Fig. 1: This image on the inside front cover of Lionel`s

▲ Fig. 1: This image on the inside front cover of Lionel’s consumer catalog for 1946 shows new freight cars pulled by steamers from the
late prewar era. The ballasted solid rail track, telegraph poles, brush, and signs link this scene with the best hi-rail modeling of the time.
In ’46 Lionel embraced
hi-rail modeling
Catalog photos reveal a commitment to scale realism in 1946
by Roger Carp
fter rushing to put out an
abbreviated line of toy trains
to satisfy shoppers in 1945,
executives at Lionel had
time to contemplate what they should
offer the next year. They would not turn
their backs on the moderately priced
72 Classic Toy Trains • November 2008
toys that youngsters and families liked.
However, realistic models had appeal
among devoted hobbyists.
The result was an assortment of trains
that ran the gamut from true toys to scale
replicas. The most impressive of the new
items appeared at the top end. Expensive
models and outfits seemed to promise
strong sales and would bolster Lionel’s
reputation as more than a toy maker.
Focusing on the catalogs
To learn about decision making at Lionel, we turn to documents – catalogs, in
focus on classics
particular. The advance catalog, intended
for wholesalers, distributors, and store
owners, came out in late winter, when the
American Toy Fair was held in New York
City. The consumer catalog, aimed at the
public with around a million copies
printed, appeared after Labor Day.
When advertising personnel assembled a catalog, they filled it with illustrations – photos (generally enhanced) or
artwork. Images of what Lionel planned
to market usually depicted examples of
mass-produced items. Occasionally, they
substituted shots of full-size prototypes
or preproduction samples.
More than the catalog listings, illustrations provide insights into the thinking at
Lionel. Especially significant for 1946 are
photos showing models in settings with
scenery. These black-and-white and fullcolor images depict trains in landscaped
scenes that can be described as “hi-rail.”
These photos – used only sparingly for
promotional purposes after 1946 – merit
consideration. They reveal what excellent
railroad modeling looked like in the early
postwar era. It’s also exciting to see a few
freight cars that turn out not to have been
regular-production items. Finally, these
images suggest the depth of Lionel’s commitment to scale realism at that time, a
direction the firm ultimately abandoned.
Realism is the word in ’46
Although the consumer catalog for
1946 appeared months after the advance,
let’s begin there because copies are more
easily found. Its four-color pictures are
more compelling than the black-andwhite shots in the advance catalog.
The consumer catalog emphasized that
Lionel trains were a step above. “Real! Lifelike! Say, this is model railroading like no
other in the world.”
Copywriters lauded the puffing
smoke, built-in whistle, double wormdrive motor, electronic control, and
more that distinguished Lionel trains.
They noted, “Only Lionel trains have …
scale-detailed electro magnetic knuckle
couplers, solid steel wheels, and realistic
die cast trucks.” Those models were “not
flimsy ‘tin-plate’ – but sturdy, strong,
realistic masterpieces of scale detailing.”
Throughout the descriptions of locomotives and rolling stock, every permutation of the word “real” piled up. As common was the term “scale detailed.” Each
new item and outfit – or so it seemed –
was “a masterpiece of scale realism.”
Photos in the consumer catalog
The 20-page consumer catalog for
1946 overflowed with great four-color
illustrations of Lionel’s models.
Those pictures were color photographs that commercial artists had
enhanced. The initial modifications to
those images had been made for the
advance catalog, where the majority of
them were printed but only in black and
white. Therefore, the same pictures of
outfits, locomotives, cars, accessories, and
more appeared in both catalogs.
Illustrators used airbrushes to add
plumes of smoke and beams of light.
White streaks went by wheels to suggest
motion. Artists also “top-painted” with
thin brushes, outlining trucks and couplers and highlighting details, such as ladders and grab irons.
