of the City of New York and Queens Museum gratefully acknowledge the support of the Andrew W. Mellon Foundation in the CLIR program.

The collections were processed by Project Archivist Annie Tummino with assistance from Archival Fellows Hoang Tran, Wendy Jimenez, and Richard J. Lee, from March 2013-October 2014. At the outset of the project, the Archivist surveyed the collections at MCNY and QM, creating a processing plan that took into account both institutions’ collections. The Collection at MCNY was processed over the first four months, from March-July, 2013. The Collection at QM was processed over the next 14 months, from August 2013-October 2014.

Prior to processing, only rudimentary, incomplete, and outdated inventories existed to facilitate access to the materials. Diverse object types were often mixed together, such as photographs, printed materials and 3d souvenirs. The archivists physically re-housed and intellectually described these materials, arranging them in Series and Sub-Series.

At both institutions, world’s fair-related materials in physically disparate locations were intellectually united under the auspices of the finding aid. At MCNY this included Fair-related decorative arts items, textiles, theater material, sculptures, and toys which existed within previously established collections. At QM, this included objects stored offsite and on long-term view in their Visible Storage Gallery.

The majority of the materials at both institutions were grouped by subject rather than donor. This arrangement reflected prior institutional practice and the nature of the materials, which were mostly mass produced. However, exceptions were made for donations reflecting a more unique or personal viewpoint, such as photographs. Historical, biographical, and administrative histories were researched and incorporated throughout where pertinent. Complete donor appendixes were also created for each institution.

Local versions of the finding aid were also created for the Museum of the City of New York and Queens Museum to serve researchers who have narrowed their search to one institution.

Language of Materials

The majority of the materials are in English. At the QM one newspaper is in Czech and several items in the Collection on Dali’s Dream of Venus are in French; at MCNY one serial is in French.

Access and Use

Collections must be examined on site with appointments made in advance. For more information email the Museum of the City of New York at research@mcny.org or the Queens Museum at info@queensmuseum.org. Collection use is subject to all copyright laws. Permission to publish materials must be obtained in writing.

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Access Points

Personal Names:

  • Bader, George B.
  • Ballard, Frank W., 1893-1975
  • Ballard, Frank W., 1893-1975
  • Blum, John A.
  • Dali, Gala
  • Dali, Salvador, 1904-1989
  • Dobak, William A., 1905-1987
  • Fox, Sam
  • Gadaleta, Cosmo
  • Geddes, Norman Bel, 1893-1958
  • Golby, Bob
  • Gottscho, Samuel H. (Samuel Herman), 1875-1971
  • Jaffe, Morris
  • Levy, Julien
  • Maŕquez, Luis, 1899-1978
  • Montiel, Pierre
  • Mueller, William J., 1910-1999
  • Neva, John
  • Radoslovich, Michael L.
  • Schaal, Eric
  • Seckendorf, Joe
  • Van Vechten, Carl, 1880-1964
  • Whalen, Grover A. (Grover Aloysius), 1886-1962
  • Woodner, Ian
  • Wurts, Richard
  • Zurkow, Gladys Hatos

Corporate names:

  • Gottscho-Schleisner, Inc.
  • New York World’s Fair 1964-1965 Corporation
  • Waddell and Hardesty
  • Wurts Brothers (New York, N.Y.)

Subject Topics:

  • Amusements
  • Architecture
  • Corporations, American
  • Exhibitions
  • Fairs
  • Industrial design
  • Industries
  • New York World's Fair (1939-1940 : New York, N.Y.)
  • Popular culture
  • Sculpture
  • Technology
  • Tourism
  • Transportation

Geographic subjects:

  • Flushing Meadows-Corona Park (New York, N.Y.)
  • Queens (New York, N.Y.)

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Inventory

[The following section contains a detailed listing of the materials in the collection.]

