J. L. Goffart’s Vieux Système, Marque ‘T Wit Stoopke’, dating from 1909, places a decorated horseman at the centre of a richly coloured beverage advertisement. Seated upright on a substantial brown horse, the uniformed rider wears a sash, medals and embroidered details that lend the scene an air of ceremony. Behind him, rolling green fields recede beneath a pale blue sky, while the brand name occupies the lower part of the composition in emphatic lettering. The result is both pastoral and promotional: an open landscape organised around a figure designed to command immediate attention.

Goffart was a Belgian artist working at a moment when commercial imagery was acquiring a newly sophisticated visual language. Posters no longer relied on words alone; illustration, ornament and typography could operate together to give a brand its own recognisable character. Although the decorative influence of Art Nouveau formed part of the period’s broader visual culture, this design favours clarity over elaborate pattern. Its memorable identity comes from the poised equestrian figure, the expansive setting and the deliberate contrast between pictorial atmosphere and bold branding.

A closer look

The horse and rider form a compact vertical axis within the tall format. The animal’s broad body is carefully modelled in warm chestnut and umber tones, with lighter passages describing its musculature and the sheen of its coat. Decorative fittings articulate the bridle, while the horse’s shadow anchors its weight against the ground. Above, the rider’s upright posture continues the composition’s vertical movement; small flashes of white, metallic decoration and the diagonal sash break up the darker uniform.

Goffart gives the central pair ample space. Rather than surrounding them with incidental activity, he sets them against gently undulating fields, painted in several greens that soften as they approach the horizon. The sky shifts through pale blue and cream, with restrained cloud forms supplying atmospheric depth without distracting from the figure. This uncluttered background makes the horse appear especially imposing, yet the softer transitions of colour prevent the design from becoming stark.

The poster’s graphic elements are concentrated near its edges. A decorative emblem appears in the upper-left area, establishing a secondary point of interest without competing with the rider. At the bottom, the wording “Vieux Système, Marque ‘T Wit Stoopke’” is given sufficient scale and weight to remain legible beneath the illustration. The hierarchy is carefully judged: the mounted figure catches the eye first, the uniform and harness reward closer inspection, and the typography finally fixes the advertised name in memory.

Context and significance

Early twentieth-century beverage posters often drew upon ideas of tradition, authority and established reputation, presenting branded goods through images more elevated than the everyday act of consumption. Here, the decorated rider and carefully groomed horse create an impression of rank and distinction, while the phrase Vieux Système reinforces the advertisement’s appeal to an established identity. The precise relationship between the horseman and the product is not explained within the supplied information, but visually he functions as the design’s commanding emblem.

What distinguishes Goffart’s poster is its balance between naturalistic description and commercial directness. Details of uniform, tack, coat and landscape give the illustration pictorial richness, yet every element remains subordinate to a simple promotional structure. It is a revealing example of how advertising in 1909 could borrow the composure of formal portraiture and the spaciousness of landscape art, then bind both to a trade-marked name through disciplined graphic design.

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.

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The model in the listing images is holding the 36x24in (90x60cm) version of this art print.

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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.