December 2021
über-draft—not ready for publication
Eric Fraser: British Illustrator
J. Walter Thompson Agency: Rolex Myth-maker
1952 Rolex “Fantastic Stories” Advertising Campaign
Nineteen fifty-two saw the launch of a superb [advertising] campaign…For many many years letters telling fantastic stories of the strength and accuracy of Rolex watches have been pouring into Geneva…With superb illustrations by Eric Fraser, this new campaign is destined to be the biggest thing ever in the history of watch advertising. the rolex oyster: 39 years of advertising history: j. walter thompson agency
His [Fraser] advertisement art is creative…The [advertiser] must be allowed the choice of subjects to be depicted…but if Fraser draws them he makes them his own (Alec Davis)…These comments aptly summarize Fraser's strengths when it comes to the promotion of a product or service, for example in his drawings for the Rolex watch company (Wendy Coates-Smith)… eric fraser: designer & illustrator—sylvia backemeyer, lund humphries, 1998 (pg. 24–25)
Caveat lector: the following may be a wandering path to the subject promised by the title so patiently bear with the author…thank you. Note the author is not a scholar therefore errors are de rigueur so please send errata to the author for correction.
The article takes a look at the 1952 Rolex “Fantastic Stories” advertising campaign, the advertising agency responsible for creating the campaign (J. Walter Thompson) and the artist selected to illustrate the advertisements (Eric Fraser). Three individual “Fantastic Stories” will be highlighted: The Professor of Milan, 7 years under the sea… & The Arduous Voyage of the Cutter “Ituna”. Appendices look at Eric Fraser's illustration for the 1954 Everest Tribute to Rolex, Eric Fraser's illustrations for the 1947 Rolex “Swiss landscape” advertisements, The Oyster and the Cat—a Moral Fable and the Rolex advertisement: The forgery that saved lives.
Eric Fraser, FSIA: British Illustrator
Eric George Fraser (1902–1983) born Westminster, London was a British illustrator and graphic artist most publically recgonized for his drawings in the Radio Times. Eric Fraser's works appeared in numerous media from book jackets, book illustration, magazine illustration, stained-glass windows, commerical design, advertising etc., Fraser also did design work for the Royal Mail. A Fellow of the Society of Industrial Artists and an Honorary Member of the Association of Illustrators Fraser attended Goldsmiths' College School of Art. Among the most respected and sough-after illustrators of the 20th century the breadth of Eric Fraser's œuvre is breathtaking.
For Eric Fraser there was never a casual, unimportant, or unresolved part of any of his drawing. He was a two dimensional architect of the design, of which he was always the master. geoffrey fraser
Autobiography of Benvenuto Cellini (1941), Radio Times: Lord of the Rings (1981), Radio Times: Coronation Cover (1953), Adam & Eve (1958), Artaxerxes (1978)
Eric Fraser created many illustrations for the fashion magazine Harper's Bazaar from 1929-1937 and comments on the interwar period house-style of Harper's Bazaar…
Harper's Bazaar in the thirties—full of magnificent women 10 feet tall, aesthetically unreal, but beautifully created by artists who were also designers—the great era of release from Edwardian Art nouveau—the new art phoenixed from the ashes of the late war. These women could not be produced through a lens, only we artists could evolve such creatures.
Eric Fraser's book illustrations include: Complete Works of Shakespeare (Collins, 1951), Ovid's The Art of Love (Limited Editions Club, 1971) and the Folio Society editions of J. R. R. Tolkien's books The Lord of the Rings (1977) and The Hobbit (1979).
Eric Fraser is most publically-known for the illustrations made for the BBC Radio Times programme-guide: Gershwin's Porgy and Bess (1959), Ewan MacColl's The Ballad of John Axon (1958), Two Mothers (1961) and The Brother Karamazov (1957)—Eric Fraser began drawing for Radio Times in 1926 and Fraser's drawings would appear in the programme-guide for the next 50 years.
Anyone with half an eye can recognize [Fraser's] firm line and lucid composition…the technique of a master…the uncanny skill with which he's gone straight to the heart of the matter…That's the mark of genuis. radio times
Eric Fraser illustrated advertisements across a wide-range of industries and products, e.g. MayFair Hotel, Munrospun Scottish Tweeds and Wilmont Breeden automotive accessories—Eric Fraser illustrated ≈ 20 Rolex advertisements in the early 1950s. Eric Fraser created Mr. Therm for British Gas in 1932; Mr. Therm remained the industry's mascot for 30 years.
Fraser created our beloved Mr. Therm; that in itself ought to be enough to endear him to us. r. haugton james, art & industry (may, 1937)
My Inside Story…My father, Eric Fraser, isn't quite sure if I was born in 1931 or 1932. Birth certificate? None. Birthplace? Fraser's first studio, under the roof at Queen Anne's Gate in Westminster. Yours warmly. Mr. Therm. mr. therm advertisement (1953)
Examples of Eric Fraser's book jacket work: Exploration of the Moon by Franklyn M. Branley (1965), English Legends by Henry Bett (1952), Odd John by Olaf Stapledon (1935) and We Live by the Sun by J. Gordon Cook (1960).
The standard reference books regarding Eric Fraser's work: The Graphic Work of Eric Fraser 1985 (Alec Davis, Uffculme Press) and Eric Fraser: designer and illustrator, 1998 (Sylvia Backemeyer, Lund Humphries). Pictured: Rolex advertisement illustrated by Eric Fraser for the J. Walter Thompson Agency (Rolex advertising agency) & the “The Annunciation”…stained glass window for the Church of St. Mary the Virgin, Hampton-on-Thames, 1960.
über-draft—not ready for publication
The J. Walter Thompson Agency (JWT) & Rolex
The University of Advertising
Hans Wilsdorf created the Rolex wrist-watch…
J. Walter Thompson created the Rolex myth
The J. Walter Thompson Agency (founder James Walter Thompson, 1847–1928), established 1878 in New York (JWT London established 1899) was a flagship advertising agency with clients such as: Kodak, General Motors, Ford Motor Company, Kraft Foods, Nestlé, Shell Oil, Kellogg's, Pan American, De Beers, Merrill Lynch, Bayer, HSBC, Johnson & Johnson and scores more—Rolex became a client in 1946. J. Walter Thompson for Merrill Lynch and Wilkinson Sword…
The advertising group WPP (parent group of Grey, Ogilvy & VMLY&R) acquired the J. Walter Thompson agency in 1987; in 2005 the agency rebranded as JWT only to revert in 2014 to J. Walter Thompson on the occasion of the agency's 150th anniversary; in 2019 Wunderman-Thompson was created after the merger of J. Walter Thompson and digital-agency Wunderman. Business Insider (11-24-2020) reported Rolex is moving its advertising in-house and creating a custom creative agency in Europe effectively servering ties with its long-standing advertising agency of 74 years.
1946: The gold standard in gold watches, Rolex joined the J. Walter Thompson Agency roster.
All employees immediately inquired about the corporate discount.
J. Walter Thompson timeline (https://www.jwt.com/history/ accessed 9/9/2021)
“Our partnership with JWT is the longest of all our partners,” said Arnaud Boetsch, director for communications and image at Rolex in Geneva, a client for 65 years. “What JWT is bringing to Rolex, different from other agencies, is that they have the whole history of the brand in their DNA.” jwt plans to celebrate 150 years with a focus on the future (ny times, march 9, 2014)
The J. Walter Thompson agency was an all-American company but it was the JWT London office that forged the Rolex myth. Pictured are London office Rolex advertisements from the Horological Journal during the 1950s: “Rolex Talking Points”, “The 250,000th Rolex Chronometer”, “Everest Tribute to Rolex”, “Presenting the Rolex Explorer”, “Presenting the Tudor Oyster Prince” and “GMT Master” —Rolex-PanAm nexus: Pan-American became a J. Walter Thompson client in 1942.