Series I: Administrative ( 1934 - 1942 , 96 items)
Box - Folder: MCNY Box 1, MCNY Box 2, MCNY Box 14, MCNY Box 43, MCNY Box 44, MCNY Flat file P10 B17, MCNY Flat file P6 D36, MCNY Flat file P6 D37, MCNY Stored separately, MCNY Stored separately, QM Box 1, QM Box 2, QM Box 31, QM Box 33, QM Box 39, QM Storge, QM Roll 1, QM Curatorial Center, QM Visible storage

Series II: Promotional ( 1936-1941 , 74 items)
Box - Folder: MCNY Box 3, MCNY Box 9, MCNY Box 17 , QM Box 2, QM Box 33, QM Boxes 41 - 43, QM Box 53, QM Box 54, QM Curatorial center, QM Offsite Rm B6, QM Offsite Rm B8, QM Roll 5, QM Storage

Series III: Visiting the Fair ( 1938 - 1940 , 101 items)

Sub-Series A: Admissions ( 1939-1940, 30 items)
Box - Folder: MCNY Box 3, MCNY Box 14, MCNY Flat file P6 D36 , QM Box 3

Sub-Series B: Guides ( 1939-1940, 36 items)
Box - Folder: MCNY Box 4, MCNY Box 16, QM Box 3, QM Box 4, QM Visible storage

Sub-Series C: Maps ( 1939-1940, 16 items)
Box - Folder: MCNY Box 4, MCNY Flat file P6 D36 , QM Box 4, QM Box 33, QM Roll 2, QM Offsite Rm B6, QM Offsite Rm B8, QM Storage

Sub-Series D: Postcards ( 1939-1940, 16 items)
Box - Folder: MCNY Box 10 , QM Box 61

Sub-Series E: Scrapbooks ( 1939-1940, 3 items)
Box - Folder: QM Box 44, QM Box 49, QM Box 62

Series IV: Zones and Exhibits ( 1937 - 1940 , 469 items)

Sub-Series A: Amusement ( 1937-1940, 36 items)
Box - Folder: MCNY Box 4, MCNY Stored separately , QM Box 5, QM Offsite Rm B6

Sub-Series B: Communication and Business Systems ( 1937-1940, 43 items)
Box - Folder: MCNY Box 5, MCNY Box 9, MCNY Stored separately , QM Box 6, QM Box 29, QM Box 30, QM Box 32, QM Visible storage

Sub-Series C: Community Interest ( 1937-1940, 62 items)
Box - Folder: MCNY Box 5, MCNY Stored separately , QM Box 7, QM Box 8, QM Box 29, QM Offsite Rm B6, QM Visible storage

Sub-Series D: Food ( 1937-1940, 30 items)
Box - Folder: MCNY Box 5 , QM Box 9, QM Box 33

Sub-Series E: Government: Domestic ( 1937-1940, 47 items)
Box - Folder: MCNY Box 5, MCNY Stored separately , QM Box 10-12, QM Box 53

Sub-Series F: Government: International ( 1937-1940, 134 items)
Box - Folder: MCNY Box 6, MCNY Box 11, MCNY Box 14 , QM Boxes 13-19, QM Box 28, QM Box 45, QM Offsite Rm B6, QM Offsite Rm B8, QM Visible storage

Sub-Series G: Medical and Public Health ( 1937-1940, 11 items)
Box - Folder: MCNY Box 7 , QM Box 20

Sub-Series H: Production and Distribution ( 1937-1940, 57 items)
Box - Folder: MCNY Box 7, MCNY Box 17 , QM Boxes 21-22 , QM Box 33, QM Offsite Rm B8, QM Visible storage

Sub-Series I: Science and Education ( 1937-1940, 3 items)
Box - Folder: MCNY Box 7 , QM Box 22

Sub-Series J: Theme Center ( 1937-1940, 4 items)
Box - Folder: MCNY Box 44, MCNY Box 7 , QM Box 22

Sub-Series K: Transportation ( 1937-1940, 42 items)
Box - Folder: MCNY Box 7, MCNY Box 17 , QM Box 23, QM Box 33, QM Box 48, QM Visible storage

Series IV-A: Jean and Julien Levy Collection on Dalí’s Dream of Venus ( 1936-1939 , 210 items)

Sub-Series A: Manuscripts and Proposals ( 1936-1939 , 9 items)
Box - Folder: QM Boxes 119-120, QM Box 122, QM Offsite Rm B8

Sub-Series B: Published Materials ( 1936-1939 , 8 items)
Box - Folder: QM Boxes 120-121

Sub-Series C: Photographs ( 1936-1939 , 188 items)
Box - Folder: QM Box 55, QM Boxes 123-128, QM Offsite Rm B8

Sub-Series D: Sounds Recording and Lyrics ( 1936-1939 , 5 items)
Box - Folder: QM Box 121

Series V: Press and Publications ( 1937-1993 , 137 items)

