For almost as long as humans have been walking on this Earth, we have used hats. Whether they be for protection from the elements (with or without cat ears), for symbolic purposes, or simply for fashion, hats still remain an important part of our wardrobe to this day. Some historical figures are even well remembered for their hats, like Jackie Kennedy’s pillbox hats, or Abe Lincoln’s stovepipe hat. Today’s little bit of railroad history is an unofficial railroad timetable distributed by a hat salesman in Oneida, New York. The subject has come up on this blog before, where I have admitted my love for unofficialtimetables.
If you ever wondered why many railroads began explicitly printing “Official Timetable” on their publications, it was certainly in response to the practice in the later 1800s and early 1900s for local businesses to distribute self-made timetables for the nearby train station with an ad for their shop on the other side. The marketing concept is both effective, and still commonplace today. If someone has something that is functional and useful that they will have close by that has your ad on it, there is a higher likelihood that when that consumer needs something, they will turn to you. Whether it be the unofficial timetable of yesteryear, or the box of matches (although not quite as common these days), fridge magnet, or wall calendar of today, all of these products are useful but also make you remember a particular business.
Although I try to focus my collection on the Harlem Division, it was hard for me to resist this purchase. Beyond my love for unofficial timetables, this card was probably the most quirky examples I had ever seen. And how can one say no to a cute puppy hiding in a hat? If I was looking for a hat in Oneida, surely I would have purchased one from Mr. Stone!
And how could you ever forget W. A. Stone, with this cute puppy timetable?
Watson A. Stone was born in 1847 and was a life-long resident of New York, spending much of his adult life in the Oneida area. Stone was an official sales agent for Knox Hats, a noteworthy New York City-based hat company that counted many wealthy and famous as patrons. According to popular lore every American president up until Kennedy wore Knox hats, and presidential candidate Abraham Lincoln was wearing a Knox-made stovepipe hat during his influential Cooper Union speech. In addition to his business selling hats and boots, assumedly to all the famous, well-to-do, and fashion-forward folks passing through Oneida, Stone was the Oneida postmaster from 1881 until his death in 1888 (which places the publication of this card at some point before that year).
The New York Central and the O&W Stations in Oneida
Other than being cute, the timetable hearkens back to a time when Oneida was traversed by several different railroads and was a maze of railroad tracks, simply a memory today. In the late 1950s and early 1960s several sections of the New York Central main line were relocated in upstate New York, including a section near Batavia (1957), and an area from Oneida to Canastota (1965). With that relocation, New York Central trains would no longer run through downtown Oneida, dashing anyone’s plans to hop off the train and quickly pick up a fashionable hat to wear.
Today, the former railbeds through town are an informal trail system, with plans to make it an official rail trail.
These days, it seems like social media “experts” are a dime a dozen. Tasked with promoting a service or a brand in the “social” world where sites like Facebook and Twitter reign, the social media guru uses a varied bag of tricks to get people to look their way. Though the medium has certainly changed, and the communication is now instantaneous, creative promoters are hardly a new invention. And although the term “going viral” was only recently coined, one could argue that promoters of yesterday experienced a similar phenomenon. Today’s post is about a talented man who was employed by the New York Central at the turn of the 20th century. Described by fellow advertisers as the railroad’s “prophet,” George H. Daniels was endlessly creative in attracting attention to one of the world’s greatest railroads. He was a writer, editor, travel agent, promoter, negotiator, and showman all wrapped into one package, but he went by the title of General Passenger Agent.