JWT (London) was established as a full-service advertising agency in 1926 and soon acquired a ‘reputation, based on its American parentage, for hard-hitting, effective advertising, founded on solid research’—the trouble with JWT London is that it has too much history. fifty in 40: the unofficial history of jwt london 1945–1995, tom rayfield (1996),
The 1947 Rolex advertisement mentioned below appeared in the January 10th, 1947 broadsheet The Scotsman (page 7)—JWT notes the advertisement is the “very first ad that appears in London's Rolex guard books”—a simliar advertisement appeared in the March 8, 1947 The Sphere with the headline “The Rolex Oyster again comes to England“.
ROLEX announce the first imports of fine wrist-watches since 1940
Our [JWT] first consumer ad (1) announces the first imports of fine wristwatches since 1940. The ad is dated January 1947. It was a start, at least…
THE OUTSTANDING wrist-watch of the war, Rolex, worn and trusted by every arm of the Service, and by every rank, tried and proven under hard conditions on land, sea and in the air, is again being imported from Switzerland. Under the Anglo-Swiss Agreement a small shipment of Rolex watches has now arrived in England. j. walter thompson news, vol 4, no. 3 (september 1985)
The Scotsman (January 10th, 1947) The Sphere (March 8th, 1947)
ROLEX Confirms increased deliveries…More press advertising
In a series of Horological Journal notices (Jan/1947, Feb/1947 & Mar/1947) J. Walter Thompson/Rolex announce expanded press advertising—in the next five years J. Walter Thompson will launch at least three ad hoc advertising campaigns (1947 Hans Wilsdorf stories, 1950 Swiss Landscapes and the 1952 “Fantastic Stories”) catapulting Rolex into an advertising juggernaut.
Horological Journal January, 1947 With conditions gradually improving, Rolex advertising to the public is being amplified. Announcements in the The Times. the Daily Telegraph, Scottish newspapers, and leading national magazines…will appear shortly.
Horological Journal March, 1947 SIDE BY SIDE with mounting deliveries to the trade, Rolex is strengthening its advertising to the public. Announcements are now appearing in the The Times, The Daily Telegraph…and in the foremost magazines, such as Punch, The Tatler, and Vouge. Rolex is confident that, with the assistance of this national campaign, its pre-war lead in consumers' preference will be immedialtely be resumed.
In 1947 J. Walter Thompson introduced its inaugural Rolex advertising campaign with fine line drawings of Swiss city & landscape scenes along with a list of Rolex firsts such as 1st waterproof watch etc. and also mentioning the introduction of the Tudor and the Tudor Oyster: younger members of the family. Three of these advertisements (Miracle at Midnight—every Night, The Chronometer with an Official Pedigree & Golden hours for Daytime, Night-time, Lifetime) appeared in Graphis Magazine (1948) Nos. 23, 24 and 25 featuring Zytglocketurm, Berne & Lucerne, Hofkirche, Mount Pilatus and Montreux, Château de Chiillon—other Swiss scenes included: The Hospice du St. Gothard, San Martino Church at Olivone & Adelboden, Switzerland. (Note: Eric Fraser did the illustrations for the 1947 inaugural campaign—maybe the prettiest Rolex adveristisements—please see appendix c).
1st Rolex Advertising Campaign (pre-J. Walter Thompson)
In 1947 a six-part advertising campaign entitled “Story of Success” appeared in consecutive issues of the Swiss magazine Graphis (nos. 17–22)—individual advertisements appeared in the fall of 1945 (pre-dating JWT's relationship with Rolex) in Der Bund under “Ursachen eines Welterfolgs” and L'Express as “Les origins d'un succés mondial”. The creater(s) of the “Story of Success” campaign is a mystery to the author but the “Story of Success” campaign may be the first thematic, serialised Rolex advertising campaign; a departure from the hodge-podge advertisements of the 1930s & 1940s.
The “Story of Success” campaign consisted of six individual advertisements with titles such as: the wrist watch versus the pocket watch and the oyster and the waterproof watch. 51 unique line-drawings appeared in the campaign (7–9 illustrations per advertisement)—the artist is unknown to the author (possibly the Swiss illustrator Hans Tomamichel).
The Rolex Story 1905–1948
In 1948 the J. Walter Thompson Agency produced the 27 page booklet entitled The Rolex Story 1905–1948—the booklet was illustrated by British illustrator Lynton Lamb (1907–1977)—the portrait of Hans Wilsdorf appearing in the booklet was reproduced from the 1945 Rolex Jubilee Vade-Mecum (drawn by Hans Tomamichel). Apropos of nothing: cat (1959) by Lynton Lamb.
The story of Rolex is really the story of the wrist-watch. It begins in 1905, when the very sight of a watch on the wrist was enough to make people laugh. And it continued into 1914, when the wrist-watch grew up and proudly became, for the first time, a wrist-chronometer, in spite of the sceptics, who had said that such a thing could never be. hans wilsdorf, geneva, june 1948
Rolex Hand-illustrated Oyster Wrist-watches
Begining with the J. Walter Thompson era the quintessential rendering of the Rolex Oyster Perpetual appeared, gracing (in spades) Rolex advertisements between 1947–early 1960s—drawn in black & white and noted by distinctive shading the Oyster Perpetuals appeared in many dial and hands variations (the same aesthetic was applied to the Milgauss, GMT & Tudor Submariner). Though the artist is unknown to the author the watches suggest a single-hand given the manner in which the watches are illustrated—for now it's a mystery to the author. The Oyster illustrations are reminiscent (or rather vice versa) of the headline cut abbr. hedcut illustrations associated with the Wall Street Journal; e.g. Hermés Dressage L'Heure Masquée, Barbie™ and dog.
Damn the torpedos…launch the campaigns
The 1950s long copy campaign JWT mentions (see quote) consisted of many advertisements (eight of the advertisements appeared in Graphis Magazine 1949–1951)—each advertisement displayed a vignette “by” Hans Wilsdorf e.g. The watch that swam the English Channel by Hans Wilsdorf. Though the artwork is sans signature most likely the artist is the Swiss graphic-designer Hans Tomamichel (1899–1984)—Hans Tomamichel illustrated the 1945 Rolex Jubilee Vade-Mecum and was the creater of Knorrli, one of the most-recognizable figures in Swiss advertising.
We entered the 1950s with a long copy campaign…The ads individually isolated an aspect of the Rolex Oyster…We honed in on the fact that the Oyster case is waterproof; we spoke of the Perpetual movements, of the Kew Certificate…the Rolex Red Seal… j. walter thompson agency
Rolex Jubliee Vade-Mecum Illustrations by Hans Tomamichel
In November, 1945 the Der Bund newspaper announced the publication of the Rolex Jubilee Vade-Mecum celebrating Rolex's 40th anniversary—Hans Tomamichel illustrated the ≈50 line-drawings that appeared in the booklet(s). In 1946 Der Bund announced a 2nd edition of the Vade-Mecum. The Hans Tomamichel Vade-Mecum illustrations also appeared in stand-alone advertisements in the newpapers Der Bund and L'Express in 1946 and 1947.
Der Bund November, 1945: Einladung. Zur Feier des vierzigjährigen Jubiläums gibt Rolex ein Jubiläums-Album und ein Jubiläums-Vedemecum heraus. Beide Drucksachen werden - in beschränkter Anzahl - durch unsere
Vertreter kostenlos abgegeben. Wir laden Sie ein, diese Drucksachen bei einen, der untenstehenden Rolex-Vertreter zu verlangen und sich bei dieser Gelegenheit unsere Jubiläums-Schöpfungen zeigen zu lassen.
