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Matt Minor

Silent Toasts and Solo Flights: Mayor LaGuardia’s Forgotten Fraternity

In a letter dated November 2, 1934, an unnamed writer remarked, “Glad to see La Guardia in again at last Monday’s dinner. His job does not give him many evenings off.” The letter was signed “Cordially Yours, HOUSE COMMITTEE,” and found its way into Mayor LaGuardia’s subject files, now at the Municipal Archives. At first glance, the letter seems ordinary. At the end of 1934, Fiorello H. LaGuardia was finishing up his first year as New York City’s mayor, following a notable two-term stint in Congress. He certainly would have been invited to many dinners, and indeed, did not have many evenings off. Yet the letter becomes more interesting in context. It follows up on an earlier one sent to Mayor LaGuardia’s assistant, Lester B. Stone, which requests:

Some Monday evening, when the Major is not too much crowded and would like to slip away for an hour or two where he will not be under restraint, observation, and can feel free to do what he likes, route him up to the Quiet Birdmen. Better not send him up on the first Monday night of the month because it is pretty well crowded that night. Other nights...would, I think, probably be more agreeable to him; he sees enough of crowds.

Please express our kindest regards and best wishes to the Mayor, and tell him that we all think he is doing a swell job.[1]

The letter was signed by Guy Kelcey, Chairman of the House Committee, and was carefully typed on letterhead of the Anciente and Secret Order of the Quiet Birdmen. These missives are just two among a total of twenty-seven letters Mayor LaGuardia received from the Quiet Birdmen. Yet the Order is not mentioned in biographies of the Mayor.

Letter from the Anciente and Secret Order of Quiet Birdmen inviting the mayor to attend, May 29, 1934, Mayor Fiorello H. LaGuardia Collection. NYC Municipal Archives

That LaGuardia was a member of fraternal organizations is no secret. Fraternalism was hugely popular among American men in the early twentieth century, and many prominent individuals were members of fraternal societies. LaGuardia himself was a Freemason for most of his adult life, having joined Garibaldi Lodge No. 542 in New York City.[2] The Freemasons are well known, and have included many noteworthy figures, yet the Quiet Birdmen are almost unheard of. From the letters of 1934, it seems the Birdmen were either courting the Mayor as a prospective member, or already included him among their ranks. A look at the history of the fraternity and LaGuardia’s earlier life reveals why.

The Anciente and Secret Order of Quiet Birdmen was, according to its own letterhead, founded in 1921, and headquartered at 220 West 42nd Street. Newsletters received by the mayor over the course of two years shed light on the nature of the group. A two-page description of the order received in December 1935 states, “QB is a wholly social fraternity composed of men who have soloed at least one type of powered aircraft and who have demonstrated exceptional qualities of good sportsmanship and fellowship.” The order was organized into local “Hangars” and claimed to be “without constitution, by laws [sic], officers, dues, or other formal organization.” One of the main customs of the group, mentioned in almost every newsletter, was the Silent Toast to honor those members who had “gone West,” i.e. died.

Mayor LaGuardia, a pilot and war veteran, was just the kind of member the Quiet Birdman wanted. LaGuardia on Alaskan Highway tour with unidentified officers, 1943. Mayor Fiorello H. LaGuardia Photograph Collection. NYC Municipal Archives.

As LaGuardia well knew, aviation was in its infancy and deaths of pilots were common. In 1915, La Guardia had taken flying lessons on Long Island, and then enlisted the following year in the US Army Air Service. He served in Europe during World War I, surviving two plane crashes. He did all of this while serving as a US Congressman.[3] LaGuardia loved the danger of flying, even after retiring from the Air Service and becoming mayor. In a letter to Charles Burlingham while in office, LaGuardia wrote of wanting to fly to Floyd Bennett Field for a celebration but being warned of a storm by the Coast Guard. The mayor said he had replied “in my usual boastful manner... that I was willing to take the chance.” The Coast Guard admiral responded, “We don’t mind you taking a chance, Mr. Mayor, for mayors are plentiful, but... good planes are scarce and hard to get in the Coast Guard.”[4] The Mayor was well-qualified for membership in the Quiet Birdmen, who referred to him by his Air Service rank of Major.

