La Bernardine Mercier Vintage Cognac Poster by Hans Rudi Erdt, 1908
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata nel nostro laboratorio di Londra dall’opera originale del 1908 e stampata in qualità museale. Descrizione completa
L’offerta del Collezionista
Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.L’offerta del Collezionista
Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.
Restaurato a Londra • Stampato e incorniciato in the UK
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1908 e stampata in qualità museale. Descrizione completa
Scegli il formato
Scegli la finitura
(Maggiori informazioni)
Gift message & custom finish
If you want to add a gift message, or a finish (jigsaw, aluminium board, etc.) that is not available here, please request it in the "order note" when you check out.
Every order is custom made, so if you need the size adjusted slightly, or printed on an unusual material, just let us know. We've done thousands of custom orders over the years, so there's (almost) nothing we can't manage.
You can also contact us before you order, if you prefer!
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Hans Rudi Erdt’s La Bernardine Mercier Cognac, created in 1908, gives a drinks advertisement the immediacy of a theatrical entrance. Against an...
Continua a leggereHans Rudi Erdt’s La Bernardine Mercier Cognac, created in 1908, gives a drinks advertisement the immediacy of a theatrical entrance. Against an uninterrupted field of hot orange, a smiling figure in a dark military-style uniform strides forward carrying two bottles, one raised prominently beside his head. The sharply outlined costume, red cap and flashes of piping stand out with remarkable clarity, while the brand name is set in emphatic black lettering above. Figure, product and typography are compressed into a single memorable sign.
Erdt was a leading German graphic designer of the early twentieth century, working at a moment when European poster artists were developing a more economical language for the modern street. Rather than relying on densely illustrated scenes, designers increasingly used simplified silhouettes, concentrated colour and instantly recognisable objects. This approach was closely related to the German Plakatstil, or “poster style”, in which commercial messages were distilled into bold forms legible at a glance. Here, cognac is presented not through an elaborate drinking scene but through a jaunty uniformed character whose confident bearing lends the bottles an air of ceremony and distinction.
A closer look
The orange ground is more than a backdrop: it controls the entire design. With no architecture, furniture or landscape to establish a conventional setting, the figure appears almost emblematic, his dark uniform cutting across the saturated colour like a crisp paper silhouette. Subtle modelling around the face and clothing gives him enough volume to remain personable, yet Erdt largely preserves the poster’s flat, graphic character. The polished black shoe at the bottom provides a small but effective visual anchor.
Details in the uniform create a lively internal rhythm. Red edging punctuates the deep blue-black fabric, while pale buttons form a bright sequence down the front. The cap repeats the warm register of the background without disappearing into it, and the smiling face is described with only a few firm lines. This economy keeps attention moving towards the bottles: one is held upright in the upper part of the composition, its label clearly displaying “Mercier-La Roche”, while the second is tilted at the lower right. Their opposing positions balance the otherwise asymmetric arrangement.
Typography is integrated into this visual hierarchy rather than treated as an afterthought. “LA BERNARDINE MERCIER COGNAC” occupies the upper area in heavy black capitals, immediately readable against the orange. Smaller lettering gathers towards the lower left and along the foot of the poster, providing company information without competing with the principal name. The shift from monumental headline to fine commercial text mirrors the viewing process: first the colour and character, then the bottles, and finally the particulars.
Context and significance
Advertising of this period was becoming increasingly sophisticated in its understanding of brand identity. A product needed not only to be named but also to acquire a recognisable visual personality. Erdt’s design achieves this through carefully controlled contrasts: warm orange against near-black, broad areas of unbroken colour against small descriptive details, and the genial human presence of the uniformed figure against the formal authority of the lettering. The result is aspirational without becoming ornate.
Made in the years before the First World War, La Bernardine Mercier Cognac belongs to a particularly inventive phase of European commercial art, when posters were both instruments of mass communication and testing grounds for radical simplification. Its enduring interest lies in that economy. Nothing extraneous interrupts the encounter between character, label and name; every line serves the instant recognition on which effective poster design depends.
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 18x24in (45x60cm) 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.
Hans Rudi Erdt’s La Bernardine Mercier Cognac, created in 1908, gives a drinks advertisement the immediacy of a theatrical entrance. Against an uninterrupted field of hot orange, a smiling figure in a dark military-style uniform strides forward carrying two bottles, one raised prominently beside his head. The sharply outlined costume, red cap and flashes of piping stand out with remarkable clarity, while the brand name is set in emphatic black lettering above. Figure, product and typography are compressed into a single memorable sign.
Erdt was a leading German graphic designer of the early twentieth century, working at a moment when European poster artists were developing a more economical language for the modern street. Rather than relying on densely illustrated scenes, designers increasingly used simplified silhouettes, concentrated colour and instantly recognisable objects. This approach was closely related to the German Plakatstil, or “poster style”, in which commercial messages were distilled into bold forms legible at a glance. Here, cognac is presented not through an elaborate drinking scene but through a jaunty uniformed character whose confident bearing lends the bottles an air of ceremony and distinction.
A closer look
The orange ground is more than a backdrop: it controls the entire design. With no architecture, furniture or landscape to establish a conventional setting, the figure appears almost emblematic, his dark uniform cutting across the saturated colour like a crisp paper silhouette. Subtle modelling around the face and clothing gives him enough volume to remain personable, yet Erdt largely preserves the poster’s flat, graphic character. The polished black shoe at the bottom provides a small but effective visual anchor.
Details in the uniform create a lively internal rhythm. Red edging punctuates the deep blue-black fabric, while pale buttons form a bright sequence down the front. The cap repeats the warm register of the background without disappearing into it, and the smiling face is described with only a few firm lines. This economy keeps attention moving towards the bottles: one is held upright in the upper part of the composition, its label clearly displaying “Mercier-La Roche”, while the second is tilted at the lower right. Their opposing positions balance the otherwise asymmetric arrangement.
Typography is integrated into this visual hierarchy rather than treated as an afterthought. “LA BERNARDINE MERCIER COGNAC” occupies the upper area in heavy black capitals, immediately readable against the orange. Smaller lettering gathers towards the lower left and along the foot of the poster, providing company information without competing with the principal name. The shift from monumental headline to fine commercial text mirrors the viewing process: first the colour and character, then the bottles, and finally the particulars.
Context and significance
Advertising of this period was becoming increasingly sophisticated in its understanding of brand identity. A product needed not only to be named but also to acquire a recognisable visual personality. Erdt’s design achieves this through carefully controlled contrasts: warm orange against near-black, broad areas of unbroken colour against small descriptive details, and the genial human presence of the uniformed figure against the formal authority of the lettering. The result is aspirational without becoming ornate.
Made in the years before the First World War, La Bernardine Mercier Cognac belongs to a particularly inventive phase of European commercial art, when posters were both instruments of mass communication and testing grounds for radical simplification. Its enduring interest lies in that economy. Nothing extraneous interrupts the encounter between character, label and name; every line serves the instant recognition on which effective poster design depends.
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 18x24in (45x60cm) 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.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
- I pezzi incorniciati arrivano pronti da appendere
- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- Il reso entro 90 giorni dà al destinatario il tempo di decidere
Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
- Consulenza su arte e incorniciatura da parte del nostro laboratorio
- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
