What draws the eye first in Chocolats et Thés de la Compagnie Française is the sense of intimacy and warmth, a domestic ritual made public. The artist invites us into a moment of shared pleasure: a woman in a brilliant red dress and a young girl, their faces close, savoring tea or chocolate, while a cat—alert and eager—joins the gathering at the table. The composition pulls the viewer in, the sweep of the woman’s arm guiding attention to the girl’s bowl, then to the curious cat, whose gaze mirrors our own.

The bold, flat colors and flowing outlines are unmistakably the language of the Parisian poster boom of the 1890s, yet Steinlen’s touch is gentler, more affectionate than many of his contemporaries—notice the way the figures lean together, the softness in their features, and the playful tension as the cat eyes the treat. This poster belongs to a world where art spilled into the streets, transforming everyday commerce into spectacle. By 1895, when this work was printed in Paris, illustrated posters had become a defining feature of urban life, commissioned by companies eager to make their products irresistible. Artists like Théophile Alexandre Steinlen—celebrated for his keen observation of Parisian life and his affection for animals—brought a new warmth and humanity to advertising.

Though little is recorded about this specific commission, its survival in the Bibliothèque nationale de France is a testament to the era’s belief that even the most fleeting images could be works of art. Look again at the cat’s poised anticipation and the girl’s gentle smile: here, the pleasures of chocolate and tea become an invitation to linger.