Auguste Bénard’s 1906 poster Vve. A. Vinckenbosch & Cie, Hasselt, Genièvre, Liqueurs turns an advertisement for spirits into a scene of collective good humour. Six figures cluster around a round table, raising slender glasses while a waitress approaches with further drinks. Warm browns and creams give the gathering an easy conviviality, enlivened by green, red and deep blue accents; beyond the company, a window opens unexpectedly onto sailing ships and pale sky.

Created by the Belgian designer and lithographer during the Belle Époque, the poster belongs to a period when commercial advertising was becoming an ambitious branch of urban visual culture. Bold lettering, decorative borders and narrative illustration worked together to make a manufacturer immediately recognisable. The location named here is particularly apt: Hasselt has a longstanding association with jenever, the juniper-flavoured spirit identified in French as genièvre. Rather than presenting bottles in isolation, Bénard gives the drink a social world—animated, sociable and rich in character.

A closer look

The composition is built around the circular table in the foreground. Its curved edge draws the figures together, while the raised glasses repeat a delicate vertical rhythm across the centre. Faces turn towards one another rather than towards the spectator, creating a chain of gestures and glances. Beards, scarves and varied clothing distinguish the drinkers as individuals; on the right, a man holding a bottle leans into conversation with a figure in a blue scarf. The bottle’s carefully articulated label makes the advertised product part of the action without disrupting the scene.

At the upper left, the waitress balances a tray of drinks, extending the gathering beyond the immediate toast. Her elevated position offsets the denser group seated below, helping an asymmetrical arrangement feel poised rather than crowded. The soft tonal modelling of faces, fabric and glass gives the figures a rounded, almost painterly presence, while flashes of reflected light in the pale drinks sharpen the centre of the composition.

The window at the right provides a second, quieter scene. Its bars frame a light-blue opening in which masts and sailing vessels appear at a distance, setting airy cool colour against the warm interior. Below, the illustration yields to the poster’s forceful graphic architecture: the company name is announced in red above, while “Genièvre • Liqueurs” appears in large white lettering against a dark brown field. Image and typography are tightly integrated, with the surrounding border holding the convivial episode and commercial message within one emphatic design.

Context and significance

Early twentieth-century beverage posters had to do more than identify a product. In a competitive marketplace, they attached goods to memorable moods, settings and social rituals. Bénard’s solution is to associate Vinckenbosch & Cie with hospitality and shared pleasure: the drink is repeatedly visible, yet the dominant impression is of conversation, abundance and fellowship. Even the distant ships broaden the scene’s imaginative reach, suggesting a world extending beyond the room without requiring a specific narrative.

The poster’s appeal lies in this balance between close observation and direct commercial impact. Small details—the patterned scarf, expressive faces, glass highlights and bottle label—reward scrutiny, while the strong blocks of lettering remain legible at a glance. It is both an advertisement for a Hasselt distiller and an engaging record of Belle Époque graphic culture, when illustration and typography were brought together to give a brand its own distinctive atmosphere.

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.

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The model in the listing images is holding the 24x36in (60x90cm) version of this art print.

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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.