Of interest are the
five photos that show
trains in landscaped
scenes. They depict
models and accessories Lionel intended
to market in 1946. By
placing trains on or
by track that had
been ballasted, with
trees and shrubs,
signs and telegraph
poles nearby, the
company underscored its commitment to realism.
Continuing on this first track we view
another new O-27 model, the no. 2465
Sunoco double dome oil car. A no. 3459
automatic dump car painted silver did
make its debut in O-27 and O gauge outfits. But the actual model came heatstamped for Lionel Lines and not Baltimore & Ohio as shown here and
elsewhere in the catalog.
The brown double-door boxcar on
the middle track is either the brand-new
no. X2458 O gauge automobile car or its
predecessor, the no. 2758 (cataloged in
1941 and ’42). The no. 2623 Manhattan
heavyweight passenger car shown next –
described as a promotional item in 1941-42 –
returned to the line in
1947 as the no. 2627.
Lionel introduced a
work caboose in 1946 –
one can be seen on the
far track. But we can’t
tell whether it is the no.
2420 equipped with a
searchlight and placed
in O gauge sets or the
no. 2419 without a light
that came in O-27 sets.
Three similar photos
The outside back
cover included three
▲ The front cover of the Lionel
Mix of old and new
photos that are similar
The inside front
consumer catalog for 1946
in nature. Again, nos.
cover (fig. 1) conshows some of the brand-new
771 and 772 sections of
tains the most
models available. Inside, it feasolid rail track figure
action. Viewers see
tures landscaped scenes filled
prominently. Different
four trains on what
with old and new trains and
colors of ballast appear
Lionel named “solid
accessories. Those images
under and along the
rail track” (hobbyists
reflect the company’s effort to
rails, and crude trees
call it “T-Rail”) and
bolster its reputation by porand bushes add interest
cataloged between
traying itself as a manufacturer
to each scene. Further,
1935 and 1942. O-72
of realistic, scale-detailed trains
two-dimensional backradius T-Rail reflects
and not just toys.
drops can be discerned
the firm’s commitin each picture.
ment to realistic
The accessories in
modeling; whether executives considtwo pictures belong only to the late preered selling it after the war is a mystery.
war years: no. 136 station (cataloged
Track curves off to the lower left-hand
1937-42 in fig. 2 and no. 76 warning bell
corner. A sixth line diverges from a switch and shack (cataloged 1939-42) in fig. 3.
toward the upper right. Stacks of lumber
The nos. 025 illuminated bumper and
plus cinders and gravel were included.
313 bascule bridge in fig. 4 were cataThe trains represent a mix of old and
loged before the war (1925-42 and 1940new. The steamer in the rear is a prewar
42, respectively), but returned after.
no. 225E (superseded by the no. 675 in
Regarding trains, they are a blend of
1947). The locomotive seen in the center
old and new. A prewar no. 700E scale
is a prewar no. 226E, which was replaced
Hudson (with “5344” on the cab) leads
by the no. 726 Berkshire in 1946.
heavyweight passenger cars on a doubleAdded to the O-27 line were a boxcar
track main in fig. 2. The automobile cars
(no. 2454) and an operating merchanin fig. 3 may be prewar 2758s or postwar
dise car (no. 3454). One of those models X2458s. The locomotive in fig. 4 appears
given Pennsylvania RR markings appears to be a 226E, another prewar stalwart.
in brown at the lower right; when made
Most curious are the oil cars pictured
they were orange or silver, respectively.
in fig. 2. Coupled to a steam switcher that
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73
More views in the advance catalog
Fig. 2: The largest of three similar color
photos printed on the rear cover of the
consumer catalog has a no. 700E New York
Central 4-6-4 scale Hudson guiding heavyweight passenger cars by a no. 136 station. The scene appears expansive, thanks
to the backdrop with sky and rolling hills.
▲
Fig. 3: Double-door automobile cars,
either prewar or postwar models, look terrific in this realistic scene. The die-cast
metal tractor and carts, along with the
trackside details and trees, give life to this
image. The only things missing are miniature railroad figures.
