The Disappearing Observation Car

In lieu of canceling train service (which generally required either federal or state approval), various ways that railroads attempted to save money in the face of declining ridership included:

1. Simplifying exterior paint schemes;
2. Simplifying dining car menus;
3. Reducing the number of cars on a train, such as by eliminating the observation car.

Is a streamliner still a streamliner if it lacks a round-tailed observation car? The wind tunnel tests that first inspired streamlining showed that the shape of the rear was just as important as the shape of the front. (It also revealed that the ideal shape at the front was something like a semi-circle while the ideal shape of the rear was more pointed, like the tear-drop observation cars–just the opposite of what most people expected.)

Like the Silver Meteor, Atlantic Coast Line’s Champion used round-tailed observations for the Miami section and blunt-end observations for the St. Petersburg section that could be used mid-train north of Jacksonville. In the mid-1950s, however, ACL dropped the round-tails as too much trouble.

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Bern Hill Paints for General Motors

If yesterday’s criticism of Leslie Ragan seemed harsh, it was because of my familiarity with posters by Bern Hill, an underrated artist who did 65 paintings for General Motors’ Electro-Motive Division. These paintings were all used as front-cover advertisements in Railway Age between 1951 and 1956, and General Motors issued many of them as posters as well.

Click image to view a 1.2-MB, 2,456×3,660 JPG.

Unlike Ragan, Hill clearly did not work from photos; many of his paintings are from viewpoints that could only be reached by aircraft. As an on-line bio of Hill notes, “In the series created for the Electro-Motive Division, the viewer invariably was positioned at a far distance from the moving train and usually had birds-eye-view perspective that conveyed total silence, physical distance, and compelling fascination with the progress of the human-made sleek object that was cutting across the quiet, panoramic landscapes of mountains, bucolic farm scenes, outskirts of cities and precariously high, steel-girder bridges.”

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Ragan’s Trains

Ragan painted few trains (other than a few background images in his landscapes) for the New York Central before 1939. But his first famous painting, the iconic image of the streamlined Twentieth-Century Limited locomotive designed by Henry Dreyfus, also became his most-famous painting.

Click image to view a 1.0-MB, 2,398×3,659 JPG.

Ragan and, presumably, the New York Central liked this image so well that he repeated it, again and again, in posters and calendars over the next decade. First was the 1938 (or possibly 1939) calendar that used the same locomotive but with an autumn background.

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Ragan Moves to New York

Leslie Darrell Ragan is probably the best-known railroad poster artist of the twentieth century. His only competition would be Grif Teller, who mainly did calendars but also a few posters for the Pennsylvania Railroad, and Howard Fogg, who mainly did paintings that were sometimes reprinted as posters for sale, but not for posting in train stations.

Ragan’s first poster for the New York Central was this 1929 image of Chicago. Click image to download a larger view.

Ragan studied at the Art Institute of Chicago and served as a fighter pilot in World War I. At some point, he moved to New York. It is tempting to think it must have been in 1928, as that was the year of his last poster for the South Shore while his first poster for the New York Central was in 1929, but some on-line bios suggest it was before that time.

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Leslie Ragan Paints for the South Shore

During the 1920s, the interurban Chicago, South Shore, and South Bend Railroad, best known simply as the South Shore, hired numerous poster artists to advertise its trains. Of these, the one who eventually became most famous is Leslie Ragan, whose later work for the New York Central and Budd epitomized the art of mid-twentieth-century rail paintings.

All of these posters except the last one were issued in 1927. Click to download a 2.2-MB, 3,772×5,691 JPG of this poster

Curiously, almost all of the poster artists I’ve featured over the last several days were born in the 1880s, the only exceptions being some of the contributors to the Southern Pacific posters. I suspect the reason for this seeming coincidence is that these artists happened to come of age at a time when printing technologies had advanced enough to make it economically feasible to print large numbers of multi-colored posters.

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Sascha Maurer Redefines the Railroad Poster

Born in Germany in 1897, Sascha Maurer loved to ski and paint water colors in the Bavarian Alps. He studied at the Munich Academy of Fine Arts and, after serving in the German Navy during World War I, migrated to the United States.