Der Bund, 1946: Zur Feier des 40jährigen unserer ließen wir im Herbst 1945 ein Jubiläums-Vademecum erscheinen. Dieses mit 72 Federzeichnungen und Holzschnitten reich illustrierte
Werk schildert die Entwicklungsgeschichte der Chronometrie, der wasserdichten und der automatischen Uhr…Die erste Auflage dieses Vademecums war in kürzester Zeit vergriffen.
Teilen Sie uns bitte die gewünschte Sprache mit: deutsch - französisch - englisch - spanisch.
In the 1950s Rolex and J. Walter Thompson peppered magazines with two similarly-themed campaigns: Leaders of Industry Know the Value of Time (early 1950s, examples from New Yorker Magazine) and Men who guide the destinies of the world wear Rolex watches (late 1950s, examples from Graphis)—a twist on the Leaders of Industry—the Halloween issue of Sports Illustrated featured a Ted Williams Rolex advertisement with the tagline: Leaders in Sports Know the Value of Timing (odd the advertisement did not appear three months earlier when Ted Williams was on the cover of Sports Illustrated).
From the 1985 J. Walter Thompson company publication The Rolex Oyster: 39 years of advertising history…
Also running with "men who guide the destinies [campaign]…” was the Cat Campaign. Our earliest example is dated 1959. This ad…is one of a series of eight and is part of the very first actual campaign addressed to women. Our example is from Queen and Harper's Bazaar…An extraordinary campaign in many ways, it showed no product at all and the copy reads rather like blank verse. j. walter thompson news, vol 4, no. 3 (september 1985)
Hot, gorgeous live life,
With great big roses
and furs…
And cars waiting…
What did she need with the time?
It was a horrrid, precise
and completely unnecessary detail,
It wasn't feminine...
With the headiness of huge
hothouse orchids
And dazzled with diamonds,
Her rules for living were
The ringing of the telephone,
The thud of gilt-encrusted invitations
through the letter box…
She never chose to know the time…
It wasn't chic to know the time—until she had a Rolex
In the fifties, this haughty message had great appeal to the target segment of the British female market. These were upper-income women who formerly had associated the Rolex name with only masculine styling. The use of the cat, so frequently a symbol for the feminine sex, bejeweled with glamorous Rolex watches, helped change that image. six decades of jwt advertising, london exhibition (jwt news february, 1978)
The Eastern Jeweler and Watchmaker (No. 3-1963) features a 5-page supplement entitled “The Oyster and the Cat—a Moral Fable”, J. Walter Thompson states the theme of the Cat Campaign: It is
not unfeminine to know the time…A cat tells women this in witty fashion (appendix d).
The Cat campaign was the recipient of the 1960 Layton Award in the black & white category—the award was presented by H.R.H., The Prince Phillip, Duke of Edinburgh; the Layton Awards were short-lived
only lasting 1955–1963. Rosalind Hoyte illustrated the Cat campaign. Note: there is a ninth cat not appearing in the advertising campaign per se but appears in a 1962 Rolex ladies watch catalog.
To the Summit(s) & Happy Birthday
The J. Walter Thompson Agency in addition to serial-advertising-campaigns celebrated important occasions, i.e. acknowledging Rolex's alpine feats: “Tributes” for the Everest, Kangchenjunga & Makalu climbing expeditions and in 1956 the 75th anniversary of Hans Wilsdorf's birthday—Hans Wilsdorf was born March 22, 1881 and the full-page 75th anniversary notice appeared in the March 22, 1956 Bern (Swiss German-language) newspaper Der Bund under the heading: Wagnis und Abenteuer.
Rolex to tick U.S., '67 campaign readied
The January 27, 1967 JWT internal newsletter announces: “Rolex to tick U.S., '67 campaign readied”—the fecund campaign is the If you were climbing, skiing, racing, sailing etc. you'd wear a Rolex campaign.
Rolex Watch, an old client of the London office but a new one in New York, will be represented in the United States this year with a campaign along the lines of the advertisement you see below…Credits for the creative execution go to the London office. j. walter thompson newsletter (january 1967)
Knickers are in. Would it be an awful bloomer to wear a Rolex?
Fashion trumps watches—the “Knickers” advertisement in hindsight JWT calls an oddity. The Pucci (New Yorker Magazine, December 1968), Ungaro (New Yorker Magazine, November 1968) and Rudi (New Yorker Magazine, May 1968) advertisements have the respective taglines: “When Pucci dictates glitter…is it chic to flash a Rolex?”, “When Ungaro dictates ‘Le Western’…is it chic to ride with a Rolex?” and “When Rudi [Gernreich] dictates cutouts…is it chic to cut out with a Rolex?”—the answer is yes, yes, yes. The foremother of the 1968 “When fashion dictates…” advertisements was the November 1967 New Yorker Magazine advertisement: “When fashion dictates the belted look…are you right to strap on a Rolex?”—the tagline is sans designer but the designer was Jacques Tiffeau. An earlier Gernreich advertisement appeared in the October 30, 1965 New Yorker Magazine.
CHIC AND SLEEK—When Rolex decided to expand its line of ladies; watches, JWT-London…asked the NY-office to prepare a campaign for the U.S. market [featuring] a tie-in between the ultimate in the latest in fashion design—Gernreich, Ungaro and Pucci—and the ultimate in fine watches—Rolex…advertisements will appear in the New Yorker, American and European editions of Vogue… j walter thompson company news, vol 23, 1968
Take a Gernreich dress, add a Rolex watch, and you have a woman who knows what time it is—Thank you Rudi Gernreich. rolex advertisement, new yorker magazine, october, 1965
French-American couturiere Pauline Trigère (1908–2002) is featured in three Rolex advertisements (New Yorker Magazine: November: 1962, 1959 & 1977) and mentioned in a November, 1965 New Yorker Magazine Rolex GMT advertisement (“If you want to know more about Rolex watches…ask Pauline Tigère, Rudi Gernreich…or Pan American Airways”) and in a circa 1960s Mollie Parnis (American fashion designer) advertisement: “What to wear with a [Rolex]? Nothing less than a Mollie Parnis. or a Pauline Trigère…”
MY NAME IS PAULINE TRIGÈRE. I HATE TIME…I seldom wear a watch because I hate to be reminded how late I always am. But I assure you, when I have time on my hands…it's a Rolex. rolex advertisement, new yorker magazine, november, 1962
If Pauline Trigère's only legacy were her grooming—the thin, perfectly drawn mouth; the magnificently shaped brows; the sculptured hair whooshed behind one ear—it would be quite enough. For brittle, Gallic chic she will always be the gold standard. fabulous dead people | pauline trigère, new york times, february 28, 2011
Why on god's green earth didn't J. Walter Thompson and Rolex
give Francis Bacon and his GMT 1675 any love?
The Power of Myth—Wir sind Schaufensterpuppen
The golden-age of Rolex advertisements ≈1940s–1970s may have sold myths tethered to reality by gossamer thread…but 21st century Rolex is marketing delusion approaching an ersatz religion: the opium of the posuers: “I do not readily believe that any man having once tasted the divine luxuries of Rolex will afterwards descend to the gross and mortal enjoyments of Richemont or Swatch groups”; (apologies to Thomas De Quincey).
Used in black and white and color whole pages, in both popular and quality daily newspapers, the ad above [right], had to appear just before the peak watch-buying season. Purpose? Explain the Rolex Myth. The result achieved its aim as well as the following: • Concentration on Rolex craftmanship. • Selling the whole Rolex Range. • Excellent merchandising for the trade. j. walter thompson company news (january 1970)
Aegaeon, Eurybia, Glaucus, Thaumas—and the Rolex Submariner?
