From its very inception, automobile advertisement was a captivating blend of persuasion, innovative messaging, and a dash of psychological wizardry. Early automotive promotion not only showcased nascent technologies but also reflected society’s evolving relationship with this revolutionary mode of transportation. These vintage promotional materials transcend their original sales purpose, serving as invaluable historical time capsules that offer a unique window into a lost world of motoring.
In the formative years of the industry, perception often overshadowed substance in the realm of sales and marketing. The wordsmiths behind early automobile advertisement were true artists, adept at selling the dream rather than merely the mechanics.
The Dawn of Automotive Promotion: Early Claims and Innovations
The earliest pieces of automotive promotional material highlight a period when even the terminology for these new contrivances was fluid. Manufacturers grappled with how to define and present their products to a skeptical or uninitiated public.
Defining the Automobile: Simplicity, Reliability, and Novelty
- In 1900, the Porter Stanhope boldly declared itself “The Only Perfect Automobile,” emphasizing its “safe, simple, and durable” nature, needing no engineer to operate.
- The 1901 Oldsmobile advertisement, drawing on “15 years of experience,” highlighted features like “pneumatic cushion tires” and a carriage body free of machinery, proclaiming it “automatically regulates its speed.”
- Unusual concepts like the 1901 Phelps Tractor, a steam-powered tricycle, allowed users to transform horse-drawn buggies into “automotive contrivances.” Its unique control system, where pulling reins cut speed and served as reverse, notably lacked brakes.
Early advertisers also focused on practicality and local support. The Friedman Automobile Company’s slogan, “Try it, and you will buy it,” backed by a guarantee to climb 30% grades, aimed for direct customer conversion. Similarly, in 1902, the California Automobile Company leveraged its local presence, offering repairs without the “troublesome delays” associated with Eastern firms.
As technology evolved, manufacturers often hedged their bets. The Jackson Automobile Company of Michigan, for instance, offered both a gasoline-powered “road car” and the steam-powered Jaxon, recognizing that “steam is reliable and easily understood.” Simplicity was a strong selling point; the 1903 Fordmobile, “The Boss of the Road,” was advertised as being so straightforward that “a boy of 15 can run it,” a sentiment echoed by the Wannaker, which “a child or woman could drive.”
Beyond Mechanics: The Motoring Experience and Societal Role
These vintage promotional pieces reveal more than just technological advancements; they capture the nascent motoring experience and the societal uncertainties surrounding the automobile’s role.
Performance and Perception in a New Era
- Performance was a key differentiator: the 1905 Pope Hartford was “An exceptional hill climber,” while the Ford Model F (same year) “seats five people and climbs hills on high speed.” Others like the Allen were “The King of Hill Climbers,” and the Jackson claimed “No Hill to Steep, No Sand to Deep.”
- The 1907 Gale promised to “climb hills like a squirrel and eats up the road like an express train.” For rural drivers, the Model Automobile Company offered vehicles where “hills and sand become level land.”
Despite rapid technological leaps in the early 20th century, automobile advertisement from this period still conveyed a sense of confusion about the vehicle’s ultimate purpose. Advertisements highlighted features like the Northern being “Silent and Dustless,” the Adams-Farwell’s “revolving air-cooled engine,” and the Lambert’s “friction drive car.” The 1908 Studebaker Suburban showcased versatility, converting into a “smart runabout” or a “combination passenger and baggage car.”
The Birth of Modern Advertising: Slogans and Artistry
A pivotal shift occurred in 1903 when Packard launched a campaign with a simple yet revolutionary slogan: “Packard Motor Car manufactured by the Packard Motor Car Company of Warren, Ohio – Ask The Man Who Owns One.” This marked a transition from verbose descriptions to memorable catchphrases that resonated with consumers.
The Power of Persuasion: From Claims to Campaigns
Soon, slogans began to replace heavily technical or wordy promotional pieces. Competitors quickly adopted similar strategies to differentiate themselves:
- The 1904 Cadillac was “The automobile all makes hope someday to equal.”
- The Rambler (1904) was promoted as “Equal to the $2500 kind but at one-third the price.”
- The 1903 Roadster by Flint Automobile Company boasted, “Every Part is the Best, Every Part is Accessible,” and proudly featured a “muffler that muffles.”