Sub-Series A: Books ( 1938-1989 , 14 items)
Box - Folder: MCNY Box 8, MCNY Box 12, QM Box 24, QM Box 27, QM Box 46, QM Box 53

Sub-Series B: Clippings ( 1938-1940 , 40 items)
Box - Folder: MCNY Box 8, QM Box 25

Sub-Series C: Newspapers ( 1939 , 18 items)
Box - Folder: MCNY Box 8, QM Box 25, QM Boxes 51-52

Sub-Series D: Serials ( 1938-1940 , 65 items)
Box - Folder: MCNY Boxes 8-9, MCNY Box 17, QM Box 26, QM Box 28, QM Box 30, QM Box 33, QM Boxes 47-48, QM Box 52

Series VI-A : MCNY Photographs ( 1937 - 1942 , 470 items)

Sub-Series A: 1939 New York World’s Fair Publicity photographs ( 1937-1940, 65 items)

Sub-SubSeries 1: Amusement ( 1938-1940, 23 items)
Box - Folder: MCNY Box 18

Sub-SubSeries 2: Communication and Business ( 1939-1940, 12 items)
Box - Folder: MCNY Box 18, MCNY Box 43

Sub-SubSeries 3: Community Interest ( 1937-1940, 11 items)
Box - Folder: MCNY Box 19

Sub-SubSeries 4: Food ( 1939-1940, 7 items)
Box - Folder: MCNY Box 19

Sub-SubSeries 5: Government: Domestic ( 1939-1940, 14 items)
Box - Folder: MCNY Box 20

Sub-SubSeries 6: Government: International ( 1939-1940, 33 items)
Box - Folder: MCNY Box 21, MCNY Box 43

Sub-SubSeries 7: Medical and Public Health ( 1937-1940, 2 items)
Box - Folder: MCNY Box 22

Sub-SubSeries 8: Production and Distribution ( 1937-1940, 23 items)
Box - Folder: MCNY Box 22, MCNY Box 43

Sub-SubSeries 9: Science and Education ( 1939-1940, 2 items)
Box - Folder: MCNY Box 22

Sub-SubSeries 10: Theme Center ( 1937-1940, 22 items)
Box - Folder: MCNY Box 23, MCNY Box 43

Sub-SubSeries 11: Transportation ( 1938-1940, 11 items)
Box - Folder: MCNY Box 24

Sub-SubSeries 12: General ( 1934-1951, 37 items)
Box - Folder: MCNY Box 20, MCNY Box 25, MCNY Box 43

Sub-Series B: George Bader photographs ( 1939-1940, 1 item)
Box - Folder: MCNY Box 44

Sub-Series C: Frank W. Ballard photograph albums ( 1939-1942, 3 item)
Box - Folder: MCNY Stored separately

Sub-Series D: William A. Dobak photographs ( 1939-1940, 283 items)
Box - Folder: MCNY Box 44

Sub-Series E: Samuel Herman Gottscho photographs ( 1939-1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-Series F: Morris Jaffe photograph album ( 1939-1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-Series G: William J. Mueller photographs ( 1939, 1 items)

Sub-SubSeries 1: Amusement ( 1939, 11 items)
Box - Folder: MCNY Boxes 26-27

Sub-SubSeries 2: Communication and Business ( 1939, 4 items)
Box - Folder: MCNY Boxes 26-27

Sub-SubSeries 3: Food ( 1939, 42 items)
Box - Folder: MCNY Box 27

Sub-SubSeries 4: Government: International ( 1939, 5 items)
Box - Folder: MCNY Box 27

Sub-SubSeries 5: Production and Distribution ( 1939, 23 items)
Box - Folder: MCNY Box 27

Sub-SubSeries 6: Theme Center ( 1939, 22 items)
Box - Folder: MCNY Boxes 26-27

Sub-SubSeries 7: Transportation ( 1939, 11 items)
Box - Folder: MCNY Boxes 26-27

Sub-SubSeries 8: General ( 1939, 37 items)
Box - Folder: MCNY Boxes 26-27

Sub-Series H: John Neva photographs ( 1939-1940, 5 items)
Box - Folder: MCNY Boxes 28-29, MCNY Boxes 45-47

Sub-Series I: Joe Seckendorf photographs ( 1939, 51 items)

Sub-SubSeries 1: Amusement ( 1939, 6 items)
Box - Folder: MCNY Box 30

Sub-SubSeries 2: Communication and Business ( 1939, 2 items)
Box - Folder: MCNY Box 30