J. Walter Thompson did for the Rolex Submariner what Homer did for Odysseus—the Rolex Submariner is a very fine watch having passed the crucible of terra firma & tumida aequora but JWT took the Rolex Submariner from the forecastle to the captain's table—three score+ years of advertising (evangelizing) has made the Rolex Submariner the de facto “dive watch” archetype: the apotheosis of the Rolex Submariner can only in part be explained by its merits; the lion's share of the deification of the Rolex Submariner belongs to J. Walter Thompson—sometimes a watch is just a watch.
The only difference between an Omega Seamaster and a Rolex Submariner is J. Walter Thompson…the bastards. anonymous swatch group brand manager
…This use of advertising—to add a subjective value to the product…becomes increasingly important as the trends in our technology lead to competing products becoming more and more the same. james webb young (1886–1973): senoir consultant to j. walter thompson and founder of the advertising (ad) council
Beyond selling adventure and romance the Rolex Submariner has also been drafted to sell cigarettes and paper-cups—whether Rothmans International and the American Can Company were authorized (overtly or covertly) to display the Submariner or the companies went Rolex rogue is unknown to the author.
The Rise and Fall of J. Walter Thompson
The golden-age (1940s–1970s) of Rolex advertising is well past and the stalwart guardian of the Rolex myth J. Walter Thompson that gilded the golden-years may be burnishing the myth no longer; historically print-focused the agency grappled with the digital-age, its name erased in the 2018 Wunderman merger and losing clients e.g. Microsoft & Royal Caribbean, JWT no longer was able to rest on its laurels; whereas J. Walter Thompson's legacy and name carried a gravitas over the decades the agency was burdened and maybe buried by the same.
JWT never got a proper burial…we killed off a piece of American history… the rise and fall of j. walter thompson, the world's oldest advertising agency: business insider (11-28-2020)
It seems to the author the Rolex advertising campaigns of the 1950s–1970s had a je ne sais quoi antithetical to the 21th century campaigns. The older advertisements presented a myth (spirited with adventure and sprinkled with romance) whereas the modern marketing sells celebrity—not suprising given the Rolex of yesteryear were simply timepieces and the modern Rolex unabashed jewelry.
Note: The corporate archives of the J. Walter Thompson Agency are housed within the John W. Hartman Center for Sales, Advertising & Marketing History at the David M. Rubenstein Rare Book & Manuscript Library (Duke University); the J. Walter Thompson London office archives are located at the History of Advertising Trust (HAT) in Norfolk, England.
über-draft—not ready for publication
Eric Fraser & 1952 Rolex “Fantastic Stories” Advertising Campaign
“He saw something glitter in the earth; he stooped and picked it up—yes it was the pilot's watch.”
Nineteen fifty-two…saw the launch of a superb campaign…It reproduces quite brilliantly on newsprint, though doubtless it will have lost some of its sparkle by the time you see it reduced on these pages. A contemporary trade ad described the campaign like this: “For many many years letters telling fantastic stories of the strength and accuracy of Rolex watches have been pouring into Geneva—letters from men and women all over the world.” And at last Rolex have decided to use these well-nigh incredible stories as the basis of their press campaigns. All these stories are true, all are exciting, all are stories that customers will read—and discuss—and they'll ask for more. "With superb illustrations by Eric Fraser, this new campaign is destined to be the biggest thing ever in the history of watch advertising." the rolex oyster: 39 years of advertising history: j. walter thompson agency 1985 newsletter
The “Fantastic Stories” advertisements ≈ 1952–1954 illustrated by Eric Fraser appeared widely in the Illustrated London News, Punch Magazine, Eastern Jeweller & Watchmaker, Graphis Magazine & the Journal Suisse d'Horlogerie. The Horological Journal (May, 1952) announced the “Fantastic Stories” campaign (the announcement appeared in the May-Jun-Jul-Aug-Sep-Oct-Nov-Dec 1952 issues of the Horological Journal)…
AT LAST IT IS TOLD…the amazing story of Rolex
In this campaign the amazing story of Rolex is told in full for the first time. Here is the story of the diamond partners of Bahia (A Letter from Brazil); of an
intrepid Irishman who sailed his tiny boat across the Atlantic (The Arduous Voyage of the Cutter Ituna); of the amazing discovery of the divers who worked on the sunken Italian fleet (The Professor
of Milan)…and more—many more. It is the biggest thing in watch advertising.
Once again Rolex lead the field—once again they make it much easier for you to sell Rolex—the world's most famous wrist-watches.
There are ten stories (known to the author) of the Rolex “Fantastic Stories” advertisements, namely…
The Professor of Milan, Four years buried, River Incident (aka Indian Incident), A Letter from Brazil, 7 years under the sea (aka Under Greek Waters), The Proud Customer, The Forgery that saved lives, Forced Landing, The Arduous Voyage of the Cutter “Ituna” & Lost: 100! TCS Reward…
I think it is vital that an illustration should have visual impact…achieved by the vitality of the design, the contrasts of black and white masses, the strength of line and by the flowing continuity of lines or edges of masses. eric fraser, eric fraser: an illustrator of our time (pat hodgson, british gas, 1991)
Note: Please see appendix b for larger images of the “Fantastic Stories”: The Professor of Milan, 7 years under the sea (under Greek waters) & The Arduous Voyage of the Cutter “Ituna”.
Rolex “Fantastic Stories” advertisements appeared in a variety of background colors and hues—example: in 1955 issues of Estrella de Sur magazine advertisements were displayed with a yellow background and in 1953 issues of Belora magazine advertisements appeared in a bluish-hue. Eight of the “Fantastic Stories” appear in Graphis Magazine—more difficult to find are The Forgery that saved lives and Forced Landing which can be found in the 01-08-1955 and 02-27-1954 editions of The Economist ‡…please see appendix e for the back-story of The Forgery that saved lives.
‡ The author's gratitude to conmcn (Rolex forum member) for finding The Forgery that saved lives and Forced Landing in The Economist magazine—neither of these stories seem to have been widely published.
Alec Davis' comments on Eric Fraser's work from the book The Graphic Work of Eric Fraser are apropos of the “Fantastic Stories” illustrations and especially so the illustration for River Incident: the flowing garments and turbans are vintage Fraser.
The quality that is most characteristic of Eric Fraser's work as a whole is, in one word, richness: richness of detail and richness of texture…Full curves of limbs, deep folds of drapery, the sorcerer-shapes of retorts…—these are typical Fraser details, and the one thing common to them all is a richness bordering on exuberance. This is not a quality that one associates naturally with the medium for which he is best known, black and white…a complete technical mastery, which is evident in his ability to suggest texture…The flowing garments of the ancient Greeks…he returns to them time and again…and evokes their textures so skillfully with the pen that we almost hear the rustle of linen and the sururrus of silk.
The “Fantastic Stories” advertisements either display a Rolex Oyster Perpetual on the Oyster bracelet or the Rolex Oyster Datejust on Jubilee. The color version of the The Professor of Milan features a solid gold Oyster Datejust (the import of gold Rolex watches into England resumed about the time the colored version of the advertisement appeared). The advertisement descriptions of the watches are reproduced here…
THE ROLEX OYSTER PERPETUAL, a meticulously accurate watch whose movement is protected by the waterproof Oyster case and self-would by the silient Perpetual “rotor” mechanism. By keeping the watch fully wound it ensures an even tension on the mainspring and gives the movement a constant accuracy rarely obtainable in a hand-wound watch.
THE ROLEX OYSTER PERPETUAL DATEJUST, the highest achievement in watchmaking. The datejust is absolutely waterproof in its oyster case and self-wound by the unique Perpetual “rotor” mechanism. And it tells the date, clearly and automatically, in a neat cut in the dial.
