The rich history of alcohol posters offers a unique glance at the social and cultural trends of a particular era in a certain place—take, for instance, Cassandre’s astute application of longer format horizontal posters for Dubonnet, which allowed viewers in moving vehicles to take in the advertisement. Or consider Depero’s fusion of Italian Futurist art with industrial design and advertising—his revolutionary vision led him to create a bottle design for Campari soda in 1932, which remains in production to this day. Whether you prefer your drink neat or on the rocks, these posters are guaranteed to quench your thirst.
38 1/2 x 58 1/2 in./98 x 148.8 cm
Based in the Lorraine region of France, St. Nicolas de Port was operational until 1985, when the old brewery became what is known today as the Musée Francais de la Brasserie, or French Brewery Museum. Still using the original red rooster emblem shown in this poster, the museum chronicles the history of brewing in that region. This is the larger format version of the poster.
18 7/8 x 29 1/8 in./48 x 74 cm
As with Mucha’s poster of the same title, we are unsure if this is advertising a particular brewery or the myriad beers produced in the Meuse region of France. This is the smaller format of the design, boasting incredibly rich colors.
45 x 18 1/2 in./114.5 x 47 cm
This 1932 version of the “Dubonnet” is exquisitely colored, with the faded primary-color backgrounds of red-blue-yellow corresponding to the emotional/psychological state of the drinker. In addition, its evocation of the wine and its bottle are particularly three-dimensional in their rendering, and the coloration of the border all contribute to a superb combination of two- and three-dimensional perspectives. This is a prime example of Cassandre’s ingenious posters that were meant to be seen from moving vehicles.
47 1/8 x 63 in./120 x 160 cm
“A more deft and witty use of photomontage is difficult to find in posters of this period… used to fuse the elements of man, glass and bottle together into a clever and surreal poster design” (Brown & Reinhold, p. 18).
13 5/8 x 19 1/2 in./34.5 x 49.5 cm
Fortunato Depero was a major figure in the Italian Futurist movement, and a superb non-commercial artist within that aesthetic—his work was included in the Guggenheim’s seminal 2014 survey of Italian Futurism. In 1919, he founded the House of Futurist Art, where he began to translate the artistic precepts of Futurism into household objects like toys, tapestries, and furniture. From 1928 to 1932, Depero lived in New York City, where he created stage costumes and designed restaurants, homes, and covers for magazines. This prompted his interest in commercial design, and upon his return to Italy, he created many brilliant posters, three-dimensional objects for in-store advertising (see PAI-LXXI, 280), and a 1932 bottle design for Campari soda that’s still in production. This whimsical poster for Bitter Campari is equal parts strange and delightful: a classic Depero combination.
13 3/8 x 19 5/8 in./34.7 x 49.7 cm
In typical Depero fashion, this Campari advertisement relies on swift geometric shapes, energetic angles, and a charming cocktail-imbibing figure. Despite its candor, this design was not frequently used, making it one of Depero’s rarest works for Campari.
52 x 76 1/4 in./132 x 194 cm
This strangely wonderful design is classic Mauzan and Maga Advertising magic: the hypnotized man enchanted by his freshly poured glass of Amaro lets us know that no matter your birthplace, you, too, can be entranced by Amaro Spech.
26 1/2 x 38 3/4 in./67.3 x 98.5 cm
Mingozzi’s attractive and stimulating design for Campari seizes upon the iconic Modernist bottle designed in the 1930s by Fortunato Depero (see No. 207 and 208). Mingozzi, in a witty maneuver, doubles the bottle as if imagining it in motion, then inverts the shape into a cocktail glass. Bottoms up! Mingozzi spent his entire life in Bologna, where he founded two design studios dedicated to Modernist aesthetics in fashion and liquor advertising.
62 7/8 x 46 1/4 in./159.6 x 117.3 cm
Originally created by Cappiello for Cinzano (see PAI-LXI, 154), the mascot of the exuberant zebra found its way into many designs for the company over the last hundred years. Here, Savignac gives him lace-up shoes in an almost childlike rendering of the creature in primary colors. Rare!
45 1/2 x 63 1/8 in./115.6 x 160.3 cm
While his early career was in jewelry design, d’Ylen shifted into the poster business in 1919, and by 1922 was under an exclusive contract with Vercasson. His style is quite obviously influenced by Cappiello, of whom he was a tremendous fan, and who was previously represented by Vercasson—therefore, his work allowed the firm to continue in a similar fashion of advertising even after Cappiello moved on. Here, in his poster for Fiorino sparkling wine, a blushing Rococo-themed fellow is seen tickling the chin of a bottle of the smiling beverage whose froth mimics his own 18th-century wig.
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