- Luxury and exclusivity were also highlighted: The American (Indianapolis) was “A Car for the Discriminating Few,” the Driggs was “Built with the precision of ordnance,” and the Beggs was “Made a little better than seems necessary.”
- More whimsical descriptions emerged, such as the Martin being “the little brother of the aeroplane” and the Moore, “The World’s Biggest Little Automobile.”
By 1910, the automobile’s permanent place in American society was undeniable. With hundreds of manufacturers vying for a limited market, sophisticated advertising and promotion became as crucial as cutting-edge technology.
Calkins & Holden: Revolutionizing Automobile Advertisement
The first decade of the 20th century saw most automotive promotional materials remain word-heavy, colorless, and Victorian, reflecting the general uncertainty about the automobile’s future. Some companies, like Edward E. Goff’s Motorcycle, even believed in relying on “free advertising.” However, Ernest Elmo Calkins had other ideas.
The Pierce-Arrow Paradigm Shift
In 1903, Calkins’ fledgling advertising agency began applying artistic standards and carefully crafted text to elicit specific responses. By 1909, Calkins & Holden, with a proven track record, partnered with Pierce-Arrow, a manufacturer of luxurious automobiles. This collaboration did not merely break the rules of automobile advertisement; it wrote the new rulebook, setting an impossibly high standard and transforming Pierce-Arrow into America’s premier luxury car brand.
Their campaign began by enlisting the world’s finest illustrators, many of whom were acclaimed artists. Promotional pieces from Calkins & Holden for Pierce-Arrow before 1920 are now revered as fine art. This illustrious roster included Edward Borein, known for Western scenes; Ludwig Hohlwien, an internationally acclaimed German poster painter; Newell Convers Wyeth, muralist and book illustrator; Louis Fancher; and John E. Sheridan, noted for magazine covers.
Initially, convincing esteemed artists to create automotive advertisements was challenging, as such work was often deemed demeaning. Calkins & Holden’s first task was to sell artists on the prestige of being associated with Pierce-Arrow and its affluent clientele. Artists were treated like royalty, enjoying unparalleled creative freedom, as recounted by Adolph Treidler, who described leisurely trips to New England to gather ideas for campaigns without any specific directives. This bespoke approach underscored Pierce-Arrow’s unique market position.
Pierce-Arrow automobiles and their advertisements appealed to a genteel Edwardian society, reflecting the world of the super-rich. “Snob appeal” was a primary component in selling a hand-crafted automobile that cost five times more than a new Ford, despite its increasingly outdated mechanical components.
A Lasting Legacy: Shaping Modern Marketing
Though Calkins & Holden’s promotions for Pierce-Arrow were designed for an elite market, their impact was profound and far-reaching. Their bold use of color and compelling text, portraying the automobile as more than mere transportation, opened the doors for 20th-century Madison Avenue advertising. The agency also served as a crucial training ground for a generation of advertising pioneers.
Pioneers of Automotive Marketing and Design
- Edward Wilson went on to develop materials for Coral Gables Coloration, La Salle, and Victrola.
- Walter Teague crafted promotions for the legendary Marmon Eight and The Brownie Camera, later becoming a leading industrial designer responsible for iconic automotive designs of the 1940s and 50s.
- Guernsey Moore became the art editor at the Saturday Evening Post.
- Myron Perley contributed artistic styling to Hupmobile promotions.
While Cadwallader Kelsey introduced the automobile commercial, Calkins & Holden infused automobile advertisement with vibrancy, color, and emotional appeal. Their visionary work, alongside the efforts of these dreamers and artists, played a significant role in propelling America into the automotive age, making the “sizzle” of the car as irresistible as the “steak.”
Conclusion
The evolution of automobile advertisement, from rudimentary claims of perfection and simplicity to the sophisticated artistic campaigns pioneered by Calkins & Holden, illustrates a remarkable journey. It mirrors not only the rapid technological advancements of the automotive industry but also the changing cultural landscape of America. These early advertisements are more than just historical curiosities; they are vibrant testaments to the power of marketing, a testament to how creative minds shaped perceptions and, in doing so, helped define the modern era of transportation and consumer culture. The legacy of these advertising pioneers continues to influence how products are presented and perceived today, underscoring the enduring art of the sale.
