Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Abricotine - Eugène Grasset
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A classic Art Nouveau lithographic poster by Eugène Grasset, advertising Abricotine liqueur with elegant, organic forms and a pastoral scene.
Eugène Grasset, a Swiss-born designer who spent his career in France, produced this lithographic poster for the liqueur brand Abricotine. The work reflects the aesthetic principles of the Art Nouveau movement, which sought to bridge the gap between fine art and commercial design. Grasset was a significant figure in this transition, known for his mastery of the poster medium and his influence on the development of decorative arts. The composition features a woman in a flowing, patterned dress, kneeling in a field to harvest fruit from a small tree. Her posture is dynamic, with one arm extended to reach the apricots while the other holds a woven basket. The background is divided into a dark, moody sky and a bright, grassy foreground, creating a contrast that draws the eye to the central figure. The typography is integrated into the design, typical of the period's approach to advertising, where text and image formed a unified whole. Grasset utilised a palette of muted yellows, greens, and deep shadows to evoke a sense of natural abundance. The lines are clean and precise, characteristic of his background in architecture and his later work in graphic design. This piece was commissioned by P. Garnier, a distillery based in Enghien-les-Bains, to promote their apricot liqueur. It remains a representative example of late nineteenth-century French commercial art, demonstrating the period's preference for stylised, organic forms and the idealisation of the female figure in advertising. The print captures the transition from traditional illustration to the modern graphic style that would define the early twentieth century.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Complete The Look
Abricotine - Eugène Grasset
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Eugène Grasset
Louis Comfort Tiffany recreated one of Grasset's poster designs in stained glass. The image, a "Wooly Horse" for the 1892 Christmas issue of Harper's Magazine, had proved so popular in America that Tiffany saw an opportunity to translate it into his own medium. It was an unusual tribute: one designer's poster becoming another designer's window.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From $169
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From $59
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From $175
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Eugène Grasset
Louis Comfort Tiffany recreated one of Grasset's poster designs in stained glass. The image, a "Wooly Horse" for the 1892 Christmas issue of Harper's Magazine, had proved so popular in America that Tiffany saw an opportunity to translate it into his own medium. It was an unusual tribute: one designer's poster becoming another designer's window.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
Grasset was born in Lausanne in 1845, the son of a cabinetmaker and sculptor who taught him to use a chisel before he could draw. He studied drawing under Francois Bocion, then architecture in Zurich. A trip to Egypt after completing his education left a permanent mark on his visual vocabulary. He moved to Paris in 1871 and began designing furniture, wallpapers, fabrics, tapestries, ceramics and jewellery before turning to graphic design in 1877.
Poster art became his primary medium. His style drew on Viollet-le-Duc's theories of decorative structure, Japanese woodblock prints and Egyptian ornament, combined into flowing compositions that helped define Art Nouveau before the term existed. The G. Peignot et Fils typefoundry introduced the "Grasset" typeface at the 1900 Universal Exhibition, an italic design he created for use on his posters. He also collaborated with the jeweller Henri Vever on pieces that merged Art Nouveau organic forms with mythological subjects.
He taught design at a succession of Paris institutions from 1890 until 1913, including the Ecole Guerin, the Ecole Estienne and the Academie de la Grande Chaumiere. His influence on the generation of designers who followed him was extensive but largely unacknowledged outside France. He died in 1917, at seventy-two.
You May Also Like