However, the Quiet Birdmen were not simply a group of daring pilots toasting the memory of their fallen compatriots—and indeed, they were anything but quiet. Their newsletters abound with complaints about unruly members:

The night of August 10th at the Gotham—just another Great Big Headache for us sober (or at least fairly well behaved) fellows. A 2-½ foot Lion (not Bob) was taken from the Lobby of the Hotel.... We are fairly sure who did this rotten, lousy job, one a QB and one a guest (we don’t know whose). Your hard-working House Committee is on the spot for this. WE WANT THAT LION RETURNED—NUFF said.[5]

That their meetings were raucous affairs with copious libations is obvious in the letters. Prohibition had been repealed in 1933, and the QBs, like the rest of the nation, were thirsty. Multiple times, the cost of dinner and drinks is mentioned, and the members are reminded that the hotel would charge for broken items.  

Hotel Gotham, where Mayor LaGuardia attended a meeting of the Quiet Birdmen in October 1934. 1940 Tax Photo Collection. NYC Municipal Archives.

In May 1934 the address of the QBs was 220 West 42nd Street, Suite 2007. By August, it was given as “Hotel Gotham, Fifth at Fifty Fifth.” Then in September 1936, the House Committee announced a move to the Hotel Algonquin at 59 West 44th Street, Suite 211, stating,

What with excellent facilities, a sympathetic and understanding management, very satisfactory arrangements, and an atmosphere much better adapted to gentlemen who are not yet on crutches, we will be much better off in our new quarters than we have been.

However, it became apparent in the next letter that the QBs had been kicked out of the Gotham for breaking furniture and discarding cigarette butts on the floor. Several members of the House Committee had to pack up the order’s belongings in one long night and had consumed a whole bottle of scotch and another of rye while they worked.[6] 

Hotel Algonquin, the new home of the QBs after they were kicked out of the Gotham. 1940 Tax Photo Collection. NYC Municipal Archives.

The QBs may have had a particular interest in the Mayor given his history with alcohol. LaGuardia had been a vocal opponent of Prohibition while in Congress, even going so far as to mix alcoholic beverages openly as a publicity stunt in 1926. Much to LaGuardia’s disappointment, he could not get a passing police officer to arrest him for this act of civil disobedience.[7] Less than a decade later, he became the mayor of a happily post-Prohibition New York.[8]

Yet, LaGuardia’s relationship with alcohol was more nuanced than could be assumed. In a book published during LaGuardia’s term as Mayor, journalist J.F. Carter claimed that LaGuardia, distraught by the death of his first wife in 1921, had turned to heavy drinking. While LaGuardia’s grief over Thea’s death was well-attested by his friends, the drinking was mere rumor, and the books were recalled after the mayor threatened a lawsuit.[9] Further, even while calling for an end to prohibition, he acknowledged the need for some restrictions, particularly for hard liquor.[10] This attitude would continue into the 1940s. As World War II drew the United States into conflict, LaGuardia spoke at the International Association of Chiefs of Police and called for moderation of hard liquor. “There should be less consumption of liquor now than in peace time,” he declared, adding that “decent people will not tolerate debauchery and excess.” Letters poured into the Mayor’s office immediately afterward, with many citizens voicing support and expressing complaints about drunk soldiers and sailors in the city. A public challenge to these statements was written by the chairman of the liquor board and printed in the New York Times on September 22, 1942. The Chairman insisted that rules were being followed and liquor was not a problem. LaGuardia denounced him unequivocally in a letter to the editor the very next day, citing a specific instance of the board violating its own rules in reissuing a revoked liquor license.[11]