Much of Daniels’ promoting came down to a persistent tagline – “Send a stamp to George H. Daniels.” Any soul that would send off a letter to the man in Grand Central, and enclosing a two-cent stamp – of any country, in fact – would be returned travel-related literature pertaining to their specific interests. Perhaps a businessman would get a map of global trade lines, undoubtedly featuring the fine rails of the New York Central and its connections stretching across the United States. A science-minded fellow would find descriptions and diagrams of mighty steam locomotives in use by the railroad, or the newest technology found in use on the road. And a sportsman might find a guide to fishing in upstate New York, complete with photos of the varied fish found within each body of water. Daniels and his team created a litany of brochures for just about any interest, railroad or not. For the more philosophical, there was the reprint of Elbert Hubbard’s “A Message to Garcia” – of no relation to the railroad, yet complete with a map of the line as a reference point. Certainly one of his most prolific publications, it can only be argued that after being printed by the railroad the story went “viral” – and Daniels promised to print as many copies of it as were desired, even if it took a century to do so. The story was subsequently made into two different motion pictures, sold over 40 million copies, and was translated into 37 languages, largely due to Daniels’ influence.
As the weather starts to warm up, perhaps you’ve been thinking about vacation. There are plenty of cool spots that one can visit, all by train. As we’ve certainly covered on the blog before, America’s railroads had in their employ both painters and illustrators to create works to entice travelers. Leslie Ragan is certainly one of my favorites – he worked for the New York Central as well as the Budd Company – and about this time last year we were posting some of his spring-like imagery.
This time I thought it would be fun to take a tour of the country through railroad art. There are countless examples of awesome posters and ads, but these are some of my favorites. Perhaps it will even give you some ideas on places to travel this year.
Maybe a nice shorter trip will be in order? Cape Cod, New England, Atlantic City and even Washington DC are all possibilities. Artist Sascha Maurer designed for both the New Haven and the Pennsylvania Railroads. The New England and the Atlantic City art below was designed by Maurer. Ben Nason also designed an array of posters for the New Haven Railroad, including the Cape Cod poster below.
Maybe you’d like to travel to a different city, a litter further away? Maybe you should visit Cincinnati!
Despite the fact that I’m not a big fan of the Pennsy, you it is impossible to not love this poster by Mitchell Markovitz.
Chicago is always a lovely place to visit!
Did I say tour the country? I lied. Maybe a visit to Canada is in order?
Now who doesn’t love a nice trip to America’s National Parks, the Pacific Northwest, or even California? Maurice Logan, William and Kenneth Willmarth designed some of these lovely views of the western United States.
Maybe a nice jaunt to the southwest? Artists Don Perceval and Oscar Bryn created these lovely posters for the Santa Fe.
Are mountains more your thing? Austrian artist Gustav Krollmann worked on these lovely designs…
Oh forget it, let’s just go everywhere! The awesome Amtrak posters designed by illustrator David Klein in 1973 make me want to see the entire country. Klein has a large body of work that is travel-themed, stretched over his entire career. His most known works were for Trans World Airlines, but he also produced work for Holland America Cruises and travel website Orbitz. Klein’s undeniably gorgeous work made railroads once again appear glamorous, just as they were in yesteryear.
Now that we’ve traveled around the country through railroad art, are you planning to take a vacation to some interesting locale? Are you going to go by train? Let us know in the comments!
Our previous post featured some of the menus from the New York Central’s most famous train, the 20th Century Limited… but I left one out, as I felt it was appropriate for today. Printed in 1943, World War Two raged on, and much of the country’s resources were devoted to the war effort. Not only did the railroads move troops and materiel, they heavily advertised war bonds on timetables, menus, and even on a giant “billboard” in Grand Central. This particular 20th Century Limited menu featured a large American flag (the 48 star variety, of course) on the back with a little story about what our flag represents. It felt perfect for today! Happy Independence Day from I Ride The Harlem Line!
A few weeks ago, I posted about local timetables on the Harlem Line, and focused on some of the “unofficial” timetables that were also printed by neighborhood businesses. Today I’m posting a short addendum to that, as I’ve recently acquired another little timecard. Printed by the Mount Vernon Trust Company, the timecard features fire alarm signals for the city on the front and back, and train schedules on the inside. Schedules for the New York, New Haven, and Hartford station (today’s Mount Vernon East) are on the left side, and the Harlem Railroad’s station (today’s Mount Vernon West) on the right.
