…Hupmobile was still hanging in there, enlisting the talents of illustrator Herbert Roese to extol the comforts and the beauty of its “air-line design”… it isn’t clear why it required five middle-aged men to take her on that beautiful ride… …the real-life bellboy Johnny Roventini ...
…another advertising stalwart, the Liggett & Myers Tobacco Company, gave us a young woman who enjoyed their Chesterfields “a lot”… …Guinness was back for those who missed that taste of Dublin… …and the folks behind “The Beer That Made Milwaukee Famous” placed their first ad in The...
…it was no coincidence that the Camel and Chesterfield ads both featured women, the tobacco companies’ biggest growth market in the 1930s… …on to our cartoons, we go bowling in this spot by George Shellhase… …a doctor’s bedside manner, in James Thurber’s world of the battling sex...
…in his parody of Camel ads, George Cecil Cowing wrote that he preferred Chesterfields, a big-time brand of mid-century America… …the makers of White Rock reveled in the newly found freedoms of legalized alcohol… …the folks at Fisher were sticking with their lavish two-page color ads...
…on to our Oct. 15 advertisers, we have the makers of Chesterfields pairing their product with the sophistication of Paris fashions… …Carl “Eric” Ericksonillustrated a number of ads for R.J. Reynolds’ Camel cigarettes in the late 1920s and early 1930s…here he employed his signature...
…too bad, because the 1933 Reo Royale was a beauty… …more color ads from our cigarette manufacturers Camel… …and Chesterfield… …why, it’s Barbara Stanwyck again, this time in color, thanks to the folks at Powers Reproduction… …and Otto Soglow again for Rheingold beer… …and on...
…this ad from Harriet Hubbard Ayer was bold in a very different way, essentially calling some women ugly unless they used the company’s “beauty preparations”… …consommé, a clear soup that was particularly popular among the upper classes, offered up some keen competition between two food ...
Nov. 30, 1929 cover byAdolph K. Kronengold. One writer, however, who received consistent praise from Parker wasErnest Hemingway,whom she first met in 1926. In the pages of the 1920sNew Yorker,Parker particularly lauded Hemingway’s short story collections,In Our Time(1925) andMen Without Wo...
…even when a man isn’t present, Chesterfield still perched the woman on the arm of the chair, as seen in this ponderousNew Yorkerad from the previous year… …and then you have Spud—the direct approach—yes dammit, do something, man!…your “mouth happiness” is at stake, so follow...
…contrast with the more submissive pose in the Chesterfield ad from the late 1920s… …on to our cartoons, we begin with spot art byAlan Dunn,which appears to have originated as a captioned cartoon… …William Steigoffered up this bit of art for a profile of an “insurance man” bySt...