The whole nation enjoys Jos Schlitz Brewing Cos’ Milwaukee lager beer, an anonymous advertising poster of 1888, turns a convivial drink into a piece of national theatre. Two men sit at a patterned table while a woman in a vivid red bodice and white apron serves foaming mugs of lager. Above them, the emphatic declaration “The Whole Nation Enjoys” establishes the message before the eye reaches the scene itself: Schlitz beer is presented not as a local speciality, but as a pleasure shared across America.

The poster belongs to a period when brightly coloured commercial printing was giving advertisers new ways to compete for attention. Late nineteenth-century breweries increasingly sold an identity alongside their beer, associating their names with sociability, modern urban life and an expanding national market. Here, the Milwaukee company combines clear branding with a cheerful tableau that is both accessible and aspirational. The anonymous designer does not dwell on brewing or ingredients; instead, the product is made desirable through company, ceremony and the raised glass.

A closer look

The figures form a compact triangle at the centre of the composition. At lower left, a darkly dressed, bearded man lifts his mug in a toast, his black clothing providing a strong tonal anchor among the brighter colours. Opposite him, a second man holds his own glass and turns towards the server. Her upright figure joins the two seated drinkers, while the tray and white apron make the act of service immediately legible. Red, cream and deep black are set against softer greens, greys and golds, with the amber beer acting as a warm link between the characters.

Small details give the gathering its persuasive liveliness. The beer catches highlights along the glass, and pale froth rises above the rims; the tablecloth is ornamented with circular motifs and intricate decorative flourishes. Subtle modelling in the men’s suits lends them weight, while the softer folds of the apron stand out against the server’s saturated red clothing. Their expressions differ, too: the toasting man is openly animated, whereas his companion appears more measured, creating a scene that feels observed rather than mechanically repeated.

Behind the group, finely drawn foliage frames a distant monumental building, introducing depth without distracting from the central exchange. The architecture remains subordinate to the figures, almost atmospheric, while the greenery softens the transition between the social scene and the poster’s graphic borders. Typography supplies the final structure. The large slogan occupies the upper register; “Jos Schlitz Brewing Co.” reinforces the brand nearby; and the lower-left decorative label reads “Compliments of the Season P.M. Ohmeis & Co.” Text and illustration are carefully tiered so that slogan, social promise and company name can be understood in quick succession.

Context and significance

Commercial posters such as this occupied an increasingly crowded visual culture of shop displays, streets and printed ephemera. Colour, scale and memorable wording were practical tools, but they also encouraged designers to treat advertising as spectacle. This poster’s thin ornamental border, layered lettering and richly coloured figures demonstrate how a promotional message could borrow the compositional ambition of narrative illustration while retaining the directness required of an advertisement.

Its most revealing claim is geographical. Although the scene is intimate—a table, three people and a round of drinks—the phrase “The Whole Nation Enjoys” gives it expansive reach. Milwaukee remains central to the beer’s identity, yet the imagined audience extends far beyond the city. The result is a particularly vivid document of late nineteenth-century consumer culture: playful and sociable on the surface, but carefully constructed to make one brewery appear familiar, modern and nationally admired.

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 36x20in (90x50cm) 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.