Similar to many companies featured on local timetables, the Mount Vernon Trust Company no longer exists today, at least in name. Arguably, one could say that it does still exist today, after a long string of mergers over the years. In 1952 the Mount Vernon Trust Company was merged into the County Trust Company, which itself was later merged with into the State Bank of New York. That entity was merged into the Irving Trust Company, which then became the Bank of New York in 1989. In 2007 that bank merged with the Mellon Financial Corporation, becoming BNY Mellon. Don’t you just love banks?
I still think that these little timecards were really an ingenious idea for businesses back in the day, and this one really exemplifies the concept. The previously posted Pawling timecard featured so many ads that it was almost unwieldy. But this card, just a few inches long, was perfect to always carry around. Not only did you have easy access to the train times for both railroads running through town, you certainly wouldn’t forget that the bank was open from 8 AM to 4 PM.
Every time I go to grab a snack at home, I find myself staring at an advertisement. And I’m not talking about the packaging of the food itself – my roommate has hung a calendar from our local pharmacy on the inside of the cabinet. You probably have one of these somewhere in your home – whether it be from the local Chinese restaurant, hardware store, bank, or doctor’s office. Businesses ingratiating themselves among their customers by providing them with a useful item (with a little advertisement for themselves, of course) is hardly a new concept – in fact it has been in practice for well over a hundred years. While today fridge magnets and calendars are commonplace, historically it wasn’t unheard of for a business to print useful cards with train schedules. What better way to remain at the forefront of your customers’ mind than to have your ad on a card they carry around everywhere?
Unofficial timecards are fairly easy to pick out – they bear no official railroad logo or marking – and generally have a whole lot of ads. They also use the railroad’s original name – the New York and Harlem – which was a name everybody knew, as opposed to calling it the Harlem Division, as the railroad did by this time.
Train timecard from Pawling, 1892. A bifold card, the outside features advertisements for numerous businesses. In featuring only weekday trains, the card is tailored to the businessman that would likely patronize the featured establishments. For those looking for Sunday trains, the card advises to consult an official timetable “of the road.”
Timecard from 1890, featuring selected stops along the Harlem, all the way up to Chatham. Also a bifold, this card is likely more successful than the unwieldy one above, as it would easily fit into your pocket.
Although I wouldn’t classify it as an advertisement like above, the Woodlawn Cemetery also printed their own small time cards. You’ll note a great comparison below – an official railroad-printed Woodlawn time card, along with one printed by the cemetery itself. Besides the address and phone numbers of the cemetery, the card also contains an edited list of train times – corresponding with the cemetery’s hours – of course!
Timecards from Woodlawn. The 1891 card at left is official and printed by the railroad. The 1892 card at right was printed by the Woodlawn Cemetery.
Eventually, local timetables did become standardized – printed by the railroad, but still containing advertisements. Below is a nice collection of some local timetables throughout the years. Make sure you note an important portion of the design – the top of every New York Central local timetable is labeled as “official.” By the time the Penn Central came into being, this disclaimer was dropped. Also in the mix is a more current version of Metro-North’s local timetable. The new design still contains advertisements, but they’ve been relegated to the inside.
Another Leslie Ragan painting that gets you in the mood for Spring.
Last week I shared with you a collection of advertisements for the Budd Company, all featuring paintings by artist Leslie Ragan. When I said he created a significant number of paintings for the ads, I wasn’t kidding. In fact there are so many different ads featuring lovely paintings, I think I’ll have to split this into yet another post! Enjoy another round of lovely art!
Budd didn’t only make railcars – here are a few ads by Budd for things other than trains.
Well it might not be very Spring-like outside right now, but at least this week we did have a few days with some enjoyable temperatures. I’m not sure about all of you, but I’m certainly ready for the cold weather to be done. I always joke that my camera hibernates for the winter, which isn’t quite true, but I would much rather be taking photos of trains in some nicer weather (And yes, I suppose it is somewhat ironic that despite all that I took my recent vacation to Alaska). The good thing is that hunting for railroad ephemera is a hobby that doesn’t really require nice weather. While wandering around I happened to come across a cache of lovely artwork by famed railroad artist Leslie Ragan.