This a Rolex Oyster Perpetual Datejust—and it is in a class by itself. The accuarcy is of the highest standard—Rolex standard. The waterproof Oyster case protects that accuary, and the Perpetual self-winding “rotor” safeguards it by maintaining an even tension on the mainspring.
It is difficult to know how long it took Eric Fraser to illustrate each “Fantastic Story” but quick work was part & parcel for Eric Fraser's Radio Times commissions: a story-line for a play, opera, radio programme etc. would be received on Friday and the illustration was due on Monday—the “Fantastic Story” letter is a story-line so-to-speak therefore it's conceivable the illustrations for the advertisments were not pyramid-building feats but the work of a master-craftsman used to deadlines—genuis makes the impossible appear easy to a mortal…
I think the challenge of having to produce a drawing in such a short time, worrying as it was…produced an ability to draw upon…reserves of energy…not normally used…as far as I was concerned, every commisision…from Radio Times was an emergency. eric fraser: an illustrator of our time, pat hodgson (british gas, 1991)
Radio Times 1962
Radio Times 1947
Radio Times 1963
Radio Times 1972
[Eric Fraser's] sense of scale is such, that even his small drawings are big, for he fills his alloted space, no matter what its size may be…with ample and commanding forms…he knows the value of empty spaces; how eloquent they may be. He loves pattern but uses it sparingly, as an enrichment in the most telling places. eric fraser: an appreciation, henry c. pitz (print magazine, august 1951, page 20)
A rose by any other name would smell as sweet
The advertisements pictured below circa early 1950s are two-fold interesting: the advertisements use Eric Fraser's “Fantastic Stories” 7 years under the sea illustration and the Donavan & Seaman's Jewelers (Los Angeles) and Alpha Photo (New York) advertisements refer to the “Submariner” respectively as “Frogman” and “Skindiver”—apropos of Romeo & Juliet is pictured a J. Walter Thompson advertisement for the 1954 movie adaptation of Shakespeare's play illustrated by Eric Fraser. Note: the William Shakespeare illustration by Eric Fraser is from William Shakespeare: The Complete Works illustrated by Eric Fraser: note the eccentric signature of the artist.
The Professor of Milan ★
Let us look at the The Professor of Milan advertisement (one of the most popular advertisements)—all the versions of the “Fantastic Stories” follow a similar format. The Professor of Milan advertisement appeared in the Illustrated London Times 5–6 times during 1952–1954, first appearing in black & white on October 18th, 1952 and a color version of the advertisement appeared on December 5th, 1953.
“They found it and brought it gingerly to the surface. And when on dry land they held it in their hands, they gazed at it with stupefaction”
But then—calamity! The strap buckle was loose, and it came undone. Vainnly the professor tried to save his watch; Sadly he saw it twinkle and diappear into the green depths of the sea. And he retumed to shore convined that his watch was gone for ever.
But back on shore he remembered the divers. They were working on sunken ships close to where he had been swimming. He asked them to keep an eye open for his watch.
The next time, they dived, a week later, they remembered that request, and looked around for the watch. And—yes they found it and brought it gingerly to the surface.
And when on dry land they examined it, they gazed at it in stupefaction. For the watch that bad lain on the sea bed a whole week was still keeping perfect time.
Incredible? Not at all. The watch was a Rolex Oyster Perpetual. The waterproof Oyster case had protected the movement form salt water and the clinging; insidious sand, and the Rolex Perpetual self-winding mechanism had kept it wound. The Rolex Rotor, the secret of the success of the Perpetual, does not work on the "jerk" principle. A complete semi-circle of metal, rotating on its axis,it turns and spins at the slightest movement. And in this case, it was the gentle motion of the sea.that actuated it!
Well, that's what happened to one particular Rolex watch, And the professor got his watch back unharmed. But now, he's careful when he goes swmming. For next time, there may be no divers to find it.
Doesn't apply to you? You're not likely to drop your watch in the Mediterranean? True—but all watches havo enemies—dust, damp, dirt, perspiration—and the the sort of watch that will tell the time at the bottom of the sea will hardly be affected by ordinary hazzards. And remember that the Rolex Perpetual isn't self-winding just to save you the trouble of winding it up A self-winding watch tends to be more accurate than a hand-wound watch because the tension on the mainspring is much more even, much more constant. Yes, a Rolex Perpetual is made to be accurate and stay accurate.
★ This is a true story, taken from a letter written by the professor concerned (Professor Cutolo of Milan University) to the Rolex Watch Company. The original letter can be inspected at the offices of the Rolex Watch Company, 18 Rue du Marché, Geneva Switzerland.
La nebbia a Milano? Non so, non l' ho mai vista. alessandro cutolo
The author is guessing the Professor of Milan is the adopted son of Milan Aldo Alessandro Cutolo (1899–1995): Professor Cutolo was born in Naples, taught medieval history at the University of Rome, in 1935 became the professor of Bibliography and Library Science at the University of Milan. In the 1950s–1960s Aldo Cutolo was the presenter on the Italian cultural show Una risposta per voi. Professor Cutolo may be wearing his Rolex Oyster in the picture…
The Professor of Milan advertisement appeared four times in Graphis Magazine (Nos. 39, 40, 47 and 55)…Graphis Magazine is a treasure-trove of Rolex advertisements—a Rolex advertisement appeared in 70 of the first 100 Graphis Magazine issues (1946–1962). Graphis Magazine was first published in 1944 by the graphic-designer Walter Herdeg (1908–1995) in Zürich, Switzerland: Herdeg was awarded the 1986 AIGA Medal—Herdeg-Rolex nexus: pictured is a Bucherer-St. Moritz souvenir Rolex spoon with the St. Moritz sun-logo; Walter Herdeg designed the St. Moritz sun-logo in 1934.
[Walter Herdeg has become]…a kind of graphic conscience of our age. manuel gasser (1909–1979), zürich-born art historian
To Walter Herdeg: Advocate of design, editor of international vision. 1986 american institute of graphic arts (aiga) medal dedication
Graphis Magazine No. 70 (1957) has a small section about Eric Fraser and features the The Professor of Milan Rolex advertisement (page 142), also shown is the Four years buried Rolex advertisement—according to the article Eric Fraser “estimates that, as a freelance, he [Fraser] has executed 6,000 separate commissions since 1925”.…
Intermezzo
C. Walter Hodges & Tudor—a parallel universe
The author notes: C. (Cyril) Walter Hodges (1909–2004) was a well-reputed British illustrator and Shakespearean scholar who like Eric Fraser attended Goldsmiths' College School of Art, was a fertile book illustrator, a regular contributer to Radio Times and shared the same representation agency R. P. Gossop. Similar to Eric Fraser's work on the Rolex “Fantastic Stories” campaign C. Walter Hodges did illustrations for the 1952 Tudor “Trial of Destruction” campaign—the campaigns similarly promoting the toughness of the watches.
Punished without Mercy! The Tudor Oyster Prince…was strapped to the wrist of a workman operating a pneumatic drill for 30 hours.
3 months' hammering! A Tudor Oyster Prince…was strapped to the wrist of a stone-cutter…for 3 months.
The Tudor “Trial of Destruction” advertising campaign included at least five individual “torture tests”—three more appear below—the illustrator(s) of the advertisements is unknown to the author as there appears no discernable signature whereas the Punished without Mercy! & 3 months' hammering! are clearly signed C. Walter Hodges.
