Bock (1891), made by R. H. Eichner & Co., turns a beverage advertisement into a richly staged comic celebration. At its centre, a crowned, bearded man in royal blue and scarlet raises a foaming mug beside a woman in a white dress trimmed with vivid red and blue. A shaggy goat prances below them, while the word “BOCK” anchors the composition in emphatic red lettering. Strong colour contrasts, theatrical costume and a wealth of small decorative details give the poster the energy of a festive procession.

The goat is more than an amusing companion. “Bock” is both the name of a strong lager style and the German word for a billy goat, a linguistic connection that made the animal a natural emblem in nineteenth-century beer advertising. Here the visual pun is placed at the heart of the design: the drink, its name and its familiar mascot are combined in a scene that communicates conviviality without requiring elaborate explanation. Produced in 1891, the poster belongs to an expanding late nineteenth-century world of commercial graphics, in which forceful typography and memorable characters competed for attention in increasingly busy public spaces.

A closer look

The two drinkers form a buoyant central pair. On the left, the broad figure of the king is built from saturated blocks of blue, red and gold. His crown, cape and carefully delineated beard lend mock ceremony to the toast, while bright highlights across the mug and clothing keep the figure animated rather than solemn. Opposite him, the woman’s pale dress creates a luminous interval within the denser palette. Red accents and a blue ribbon visually link her costume to his, making their contrasting silhouettes read as a coordinated ensemble.

Across the lower foreground, the goat introduces a different kind of surface. Its thick white coat is articulated with darker brown markings and closely worked lines, contrasting with the smoother expanses of the figures’ clothing. Hops and wheat gather around the lower border and title, bringing the raw materials and agricultural associations of brewing directly into the ornamental scheme. Their curling, granular forms also soften the hard edges of the large lettering: “BOCK” appears in red, strengthened by white and black outlines so that it remains legible amid the surrounding abundance.

The background rewards a slower look. Architectural forms rise behind the figures on the right, their windows and restrained brickwork establishing a setting without distracting from the toast. Above, smoke issues from a chimney, while patterned ribbons occupy the upper left and sustain the atmosphere of public festivity. These receding buildings, foreground foliage and overlapping figures create surprising depth for such an emphatically graphic design. The palette moves between bright red, blue and white and quieter greens, yellows and earthen browns, allowing the principal characters to project forward.

Context and significance

R. H. Eichner & Co.’s design reflects the polished visual language available to American commercial firms at the end of the nineteenth century. Advertising of this kind had to identify its subject quickly, yet it could also reward attention with narrative incident, decorative borders and finely observed textures. The oversized name provides instant recognition; the toast supplies sociability; and the goat transforms a product category into a characterful visual joke.

What distinguishes Bock is this balance between directness and detail. From a distance it is a bold arrangement of lettering and primary colour; closer inspection reveals beard hairs, patterned ribbons, textured fur, grain heads, hop clusters and masonry. The result is both advertisement and miniature spectacle, preserving the humour and exuberance of nineteenth-century beverage culture.

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.