Now if you’re familiar with the blog, you may remember that I’ve already profiled Ragan, and have already gone on record with how much I love his paintings. Ragan did quite a bit of work for the New York Central, and some of it was featured on system timetables during World War II and the ensuing years. Of course Ragan didn’t work solely for the Central – he created works for a wide variety of companies and organizations – including the Seaboard Railway, the United Nations, and even the Woman’s Home Companion. But perhaps Ragan’s largest body of work were the paintings he did for the Budd Company, and used for many of their ads in the 1950’s. And it was one of those ads that seemed decidedly Spring-like, and inspired this post.
This beautiful painting by Leslie Ragan, which seems to set the mood for a long-awaited Spring, appeared in an advertisement for the Budd Company.
If you enjoy Ragan’s artwork as much as I do, this post will be a real treat, as we have quite a collection of Budd ads. So many that there will have to be a part 2 at some point in the future!
Budd did not only make trains – this advertisement was for car bodies, but I absolutely adore the artwork of the Golden Gate Bridge.
If you’re into relatively inane holidays, have I got a card for you! This 1951 advertisement for the New York Central was just dying to be made into a card for Valentine’s Day.
Obviously, the above is photoshopped, but for veracity’s sake, below you’ll find the original advertisement – which is not at all for Valentine’s Day. The main concept it depicts is traveling in between the “heart” of cities, as the railroad does. With the mention of no “stormy skies” the ad seems to reference commercial air travel – to which the railroads were steadily losing passengers. While most railroad stations are more towards the center of the city (especially the case with Grand Central in New York), many airports are far outside it. Unfortunately, most people would rather take a short flight than a long train ride, even if they had a nice amenities, accommodations, and food on a train.
As a Beaux Arts styled building, it is apparent that Grand Central Terminal was heavily influenced by the French. The style itself was taught at the École des Beaux-Arts in Paris, and many of the most famous American architects in the late 1800’s and early 1900’s studied there – including Whitney Warren, who worked on Grand Central. But beyond the building itself, Warren selected three French artists to create works for the Terminal. Probably the most known, Jules Coutan designed the sculptural group on the front facade of Grand Central. Painter Paul Helleu was selected by Warren to design the starry zodiac that fills the ceiling of the main concourse. The often forgotten, and likely least known of the three, was sculptor Sylvain Salieres. Salieres created many of the decorations inside the Terminal, including all those acorns – the Vanderbilt family crest.
Acorns appear on the logo and menus of the Grand Central Terminal restaurant.
The acorns, however, were not restricted only to decorations within Grand Central – they also became part of the identity of one of the more famous tenants in the Terminal. We may know it today as the Oyster Bar, but when it first opened in 1913 it had just the bland name “Grand Central Terminal Restaurant.” The restaurant did, of course, have an Oyster Bar, and was definitely known for its oyster stew – but it served a wide variety of non-seafood delicacies (many did refer to the restaurant as simply the “Oyster Bar,” though). The French influence on the Terminal continued through some of the food – things like Bass Meunière and Capon Venitienne were on the restaurant’s first dinner menu.
Sugar packet and matchbooks from the original Grand Central Terminal Restaurant and Oyster Bar.
Grand Central’s centennial celebration will be held this Friday, a little bit early – probably since it would be easier for the MTA to celebrate it on a weekday. I suppose the MTA isn’t too far off, though. While Grand Central only opened to the public on the 2nd of February, a special gathering was held on the evening of February 1st. Architect Whitney Warren, and around a hundred of his friends, got a special tour of the new Terminal, including the very first dinner service at the Grand Central Terminal Restaurant at 8 PM. And what did they dine upon? Bass, mutton and squab were all main dishes on the menu that night.
The menu for the first dinner at the Grand Central Terminal restaurant. Note that this is a recreation – a text only menu was published, and I placed it into the design of an actual 1917 restaurant menu.