Shock Treatment at the Coal-face 1,000 Miles of Merciless Vibration! Jarred beyond belief
7 years under the sea (under Greek waters) ★
The “Fantastic Story”: 7 years under the sea (under Greek waters) along with the Professor of Milan & the Arduous Voyage of the Cutter “Ituna” may be the best stories of the “Fantastic Story” campaign—7 years under the sea appears in Graphis Magazine Nos. 56 (1954) and 58 (1955)—the advertisement also appeared in magazines as Under Greek Waters.
“…I came upon it in the same crevice where I had last seen it seven years before…”
With the new equipment he was able to swin down to the sea floor. A short search of the weeds covering the rocks disclosed the watch in the same crevice where he had last seen it 7 years before. After a little attention, it kept as perfect time as it has always done.
The smooth-running, silient, self-winding “rotor” keeps the Rolex Oyster Perpetual fully wound automatically, if the watch is worn for as little as 6–8 a day. This constantly even tension on the mainspring makes for still greater accuracy.
★ This is a true story, taken from a letter written by Mr. D. F. Pawson. The original of which may be inspected at the offices of the Rolex Watch Company, 18 Rue du Marché, Geneva Switzerland.
The author could not find any information on D. F. Pawson (the 7 years under the sea letter writer) aside from the man being a sporting person based on two articles: the Sheffield Telegraph (January 1932) reports D. F. Pawson scores two goals for the Sheffield Bankers (3) over Baslow (2) in a Midland League Hockey match and the Sheffield Independent (June, 1931) reports D. F. Pawson survives an accident during the 1931 Irish Grand Prix (Saorstat Cup, Phoenix Park) along with Denis De Ferranti in their No. 30 750cc Austin Seven—Sir Malcolm Campbell (Rolex star of the 1930s) also raced in the 1931 Saorstat Cup finishing 9th in the No. 18 1100cc Riley Brooklands 9.
Several people had a fortunate escape from injury when a remarkable mishap befel the Baby Austin with De Ferranti and D. F. Pawson as drivers. As it rounded Mountjoy Corner the near side front wheel came off and plunged among the crowd. No one was hurt. The car came to a standstill. The driver and mechanic quickly put on the wheel and then drove back to the pits…[the team] decided to retire. the leads mercury, saturday, june 6, 1931
Carl Djerassi (1923–2015, noted chemist, poet & Paul Klee über-collector) writes in Der Schattensammler: Die allerletzte Autobiografie of seeing the Under Greek Waters advertisement in Time Magazine while in Panama (1954)…
…als plötzlich mein Blick auf eine Reklame für Rolex-Uhren fiel, deren Überschrift lautete: “Unter griechischen Gewässern”. Ein Sporttaucher—mit zwei Sauerstofflaschen auf dem Rücken und einem Mundstück, aus dem Luftblasen hochstiegen, um ihn herum Seeanemonen, Quallen und Tang, griff nach einer Armbanduhr zwischen den Korallen. Im Hintergrund schwamm ein einzelner Fisch.
Carl Djerassi did not believe the “Fantastic Story”: “Kannst du dir vorstellen, daß sich irgendjemand aufgrund dieses Ammenmärchens eine Rolex kauft?”—tearing the ad from the magazine he vowed to visit Rolex in Geneva to see the original letter written by D. F. Pawson; in August, 1955 Carl Djerassi did visit Rolex and was shown a binder containing ≈ dozen “Fantastic Story” letters written to Rolex including D. F. Pawson's letter written on his London Club stationary—still incredulous Carl Djerassi makes up his own story…
Ein Rhinozeros hat meine Rolex geschluckt
…Als ich am Ngorongoro-Krater bei den Massai kampierte, legte ich meine treue Rolex neben mein Feldbett. Während der Nacht kam ein Rhinozeros in mein Zelt gestürmt. In dem resultierenden Durcheinander sah ich, als ich meine Taschenlampe auf die Szene richtete, entsetzt mit an, wie das Rhinozeros meine Armbanduhr fraß. Als ich drei Jahre später mit dem Herzog von Bulloughshire nach Tansania zurückkam und wir gerade bei Tee und Gebäck vor unserem Zelt saßen, rief der Herzog aus: “Donnerwetter! Das Rhinozeros will uns angreifen!” Schon hatte ich mich auf ein Knie niedergelassen, mein Gewehr angelegt Ich hatte das Untier mit einem einzigen Schuß niedergestreckt; die überglücklichen Massai hatten den Kadaver enthäutet und zerlegt; Hyänen und Geier hatten die Überreste umkreist; zwei Tage später hatten wir ein tadellos sauberes Skelett mit einem glänzenden Gegenstand vorgefunden, in dem sich der Sonnenschein spiegelte.
Carl Djerassi notes that each “Fantastic Story” letter began: “Ich bin darüber unterrichtet, daß ich, wenn ich Ihnen eine originale Geschichte über meine Rolex-Armbanduhr einsende, von Ihnen eine neue goldene Rolex Oyster Perpetual erhalte.” (I have been informed that if I send you an original story about my Rolex watch, I will receive a new gold Rolex Oyster Perpetual from you.)
The British contribution to The International Geophysical Year (≈ 1957–1958) directed by the Royal Society was the subject of a 1957 Rolex advertisement (Rolex supplied watches to the
Royal Society)—the moonscape appearing in the advertisement is eerily similar to Eric Fraser's book-jacket moonscape for Franklyn Branley's 1965 Exploration of the Moon. The moonscape also
appears in a 1958 Rolex Explorer advertisement in the National Geographic magazine.
The author wonders if Eric Fraser may have been the illustrator for the 1957 Rolex advertisement.
The Arduous Voyage of the Cutter “Ituna” ★
The Arduous Voyage of the Cutter “Ituna” “Fantastic Story” is a favorite of the author…pure adventure albiet an unhappy ending. The tale of the Ituna surely raises the envy of any young man that wished to sail the seven seas. The voyage of the Ituna and its crew was well documented by the Irish Independent newspaper throughout the course of the voyage; many pictures of the ship and crew appear in its pages at various stages of the voyage. The only example of The Arduous Voyage of the Cutter “Ituna” the author could locate is from Graphis Magazine Nos. 45 (1953).
“…when I nearly lost my life, due to being knocked overboard at night, 800 miles from Bermuda…”
Stores and equipment were of the sketchiest. here was no radar, no intricate asdic; their navigational chronometer, for instance, was a wrist-watch. But it was no ordinary wrist-watch; its distinguished service proves that. “Its accuracy was such that after 2,800 miles at sea we picked up Bermuda…so exactly that we did not have to alter course one degree.”
And this, remember, was after the severest treatment. temperatures ranged from equatorial to near freezing point. The watch was continually exposed to salt spray; and “on one occasion when I nearly lost my life, due to being knocked overboard at night 800 miles from Bermuda, it was on my wrist. I was in the water for over twenty minutes, but the watch never lost a second.”
The performance that Mr. Jacob's watch put up was a wonderful achievement; but wonder lessens understanding at the realization that the watch was a Rolex Oyster Perpetual…Soldiers, airman, Everest climbers, young men in small boats—we've had letters from then all [praising the Oyster Perpetual].
★ This is a true story, taken from a letter written by Mr. Tony Jacob to the Rolex Watch Company. The original letter can be inspected at the offices of the Rolex Watch Company, 18 Rue du Marché, Geneva Switzerland.