Thus, while he was no teetotaler, neither was Mayor LaGuardia a libertine. For example, during his first summer as Mayor, in 1934, he had banned large jazz dances in Central Park. When critics complained, he stated that he did enjoy jazz, as long as it was not too boisterous.[12] Those around him also noted that despite his loud, aggressive persona, he preferred to keep his social circle small, and associate only with people who had been his friends before his election. As it happened, summer of 1934 was the date of the earliest Quiet Birdmen newsletters in his records. It is quite likely that he was invited to join the group at that time. However, his involvement may have been minimal. A newsletter from April 1935 bemoans that “Some of our members are so constantly importuned for autographs that it becomes a very serious annoyance,” and states that it is “bad form” to ask another member for an autograph. It is reasonable to assume Mayor LaGuardia was one of the members who had expressed serious annoyance and was probably keeping his distance. 

Letters to the mayor following his call for greater restrictions on hard liquor. Mayor Fiorello H. LaGuardia Collection. NYC Municipal Archives.

In any case, the newsletters from the Quiet Birdmen ceased after December, 1936. Whether LaGuardia was a regular or a rarity at their meetings cannot be determined. What is certain, though, is that the Quiet Birdmen were proud to claim him among their ranks. In an undated membership handbook held at the National Air and Space Museum, Fiorello H. LaGuardia is listed as a member who had “gone West.”[13] His death was reported in the Times on Sunday, September 21, 1947, the day after it occurred. One can only assume that on Monday, the Quiet Birdmen drank a Silent Toast to him.


[1] Letter dated May 29, 1934.

[2] https://www.garibaldilodge.com/garibaldi-lodge

[3] Heckscher, August and Robinson, Phyllis. (1978). When La Guardia was Mayor: New York’s Legendary Years. Norton. 21-22.

[4] Kessner, Thomas. (1989). Fiorello H. La Guardia. McGraw-Hill. 449.

[5] Letter dated September 1, 1936. Capitalization theirs.

[6] Letter dated September 30, 1936.

[7] Kessner, 112-113.

[8] Heckscher, 15.

[9] Kessner, 79.

[10] Kessner, 114.

[11] Mayor Fiorello H. La Guardia Subject files, Box 95.

[12] Heckscher, 69.

[13] https://airandspace.si.edu/collection-objects/booklet-quiet-birdmen/nasm_A19890646000

The Problem of Books

At a government repository such as the Municipal Archives there is no shortage of books. Ledgers, logbooks, meeting minutes, photographers’ notebooks, books of deeds, court proceedings, atlases, and many other bound volumes can be found in the collections. Some are robust and in good shape; others are delicate or damaged. The books range in size from small notebooks a few inches wide to volumes that can be measured in feet. Ledgers from the New York District Attorney from the late 1800s recently digitized in the Archives’ laboratory weighed as much as 35 lbs. each.

The New York City Hall of Records

Surrogate’s Court, 31 Chambers Street, Manhattan, February 8, 1938. Department of Bridges, Plant & Structures Photograph Collection. NYC Municipal Archives

On October 12, 2021, Municipal Archives digitization specialist Matt Minor presented an illustrated history of the Surrogate’s Court for DORIS’ “Lunch and Learn” program. As he reminded the audience, the original name of the building was the Hall of Records. It was the first purpose-built records hall for the City. The following is a condensed version of his talk.

Prior to its construction, the City stored its records in a colonial-era building near City Hall, which had served as a prison during the Revolutionary War. At the end of the 19th century, New Yorkers began to think that perhaps it wasn’t the best idea to store the City’s paper records in a wood and stucco building and light it with gas lamps. They urged the construction of a fireproof building to replace it. However, it was a back burner project, with other needs taking greater priority.   

The old Hall of Records, demolished 1903. Municipal Archives Photograph Collection. NYC Municipal Archives.