The Railroad Reporter and Traveler’s News published an interesting look at what happened on that evening in the Terminal. Not only did it include the first menu served at the restaurant, it described other little tidbits – like the fact that a band was on the east balcony at opening, and the first song they played was the Star Spangled Banner. An opening ceremony of sorts was held right next to the information booth clock, where the keys to the Terminal were presented to the new manager, Miles Bronson. The second dinner at the restaurant, although quite late, was held shortly after for the employees of the John Peirce Company, who did construction work on Grand Central.
The February 22, 1941 edition of The New Yorker featured the GCT restaurant on the cover.
I’ve collected a bunch of artifacts from the Grand Central Terminal Restaurant, and the Oyster Bar’s 100 year history, all of which provide an interesting look into the Terminal’s longest operating and most established tenant. I must give tremendous thanks to the New York Public Library’s “What’s on the Menu?” project, as many of the menus featured here are from their collection.
Front covers of restaurant menus: 1955, 1917, and 1959.
Carte du jour menu, or daily specials. From 1917 and 1959.
A La Carte menu from 1917.
Breakfast, Lunch, and Dinner menus from 1917.
Postcard from the Grand Central Terminal Restaurant and Oyster Bar
Every winter in the 1950’s seemed to bring out this fluff piece about Oyster Stew in various newspapers. After the closing of the Oyster Bar in 1974, head cook Nick Petter allowed the NYTimes to publish the recipe for Oyster Pan Roast.
The Oyster Bar, as we are familiar with it, came into being in 1974. The original restaurant had been owned and operated by the Union News Company, and they were looking into closing several of their restaurants around the country. Some said that the restaurant had not been profitable for quite a while, but it stayed open for nostalgia. On July 31st, 1974 at 4pm, the Grand Central Terminal Restaurant, including their oyster bar, was officially closed, with little notice.
Historical photos from the Oyster Bar. The lower image appeared in the New York Times, and shows chef Tom Sato in 1974, shortly before the restaurant closed.
The MTA had already been looking around for another person to take the helm at the restaurant, and restauranteur Jerome Brody accepted the challenge. Several former employees returned to the new restaurant when it reopened several months later. (According to the Oyster Bar’s history, the restaurant had been shuttered for two years. This contradicts the NYTimes account that says the original restaurant closed in July, and reopened in November). The new restaurant was officially called the “Oyster Bar,” and served a seafood-focused menu.
Some of the Oyster Bar’s quirky advertising. The ads are certainly interesting and unique, and I love the stylized illustrations of Grand Central that appear in several.
The restaurant was shuttered briefly one other time in its long history, in June 1997 due to fire. A blaze started after a refrigerator short-circuited around 2:30 in the morning. The inferno destroyed kitchen equipment and furnishings, and many of the Gustavino tiles on the ceiling. Although the Terminal was evacuated, most people had already left Grand Central by that time. By mid-July the Oyster Bar had reopened, or at least one part of it. The full restaurant reopened several weeks later. Eagle-eyed patrons may notice subtle color differences in the Gustavino tiles, the tiles replaced after the fire have a slightly different color.
The above ads fit well with the also quirky multicolored Oyster logo. Menus at the restaurant today look similar to this.
Besides running into those two short-term snags, the restaurant / Oyster Bar has been in operation all one hundred years the Terminal has been around. Many tenants have come and gone, like the theater and the barbershops and haberdashery. Countless new shops have populated the Terminal since its restoration, including the Apple Store. But none are really a New York institution like the Oyster Bar, the home of “New York’s Greatest Dish.” You may no longer be paying 35 cents for a dozen oysters, but you can still grab a good meal before catching a train or subway. So happy 100th not only to Grand Central, but to the Oyster Bar as well!
My name is Emily, though I am known by many who ride the train simply as Cat Girl, for the hats I customarily wear during the winter time. I am a graphic designer, a former Metro North commuter and lifelong Harlem Line rider. This site is a collection of my usually train-related thoughts, observations, photographs, and travels, as well as my never-ending hunt for intriguing historical artifacts.