Selling sophistication: the artistic legacy of early cognac advertising

As competition intensified and international markets expanded, cognac producers turned to advertising not just as a means of promotion, but as a way to craft a compelling narratives around their brands. Of all the formats that emerged at the turn of the 19th and 20th centuries, none proved as impactful or enduring as the illustrated poster, which drew the attention of passersby with its vivid colours, striking compositions, and immediate visual appeal in bustling public spaces.

Changes in trademark legislation in 1857 and the ever-growing demand for eaux-de-vie ignited a race among cognac producers to forge distinct identities, each house eager to leave its mark on a crowded and competitive market. This momentum only accelerated in the aftermath of the phylloxera crisis when waves of counterfeits threatened to erode consumer trust. Crucially, this era also marked a turning point: rather than shipping their spirit in anonymous casks, cognac houses began to take ownership of both the bottle and the label. One of the most effective ways of asserting authenticity and distinction were advertising posters, which became a vital tool for shaping public perception and building lasting brand recognition.

Advertising in the second half of the 19th century underwent a major transformation, moving from simple informational notices in newspapers and trade publications to more strategic and emotionally driven forms of brand promotion. Producers used everything from printed labels, trade cards, and press inserts to elaborate shop signs and promotional giveaways — laying the groundwork for more visually impactful formats that would soon follow. Among these, the printed poster emerged as perhaps the most powerful and enduring medium.

The earliest known cognac poster, printed on blue brushed paper (ca. 1825). Attributed to a Parisian firm Paulot & Carré

Because posters could convey messages quickly and effectively, they became crucial in an increasingly competitive visual environment. This era marked a cultural shift from a predominantly text-based society to one that was more visually oriented, driven by emerging media such as photography and, later, cinema. In response, posters evolved to capture attention through employing bright, often non-naturalistic colours, unconventional figure arrangements, and a dynamic fusion of text and image.

Advances in image-producing technologies enabled the widespread creation of new visual styles and compelling promotional imagery. In particular, the development of colour lithography made it possible to mass-produce vivid advertising posters. Of course, block printing – a traditional printmaking technique where an image or pattern is carved into a wooden block, inked with coloured ink, and pressed onto paper or fabric – was already well suited to this use, and indeed, there were isolated examples of poster advertising in the first half of the century. But it was not until the second half of the 19th century that colour printing became commercially viable.

Advertising poster Cognac Bisquit by Alfons Mucha (ca. 1899)

During the Belle Époque (roughly 1871-1914), the growth of a consumer middle class with high disposable income significantly intensified the demand for upscale goods. Producers of such goods – including cognac makers – began investing more in advertising to differentiate their brands and appeal to this emerging market. In an effort to stand out, they started commissioning famous contemporary artists to create visually striking images, marking the birth of the modern advertising poster. This collaboration with the art world brought bold colours, innovative compositions, and a fresh aesthetic sensibility, transforming posters from simple announcements into powerful tools of brand identity and consumer persuasion.

Several major artists of the time became well-known for their advertising posters. These included, for example, such prominent representatives of the Art Nouveau movement as Jules Chéret (1836-1932), Henri de Toulouse-Lautrec (1864-1901) and Théophile Steinlen (1859-1923), all of whom worked with commercial brands. Brandy was not an exception – a lavish, ornate advertisement for Cognac Bisquit by the great Alfons Mucha (1860-1939) originates precisely from this era.

Cognac Jacquet advertising poster by Camille Boucher (created before 1891). Printed ca. 1910 by Imprimerie Vercasson in Paris

Another vibrant example of an Art Nouveau advertisement is the striking and beautiful poster created for Cognac Jacquet by the French artist and lithographer Camille Bouchet (1799-1890). It features a peacock resting its talon on a bottle of cognac, proudly displaying its colorful plumage. The bird’s graceful elegance came to embody the brand itself: the poster quickly gained popularity and became closely associated with Jacquet, prompting the company to replace its classic white label with one featuring the peacock — making it a central element of the product’s visual identity.

Cognac Continental Paul Dubois & Cie by Leonetto Cappiello (ca. 1905)

Lautrecian influences are evident in one of the early posters by Leonetto Cappiello, created for Paul Dubois & Co at the very beginning of the 20th century. Leonetto Cappiello (1875-1942), a painter, illustrator, and designer, was one of France’s foremost poster artists. Born in Livorno, Italy, and later naturalized as a French citizen, Cappiello began his career contributing to satirical magazines such as Le Rire and L'Assiette au beurre. He quickly excelled in his craft and emerged as one of the leading caricaturists in Paris. However, it was his innovative poster work that truly established him in the art world.