In particular, City Hall was crumbling. Its original marble façade did not weather well outdoors in the New York climate. By the late 1890s, the City had resolved to tear the building down and build a new one, so they opened up a competition, allowing architects to submit designs for a new City Hall.

John Rochester Thomas won the competition. Born in Rochester, N.Y. in 1848, Thomas began studying architecture as a teenager, and started his professional career at the age of 20. When he submitted his designs for a new City Hall, he was already well-established. He was known for grand buildings in classical styles, while using modern engineering techniques to allow for large, open interiors. 

Another excellent example of Thomas’s work is the Second Reformed Church, now Ephesus Seventh Day Adventist Church in Harlem. 1940 Tax Photograph. NYC Municipal Archives.

For the new City Hall, Thomas chose a French Second Empire/Beaux Arts style of architecture. Some hallmarks of this style are a floor plan based on squares and right angles, a steeply pitched roof that is flat on top, channeled rustication, rich decoration, and lots of doors and passages connecting adjacent rooms. At the time, this style was favored for a reason. New York was not seen as the major cultural center it is today. The general attitude was that if you wanted culture, you needed to go to Paris or other European cities. Many New Yorkers wanted to change that.  Grand, monumental architecture was one way to raise the cultural profile of the City, and campaigns like the City Beautiful movement pushed for the construction of impressive buildings. 

Before the new City Hall could be built, though, the State Legislature passed a law protecting the old City Hall as a historic building. (Ultimately, the City Hall façade would be redone in limestone in the 1950s.)  But the City truly loved Thomas’s design, and since it called for a building made almost entirely out of stone, it was ideal for a new Hall of Records. Thomas adjusted the design accordingly.

Construction began in 1899 and was not complete until 1911. The exterior was made of Hallowell granite from Maine. The interior used various types of marble: Siena from Italy, Bleu Belge from Belgium, Tennessee pink, red Numidian from Africa, and white marble from other sources. For the courtrooms that had been added to the building, English oak and Dominican mahogany were imported. Custom furniture, fireplaces, and bronze light fixtures were made by Remington & Sherman. 

The firehouse at 49 Beekman Street is a good example of Horgan & Slattery’s work. 1940 Tax Photograph. NYC Municipal Archives.

Originally estimated to cost about $4.5 million, the building ended up costing the city nearly $7 million, which would be around $200 million today. The expense made the project controversial. At the outset of his term, Mayor Robert Van Wyck set his sights on cutting construction budgets, and the 31 Chambers Street project was a prime target. Saying, “we don’t want an opera house made out of what is intended to be an office building,” Van Wyck brought in an outside architecture firm to review the plans and suggest cuts. 

Arthur J. Horgan and Vincent J. Slattery were known for small-scale projects like firehouses and townhouses. At the mayor’s urging, they reviewed Thomas’s plans and recommended huge cuts. Large and built of expensive Siena marble, the grand staircase in the rotunda was a particular target of criticism, and Horgan & Slattery recommended replacing it with metal stairs.  However, while Thomas did make some changes, he successfully defended his design, and the cornerstone was laid in 1901. Later that year, though, tragedy struck when John Thomas suddenly died at the age of 53. Seizing the opportunity, Mayor Van Wyck appointed Horgan & Slattery as architects of the building. What Van Wyck didn’t expect was that Horgan & Slattery would follow Thomas’s vision, not their own previous recommendations. Not known for large-scale projects, they were eager to put their name on 31 Chambers Street. When new mayor Seth Low came into office, Horgan & Slattery chose not only to adhere to Thomas’s plan, but in fact decided to add more elaborate artwork than he had intended. But the building would face more obstacles. 

