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The original archive of the most expensive pr

Currency:USD Category:Antiques Start Price:20,000.00 USD Estimated At:40,000.00 - 60,000.00 USD
The original archive of the most expensive pr
The original archive of the most expensive print advertising campaign up to its time. Using the most expensive props, models, jewels, and top photographers - to sell America's most expensive car - this archive captures the flair of the Fifties. Many of the photographs here have become icons of American culture.

In the Fifties, Cadillac brought the power of advertising to its ultimate. Through photography, depicting costly jewels, fabrics, couture design, and antiques, the client, Cadillac, rode to the pinnacle of celebrity - and sales.
Offered here is a major archive of the original, full-size 8 x 10 color transparencies taken for Cadillac by some of the foremost fashion photographers of the era, together with proof sheets, working files, manuscript and typewritten notes, and correspondence from their ad agency, 1955-62. Photographers include Edward Clarke, Al Gommi, Horst P. Horst, Herbert Loebel, and Frances McLaughlin-Gill. In all, there are several hundred pieces.

One cannot imagine a more expensive way of selling. Cadillac sought to present their automobiles in a new light, one which would redefine the American experience.

In their ad campaigns, Cadillac used the absolute finest of everything. No expense was spared to bring together the finest couture, with the most beautiful models, in the most exclusive settings presented as American royalty and captured by the top photographers of the era. This archive includes these original images, most in their cello sleeves, as supplied directly to Cadillac's art buyer by the respective photographers. No duplicates exist.

The result captivated America perhaps more than any other ad campaign of the era. The campaigns captured here principally show fashion models, including the famous "mother-daughter" series, and the jewelry campaign (usually photographed by Loebel). The latter was a series of ads, now famous in the annals of ad history, in which Cartier, Winston, Van Cleef, and others interpreted the Cadillac crest using spellbinding arrays of diamonds, rubies, and other fine jewels.

Some of the color transparencies are accompanied by original fashion or jewelry sketches, fabric swatches for models' gowns, fascinating manuscript and typewritten creative notes and correspondence of the Cadillac account's art director and buyer, advance letterpress proofs of the ad containing the photo, the finished ad, and other working documents. Also with original detailed invoices of Horst and McLaughlin-Gill, and letter from Clarke's agent.

The contents of the accompanying working files are utterly fascinating. Just a few extracts:

De Beers reports that Harry Winston is "...the only house who would have that amount of diamonds" The quest for the perfect pink diamond for use in an ad Advice that "the matching of a string of pearls may take twenty years" An agreement for Pinkerton to provide guards for a photo shoot at $3 per hour Admonition that "Tiffany doesn't need national prestige - they already have it" A note that Teresa Brewer wants to buy the dress in an ad Scandalous disappearance of a stone from a Cadillac crest made of diamonds and sapphires while on display at the Waldorf-Astoria in 1960 A memo from photographer McLaughlin-Gill listing values of props, including "Jewels from Cartier, $260,800" Cadillac's pursuit of the 128-carat Tiffany diamond A file for the Nov. 1960 Motorama at the Waldorf-Astoria, an event still talked about to this day, including internal planning notes, large paint chips for the Cadillacs to be displayed, and photos taken at the affair And much, much more.

The landmark 1959 and 1960 campaigns - watersheds of American popular culture - are especially well represented by these original materials. Indeed, so successful were these campaigns, propelled by the photography contained in this archive, that in the first quarter of 1960, Cadillac enjoyed the highest sales volume ever attained in their entire history.

In all, the collection captures, from conception through the finished result seen by the public, the vision of their creative directors. It contains some of the highest expressions of the art of commercial photography of the 20th century the Cadillac campaigns. In fact, some campaigns, such as that for the 1959 model cars, arguably represent the highest and most profound expression of popular Americana. Few things capture the essence of American life in the 1950s more than Cadillac.

Over 450 pieces, including: 52 color negatives 8 x 10, 67 color ad proofs and tear sheets, 235 letters, memos and notes, 65 printed items, 5 sketches, 12 fabric swatches, 3 paint chips, etc.

Negatives in superb condition, most in original cello sleeves; documents with ordinary handling wear varying from light to average, but generally about fine. (Single prints by Horst have recently realized as much as $50,000 each. The colors of these transparencies are arguably more vivid than prints.) Request detailed description, no charge. Images not available, as transparencies not scannable on our equipment. Inspection invited.