▲
Fig. 4: Another scene from the rear cover depicts smoke pouring from the stack of a
prewar no. 226E 2-6-4 steamer (cataloged from 1938 to ’41). That O gauge locomotive
was superseded by the no. 726 2-8-4 Berkshire, which Lionel introduced in 1946.
▲
may date from the prewar era, they bear
markings unlike anything mass-produced.
The gray oil car in front resembles a
postwar no. 2855, but its Sunoco herald
is on the right side and not the left, as
manufactured. The black Sunoco
tanker bears the number 715, as did a
model cataloged between 1940 and
1942. However, the markings on that
prewar piece differ from what is shown,
and so do those of the postwar 2855.
Brand-new items in a final image
The final image of trains in a landscaped setting appears on the catalog’s
first page. In front of models portraying
a father and son, fig. 5 has three lines
of tubular track and not T-Rail. On display are nearly a dozen freight cars and
four accessories. Except for the no. 165
magnetic crane, all became part of Lionel’s product line for ’46.
74 Classic Toy Trains • November 2008
Standing out are the no. 671 6-8-6 turbine steam engine and tender with a short
train and the no. 38 operating water tower
next to the boy. These two items – highlights of the year’s offerings – were new.
Their presence suggests this photo was
taken later than the other four, which
show only prewar engines and accessories.
The scenery in this image is more
crudely done than that in the other four.
The track has not been ballasted; instead,
it looks as though it is resting on dirt.
There are only a few trees and, other than
a few wood barrels, absolutely no details.
This photo, like the others, drives
home the point that Lionel models look
best running in landscaped settings. No
track on plain plywood for this view. The
father and son selecting their O gauge
trains want to see them in a realistic setting
that minimizes the toy-like qualities of
these locomotives, cars, and accessories.
Turning back to the advance catalog,
developed in late 1945 or early ’46, we
discover the same theme: “Lionel –
Leader of the world in scale realism.”
Copy in this 24-page catalog praises Lionel for taking the lead in developing the
most realistic models, with smoke, built-in
whistles, and knuckle couplers.
The black-and-white photos in the
advance catalog did much to reinforce
the idea that Lionel trains were detailed
scale models. Pictures depicted them in
landscaped scenes like those in the consumer catalog. In fact, one image (fig. 2)
appears in both.
When designers rushed to assemble
the advance catalog, they had a few
options for showing trains and accessories
in action. First, they could hunt for pictures of Lionel items from the prewar era.
At least one photo (page 15) fits this
description. Second, photos of full-size
trains could be used, and two in the catalog seem to be exactly that.
The third choice involved shooting
new pictures. Advertising personnel seem
to have adopted this course because most
of the action shots in the advance catalog
can’t be associated with earlier published
Lionel catalogs or brochures.
The photos in the advance catalog
share key traits with four of their counterparts in the consumer (the exception
is the father-and-son image on page 1).
The locomotives shown are prewar
items: nos. 225E, 226E, and 700E steamers. So are the accessories: nos. 93 water
tower, 97 coal elevator (see fig. 6), 136
station, 152 crossing gate, 156 station
platform, and 440N signal bridge.
Details include prewar barrels and signs.
Virtually every piece of rolling stock in
these nine images belongs to the prewar
era. A few models, notably the automobile car, Pennsylvania RR N5 caboose,
heavyweight passenger car, and Sunoco
oil car, do return after the war, albeit with
new catalog numbers and remote-controlled knuckle couplers. Only the no.
2452 Pennsy gondola on page 16 – introduced in 1945 – is an entirely new item.
Anyone scrutinizing cars to ascertain
if they are the prewar or postwar versions
finds that their numbers usually aren’t
sharp enough to read or have been concealed. The postwar knuckle couplers on
them might have been retro-fitted on
prewar models or the photographs could
be composites, with images of new couplers combined with older pictures (The
no. 152 crossing gate shown in fig. 7 is
an example of a photo composite.)