This 1935 poster is one of the first Maurer did for the New Haven. Click image to download a 1,363×2,027 JPG.

By the 1930s, Maurer was painting posters for ski resorts in New England as well as for Splitkein, a pioneer maker of laminated skis. His striking images caught the attention of the New Haven Railroad.

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Southern Pacific Posterizes Its Streamliners

At least one of these three posters is often credited to an artist named W. Haines Hall, but according to Travel by Train they were all a collaborative effort. “Their family resemblance stemmed from the fact that one man, German-born draftsman Morris Rehag, rendered their streamlined forms.” Fred Ludekens, of the advertising agency Lord & Thomas and Logan, along with Haines Hall and Paul Carey, both with Patterson & Hall, then added the colors.

Click image to download a 1.7-MB, 2,464×3,557 JPG.

Of these artists, we know most about Haines Hall as he was a partner in Patterson & Hall, the company that later employed Bruce Bomberger, who did many of the ads for the California Zephyr. Born in Missouri in 1903, Hall moved to San Francisco in 1925 and went to art school, eventually becoming–along with Maurice Logan–one of the “Thirteen Watercolorists.”

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Maurice Logan Paints for the Southern Pacific

Maurice George Logan was born in 1886, three years after Oscar Bryn, and like Bryn grew up in the San Francisco Bay Area and studied at, among other places, the Mark Hopkins Institute of Art. In 1915, he helped form the Society of Six, a group of California artists who were challenging conventional paintings with works of “vivid color, dashing brushwork and expressive energy.” The six painters were specifically reacting against the “tonalism” used by such painters as Gustav Krollmann and Sydney Laurence.

This 1923 poster is flat but has the bright colors found in most of Logan’s early paintings. Click to view a 1.5-MB, 2,443×3,567 JPG.

Perhaps spurred by guilt–his father had never approved of his becoming an artist–he started making a series of paintings for the Southern Pacific in 1922, an association that would last more than a decade. He did covers for Sunset Magazine–then published by Southern Pacific–as well as advertisements for Shell Oil; map and magazine covers for Chevron; and other commercial customers. His willingness to do commercial as well as fine art work made him financially more secure than the other members of the Society of Six, and he showed off his good fortune by painting in a three-piece suit covered with a smock.

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John Held Jr. Draws for the New Haven

John Held Jr. was a well-known cartoonist and illustrator in the 1920s. Born in Salt Lake City in 1889 (the same year, for those who are keeping track, as Maurice Logan), Held claimed he had no art training except from his father and from Mahonri Young, a grandson of Brigham Young. Yet he sold his first illustration to pre-Henry Luce Life magazine at age 15 and claimed to have sold other drawings even earlier.

This 1924 poster is the earliest I could find by Held. Unlike most of the other posters, it is aimed at travelers to the south rather than to the north. Click image to view a 990×1,487 JPG of this poster.

By age 16, he had a job as cartoonist for the Salt Lake City Tribune. He moved to New York in 1912 and soon became nationally famous for his cover art on such magazines as Life and Vanity Fair. By the time the New Haven Railroad asked him to illustrate posters and booklets in the mid-1920s, he was well known for both making fun of the prim “Gay Nineties” and for illustrations that effectively defined the “Roaring Twenties.”

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Gustav Krollmann Paints the Northern Pacific

In 1926, the Northern Pacific Railway became the first to use a 4-8-4 locomotive, which is why this wheel arrangement is often called a Northern. To publicize this achievement, the railway hired Austrian artist Gustav Krollmann to paint scenes along the railway featuring passenger trains being pulled by Northern locomotives.

Krollman’s most famous poster shows a 4-8-4 locomotive pulling the heavyweight North Coast Limited over Bozeman Pass. Click image to view a 1.5-MB 2,544×3,461 JPG.

Krollmann was born in Vienna in 1888, making him two years younger than Oscar Bryn. After studying at the Academy of Fine Arts in Vienna, he moved to the United States and settled in St. Paul, headquarters of the Northern Pacific and Great Northern railways.

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