Cappiello designed hundreds of advertising campaigns and collaborated with numerous producers of alcoholic beverages, including many absinthe and anis makers, various Champagne houses, Bénédictine, Campari, Cinzano, Marie Brizard, as well as beers and ciders. He truly revolutionized the advertising poster with his bold use of vibrant colours and striking drawing technique, consistently emphasizing a single central figure at the heart of his compositions. Cappiello believed that a successful design is driven not just by decorative details but by a dynamic underlying structure that provides coherence and expressive power.

Cognac Jules Robin & Cie, a poster by Leonetto Cappiello. Printed in 1911 by Vercasson & Cie in Paris

His cognac posters are a clear example of this approach. One such example is the poster he created for Jules Robin & Cie, where he personified the cognac bottle as a monarch, draped in an ermine cloak and topped with a stately crown. Surrounding him are pages taking the form of brandy glasses, reinforcing the drink’s aura of sovereignty and commanding presence.

The regal theme was carried forward by Cappiello in another poster, this time for Henry Mounier, which depicts a king seen from behind, adorned with his crown and fur-lined mantle, savouring a glass of Mounier cognac – an exquisite libation befitting his noble stature. Raising the elegant bottle high into the air, he seems to proclaim, without words, the grandeur and timeless tradition of this distinguished drink.

Cognac Henry Mounier by Leonetto Cappiello (ca. 1910). Vercasson & Cie, Paris

Cappiello fully recognized that the way to draw people’s attention was to present them with unconventional visuals that made an impact. In his pursuit of solving this problem, he essentially invented the modern poster. Cappiello famously noted:

When I design a poster project, my first concern is the search for the focal point. That difficult-to-define element which, from a great distance, will catch the passerby’s eye by the intensity of its colour, tease it with the tickle of its tones, and hold it long enough through the pleasure of its appearance to compel them to read the poster.

The artist saw composition as a rhythmic line that acts like the backbone of the poster's design, guiding its overall form and movement, even if that line isn’t visibly drawn. This idea is clearly reflected in Cappiello’s advertisement for Cognac Boutelleau, where a vibrant, animated figure – a herald in extravagant dress, announcing the superiority of this product – captures the viewer’s attention with energetic gestures that seem to breathe life into the brand. Cappiello’s easily recognizable whimsical style shines through in the daring use of colour and fluid shapes, creating a lively sense of celebration and vitality. The dynamic flow of the composition leads the eye naturally across the poster, enhancing the spirited promotion of this distinguished cognac.

Cognac Boutelleau by Leonetto Cappiello (1919). Vercasson, Paris

This approach was quickly adopted by other artists. For example, another prominent French illustrator of the early 20th century, Jean d’Ylen (1886-1938), took significant influence from Cappiello. This is evident in the dark background of many of his posters and usually oversized, dynamic characters which helped create a dramatic contrast and a sense of movement that captured viewers’ attention immediately.

Jean d’Ylen began his career designing jewelry before shifting his focus to advertising illustration at the Paris-based publishing company Vercasson. He worked alongside Cappiello at the same firm, but it wasn’t until Cappiello’s departure to Devambez in 1916 that d’Ylen stepped into the spotlight and gained widespread recognition. His works became some of the most sought-after posters printed in the 1920s and ’30s. Many of these works, including d’Ylen’s poster for Cognac Richarpailloud, were clearly inspired by Cappiello’s aesthetic.

Jean d’Ylen’s poster for Cognac Richarpailloud (ca. 1930). Vercasson, Paris

The influence of Cappiello can also be seen in the works of other artists. For instance, in a poster by Stéphane Gaston, the layout, dark background, and central figure popping out to capture the viewer's attention are all highly reminiscent of the style pioneered by the "father of the modern poster". This advertisement also exemplifies how, from early on, cognac producers began exploiting seductive female imagery – to appeal to the predominantly male consumers of eaux-de-vie and to evoke the sensual qualities of the beverage. Here, a nude young woman, encircled by three stars and holding aloft two elegant bottles of cognac, wears only a costume of vine leaves and grape clusters, barely concealing her body. She appears as though she has just stepped off the stage of a music hall revue.

Cognac Briand by Stéphane Gaston. Printed in 1910 by Moullot in Marseille

In contrast, a much more modestly dressed model appears in the advertisement done for Cognac Denis-Mounié by Marcelin Auzolle (1862-1942), another significant figure in the early 20th-century French poster art. Seated within a poppy flower, her flaming hair aglow, she gazes admiringly at a glass of brandy – offering a softer, more romanticized portrayal of the drink’s allure.

Cognac Denis-Mounié by Marcelin Auzolle. Printed in 1920 by Douin & Jouneau, Paris

Unlike Cappiello, d’Ylen, and Auzolle, the artist Zulla is virtually forgotten today, with only a handful of his posters still in existence (including one for Izarra liqueur from the French Basque Country). Nevertheless, Zulla’s talent is unmistakable. His compositions reveal a masterful command of atmosphere, symbolism, and visual storytelling – qualities that set his work apart from mere commercial illustration.

