Champagne Veuve Clicquot, published in 1900 from an 1883 design by the Dutch artist Arnold van Roessel, presents luxury through a remarkably economical arrangement of lettering, colour and objects. Against a deep red ground, the pale words ‘CHAMPAGNE’ and ‘VEUVE CLICQUOT’ command the composition, while a dark bottle rises from an ice bucket beside two waiting glasses. Cream, black and gold-toned accents temper the intensity of the red, giving the poster both immediate impact and an air of ceremony.

Van Roessel’s design belongs to a period in which the advertising poster was becoming an increasingly distinctive form of public art. Commercial images had to be legible at a glance, memorable at a distance and persuasive without lengthy explanation. Here, the product is presented not simply as a bottle but as the centre of a carefully staged occasion. Veuve Clicquot’s established association with Champagne gives the design its subject; Van Roessel’s contribution is to translate that reputation into a concise visual language of abundance, polish and anticipation.

A closer look

The eye first meets the broad, rounded letters at the top. Their pale colouring stands sharply against the saturated background, while the decorative outline around them increases their graphic weight. ‘CHAMPAGNE’ announces the category before ‘VEUVE CLICQUOT’ identifies the house below, creating a clear hierarchy that can be understood almost instantly. Rather than competing with the illustration, the typography forms part of the architecture of the poster, enclosing the central objects within a strong vertical rhythm.

Below the lettering, the black bottle provides the composition’s darkest and most emphatic shape. Its upright silhouette is set into the lighter ice bucket, whose highlights suggest a reflective metallic surface despite the poster’s largely flat treatment of colour. Two slender glasses occupy the lower right, their fine rims and stems offering a delicate counterpoint to the bottle’s mass. Their placement is especially effective: empty and poised for use, they introduce the suggestion of an imminent pour without requiring a figure or narrative scene.

An ornamental lantern-like form in the upper left adds a more intricate note. Its curling dragon motif contrasts with the poster’s otherwise broad outlines and simplified shapes, rewarding closer attention without disturbing the clarity of the central message. Across the design, minimal shading preserves a crisp, graphic character. Depth is created less through naturalistic modelling than through overlap—the bottle within the bucket, the glasses set alongside it—and through the controlled alternation of dark forms and pale lettering against red.

Context and significance

By the end of the nineteenth century, posters had become a conspicuous part of modern urban visual culture. Improvements in commercial reproduction and the growth of branded consumer goods encouraged artists and designers to develop images that could combine information with decorative appeal. Beverage advertising was particularly suited to this language: a name, a bottle and the accessories of serving could evoke sociability and refinement with exceptional economy.

Van Roessel’s design demonstrates how effectively such posters blurred the boundary between illustration and graphic design. The composition does not depend on a detailed setting, fashionable figures or an elaborate anecdote. Instead, bold lettering, a restricted palette and a handful of carefully chosen objects turn the Veuve Clicquot name into the visual focus. The result retains the directness of an advertisement while offering the balance, line and chromatic assurance that made turn-of-the-century poster design an art form in its own right.

Choosing the right size and finish

Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.

If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.

The model in the listing images is holding the 18x24in (45x60cm) version of this art print.

Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.

Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.

Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.

Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.

Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.

This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.