Due to their association with Tammany Hall, Horgan & Slattery were hugely unpopular in the press. They also ran afoul of the Art Commission. This newly formed City agency set about rejecting nearly every art proposal H&S presented. Sculptures by Henry Kirke Bush-Brown, Philip Martiny, and Albert Weinert were rejected and re-submitted multiple times before acceptance.  Irritated, Horgan & Slattery harshly criticized the Art Commission in the press, claiming the Commission had unknowingly rejected works by the old masters submitted as a test. The next day, the architects sent an apologetic letter denying having made the comments. A smear campaign was clearly not the way to go. In 1903, they decided to bring in a ringer, someone the Art Commission wouldn’t—perhaps couldn’t—reject. 

William De Leftwich Dodge was a muralist and mosaicist. Though American-born, he had studied in Paris at the École des Beaux Arts and the Académie Colarossi. His work bridged the gap between classic and modern, and his French education made him high-profile among American artists. While the other artists had submitted and resubmitted their work, writing letters explaining their intent, Dodge submitted just one set of sketches. In his application form, he described the work he intended to create as a “marble mosaic, with the introduction of a small portion of glass mosaic, where brilliancy is necessary.” The commission approved it immediately. [Mr. Minor’s blog Hall-of-records-Where-Brilliancy-is-Necessary provides more information about the mosaics.] 

Capricorn and Sagittarius separated by a Greco-Egyptian figure, from William De Leftwich Dodge’s massive mosaic. Photograph by Matt Minor. NYC Municipal Archives.

Capricorn and Sagittarius separated by a Greco-Egyptian figure, from William De Leftwich Dodge’s massive mosaic. Photograph by Matt Minor. NYC Municipal Archives.

When the building opened, it was hailed as an architectural gem. Its style was Parisian and cultured. It’s scale grand and striking. Visitors were particularly impressed by the main rotunda, with its grand staircase and porticoes carved of Siena marble, and its brass barrel vault skylight.  This area is particularly beautiful around midsummer when the midday sun shines directly in and illuminates the prominent landing of the grand staircase. Technologically, 31 Chambers was innovative, boasting electricity, running water, elevators, and a small power plant in the sub-basement.   

The main rotunda of 31 Chambers Street. Photograph by Matt Minor. NYC Municipal Archives.

Over time, though, appreciation waned. In 1961, the City widened Centre Street. The eastern entrance of the Hall of Records was in the way, so demolition crews tore up the sidewalk, removed the eastern staircase and Philip Martiny sculptures, and permanently closed the entrance.  Five years later, the Landmarks Preservation Commission landmarked the building.  Fortunately, Martiny’s works were preserved and moved behind 60 Centre Street. 

Philip Martiny’s sculptures Authority and Justice now reside behind the courthouse at 60 Centre Street. Photograph by Matt Minor. NYC Municipal Archives.

Philip Martiny’s sculptures Authority and Justice now reside behind the courthouse at 60 Centre Street. Photograph by Matt Minor. NYC Municipal Archives.

Philip Martiny also sculpted the two large sculptural groups flanking the main entrance on Chambers Street, as well as several sculptures near the roof. Other sculptures near the top of the building were sculpted by Henry Kirke Bush-Brown.

The dormer over the main entrance.  Top row: an owl flanked by two cherubs. Second row left to right: Philosophy, the Four Seasons, and Poetry by Henry Kirke Bush-Brown. Third row left to right: Maternity and Heritage also by Bush-Brown. Bottom row left to right: DeWitt Clinton, Abram Stevens Hewitt, Philip Hone, and Peter Stuyvesant by Philip Martiny. Photograph by Matt Minor. NYC Municipal Archives

The dormer over the main entrance.  Top row: an owl flanked by two cherubs. Second row left to right: Philosophy, the Four Seasons, and Poetry by Henry Kirke Bush-Brown. Third row left to right: Maternity and Heritage also by Bush-Brown. Bottom row left to right: DeWitt Clinton, Abram Stevens Hewitt, Philip Hone, and Peter Stuyvesant by Philip Martiny. Photograph by Matt Minor. NYC Municipal Archives

The other areas of the building visitors are keen to see are the courtrooms. New York County is one of the only counties in the State with two Surrogates (probate court judges); 31 Chambers Street was designed to accommodate both judges. The north courtroom interior is English oak, with five carved allegorical panels, representing Civilization, Wisdom, Force, Degradation, and Truth. The south courtroom is done in Dominican mahogany with a more spartan style. Both rooms feature carved marble fireplaces and crystal chandeliers, and both include carved wooden screens behind the judge’s bench by artist Bruno Louis Zimm. 

