Ja! Dat is de echte, Oui, Ca c’est le vrai, Bitter de Scheut, made by Lith E. Janssens in 1910, turns a beverage endorsement into a piece of exuberant visual theatre. A jovial, curly-haired man in a top hat occupies the centre of the poster, his broad smile and animated gesture directing attention towards a green bottle of Bitter de Scheut. Against a brilliant yellow ground, his green jacket and emphatic red collar establish a palette as direct and memorable as the sales pitch itself.

The poster belongs to the lively commercial culture of the early twentieth century, when advertising had to communicate rapidly in busy streets, shops and public spaces. Its slogan appears in both Dutch and French: “JA! DAT IS DE ECHTE” and “OUI! CA C’EST LE VRAI”. This bilingual declaration—“Yes! That is the real one”—addresses different language communities while making authenticity the centre of the brand’s appeal. Rather than offering a detailed account of the drink, the design relies on recognition, humour and the infectious confidence of its spokesman.

A closer look

The composition is deliberately economical. The man and bottle fill much of the vertical format, leaving little room for anything unrelated to the advertisement’s message. His face is built from expressive lines: curling hair, creases around the eyes and an open, cheerful expression give him the quality of a comic character caught in mid-performance. A narrow white highlight along the dark top hat suggests a polished surface, while the bright red collar forms a sharp accent immediately beneath his face.

On the right, the green bottle is not treated as a minor accessory but as the man’s visual partner. His carefully articulated fingers secure it with an easy, demonstrative grip, presenting the product rather than merely holding it. The label, reading “BITTER DE SCHEUT”, contains ornate flourishes and small emblem-like details. These finer marks contrast with the broad blocks of colour elsewhere, concentrating decorative richness upon the object being sold.

Typography completes the movement of the design. The French phrase occupies the upper right, while its Dutch counterpart runs prominently across the lower section, framing the figure between two emphatic statements. The flat yellow background eliminates atmospheric depth and allows every element to read crisply. Green connects jacket and bottle; red punctuates the figure; black outlines hold the whole arrangement together. The result is less a conventional scene than a tightly organised sequence of prompts: face, gesture, bottle, label and slogan.

Context and significance

Advertising posters of this period often depended upon simplified forms, forceful lettering and sharply separated colours to remain legible at a glance. Janssens’ design demonstrates how commercial artists could give a brand a recognisable personality through a single figure. The top hat lends the spokesman a degree of ceremonious respectability, yet his exaggerated good humour prevents the endorsement from becoming formal. He functions simultaneously as connoisseur, entertainer and persuasive customer.

The bilingual wording is equally central to the poster’s character. Dutch and French are not confined to secondary information; each receives a prominent, affirmative slogan. Language therefore becomes part of the graphic rhythm as well as the commercial strategy. More than a surviving beverage advertisement, Bitter de Scheut offers a vivid example of how early twentieth-century publicity combined character, colour and verbal repetition to secure attention—and how effectively a smiling face could become the voice of a brand.

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.