Ferdinand Freiherr von Reznicek’s Champagne Plusquin Feu, created in 1908, turns a celebratory toast into a compact piece of theatrical advertising. Two fashionably dressed figures lean towards one another at the centre, their raised glasses and broad smiles set against an emphatic field of scarlet. Above them, the word “CHAMPAGNE” appears in large white serif capitals; below, the name “PLUSQUIN FEU” completes a bold graphic structure in which figure, lettering and product are immediately legible.

Reznicek was known for witty illustrations of fashionable society and modern urban life during the Belle Époque. That experience is especially suited to this poster, which sells champagne through social performance rather than through vineyards, cellars or production. The drink is presented as part of an elegant encounter: animated, flirtatious and public. Made at a time when illustrated advertising had become a vivid feature of European streets and popular culture, the design combines the polish of society illustration with the directness required of a commercial poster.

A closer look

The couple’s closeness gives the composition its energy. The man’s dark evening clothes form a crisp visual anchor, his black jacket and white shirt sharply distinguished from the surrounding red. Beside him, the woman’s pale, ruffled dress opens out in soft folds, enlivened by warm yellow accents. Her elaborate coiffure, arranged in curls and crowned with an oversized feathered accessory, extends the scene’s sense of fashionable display. Their flushed cheeks and open expressions keep the elegance from becoming overly formal.

Small highlights along the rims and bowls of the champagne glasses make the toast sparkle against the flat background. Reznicek balances these delicate details with broad, economical areas of colour: scarlet, creamy white, black and touches of gold. The contrast between the smooth severity of the man’s tuxedo and the more elaborate texture of the woman’s dress gives each figure a distinct silhouette, even though they overlap closely.

At the lower left, the champagne bottle acts as both foreground object and commercial signature. Its pale label carries decorative lettering and a coat of arms, while the fuller inscription along the bottom identifies “C. PLUSQUIN & CO. REIMS & CHAZELLES.” The typography is carefully tiered: the generic product commands the top, the advertised name dominates the lower panel, and the company information occupies a smaller register beneath. A narrow pale border contains the saturated colour and gives the whole design the appearance of a brightly lit stage.

Context and significance

Champagne advertising of this period frequently linked the drink to sociability, refinement and spectacle. Reznicek’s solution is particularly economical: there is no elaborate interior and almost no narrative setting. Instead, clothing, gesture and expression supply the social context. The simplified red ground eliminates distraction while ensuring that the pale faces, glasses and evening dress remain visible from a distance.

The poster also demonstrates how closely commercial art could intersect with contemporary illustration. Its figures possess the character and social observation of a magazine scene, yet every element serves a clear advertising hierarchy. The result is not merely a portrait of champagne as a beverage, but a sharply composed glimpse of the fashionable rituals with which it was associated in 1908.

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 24x36in (60x90cm) version of this art print.

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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.

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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.