Louis-Théophile Hingre’s Théophile Roederer & Co. Champagne, created in 1897, centres its appeal on an elegantly adorned woman raising a shallow champagne coupe. She stands amid yellow irises, trailing foliage and ornamental flourishes, her jewellery and flower-strewn costume picked out against a luminous field of gold, cream and warm yellow. Above her, the name of the champagne house forms a broad typographic arch, making figure, flowers and lettering part of a single richly decorative design.

The poster belongs to the flourishing commercial culture of fin-de-siècle France, when the streets and public spaces of its cities became galleries for increasingly ambitious advertising. Champagne was especially suited to this visual language: producers could associate their names not simply with a drink, but with ceremony, sociability and fashionable refinement. Hingre’s design exemplifies the period’s image-led approach, allowing an alluring central figure and a carefully orchestrated palette to carry as much persuasive force as the written message.

A closer look

The tall format gives the woman an almost emblematic presence. Positioned squarely in the foreground, she is framed rather than enclosed by the surrounding flowers; the yellow irises on the right rise beside her in a loose vertical rhythm, while leaves and vines soften the lower corners. Overlapping petals, foliage and fabric create shallow layers of depth without disturbing the poster’s clear, immediate silhouette. The coupe is held prominently, its rim and reflective surface rendered with unusual clarity amid the more stylised ornament.

Much of the design’s character lies in its balance between symmetry and organic variation. The central figure establishes a stable axis, while the floral forms curl and spread more freely around her. Pink blossoms punctuate the predominantly golden composition, and restrained green leaves provide a cooler counterpoint to the surrounding warmth. Fine details reward closer attention: small floral motifs appear within the broader scheme, folds and shadows give weight to the dress, and delicate jewellery catches the light around the figure’s head and neckline.

Typography is integral to the composition rather than an afterthought. “Champagne Théophile Roederer & Co.” follows the curve of the upper border, visually crowning the figure, while “MAISON FONDÉE EN 1864” appears below. This arrangement establishes a direct hierarchy: the brand name first, its personification in the centre, and the declared date of establishment beneath. Ornamental corner flourishes and a thin dark outline hold the abundant decoration within a crisp graphic frame.

Context and significance

By the late nineteenth century, the illustrated advertising poster had developed into a distinctive meeting point between commerce and public art. Bold contours, memorable figures and simplified colour relationships were practical means of attracting attention at a distance, but they also gave artists considerable scope for decorative invention. Hingre’s poster turns the act of drinking champagne into a carefully staged visual identity: the raised glass suggests a toast, while flowers and jewellery connect the brand with festivity and cultivated luxury.

Its effectiveness comes from this economy beneath the ornament. However intricate the irises, dress and border become, the essential message remains immediately legible. The woman, the coupe and the arched company name operate together as a compact emblem of celebration—a persuasive example of how late nineteenth-century advertising could make typography, figure and decoration speak with one voice.

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 18x36in (45x90cm) 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.