A particularly evocative example is his poster for Meukow Cognac. In it, a mysterious young woman emerges from the surrounding darkness, her figure illuminated solely by a bottle of cognac she cradles like a torch. Through a subtle and poetic use of light, Zulla transforms the advertising image into something almost mythic. The woman, cloaked and hooded, resembles the Hermit from the tarot deck. Yet here, the traditional lantern is replaced by the glowing bottle, casting not just physical light but a metaphorical one, suggesting warmth, depth, and introspection.

Cognac Meukow by Zulla (ca. 1930). Éts. Vercasson, Paris

Advertising posters from the first third of the 20th century weren’t always about exploiting grotesque, fantasy, or sexuality. Many early commercial artists actually followed what we might now recognize as one of the core marketing principles of today – focusing directly on the product itself rather than relying on distracting or sensational imagery.

A good illustration is the work of Roger de Valerio (1886-1951), a French Art Deco artist who worked with many companies, including Citroën, Chrysler, and Air France, and made a notable contribution to the world of commercial art. His poster for Bisquit cognac exemplifies this: rather than using provocative figures or mystical symbolism, de Valerio places the product front and center, depicting three bottles of Bisquit with rich detail and careful composition. The clear, balanced arrangement draws the viewer’s attention immediately. This straightforward yet still creative focus on the bottle aligns closely with contemporary approach, proving that early 20th-century advertising could be both tasteful and effective without resorting to gimmicks.

Cognac Bisquit by Roger de Valerio (ca. 1930). Printed by Devambez in Paris

Innovation in advertising was not solely the domain of designers and illustrators from the capital. One of the most memorable brand mascots in the world of cognac in the first half of the 20th century was created by a local artist, Géo Maresté (1875-1940). Born in Cognac, Maresté – the son of a still-maker – was a sickly, housebound child who taught himself to draw, paint, and photograph by the age of twelve. His deep affection for Cognac and the Atlantic coast of Saintonge would resonate throughout his artistic career.

Maresté spent most of his life in the region and had among his friends cellar masters and cognac house proprietors, including the Burnez family – owners of Prunier. It was for them that he designed what would become the iconic brand emblem: a kangaroo (which even featured in one of the earliest cinematic advertisements of cognac, a short film promoting Prunier in the Australian market).

Cognac Prunier by Géo Maresté. Printed ca. 1930 by F. Bouchet & Lakara in Paris

At the turn of the 20th century, Cognac reigned supreme – not merely as a drink, but as a symbol of sophistication and status. Its unparalleled prestige was vividly captured in the advertising posters of the era, which did more than sell spirits: they evoked luxury and artistic refinement. Cognac houses spared no expense, commissioning the most celebrated artists and illustrators of the day to create visuals that blurred the line between fine art and commercial design.

This stood in striking contrast to the contemporary advertising of Scotch whisky, which was far less elaborate and usually cruder in execution. This is, for example, how Jim Murray describes whisky ads from the era:

Chaps from overseas were appallingly patronized, stereotypes abounded and no self-respecting Scotsman would be drawn without a kilt .... and a Fraseresque look on his usually orange-bearded face that told us: 'We're doomed!' By startling contrast, his Irish counterpart jigged about in a silly hat, green jacket and permanent grin. It was a time when tastelessness had been perfected to become an art form in itself.

While whisky marketer of the period leaned on caricature and cliché, cognac posters radiated elegance, restraint, and continental flair.

Advertising poster for Cognac Moyet (1930s)

These images didn’t just adorn the walls of cafés and boutiques – they elevated advertising to a respected art form. They helped define visual luxury for a new century and influenced graphic design and branding well into modern times. Today, they remain a testament to an era when Cognac was not only the most refined of drinks, but rightfully hailed as the king of spirits.

Alexandr Gorokhovskiy

© 2025

Bibliography and further reading:

Laurence Chesnau-Dupin, Anne-Lise Quesnel, Les cent plus belles images du cognac (Paris: Édition Dabecom, 2007).

Jean-Michel Saizeau and Jean-Louis Monget, Le cognac et la pub: icônes et legends (2024).

Bruno Sepulchre, Le livre du cognac: trois siècles d'histoire (Paris: Hubschmid & Bouret, 1983).

Nicholas Faith and Michel Guillard (eds.), Encyclopedia of Cognac – Vineyards, Stills and Wine Cellars (Mercurol: Yvelinédition, 2017).

Jack Rennert, Cappiello: The Posters of Leonetto Cappiello (New York: Posters Please, 2004).

Cappiello, 1875-1942: caricatures, affiches, peintures et projets décoratifs (Paris: Grand Palais, 1981).

Gérard Dufaud, Geo Maresté: Reflets des Charentes (Vaux-sur-Mer: Édition Bonne Anse, 2008).

Jim Murray, The Art of Whisky (Litchborough: Dram Good Books, 2020).