The North Courtroom. Photograph by Matt Minor. NYC Municipal Archives.

The North Courtroom. Photograph by Matt Minor. NYC Municipal Archives.

North Courtroom panel, “Wisdom”. Photograph by Matt Minor. NYC Municipal Archives

North Courtroom panel, “Wisdom”. Photograph by Matt Minor. NYC Municipal Archives

When it opened in 1911, the building at 31 Chambers Street was the City’s Hall of Records and remains so today. In fact, the building itself is a record. Its artwork records the ideals and aspirations of an essentially new city following the Consolidation of the five boroughs. Its architecture shows the innovation of the modern era. Its scars, blemishes, and repairs record over a century of continuous use as a center of local government.   

The main entrance on Chambers Street, with original Hall of Records inscription, November 11, 1909. Department of Buildings, Plant & Structures Photograph Collection. Photographer: Eugene de Salignac. NYC Municipal Archives.

PPE in NYC

As the COVID19 pandemic continues, there has been much discussion surrounding personal protective equipment, or PPE.  Hospitals have struggled to get sufficient supplies of protective equipment for the healthcare professionals who are working tirelessly keep the public safe.  How would this be relevant to the Municipal Archives? Conservators and archivists in many cultural institutions, including the Municipal Archives, use PPE  such as N95 masks and nitrile gloves while working with items contaminated by dust, mold spores, or other harmful elements. Since we are now working remotely and not handling archival items, the Department of Records and Information Services (DORIS) recently donated its stock of N95 masks and nitrile gloves for use by healthcare workers.

Recent reports indicate that the City is receiving large quantities of PPE from around the country. But every bit helps and to donate boxes of unopened PPE visit NYC.GOV/ppedonations  

The existence of PPE goes back thousands of years. In the first century AD, Pliny the Elder wrote about using masks made from animal bladders to protect Roman miners from breathing in toxic dust. Wearing gloves and aprons for various purposes is so ancient that their origin cannot be traced. 

The use a full protective outfit for doctors probably originated in the early 1600s, when a French physician named Charles de Lorme proposed a head-to-toe protective costume for treating plague patients. The attire consisted of a long waxed coat, a brimmed hat, goggles, leather gloves, and a distinctive mask shaped like a bird’s beak. At the time, bad smells were thought to  cause  the plague, and the long beak was designed to hold flowers and fragrant herbs to mask this “miasma” while allowing the doctor to breathe. Over the next two centuries doctors adopted this distinctive get-up for treating plague victims.  The most obvious element—the bird’s beak mask—lodged itself so deeply in the popular imagination that it became a common feature of scary costumes for Venetian masquerades. The mere sight of the doctor’s mask was enough to terrify. 

Paul_Fürst,_Der_Doctor_Schnabel_von_Rom_(coloured_version).png

The  beaked mask may have hindered bad smells, but it was not effective at blocking germs. A better technology was a mask that passed air through a filter as the wearer breathed. In the 16th century, Leonardo da Vinci suggested using a wet cloth as a respirator to prevent inhaling toxic gas, a technique still used as a last resort in fire emergencies. By the end of  the 18th century, modern masks began to appear, some using charcoal to filter the air. In 1889, William Stewart Halsted invented surgical rubber gloves to protect doctors and nurses during medical procedures. By this time, medical personnel used cloth surgical masks during procedures, and lab technicians wore medical gowns over their clothes.

