Leonetto Cappiello’s Cinzano Vermouth Torino, created in 1910, turns a drinks advertisement into a piece of controlled visual theatre. A muscular rider raises a bottle above a brilliantly red horse, their intertwined forms suspended against an almost unbroken black ground. The horse’s striped body, curling mane and emphatic hooves are less concerned with naturalism than with rhythm and instant recognition. Below, the name “CINZANO” appears in broad yellow lettering, followed by the smaller words “VERMOUTH” and “TORINO”: a compact typographic base for the extravagant action overhead.

Cappiello was among the key innovators of modern poster design, working at a moment when colour lithography was changing the appearance of commercial advertising. In the crowded streets of the early twentieth-century city, a poster needed to register quickly and remain in the memory. Cappiello’s solution was radical in its simplicity: isolate one improbable, energetic figure; intensify the colour contrasts; and reduce explanatory text to the essentials. Here, Cinzano is represented not through a detailed drinking scene or a laborious list of qualities, but through a vivid spectacle of colour, movement and raised-bottle exuberance. The result belongs unmistakably to the consumer culture of the Belle Époque, yet its economy feels remarkably modern.

A closer look

The composition is vertically compressed around the rider and horse, creating the impression that their movement can barely be contained by the format. The rider’s pale body forms a bright diagonal through the centre, while a dark green drapery sweeps behind and above him. Its folds give the pose momentum, connecting the lifted bottle to the horse’s forward-thrusting mass below. Although the figure is modelled with highlights and shadows, the treatment remains emphatically graphic: anatomy, fabric and gesture have all been simplified to read clearly from a distance.

The horse supplies the poster’s most memorable visual invention. Its saturated scarlet form is crossed by darker bands that articulate the body while also turning it into an arresting pattern. The curling mane introduces a more decorative line, set against the broad, muscular curves of neck and flank. Even the hooves are stylised into concise, emphatic shapes. Rather than opening into a believable landscape, the black background flattens the space and pushes horse, rider and bottle towards the viewer. A subtle dark-green transition near the upper edge prevents the ground from feeling entirely blank while preserving its dramatic depth.

At the bottom, the lettering restores order after the animation above. The warm yellow of “CINZANO” repeats none of the central figure’s colours, allowing the brand name to claim its own distinct register. Its outlined capitals hold firmly against the dark field, while “VERMOUTH” and “TORINO” establish the product and its geographical identity with minimal interruption. The hierarchy is immediate: spectacle first, name second, information last.

Context and significance

Cappiello’s approach marked a shift away from densely illustrated advertising towards the concise visual emblem. His posters often relied on a single theatrical character or fantastic creature set against darkness, producing an association that could be understood in passing and recalled later. In Cinzano Vermouth Torino, the rider and red horse perform precisely this function. They do not explain vermouth; they give the name Cinzano an unmistakable visual personality.

What keeps the design compelling is the tension between disciplined simplicity and exuberant invention. There are very few elements—figure, horse, bottle, brand name and dark ground—yet each has been given a distinct silhouette and role. Cappiello transforms that limited vocabulary into an advertisement of exceptional pace: playful, forceful and legible at a glance, but rich in small graphic decisions when seen closely.

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 24x36in (60x90cm) 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.