What is definite is that the scenic
details of these images – right down to
the sections of solid rail track covered
with dirt or crushed rock – remind us of
what was pictured in the consumer catalog. The trees and shrubs, telegraph
poles and stacks of lumber, metal signs
and wood barrels, even the two-dimensional backdrops, do as well.
The photos of Lionel trains and accessories scattered throughout the advance
catalog conveyed to readers how realistic
those replicas seem. No one will confuse
these scenes with what might be photographed along an actual right-of-way or in
a real industrial area. Even so, model railroaders examining them couldn’t help
realizing how much might be accomplished on their layouts with Lionel items.
The commitment is fleeting
Photos showing Lionel trains in action
stand out in the advance and consumer
catalogs for 1946. They show scenes filled
with neat details that match the most
sophisticated modeling of the time.
Too bad for Lionel that images of
realistic trains didn’t yield heightened
demand for those models. As best as
can be determined, executives canceled
production of two scale locomotives
and one top outfit because orders for
them fell short. Consumers evidently
preferred to spend their limited dollars
on less expensive, toy-like models.
All the same, company leaders hesitated to turn their backs on realism. The
descriptions of sets and models printed in
the consumer catalog for 1947 spell out
their eagerness to maintain perceptions
of Lionel as a producer of scale-detailed
replicas with smoke, whistles, electronic
control, and various other features.
The illustrations, however, told a different story. None of the photos used in
the 1946 catalogs appeared in the next
consumer catalog. Few of the images did
more than show the contents of outfits.
The front cover and the few inside illustrations of trains in action were paintings.
Models in landscaped settings were gone.
(The sole exception, a scene with accessories at a grade crossing, had first appeared
in the catalog for 1940!)
The decision makers at Lionel must
have found it more difficult to justify edging into the scale modeling hobby. With
public demand for toy trains increasing
after the war, they would have been foolish to ignore it, especially when scale
models apparently took more time to
design and cost more to manufacture.
Photos worth remembering
Regardless of the path that Lionel followed with its product line, the myriad
photos of trains in action sprinkled
throughout its advance and consumer
catalogs for 1946 are worth remember-
Fig. 5: The centerpiece of the image on page 1 of the Lionel consumer catalog is the
new no. 671 6-8-6 turbine. The scenery lacks the detail and artistry of what can be found
elsewhere in that catalog. However, only this photo has rolling stock and accessories
that, except for the no. 165 magnetic crane, we are certain Lionel offered in 1946.
▲
Fig. 6: The advance catalog for
1946 has more photos of prewar
trains in landscaped scenes with
T-Rail track, accessories, and
details. Standing by a main line are
the nos. 93 water tower and 97
coal elevator, both of which
returned to the line after the war.
▲
Fig. 7: The no. 152 crossing gate at the highway
was photographed separately and then added to
this composite photo. The “Lionel” emblazoned
across the tender of the 700E scale New York
Central Hudson is another enhancement. Even
though this image appears in the advance catalog
for 1946, every Lionel item found in it was part of
the prewar product line.
▲
ing and studying. They remind us of
how great its trains can look in landscaped settings, even those created long
ago with crude scenery materials.
That, in addition to selling the company’s models, was the point of these
images. Just as Lionel developed Model
Builder magazine to promote a hobby
and not just its products, so did it provide these pictures to inspire modelers
and not just increase sales.
Hobbyists today who dismiss Lionel
as merely a toy business should pay
attention to these different photos.
They demonstrate how far Lionel traveled into the realm of what is now celebrated as hi-rail modeling and show it
on the cutting edge once more.
For help with this article, I thank my colleagues at CTT, along with Ron Antonelli,
Theo Cobb, Ray Fetzner, Harry Rado, Mike
Soliday, Terry Thompson, and Bill Zuback.
The questions of when and where these photos
were taken and who deserves credit for making
these scenes will be the subject of a future article.
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