Selling the Sizzle – Early Auto Ads
The world of marketing thrives on the art of persuasion, where perception often overshadows reality. The allure of a well-crafted catchphrase, a memorable slogan, or an earworm jingle can drive sales, even when the product itself barely distinguishes itself from competitors or suffers from questionable quality. This principle held true from the very dawn of the automotive age, where early auto ads were born from a potent mix of alchemy, P.T. Barnum-esque hyperbole, and a dash of applied psychology. The creative minds behind these early campaigns were, without a doubt, true artists, adept at selling the "sizzle" – the promise and the feeling – rather than simply the "steak" – the barebones functionality of the vehicle.
However, the significance of these automotive advertisements extends far beyond their immediate commercial purpose. Vintage promotional materials offer us a captivating glimpse into a bygone era. They transcend their original intent and serve as invaluable time capsules, preserving the spirit and aspirations of a society long after the companies they promoted have faded into history.
Consider, for instance, some of the earliest examples of automobile promotional material, created at a time when even the very terminology for this newfangled contraption was still up for debate. These early Selling the Sizzle – Early Auto Ads reveal a fascinating struggle to define and position the automobile in the public consciousness.
The Porter Stanhope of 1900 boldly proclaimed itself "The Only Perfect Automobile." This audacious claim speaks to the boundless optimism and competitive spirit that characterized the nascent industry. Similarly, a 1901 Oldsmobile advertisement declared that "Electric vehicles or vapor vehicles were the result of 15 years of experience," a somewhat ambiguous statement meant to convey a sense of established expertise.
The Porter, further elaborating on its perfection, was touted as "safe, simple, and durable," with a mechanism "free from all complications, so an engineer is not necessary in its use." This emphasis on simplicity highlights a key concern of early consumers: the perceived complexity and unreliability of these new machines. The Oldsmobile, on the other hand, boasted "pneumatic cushion tires" and a "carriage body free of machinery of any kind," promising a comfortable and unobtrusive ride. It also "automatically regulates its speed; changes its spark for a high or low speed," hinting at the advanced (for the time) technological features incorporated into its design.
Perhaps one of the most curious examples of early automotive ingenuity is the 1901 Phelps Tractor, a steam-powered tricycle designed to convert horse-drawn equipment into motorized vehicles. The advertisement explained that "By attaching the Phelps steam-powered tractor to a buggy, a surrey, a light spring wagon, or a cart, you transform horse-drawn equipment into an automotive contrivance." This intriguing hybrid solution catered to a market still deeply rooted in equestrian transportation. The control mechanism, however, was rather rudimentary: pulling back on the reins cut the speed, stopped the unit, and served as the means for reversing. Notably, there were no brakes!
The Friedman Automobile Company of Chicago, Illinois, adopted a more direct approach, proclaiming, "Try it, and you will buy it." Their confidence stemmed from the fact that "every unit is guaranteed to climb any grade up to 30% with an engine [that] produces six horse-power." This bold guarantee aimed to overcome consumer skepticism and encourage potential buyers to experience the vehicle’s capabilities firsthand. These early Selling the Sizzle – Early Auto Ads was all about trust.
Instead of directly competing with other manufacturers on claims of superior mechanical prowess, the California Automobile Company of San Francisco took a different tack in 1902. "Our factory, where your machine is made, is at your disposal for any repairs or breakage," their advertisement stated. "These can be attended to without the troublesome delays necessarily encountered when dealing with Eastern firms." This localized approach emphasized convenience and customer service, appealing to a regional market wary of dealing with distant and potentially unresponsive companies.
During the industry’s formative years, gasoline or kerosene engines were largely unproven technologies, often plagued with reliability issues. Consequently, manufacturers frequently hedged their bets. The Jackson Automobile Company of Jackson, Michigan, for instance, offered both a six-horse-power "gasoline road car" and the steam-powered Jaxon, arguing that "steam is reliable and easily understood." This dual offering reflected the uncertainty surrounding the future of automotive propulsion and the desire to cater to a broader range of consumer preferences.
In those early days, the marketing of simplicity often triumphed over mechanical advancement or cutting-edge technology. The 1903 Fordmobile, "The Boss of the Road," produced by Ford Motor Company, was marketed as being so simple that "…a boy of 15 can run it." Similarly, the Wannaker was advertised as a car "…so simple in its operation that a child or woman could drive it." These advertisements tapped into a desire for ease of use and accessibility, appealing to a wider audience beyond mechanically inclined individuals. The Selling the Sizzle – Early Auto Ads are mirroring the evolution of automotive technology and related advertisements.
