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The Fair was, of course, intended (originally at least) to be uplifting, educational, and inspirational. According to most authoritative accounts, the Amusement Zone was only admitted to The Fair rather late in the game, when organizers realized that if they wanted to attract the crowds they hoped for, they would have to include something to appeal to the baser instincts. The Amusement Zone (dubbed "The Great White Way") was segregated from the main Fair grounds, and most amusements required additional admission.

But there were other entertainments to be enjoyed that were perfectly in keeping with the vision of The Fair's creators. For a number of years I had heard (read, really) that the documentary films "The City", "The Plow That Broke The Plains", and "The River" were shown at The Fair, but I could never confirm this detail. Well, after a little bit of research at The New York Times, I was able recently to determine that these films, along with a few others, were, in fact, screened as part of The Little Theatre Film Program in the Science and Education Building, located right next to the statue of George Washington at the very center of The Fair.

See Today, 1pm for Showtimes

And guess what? These three films are available on DVD. A fourth, Let My People Live, can be seen and downloaded here. So you can program your own Fair Film Festival! 

The City is available here...

And Plow and River here...

I have to confess, though. As interesting and as important as these films might be as historic documents, as examples of documentary filmmaking, they're pretty dry, pretty tough to sit through. No wonder Fair-goers needed to take a parachute jump, or enjoy some "Living Magazine Covers"!

A still from The Plow that Broke the Plains

Set a Spell

Naturally an area as large as Flushing Meadows-Corona Park would require enough public outdoor seating to accommodate Fair-goers with weary, aching, feet. Two new park bench designs were created for The Fair. Of the 6700 benches that covered the Fair’s 1200+ acres, 1500 were backless, designed so as to not interefere with the view of certain landscaped sections of The Fair.

The benches were manufactured by Kenneth Lynch & Sons in Oxford, CT. Lynch is still in business and still producing the benches today. You can even buy one for your own garden! The 6-foot bench will run you about $700.00.

Benches in storage between seasons;
black-andwhite photos from the New York Public Library

Gloria, cold and camera-shy, on
on of the "Jetson" benches, 2005

A new bench with a much more futuristic look (David Dunlap in The New York Times described it as having “boomerang-shaped, Jetsons-style legs”) was designed for the 1964-65 Fair. You can still see these sleek aluminum beauties at Flushing Meadows. (Also originally manufactured by Lynch, a cast-iron version of this design is available from them as well.)

So what became of all those benches from the first Fair? You can still see the '39 design, including the backless version, all over town. My first thought was that those original 6700 benches were relocated throughout the City sometime between 1940 and 1964. That may well have been the case, but according to Timothy Lynch (Kenneth Lynch's son), none of the benches seen in various City parks today are from The Fair. This only makes sense: a cast iron and wood bench exposed to the elements is simply not going to survive for 70+ years.

BUT...also according to Mr. Lynch, an original '39 bench does, in fact, survive, and is housed in the Olmsted Center in Flushing Meadows-Corona Park. Originally constructed as the administration offices of the '64 Fair, the Olmsted Center is today headquarters to the Queens Parks Department.

So today I used a PTO day and rode out to The Fairgrounds. To find The Bench. I was simultaneously delighted and dismayed. The bench is there, sure enough, but it suffers the indignity of being relegated to a thoroughly dreary, drab, and depressing hallway; the pictures speak for themselves. Everyone was really nice, and I even got a lady to agree to take my picture on The Bench. But really, this noble Fair survivor deserves better, is worthy of a setting befitting its heritage, one that will enable it to be seen and appreciated by more people. The Queens Museum across the park would be a much more ideal location, I should think.

I noticed a few things about the bench, however: the right arm (right as you're facing the bench, not as you're sitting on it) is of a heavier casting than the center and right arms; the foot of the left arm end does not have the bolt hole seen on the other two arms and on more recently produced benches; and the decorative detailing on the left arm is also slightly, though obviously, different. I suspect that the left arm is original, and the center and right arms are replacements. From when, I couldn't say. The wood slats are considerably worn, and full of worm holes; these could certainly be original. And of course they wouldn't have been painted bright orange in '39! Still, this is the closest to an original Fair park bench that we have. 

Next time you're in the vicinity of the Olmsted Center, stop in and have a look; the gals at the the front desk will direct you down the correct corridor.

More on that plate glass chair...

A little more research on the plate glass chairs from the Glass Center revealed that another one was sold at auction in 2010 for a little over 9 thousand dollars, nearly twice the going rate in 2003. The auction site cites Arts & Architecture magazine, mentioning that the chair had been sold by J. W. Robinson Co., a high-end Los Angeles home furnishings retailer.

A quick trip to the New York Public Library confirmed this: there was the chair, unmistakably on page 15 of the October, 1947 issue of Arts & Architecture in a Robinson ad. But it's not quite the same chair: the manufacturer is given as Turchin; the glass does not appear to be clear; the cushion appears thicker; and the Robinson chair clearly has additional padding along the inside top back.



I find very little information regarding Turchin on the 'net: they seem to have started out as a much smaller operation, producing, among other things, decorative glass blocks, bookends and aquaria. No mention is made in the Robinson ad of the original chair design, designer, or any Fair connection. Did Turchin simply copy the design? Who knows?

But it would seem that there could certainly be a few chairs out there that date from after The Fair. Assuming, though, that the Brooklyn and Carnegie Museums have done their homework, I am fairly confident that their chairs are Fair originals.

Fantasy in Glass

So today we rode out to The Brooklyn Museum to see...

The glass chair is displayed next to a Kem Webber dressing table and stool from 1934

THIS AMAZING PIECE OF AWESOMENESS. The chair, formed from a single piece of thick plate glass, was designed by (or attributed to) Louis Dierra and produced by the Pittsburgh Plate Glass Company for display in the Glass Center Pavilion at The Fair. Due to the impracticality of the medium, however, very few of these chairs were ever manufactured; in fact, it's not certain that any other than the Fair samples were. So few seem to exist today that I think it's likely that the ones you can see, at the Brooklyn and the Carnegie Museum of Art, are actual chairs from the Fair exhibit.

Still others are in private collections. One came up for auction at Phillips, de Pury & Company in 2003, and went for a little under 5 grand!

I would sell my mother to own one of these chairs!