Sub-SubSeries 3: Community Interests ( 1939, 1 items)
Box - Folder: MCNY Box 30

Sub-SubSeries 4: Food ( 1939, 3 items)
Box - Folder: MCNY Box 30

Sub-SubSeries 5: Government: Domestic ( 1939, 4 items)
Box - Folder: MCNY Box 30, MCNY Box 43

Sub-SubSeries 6: Government: International ( 1939, 8 items)
Box - Folder: MCNY Box 30, MCNY Box 43

Sub-SubSeries 7: Production and Distribution ( 1939, 5 items)
Box - Folder: MCNY Box 30

Sub-SubSeries 8: Theme Center ( 1939, 5 items)
Box - Folder: MCNY Box 31

Sub-SubSeries 9: Transportation ( 1939, 9 items)
Box - Folder: MCNY Box 43

Sub-SubSeries 8: General ( 1939, 8 items)
Box - Folder: MCNY Box 31, MCNY Box 43

Sub-Series J: Carl V. Vechten photographs ( 1938-1940, 116 items)

Sub-SubSeries 1: Amusement ( 1938-1940, 21 items)
Box - Folder: MCNY Boxes 32-33

Sub-SubSeries 2: Communication and Business ( 1938-1940, 7 items)
Box - Folder: MCNY Box 33

Sub-SubSeries 3: Community Interests ( 1938-1940, 9 items)
Box - Folder: MCNY Boxes 33-34

Sub-SubSeries 4: Food ( 1938-1940, 6 items)
Box - Folder: MCNY Box 34

Sub-SubSeries 5: Government: Domestic ( 1938-1940, 6 items)
Box - Folder: MCNY Box 34

Sub-SubSeries 6: Government: International ( 1938-1940, 25 items)
Box - Folder: MCNY Boxes 35-36

Sub-SubSeries 7: Production and Distribution ( 1938-1940, 16 items)
Box - Folder: MCNY Box 37

Sub-SubSeries 8: Theme Center ( 1938-1940, 7 items)
Box - Folder: MCNY Box 38

Sub-SubSeries 9: Transportation ( 1938-1940, 8 items)
Box - Folder: MCNY Box 38

Sub-SubSeries 10: General ( 1938-1940, 11 items)
Box - Folder: MCNY Box 39

Sub-Series K Richard Wurts “Building the New York World’s Fair” exhibition photographs ( 1938, 2 items)
Box - Folder: MCNY Boxes 40-41

Sub-Series L: World’s Fair photographs within larger collections ( 1937-1940, 15 items)

Sub-SubSeries 1: Wurts Bros. ( 1938-1940, 2 items)
Box - Folder: MCNY Stored separately

Sub-SubSeries 2: Samuel Herman Gottscho ( 1939, 2 item2)
Box - Folder: MCNY Box 33

Sub-SubSeries 3: Gottscho-Schleisner, Inc. ( 1939, 2 items)
Box - Folder: MCNY Box 33

Sub-SubSeries 4: Kahn & Jacobs: Sigurd Fischer and William Ward ( 1939-1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 5: John Albok ( 1939-1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 6: Irving Underhill ( 1937, 2 items)
Box - Folder: MCNY Stored separately

Sub-SubSeries 7: City Museum's photomural ( 1939, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 8: Benjamin Blom ( 1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 9: Harry J. Fields ( 1939, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 10: Speed's Flying Service ( 1939, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 11: Carl Van Vechten ( 1939, 1 item)
Box - Folder: MCNY Stored separately

Sub-SubSeries 12: Kay Simmon Blumberg ( 1939-1940, 1 item)
Box - Folder: MCNY Stored separately

Sub-Series M: Small photographic collections ( 1939-1940, 35 items)

Sub-SubSeries 1: Gladys Hatos Zurkow ( 1939-1940, 8 items)
Box - Folder: MCNY Box 42

Sub-SubSeries 2: John Blum ( 1939, 1 item)
Box - Folder: MCNY Box 42

Sub-SubSeries 3: Michael L. Radoslovich ( 1939, 2 items)
Box - Folder: MCNY Box 42

Sub-SubSeries 4: Stereopticon cards ( 1939, 5 items)
Box - Folder: MCNY Box 42

Sub-SubSeries 5: Samuel Geierson ( 1939-1940, 1 item)
Box - Folder: MCNY Box 42

Sub-SubSeries 6: Unknown creator ( 1939-1940, 18 items)
Box - Folder: MCNY Box 42