These vintage promotional pieces offer more than just a glimpse into the evolution of automotive technology and related advertising. They also paint a vivid picture of the early motoring experience.
The Pope Hartford of 1905 was advertised as "An exceptional hill climber…," while the Ford Model F, manufactured in the same year, "…seats five people and climbs hills on high speed." The Allen claimed to be "The King of Hill Climbers," and for the Jackson, there was "No Hill to Steep, No Sand to Deep." These advertisements highlight the challenges and limitations of early automobiles, particularly their ability to navigate varied terrain.
The Gale of 1907 was the car that "climbs hills like a squirrel and eats up the road like an express train." However, if speed was less of a concern than the need for a vehicle suitable for rural driving, prospective buyers might consider a Model produced by the Model Automobile Company of Peru, Indiana, since "hills and sand become level land" with one of these cars. These contrasting advertisements reflect the diverse needs and priorities of early automobile buyers, ranging from those seeking speed and performance to those prioritizing practicality and all-terrain capability.
Even as automotive technology made significant strides in the early 20th century, and automotive advertising followed suit, much of the promotional material from this period suggests that there was still considerable confusion about the true nature and purpose of the automobile.
The Northern was marketed as "Silent and Dustless," addressing common complaints about early automobiles. The Adams-Farwell offered motorists the advantages of a "revolving air-cooled engine," while the Lambert emphasized the simplicity of "the friction drive car." These advertisements focused on specific features and technologies, attempting to differentiate vehicles in a crowded and rapidly evolving market.
The 1908 Studebaker Suburban could easily convert into a "smart runabout," a "combination passenger and baggage car," or a "light four-passenger car." This versatility highlights the attempt to position the automobile as a multi-purpose vehicle, capable of fulfilling a variety of transportation needs.
In 1903, Packard launched a promotional campaign that would prove to be a game-changer. "Packard Motor Car manufactured by the Packard Motor Car Company of Warren, Ohio – Ask The Man Who Owns One." This simple yet powerful slogan tapped into the persuasive power of word-of-mouth marketing, leveraging the credibility and experience of existing Packard owners.
Soon, catchy slogans and jingles began to replace lengthy and technically dense promotional materials. These early advertisements also provide a valuable window into the formative years of the auto industry and the dawn of the modern era of advertising and marketing. These Selling the Sizzle – Early Auto Ads offer a glimpse into the formative years of the auto industry.
The Knox of 1904 was "The car that obviates the tow," a direct and humorous appeal to reliability. In the same year, promotion for Cadillac proclaimed, "The automobile all makes hope someday to equal."
"Equal to the $2500 kind but at one-third the price" topped promotions for the 1904 Rambler produced by the Thomas B. Jeffery & Company of Kenosha, Wisconsin. The 1903 Roadster produced by Flint Automobile Company of Michigan proclaimed, "Every Part is the Best, Every Part is Accessible." This was also a car with a "muffler that muffles."
The American produced in Indianapolis, Indiana, was "A Car for the Discriminating Few," appealing to a sense of exclusivity and luxury. The Driggs was "Built with the precision of ordnance," suggesting meticulous craftsmanship and engineering. The Beggs was "Made a little better than seems necessary," emphasizing quality and attention to detail.
The Martin was "the little brother of the aeroplane," drawing a connection to the exciting new world of aviation, and the Moore was "The World’s Biggest Little Automobile," a playful and memorable tagline.
By 1910, it was clear that the automobile had become a permanent fixture in American society. It was also apparent that, for hundreds of manufacturers to compete for their share of a limited market, the development of effective advertising and promotion was just as crucial as producing a technologically advanced vehicle.
It was the dawn of a new era in marketing.
Most automotive advertisements and promotional materials produced during the first decade of the 20th century reflected the prevailing uncertainty about the automobile’s nature, purpose, and future. With the exception of Cadwallader Kelsey’s innovative filmed commercials shown in Nickelodeon theaters and catchy tunes, much of this material was verbose, colorless, and Victorian in style.