Wearing protective garment while developing X-rays, Municipal Sanatorium, Otisville, N.Y. Department of Public Charities Collection. NYC Municipal Archives.

Wearing protective garment while developing X-rays, Municipal Sanatorium, Otisville, N.Y. Department of Public Charities Collection. NYC Municipal Archives.

Operating room nurses with protective masks and gloves, Bellevue Hospital, May 1950. Department of Public Charities Collection. NYC Municipal Archives.

Operating room nurses with protective masks and gloves, Bellevue Hospital, May 1950. Department of Public Charities Collection. NYC Municipal Archives.

Masked operating room nurses, Bellevue Hospital, May 1950. Department of Public Charities Collection. NYC Municipal Archives.

Masked operating room nurses, Bellevue Hospital, May 1950. Department of Public Charities Collection. NYC Municipal Archives.

Masked operating room personnel, Kings County Hospital. Department of Public Charities Collection. NYC Municipal Archives.

Masked operating room personnel, Kings County Hospital. Department of Public Charities Collection. NYC Municipal Archives.

Not only did PPE change over time, but so did the way it was worn. As our understanding of infectious disease  grew, so has awareness of the most effective uses of PPE. Early photographs in the Department of Public Charities collection at the Municipal Archives show doctors wearing masks covering only their mouths. Today, this would be considered incorrect, as it still allows the wearer to breathe in unfiltered air. In fact, today, the goal is to prevent air from passing around the edges, forcing all air to be inhaled through the material of the mask. Modern masks are designed with a metal strip at the top that can be shaped to the bridge of the nose. The N95 mask also includes two straps that hold it tightly against the face. When worn properly, the N95 filters 95% of breathed air.

As a large city and trade port with a diverse population, New York City frequently has been at the forefront in the fight against infectious disease. Collections such as the Archives’ Almshouse ledgers, Department of Health and Mental Hygiene records, and Department of Public Charities and Hospitals photographs provide ample documentation for research in topics related to public health. Of particular relevance today is New York City’s response to outbreaks of diseases such as typhoid and cholera in the 18th and 19th centuries, and to the erroneously named “Spanish” flu pandemic of 1918.

“New Operating Room,” with models. Exhibit in the Golden Jubilee at the Grand Central Palace, 1948. Department of Public Charities Collection. NYC Municipal Archives.

“New Operating Room,” with models. Exhibit in the Golden Jubilee at the Grand Central Palace, 1948. Department of Public Charities Collection. NYC Municipal Archives.

Nurse taking notes with infant patient, Bellevue Hospital, 1950. Department of Public Charities Collection. NYC Municipal Archives.

Nurse taking notes with infant patient, Bellevue Hospital, 1950. Department of Public Charities Collection. NYC Municipal Archives.

“Surgery in Progress,” painting, Harlem Hospital Conference room. Public Design Commission Collection. NYC Municipal Archives.

“Surgery in Progress,” painting, Harlem Hospital Conference room. Public Design Commission Collection. NYC Municipal Archives.

The Queens Borough President Panoramic Photographs, part 2

Aerial and panoramic views of New York City are some of the most popular photographs in the Municipal Archives collection. The August 30th blog post described our project to digitize the photographs from the Queens Borough President’s office and highlighted a series of panoramic images dating from the 1920s and 1930s. The collection now is completely digitized. It totals approximately 10,500 images, of which 1,296 are panoramas. Once the new digital images are processed, they will be added to the on-line gallery. This blog post offers a ‘sneak peak’ of the amazing panoramas. Future blogs will feature other images in this fascinating collection.

P-856: Elevated view of Long Island City south of the Queensboro Bridge (visible at right), looking toward Manhattan, November 16, 1929. Borough President Queens Collection, NYC Municipal Archives.

P-856-a: Elevated view of Long Island City, November 16, 1929. The Chrysler Building is at the center of the Manhattan skyline. Borough President Queens Collection, NYC Municipal Archives.