Series VI-B: Photographs QM ( 1933-1940, 974 items)

Sub-Series A: Subject Arranged photographs ( 1939-1940, 575 items)

Sub-SubSeries 1: Amusement ( 1933-1940, 65 items)
Box - Folder: QM Box 57, QM Box 63, QM Box 70, QM Box 80

Sub-SubSeries 2: Communication and Business ( 1938-1940, 38 items)
Box - Folder: QM Box 57, QM Box 63, QM Box 65, QM Box 71, QM Boxes 79-80

Sub-SubSeries 3: Community Interests ( 1938-1940, 58 items)
Box - Folder: QM Box 57, QM Box 63, QM Box 65, QM Box 72, QM Boxes 79-80

Sub-SubSeries 4: Food ( 1938-1940, 37 items)
Box - Folder: QM Box 57, QM Boxes 63-64 , QM Box 74, QM Box 80

Sub-SubSeries 5: Government: Domestic ( 1938-1940, 35 items)
Box - Folder: QM Box 57, QM Box 63, QM Box 65, QM Box 74, QM Box 80

Sub-SubSeries 6: Government: International ( 1938-1940, 106 items)
Box - Folder: QM Box 57, QM Boxes 63-65, QM Box 74, QM Box 80

Sub-SubSeries 7: Medical and Public Health ( 1938-1940, 9 items)
Box - Folder: QM Box 64, QM Box 75, QM Box 80

Sub-SubSeries 8: Production and Distribution ( 1938-1940, 70 items)
Box - Folder: QM Box 57, QM Boxes 64-65, QM Box 75, QM Box 80

Sub-SubSeries 9: Theme Center ( 1938-1940, 33 items)
Box - Folder: QM Box 57, QM Boxes 64-65, QM Box 76, QM Box 80

Sub-SubSeries 10: Transportation ( 1938-1940, 54 items)
Box - Folder: QM Box 57, QM Box 65, QM Box 77, QM Box 79, QM Box 80 , QM Offsite Rm B8

Sub-SubSeries 11: General ( 1938-1940, 70 items)
Box - Folder: QM Box 56, QM Box 65, QM Box 78-80, QM Curatorial center, QM Visible storage

Sub-Series B: Contact Sheets ( 1939-1940, 7 items)
Box - Folder: QM Box 38

Sub-Series C: Albums ( 1939-1940, 12 items)
Box - Folder: QM Boxes 58-59, QM Boxes 81-87

Sub-Series D: Jim Grabow photographs ( 1939-1940, 38 items)

Sub-SubSeries 1: Amusement ( 1939-1940, 2 items)
Box - Folder: QM Box 65

Sub-SubSeries 2: Communication and Business ( 1939-1940, 3 items)
Box - Folder: QM Box 65

Sub-SubSeries 3: Community Interests ( 1939-1940, 2 items)
Box - Folder: QM Box 65

Sub-SubSeries 4: Food ( 1939-1940, 1 item)
Box - Folder: QM Box 65

Sub-SubSeries 5: Government: International ( 1939-1940, 13 items)
Box - Folder: QM Box 65

Sub-SubSeries 6: Medical and Public Health ( 1939-1940, 1 item)
Box - Folder: QM Box 65

Sub-SubSeries 7: Production and Distribution ( 1939-1940, 5 items)
Box - Folder: QM Box 65

Sub-SubSeries 8: Theme Center ( 1939-1940, 4 items)
Box - Folder: QM Box 65

Sub-SubSeries 9: Transportation ( 1939-1940, 4 items)
Box - Folder: QM Box 65

Sub-SubSeries 10: General ( 1939-1940, 3 items)
Box - Folder: QM Box 65

Sub-Series E: Luis Márquez photographs ( 1940, 12 items)
Box - Folder: QM Offsite Rm B6, Offsite Rm B8, Storage

Sub-Series F: Cosmo Gadaleta photographs ( 1939-1940, 83 items)

Sub-SubSeries 1: Albums ( 1939-1940, 1 item)
Box - Folder: QM Box 130

Sub-SubSeries 1: Negatives ( 1939-1940, 82 items)
Box - Folder: QM Box 66

Sub-Series G: Sam Fox photographs ( 1939-1940, 75 items)