In 1949 the American architect Frank Lloyd Wright invited three young Irish architecture students to Spring Green, Wisconsin to study architecture (Taliesin Fellowship). The students purchased the neglected Morecambe Bay Prawner Ituna (built Scotland 1912) for £150 planning on sailing the Atlantic in the summer of 1950. The crew members were Skipper Tony Jacob (22), Desmond Dalton (20), John Kenny (21) and Kevin O'Farrell (21). The Ituna and crew sailed from Rosslare Harbour in June, 1950, arriving in New York to great fanfare 100 days later (after calls at Brest, Vigo, Maderia, Canary Islands and Bermuda); Kevin O'Farrell & John Kenny refer to the subject of the Rolex advertisement (August, 1950 overboard accident)…
Ituna: New York City
September 24, 1950
Seascape—Rolex Jubilee Vade-Mecum, 1945
(Hans Tomamichel)
Ituna crew: Kevin O'Farrell, John Kenny,
Tony Jacob & Desmond Dalton
In the trades we had mainsail and squaresail set. The squaresail being set to at right angles to the mast. We hoisted the inboard end on the staysail Halyard, and the outboard end on the Jib Halyard. Unfortunately we suffered two jibs on this run and during the second one Tony Jacob was knocked overboard. We immediately got the Sq, Sail off her and put the helm up. He [Tony] had to swim the rest of the way. irish cruising club annual 1950, kevin o'farrell voyage of the ituna (pg. 8–17)
Following the cry “Man Overboard” we were horrified when we saw him [Tony] fade away into the distance as the Ituna spurred by the wind, began to streak away from the scene. account by crew member john kenny, irish independent (newspaper) september 9, 1950
Within days upon the Ituna's arrival in New York City the Irish Independent published a Rolex advertisement featuring the Ituna embarking on its voyage and Skipper Tony Jacob wearing a Rolex Oyster Perpetual—safe to assume the advertisement was on-the-shelf awaiting the hopefully safe journey of ship and crew. One wonders if Rolex “gifted” the Rolex watch to the young skipper for the voyage before setting sail?
The succesful voyage of the “Ituna” across the Atlantic with a crew of four intrepid young Irishmen has made the news headlines all over the world. The precision timekeeping necessary for accurate navigation was entrusted to a ROLEX Oyster Chronometer. Cables Skipper Tony Jacob from New York—“ROLEX OYSTER CHRONOMETER MAGNIFICENT UNDER DIFFICULT AND CHANGING WEATHER CONDITIONS”. The ROLEX Oyster, first and most famous waterproof wrist-watch in the world… rolex advertisement: irish independent newspaper, september 26, 1950 (page 3)
Irish Independent newspaper, September 26, 1950
Tony Jacob: Irish-assembled Jaquar XK120 (ZL 5983)
A sad epilogue to the “Fantastic Story”: Anthony (Tony) Jacob (1928–1953) embarked on a second trans-Atlantic voyage in May, 1952 in the rig-ketch Aisling from Galway, Ireland to New York, arriving in August, 1952. After the voyage of the Aisling Tony Jacob continued sailing the Atlantic—after finishing a voyage to the West Indies Tony was laid ill with polio and died of a heartattack on February 28, 1953 in Port of Spain, Trinidad; Tony Jacob was 25 years old.
über-draft—not ready for publication
Time, as he passes us, has a dove's wing, Unsoil'd, and swift, and of a silken sound;
but the world's Time is Time in masquerade! the task, book iv—william cowper, 1785
For the love of all creatures great and small…the end…
Kudos and sympathy to readers who plowed on this far
The 1952 Rolex “Fantastic Stories” advertising campaign was an alchemy of product, promotion and artist pen fusing to create what J. Walter Thompson called the biggest thing ever in the history of watch advertising: • the Rolex Oyster Perpetual had matured as a timepiece, its aesthetics & mechanics remaining more-less-less constant three-score and ten years later • J. Walter Thompson was at the forefront of modern marketing, shepherding Rolex into its golden age of advertising • Eric Fraser was at the zenith of his artistic talent (if it ever wained at all)—the “Fantastic Stories” advertising campaign stands apart: • the only Rolex marketing campaign to be announced in the Horological Journal (for eight-consecutive months) • the rare event of Rolex ad hoc recognizing the artist • unlike Mercedes Gleitze and Malcolm Campbell, the “Fantastic Stories” letter-writers are more-or-less lost to history…only Eric Fraser's illustrations for posterity.
Oyster Perpetual c. 1950 & 21st century
Mercedes Gleitze & Malcolm Campbell
The Professor of Milan (EF)
The facts of Eric Fraser's life can be simply stated, for he has led a relatively simple life…no stories of wild nights in Monparnasse, no travelers tales…of the midnight sun. He has not travelled widely: with his fertile imagination and his feeling for time and space, he has never felt the need to. the graphic work of eric fraser, alec davis (uffculme press, 1985)
Eric Fraser's illustrations for the “Fantastic Stories” weave tales from New Jersey, Brazil, Italy, Thailand, Greece, Pakistan, England and a WWII POW camp, across oceans, seas and rivers into a tapestry of horological tribulations transcending mere marketing—the “Fantastic Stories” illustrations stand as art in their own right sans the promotion of a product as Eric Fraser's art (along with the wiles of J. Walter Thompson & the prowess of Rolex) helped forge a Rolex mythology from a piece of metal: a mythology tenancious for many decades but now tenuous as Rolex watches once hailed for being battered, bashed and beaten have largely become fancy trinkets for fanciful men; coveted like Gollum's precious, though to make themselves visible rather than not—Eric Fraser's illustrations hearken to an era when myths sparked dreams; but alas the coronet's twinkle stygian; a tin tiara for hollow men.
appendix a
Eric Fraser & Everest Leader's Tribute to Rolex
The author would be remiss if not mentioning the 1954 “Everest Leader's Tribute to Rolex” for which Eric Fraser did the illustration of Edmund Hillary and Tenzing Norgay making their final ascent to the summit of Mt. Everest. Though maybe not familiar with the artist, hardly a Rolex fan is a stranger to Fraser's drawing as the illustration has appeared in multiple magazines, reproduced often by Rolex hobbyists and the Rolex website features an enlarged detail of the drawing. Pictured (three variations): proof copy of the “Tribute” (published Belfast Telegraph June, 1954), llustrated London News (November, 1954) and Der Bund newspaper (December, 1953)…
Rolex tribute announcement, final proof (https://www.rolex.com/watches/new-watches/exploration/rolex-and-exploration.html accessed 9/21/2021)
Everest Leader's Tribute to Rolex
ON MAY 29TH, 1953, the British Everest Expedition, led by Brigadier Sir John Hunt, finally reached the summit or Mount Everest. Rolex Oyster Perpetual watches were supplied to the expedition. Sir John pays this tribute to Rolex,
"The Rolex Oyster Perpetual watches, with which members of the Britrsh team were equipped, again proved their dependability on Everest. We were delighted that they kept such accurate time. This ensured that synchronisation of time between the members of the team was maintained throughout."
"And the Oyster case lived up to its reputation, gained on many previous expeditions for protecting the movement. Our Rolex Oysters were complelely waterproof, unharmed by immersion in snow, and withstood the extreme change of temperature from the warm humidity of the foothills to the great cold at the high camps."
"Last, but not least, the Perpetual selfwinding mechanism relieved the team from the trouble of winding their watches. At heights of over twenty-five thousand foot this is really necessary, because the mind slows up and such details as winding watches can be forgotten. There was no need either to slip off warm gloves to attend to this detail."
"As I have emphasized before, this expedition was built on the experience and achievement of others. Rolex Oyster watches have accompanied many previous pioneering expeditions. They performed splendidly, and we have indeed come to look upon Rolex Oysters as an important part of high climbing equipment."
