T h e S t o r y o f M e d i c a l A dvertising i n A m e r i c a relying on sales from professional recommendation. These budgets, however, were the province of the manufacturer's advertising department, which often had its own creative staff, and in a way competed with agencies for the limited hinds available. Given sizable "in-house" operations, it is understandable that a number of founders of early medical agencies started their careers at these companies. A notable example is the presence of Arthur E. Sudler and Matthew J. Hennessey at the advertising department of E.R. Squibb in 1934 when Hennessey joined the company. In describing the nature of the work, Hennessey recalls, "In those days, the major emphasis was on what Squibb referred to as "home necessities"—Squibb Cod Liver Oil, Dental Cream, Milk of Magnesia, etc. The pharmaceutical specialties were not promoted then except through the detail force. Most of our activities were designing window displays, in-store materials and sales promotion for the sales force."4Although professional advertising was secondary, enough promotional business existed for Sudler to leave Squibb in 1936 to set up an art studio. Hennessey joined him and Squibb was one of their first clients. Another legendary name in medical advertising began on the company side. Dr. Arthur M. Sackler, after earning his medical degree from New York University, Arthur E. Sudler ( 1905— 1968) As a young man, Arthur Sudler aspired to be a fine arts painter. He attended art school studying under such famous teachers as John Sloan and Robert Henri. But his career collided with the Great Depression and he went to work in the promotion department of Squibb, where he advanced to creative director. In 1936, he set up his own art studio with Squibb as his first client. Although he continued to paint, Sudler’s artistic drive was now expressed through the work of his studio. When the boom in prescription drugs arrived after World War II, Sudler & Hennessey, given the Squibb experience, was ideally positioned to catch the wave, evolving into a full service advertising agency in 1953. However, Sudler did more than go with the flow; he established its direction. His knowledge of art, his taste and his respect for talent produced a remarkably productive creative environment. He hired outstanding designers, developed others into creative stars, and bought the work of notable artists for use in pharmaceutical campaigns. S&H became a mecca for those dedicated to creative excellence with such notable designers on staff as Herb Lubalin, Ernie Smith, George Lois, Dick Jones, Arthur Ludwig, Helmut Krone and Sam Scali. Sudler set a high standard—the integration of art and copy, and reader involvement achieved through provocative, impactful graphics. His talent was the basis for “the pharmaceutical look,” —a style which was followed by a generation of writers and designers and is still with us today. 17
RkJQdWJsaXNoZXIy NDMwNDAx