Sub-SubSeries 1: Amusement ( 1939-1940, 6 items)
Box - Folder: QM Box 67

Sub-SubSeries 2: Communication and Business ( 1939-1940, 3 items)
Box - Folder: QM Box 67

Sub-SubSeries 3: Community Interests ( 1939-1940, 2 items)
Box - Folder: QM Box 67

Sub-SubSeries 4: Food ( 1939-1940, 1 item)
Box - Folder: QM Box 67

Sub-SubSeries 5: Government: Domestic ( 1939-1940, 3 items)
Box - Folder: QM Box 67

Sub-SubSeries 6: Government: International ( 1939-1940, 18 items)
Box - Folder: QM Box 67

Sub-SubSeries 7: Production and Distribution ( 1939-1940, 7 items)
Box - Folder: QM Box 67

Sub-SubSeries 8: Theme Center ( 1939-1940, 14 items)
Box - Folder: QM Box 67

Sub-SubSeries 9: Transportation ( 1939-1940, 13 items)
Box - Folder: QM Box 67

Sub-SubSeries 10: General ( 1939-1940, 8 items)
Box - Folder: QM Box 67

Sub-Series H: Bob Golby photographs ( 1939-1940, 162 items)

Sub-SubSeries 1: Amusement ( 1939-1940, 12 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 2: Communication and Business ( 1939-1940, 9 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 3: Community Interests ( 1939-1940, 9 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 4: Food ( 1939-1940, 6 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 5: Government: Domestic ( 1939-1940, 4 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 6: Government: International ( 1939-1940, 50 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 7: Medical and Public Health ( 1939-1940, 2 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 8: Production and Distribution ( 1939-1940, 18 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 9: Theme Center ( 1939-1940, 30 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 10: Transportation ( 1939-1940, 12 items)
Box - Folder: QM Box 68-69

Sub-SubSeries 11: General ( 1939-1940, 10 items)
Box - Folder: QM Box 68-69

Sub-Series I: Samuel Herman Gottscho portfolio ( 1939-1940, 10 items)
Box - Folder: QM Box 60

Series VII: Commemorative Objects ( circa 1936-1940, 273 items)
Box - Folder: MCNY Box 1, MCNY Boxes 8-9, MCNY Box 13, MCNY Boxes 15-17, MCNY BCS, MCNY Flat file P6 D36, MCNY Stored separately, QM Boxes 33-35, QM Boxes 88-111, QM Offsite Rm B6, QM Visible storage

Series VIII: Design Renderings ( 1936-1939, 3 items)
Box - Folder: MCNY Available via Collections Portal, QM Storage

Series IX: Architectural Elements and Fair Artifacts ( 1939-1940, 5 items)
Box - Folder: QM Offsite Rm B6, QM Offsite Rm B8, QM Visible storage

Series X: Artwork ( 1939-2002, 24 items)
Box - Folder: MCNY Stored separately, QM Offsite Rm B6, QM Offsite Rm B8

Series XI: Audiovisual ( 1937-1984, 298 items)

Sub-Series A: Moving Images ( 1937-1984, 149 items)

Sub-SubSeries 1: 16 mm ( 1933-1940, 9 items)
Box - Folder: QM Box 112, QM Storage

Sub-SubSeries 2: 28 mm ( 1933-1940, 1 item)
Box - Folder: QM Storage

Sub-SubSeries 3: 8 mm ( 1933-1940, 6 items)
Box - Folder: QM Box 112, QM Storage

Sub-SubSeries 4: Betacam SP ( 1933-1940, 6 items)
Box - Folder: QM Box 113

Sub-SubSeries 5: DVD ( 1933-1940, 8 items)
Box - Folder: QM Box 114

Sub-SubSeries 6: U-Matic ( 1933-1940, 3 items)
Box - Folder: QM Box 115

Sub-SubSeries 7: VHS ( 1933-1940, 7 items)
Box - Folder: QM Box 117

Sub-Series B: Sound ( 1939-1940, 5 items)

Sub-SubSeries 1: Cassette Tape ( 1933-1940, 2 items)
Box - Folder: QM Box 118

Sub-SubSeries 2: Compact Disc ( 1933-1940, 3 items)
Box - Folder: QM Box 114

Sub-Series C: Oral Histories ( 1980, 104 items)

Sub-SubSeries 1: Transcript ( 1980, 52 items)
Box - Folder: QM Box 36, QM Box 37

Sub-SubSeries 2: Tape ( 1980, 52 items)
Box - Folder: QM Box 118

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