Eric Fraser's only mountain-climbing illustration prior to the “Everest Leader's Tribute to Rolex” was the illustration for Radio Times' radio adaptation of Joanna Cannan's 1931 psychological thriller Ithuriel's Hour—the book concerns the fictional 27,000 ft. Chowo-Kangi (Himalayas) which plays the roll of Mt Everest. The illustration appears in the June 30th, 1939 Radio Times program guide (lower-right).
appendix b
Eric Fraser & “Fantastic Stories”
“Fantastic Stories”: The Professor of Milan, The Arduous Voyage of the Cutter “Ituna” & 7 years under the sea (under Greek waters)…note the subtle differences in the color version of The Professor of Milan versus the B&W: the red-hatted sailor is pointing directly to the watch, the curl of the hose near the feet of the blue-hatted diver is smaller, the green-hatted sailor's hands are rendered differently, the signature is slightly different and there are small variations in the rigging behind the sailors.
appendix c
Eric Fraser and J. Walter Thompson's Inaugural 1947 Rolex Campaign
Eric Fraser did the illustrations for the Swiss landscapes & cityscapes for the J. Walter Thompson Agency's 1947 inaugural Rolex campaign. The three advertisements pictured appeared in Graphis Magazine Nos. 23–25 (1948-1949). The enlarged advertisements feature: Lucerne, Hofkirche & Mount Pilatus and Montreux, Château de Chillon.
…More conventional consumer advertising began [in 1947]…with very fine line drawings of Swiss scenes and of the watches…Each ad in this quite long series deals with a particular attribute of the Rolex Oyster—Perpetual Motion, the Superlative Chronometer Certificate, the date change on the stroke of midnight and so on. We also made a point of including a catalogue of Rolex “firsts”, such as first water-proof watch. It was an impressive list even then. And it has grown since. j. walter thompson news, vol 4, no. 3 (september 1985)
appendix d
The Oyster and the Cat—a Moral Fable
The Eastern Jeweller and Watchmaker No. 3-1963 (page 71–75) featured a 5-page section of the Rolex Cat Campaign entitled “The Oyster and the Cat—a Moral Fable”—accompanying seven of the advertisements was a publicity record of the qualities and faults of the campaign—QUALITIES: • sophisticated but likeable • the fine drawings, etc.; FAULTS: • risk of monotony with such a specialized theme • difficulty to find successor with equal presence etc. A longish poem of a fashion appears, no part of which appears in any of the Cat advertisements.
The oyster maid
Drew back as waves came dashing by.
Tough and robust
The oyster shell
Clamped down to keep the water out.
Rolex the Rex
Spoke to his team:
“This oyster shall our shall our mascot be.
“Copy its shape
“Study the works
“And make a blueprint of the heart.”
And this is how
That prodigy
The Rolex Oyster watch was born.
Handsome of line
And what is more
It could be washed like you and me.
Men everywhere
Expressed delight
Women looked on and felt left out:
“The oyster watch
“However smart
“Looks heavy on our fragile wrists.”
To know the time
They borrowed watches from their friends.
(How came this then
Did Rolex Rex
Not cater for the fairer sex?
It was not so.
Day after day
Brilliant-set models were designed
And every kind
Of bracelet watch
To grace my lady's slender hand
But Oyster had
Made such a name
That other models went unseen)
Said Rolex then:
“We must devise
“A mascot for the ladies too
“That will convey
“Luxurious taste
“And splendid lazy opulence.
“Noble and proud
“Disdaining time
“Graceful and supple walks the cat.
“For ladies fair
“Who seek for beauty first of all?
“We'll launch for them
“An ad. campaign
“Featuring a bejewelled puss.
“Dazzling, superb,
“A radiant queen
“Wearing her gems with stately grace
“Our feline friend
“Will show Eve how
“Time can be clothed in elegance.
Some envious chaps
Now rose and said:
“Cats are just good for eating mice.
“To sell a watch
“You must use words
“Like impulse pin and sliding stud.
“Or, better still
“Some high technique
“That only we can understand.”
He laughs the best
Who laughs the last
The Rolex cat is laughing still.
appendix e
Rolex Fantastic Story advertisement: The Forgery that Saved Lives
Changi Gaol 1944 forging "Rolex" watchChangi Cross
A note regarding the "Fantastic Story" Rolex advertisement The Forgery that saved lives: the subject of the advertisement Edward (Ted) Porter (1908-1992) (Royal Artillery & Royal Electrical and Mechanical Engineers) spent 1944–1945 in the Japanese P.O.W. camp Changi Gaol (Singapore); Ted Porter's Rolex story is recounted in the advertisement…
Normally, we should have been horrified to hear that the Rolex trade mark had been forged on inferior wrist-watches, which were then sold for fabulous sums.
In this case we were flattered! Because by committing this fraud, a man had helped to save many lives in the dark and perilous days of the war.
In 1942, Mr. Edward Porter (then Private Porter) was captured and incarcerated in a P.O.W. camp. Food was practcially nonexistent, clothing scant and medical supplies scarce. Only by selling their few treasured possessions to the guards, could the prisoners obtain money to buy…such food and medicines as friendly natives could provide.
It was soon discovered that the object most prized of all by the guards was a Rolex watch. Porter, whose skill with makeshift tools had become a byword, was asked by his fellow prisoners to “transform” their lesser known watches into Rolex watches.
“I therefore set to work,” he writes, “engraving the Rolex trademark on watches of similar design, and inscribing Rolex on the watch dials with indian ink.”
A profile (A Tribute to Ted) of Edward Porter by Brian Porter (brother, son, grandson?) [Roll of Honour (Britain at War)] recounts Ted Porter's WW II saga; the author has included the sections relevant to the Rolex advertisement…note: the profile included Eric Fraser's illustration with a handwritten caption: Changi Gaol 1944 Forging “Rolex” watch.
In June 1944, along with 729 other prisoners, Edward was being transported by the Japanese ship "Harugiku Maru", from Belewan to Pakanbaroe, Sumatra, to work on building a railway, through swamps and jungle, across Sumatra. En route on the 26th June, the unmarked ship was torpedoed by a British submarine, HMS Truculent, completely unaware of the human cargo. Edward was trapped by a beam that fell across his legs, but a second torpedo blew the ship further apart and he found himself outside in the sea, where he was rescued by a North Korean guard who was on a piece of wreckage. They were picked up by another Japanese ship and due to his leg injuries, Edward eventually ended up in Singapore's Changi Jail, rather than the terrible life threatening conditions of the Pakanbaroe railway.
It was in Changi that he became friends with Russell Braddon, who wrote the book "The Naked Island" and Ronald Searle, who did the illustrations for the book. Edward is mentioned in the book (not by name) as the individual who skillfully re-engraved pens and watches so that the Japanese believed them to be Parker pens and Rolex watches.
Rather than just confiscate them, these world renowned products had to be purchased and the money raised was used to buy medical supplies stolen and smuggled into the Jail by local Malays. (As an aside, after the war, Edward was contacted by Rolex, via the War Office, who then ran a worldwide advertising campaign on his story and how the Japanese valued the Rolex trademark). In April 1945 he was moved to Adam Road POW Camp and it was from here he was liberated on 19 September 1945.
Russell Braddon (1921–1995, b. Australia) was held prisoner by the Japanese at Pudu and Changi prisons between 1942–1945; at Changi Gaol Braddon become friends with Edward Porter. Braddon's 1952 war-time memoir “Naked Island” mentions Edward Porter's Rolex forgeries: excerpted from the book are two snippets that mention Rolex…
Page 249: And one man [Edward Porter] made a small engraving machine which could be used to inscribe “Rolex Waterproof” on the back and face of even the cheapest watch so that it became worth thousands of dollars on the black market.
Ronald Searle (1920–2011) the British illustrator spent 16 months at Changi Gaol where he befriended Edward Porter; Searle's Changi Gaol sketches chronicle the stark life in the Japanese prison camp…note the far-left picture is a self-portrait while imprisoned by the Japanese. Ronald Searle like Eric Fraser did illustrations for Radio Times and likely knew each other as both were well-known illustrators in 20th century Britain.
über-draft—not ready for publication