Patterson and Hall Advertising has been in business since 1921 (and still is!). They were originally located in San Francisco and were an art service for all the city's major ad agencies. One agency, BBD&O, asked Patterson and Hall to provide artwork for a new transcontinental train, the California Zephyr

When the first assignment came in Bruce Bomberger just happened to be the next artist available who wasn't already working on an assignment. It was the luck of the draw that he got it, but since they liked his work, he continued to provide art for the train's ads. 

A special thanks to Bruce Hettema, the current owner of Patterson and Hall, now located in Marin County, for providing the background info. Their work, including a selection of the agency's historical work, can be seen on their web site at www.phcreative.com.

 

Bruce Bomberger's CZ Art
(Note: These samples are not the same images as shown elsewhere on the site; they have been rescanned as high-resolution images, and are thus LARGE files.)
  


  
One of the earliest of Bomberger's CZ paintings is this one for a February 1949 magazine ad. Though based in San Francisco and thereby presumably familiar with its environs, Bomberger takes creative liberties with the locale...for this scene to be possible, the tee for this hole is floating on an island outside of the Bay (the giveaway is Ft Point under the Golden Gate bridge).

  
One of Bomberger's best works, from the cover of a circa 1950 booklet introducing the CZ.
The cover of this 1960 booklet on the CZ was split in two, as it was folded like a timetable. This painting is from the left side of the cover. Bomberger's signature was all but cropped out of the lower left corner.
Most CZ art showed the train climbing into the Rockies, but Bomberger chose the opposite view, illustrating the train descending towards the shining plains city of Denver. The version on the right is the companion to the above painting. The version on the left is from a 1952 magazine ad.

  
From a magazine ad. Here, Bomberger exaggerated the height of the inside of the dome in order to emphasize the wide-open feelings that the passengers experience.

  
There is no Bomberger signature visible in the painting used on this cover of an early edition of Vista Dome Views, but a study of some of the details seems to indicate the same styling that can be found in other examples of Bomberger's work.

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