P-856-b: Elevated view of Long Island City, looking north towards the Queensboro Bridge, November 16, 1929. The school that would later become MoMA PS1 is just beyond the rail yards. Borough President Queens Collection, NYC Municipal Archives.

P-856-c: Elevated view of the Sunnyside train yards, November 16, 1929. Borough President Queens Collection, NYC Municipal Archives.

P-918-b: Nassau River (Newtown Creek), July 10, 1930. The Chrysler Building is visible in the distant Manhattan skyline. Borough President Queens Collection, NYC Municipal Archives.

P-987-c: View of Manhattan skyline from Long Island City, January 1, 1934. Borough President Queens Collection, NYC Municipal Archives.

Visible buildings include the Vanderbilt Hotel, Empire State, 10 East 40th Street, Daily News, Chanin, Lincoln, Chrysler, 500 Fifth Avenue, New York Central, Grand Central Palace, RCA, Waldorf Astoria, General Electric, River House, Savoy Plaza, Ritz Towers, Sherry Netherlands.

The Queens Borough President Panoramic Photographs

Alley Pond, Queens, June 15, 1927. Borough President Queens Collection, NYC Municipal Archives.

Staff at the Municipal Archives  continue to digitize the historical collections including paper records, books, motion pictures, maps, plans, and photographs. My current assignment is the Queens Borough President photograph collection. The thousands of fascinating pictures includes a series of panoramic images. They were taken mostly during the 1920s and 1930s by the Topographical Bureau in the Borough President’s office, under the direction of the Engineer in Charge, Charles Underhill Powell. 

Powell’s tenure coincided with a time of rapid change in Queens. A borough that had long been mostly sparsely populated farmland was quickly becoming a diverse urban landscape. This required a drastic overhaul of the borough’s infrastructure, and engineers like Powell went out to survey, document, design, and plan.

Skaters on Alley Pond, Queens, February 8, 1930. Borough President Queens Collection, NYC Municipal Archives.

The photographers generally used standard 8x10 inch sheet film, a format still popular for the high resolution it provides. Sometimes, though, an 8x10 negative just wasn’t good enough. In these situations, the photographers turned to what is known as a banquet camera. Originally intended for photographing large groups of people, the wide negatives (usually either 7x17" or 12x20") offered a lot of space to squeeze an entire crowd or banquet hall into one frame. Banquet cameras fell out of favor when medium format and other roll film formats were invented, allowing more flexibility and ease of use in event photography. But landscape and architectural photographers adopted the banquet camera for the precision, resolution, and wide angle of view it offered.

Nassau Boulevard, looking east from Main Street, Queens, August 20, 1928. Borough President Queens Collection, NYC Municipal Archives.

The Queens panoramic negatives (which are all 7x17") present a digitization challenge. Because of their width, they cannot be captured at high resolution in one shot with an overhead camera and they are too fragile for a flatbed scanner. There is an alternative: stitching. I photographed each negative in three shots, which partially overlap with each other. I then ran a Photoshop script to stitch them together. This has worked surprisingly well, even on the most deteriorated negatives. These advancing technologies and workflows allow us to make these beautiful images, which document an important period in New York City history, available to the public.

Little Neck Parkway, looking north at Union Turnpike, Queens, July 16, 1931. Borough President Queens Collection, NYC Municipal Archives.

Under the elevated train, 31st Street, looking north at 23rd Avenue, Queens, August 28, 1935. Borough President Queens Collection, NYC Municipal Archives.

Grand Central Parkway, looking west, Queens, October 27, 1938. Borough President Queens Collection, NYC Municipal Archives.

Main Street, looking north at 72nd Avenue, Queens, May 27, 1937. Borough President Queens Collection, NYC Municipal Archives.

Queens Boulevard, looking west, October 25, 1938. Borough President Queens Collection, NYC Municipal Archives.

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