"“For A Discriminating Clientele: Spanish Lace” Packard Motor Car Co." Lot no. 4547
By Saul Tepper (American- 1899-1987)
1929
13" x 15", Framed 17.5" x 19.5"
Oil on Canvas
Signed Upper Right
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Original advertisement for Packard Motor Company, published 1929.
Though Packard automobiles ceased production in 1956, their reputation for elegance and fine engineering endures. This is due in part to the quality of the product itself, but also to their remarkably effective advertising campaigns. In their heyday, Packards were renowned for sumptuous style, exquisite craftsmanship, and a premium price tag.
Beginning in the late 1920s, the Packard Motor Company launched an innovative advertising campaign that went beyond simply showcasing a car, but painted a vivid picture of the glamorous lifestyle associated with owning one. Advertisements often paid tribute to renowned visual and performing artists and master craftspeople, or depicted consumers in elegant attire in exotic locales. This strategic approach aimed to emphasize Packard's appeal to a "discriminating clientele." This phrase was crafted to attract a sophisticated and discerning customer base by highlighting the vehicle's luxury and exclusivity.
Every Packard advertisement also featured a powerful slogan designed to inspire further confidence in the product: "Ask the man who owns one." First appearing in 1901, this confident declaration positioned Packard as a clear symbol of status and success. This groundbreaking concept of associating a consumer product with an aspirational lifestyle of wealth and sophistication was revolutionary at the time and set the standard for countless advertising campaigns that followed. (Reference: "Vintage Advertising: Selling Luxury" by Jeff Nilsoon for The Saturday Evening Post online, published November 15, 2016)
Artist Mead Schaeffer, in an interview published in the Autumn 1977 issue of The Packard Cormorant, observed that "People were paying for the status of Packard ownership as much as for the excellence of the cars. It was a challenge to every artist who illustrated for Packard to portray this." Schaeffer himself produced four oil paintings for the "Discriminating Clientele" campaign, exploring themes such as Duncan Phyfe, Spanish Lace, Oriental Rugs, and Russian Ballet. Schaeffer's "Spanish Lace" illustration was not selected for publication; instead, an illustration by Saul Tepper was used. Both Schaeffer’s unpublished proposal and Tepper’s published illustration are part of our gallery’s collection. (Reference: "Pictures at an Exhibition" by Ed Heys for Hemmings.com, updated March 26, 2024)
Mead Schaeffer and Saul Tepper Evoke The Excellence of Packard Engineering through Spanish Lace
While we can only speculate about the art director's decision, it's intriguing to consider why Tepper’s artwork was chosen over Schaeffer’s for the "Spanish Lace" theme. Both pieces depict a woman admiring Spanish lace. Schaeffer's image shows a woman admiring a finished piece of lace as it is presented to her. Tepper’s image, however, portrays a woman looking down to admire the meticulous handiwork of a lacemaker creating the intricate product using the bobbin method—a process involving braiding and twisting thread lengths wound on bobbins, with pins holding stitches in place. Bobbin lace boasts a rich history in Spain, particularly in regions like Camariñas and Almagro.
Although both paintings use loose brushstrokes that merely suggest the lace's intricacy, it’s plausible that showcasing an admiration for the act of creation of the luxurious textile would more effectively convey Packard’s intended association with the impeccable construction of their automobiles. The published caption reinforced this idea: “Willing years of patient artistry are often gladly devoted to a single piece of rare and exquisite lace.” This focus on the dedicated artistry behind the lace likely resonated with Packard's emphasis on engineering excellence.
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See all original artwork by Saul Tepper
ABOUT THE ARTIST
Saul Tepper was born on the Lower East Side of New York City, and remained a New Yorker all his life.
As a youngster, Tepper was awarded a correspondence course from the Landon School of Art. He also studied at The Cooper Union, the Art Students League, and at the Grand Central School of Art, under Harvey Dunn.
Tepper first worked as a letterer in a fashion catalog studio before establishing himself as an illustrator. He eventually did an almost equal proportion of fiction and advertising assignments, for most of the magazines, and for many national accounts, such as Mobil Oil, Texaco, Packard, General Motors and Coca-Cola.
Among his many honors were the Harvard Award (1929), the Newspaper Award (1936), Annual Advertising Award (1940) and the Laskinlamb Institute Award (1943).
For many years, Tepper was also an active teacher and lecturer at Pratt Institute, The Cooper Union, the New York Art Directors Club and the Society of Illustrators.
Music was a parallel interest. Saul wrote many popular songs which were recorded by Nat “King” Cole, Ella Fitzgerald, Ezio Pinza, Glenn Miller, Harry James and others. He was a member of ASCAP and AGAC, and wrote sketches, lyrics and music for fifteen annual Society of Illustrators Shows. Tepper was a life member of the Society of Illustrators and was elected to its Hall of Fame in 1980.