Some companies even eschewed advertising altogether. As Edward E. Goff noted in an 1897 edition of The Motorcycle, "…the manufacturer of the motorcycle is in a position to take advantage of more free advertising than any other industry."
Ernest Elmo Calkins, however, had a different vision. In 1903, his fledgling advertising agency began applying artistic standards and carefully considered text to elicit a specific, desired response.
By 1908, Calkins & Holden had established a strong track record of creating successful advertising campaigns for their clients. The following year, the company turned its attention to promoting automobiles, specifically the luxurious vehicles produced by Pierce-Arrow, their newest client.
Calkins & Holden didn’t just break the rules of automobile promotion; they essentially wrote the rule book. In doing so, they set an impossibly high standard, transformed Pierce-Arrow into America’s premier luxury car manufacturer, and revolutionized the advertising industry.
Their advertising campaign for Pierce-Arrow began with hiring the world’s finest illustrators, many of whom were acclaimed artists in their own right. As a result, many of the promotional pieces produced by Calkins & Holden for Pierce-Arrow before 1920 are now considered works of fine art.
The list of illustrators hired to create Pierce-Arrow promotional material reads like a who’s who of the art world in the early 20th century.
Among them were Edward Borein, a renowned painter specializing in Western life scenes reminiscent of Remington, and Ludwig Hohlwein, an internationally acclaimed German poster artist. Other artists employed by Calkins & Holden during this period included Newell Convers Wyeth, a mural painter and illustrator of books by Robert Louis Stevenson, Louis Fancher, and John E. Sheridan, known for his cover art for Ladies Home Journal, Collier’s, and Saturday Evening Post.
Initially, hiring such esteemed talent for automotive advertisements was a challenge. Advertising creation and development were often viewed as being on par with snake oil salesmanship, and automobile advertisements were considered the most egregious examples.
In general, respectable illustrators and artists considered such work to be beneath them. Therefore, the agency’s first task was to convince artists of the prestige associated with being linked to Pierce-Arrow and, by extension, to the wealthy and famous individuals who purchased the company’s automobiles.
Moreover, the artists associated with Pierce-Arrow through the agency were often treated with the utmost respect. A story recounted by Adolph Treidler, an artist employed by the agency during this period, illustrates this point and underscores the fact that Pierce-Arrow was not a typical automobile manufacturer.
"I don’t think anyone anywhere ever had the freedom that the artists for Pierce-Arrow had," Treidler said. "They laid down no rules whatsoever, never told me to do this or that. Every year, about the time the new cars were to be introduced, the company sales manager, I remember his name as Hawley, would drive down from Buffalo (company headquarters) in one of the new cars and we’d take off for a pleasure trip, to New England usually, and simply have a good time."
"I’d get to know the car and get some ideas, take some pictures on a cheap little box camera I’d take along. Then, I’d be dropped off back in New York. And I was on my own, completely."
While Calkins & Holden’s promotions for Pierce-Arrow were revolutionary, they were also somewhat dated and archaic. The product they marketed was better suited for the refined Edwardian society than for a society where mass production allowed the average person to share in the luxury of owning an automobile.
The Pierce-Arrow and the advertisements designed to promote it reflected the world of the wealthy and the royalty. Snob appeal was a key element in selling a handcrafted automobile that, in its base form, cost more than five times the price of a new Ford and several times the price of a Cadillac, even though its mechanical components were somewhat outdated.
Nevertheless, Calkins & Holden’s bold use of color and text to portray the automobile as more than just a means of transportation paved the way for the Madison Avenue advertising of the 20th century. The agency also served as a training ground for a generation of advertisers.
Edward Wilson would later develop advertising materials for Coral Gables Coloration, La Salle, and Victrola. Walter Teague created materials to promote the legendary Marmon Eight and The Brownie Camera. He also became a leading industrial designer, responsible for some of the most iconic automotive designs of the forties and fifties.
Guernsey Moore became the art editor at the Saturday Evening Post. Myron Perley later contributed his artistic styling to the promotion of Hupmobile.
Cadwallader Kelsey gave us the automobile commercial. Calkins & Holden gave us automobile advertisements filled with vibrancy and color. They also unleashed a generation of visionaries who did almost as much to put America behind the wheel as Henry Ford did with the Model T, by making the sizzle just as appealing as the steak. This all defines Selling the Sizzle – Early Auto Ads.