We’ve all heard the phrase “sex sells,” and while it might feel like a modern advertising cliché, the roots of using sensual and feminine imagery to move products stretch back well over a century. In fact, some of the earliest and most visually stunning examples of this come from lithography firms working for America’s breweries and consumer brands in the late 1800s and early 1900s.
Before the age of digital screens and glossy magazine ads, businesses relied on beautifully printed signage, tin tackers, and lithographed cardboard displays to catch the eyes of passing customers. And there was no quicker way to draw attention than through the graceful, alluring image of a woman. These weren’t just suggestive pin-ups, either. Early advertising often portrayed women in elegant gowns, classical poses, or domestic scenes—meant to convey refinement, luxury, and trust. But make no mistake: these were carefully crafted tools of persuasion, appealing to emotion, desire, and identity.
Below are a list of lithographers using the female form in their advertising:
These companies were pioneers of this visual language; their chromolithographs were colorful, detailed, and designed for impact—particularly in bars, saloons, and general stores.
As the American brewing industry boomed post-Civil War, breweries became some of the most frequent and flamboyant clients of these lithographers. Brewers weren’t just selling beer—they were selling experiences, lifestyle, and often, a touch of fantasy. Female imagery became a staple of brewery advertising. Whether portrayed as mythological goddesses, country girls in corsets, or urbane socialites raising a glass, women were central to the visual vocabulary that brewers used to entice drinkers. In part, these images were aspirational. A modest man in a working-class tavern might look up at a bar calendar featuring a beautiful woman in silk, toasting with a lager, and momentarily feel part of a more glamorous world.
But they were also sensual, and often intentionally provocative. Bare shoulders, coy glances, and form-fitting fashions danced around the edges of Victorian respectability. It was an early embodiment of what we now call “sex appeal”—made palatable through artistry and context. Breweries like Old Reading, Sunshine, Rheingold, Schlitz, Pabst, and Yuengling all took advantage of this trend. Their lithographs are still prized by collectors today, not only for their historic value but for their aesthetic richness and the cultural cues they carry.
One iconic example is the “Gibson Girl” look that dominated advertising around the turn of the 20th century. Created by illustrator Charles Dana Gibson, this image of a tall, elegant, and self-assured woman became a template adopted across many industries—including breweries.
Lithographers were savvy about how they positioned these women. Sometimes she’d be holding the product directly—a beer stein raised in toast, or a tray of bottles at her side. Other times, she was simply there—smiling next to a brewery logo, embodying charm, purity, or fun. The female form in these works wasn’t just decoration—it was storytelling. It connected products to pleasure, celebration, and social status. And while these images rarely showed women drinking heavily, they made it clear that women belonged in the world of beer and merriment.
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Notably, many of these lithographs also played on dual meanings. A lady in a flowing dress might represent liberty, nature, or tradition, and evoke the subtle thrill of flirtation. The line between idealism and sensuality was blurred—and that ambiguity was part of the draw. The use of female imagery wasn’t without controversy. Even in the 1890s, critics worried about advertising’s moral influence. But for businesses, the payoff was clear. Eye-catching visuals, especially those featuring beautiful women, increased brand visibility and boosted sales.
These advertising trends mirrored broader changes in society. Women were becoming more visible in public life, taking on jobs, and challenging traditional roles. Advertisers were quick to tap into this energy—not always progressively, but almost always profitably. Lithography gave advertisers a medium that was rich, repeatable, and mass-producible. Unlike hand-painted signs, chromolithographs could be printed by the thousands and distributed far and wide. That meant imagery—especially beautiful women—became brand ambassadors coast to coast. The intersection of art and advertising reached a high point in this era. Lithographed beer signs were often considered so attractive that people saved them long after the campaigns ended. Some were framed in homes, and others hung proudly in saloons or man caves of the day.
Today, collectors still hunt for these pieces, not just for the breweries they represent but for the artistry and historical context. A litho with a regal brunette holding a foaming pilsner isn’t just a pretty picture—it’s a window into turn-of-the-century advertising psychology. Draped in flags, laurels, or hops vines, these figures blended patriotism, mythology, and femininity to powerful effect. Over time, this approach evolved. By the 1930s and 1940s, more overtly sexual imagery began to appear, especially with the rise of pin-up art. But the groundwork had been laid by the lithographers and beer barons of the Gilded Age and Progressive Era. Peruvian-American artist Alberto Vargas was best known for his iconic pin-up illustrations that defined mid-20th-century glamour. Rising to fame in the 1940s, Vargas gained widespread recognition through his work for Esquire magazine and later Playboy, where his elegant, airbrushed “Vargas Girls” became symbols of beauty, sensuality, and American pop culture. His style blended sophistication with allure, and his influence on advertising, fashion, and pin-up art remains enduring to this day.
Today’s ads—whether for beer, cars, or cologne—still lean heavily on attractive faces and aspirational lifestyles. The techniques may be digital, but the core idea remains the same: emotion drives consumption. And few things evoke emotion like the image of a confident, beautiful woman.
There’s irony, too, in how women were used to advertise to men. In many cases, they weren’t the target consumer at all. Yet their presence was key to the narrative: if this beer was good enough for her, surely it was good enough for you. As we study and collect these pieces, it’s important to appreciate both the beauty and the intention behind them. These lithos weren’t accidental. They were deliberate cultural artifacts, designed to blur art and commerce in the most seductive way possible.
So the next time someone says “sex sells,” remember—it always has. But in the hands of early lithographers and brewery advertisers, it also told stories, inspired fantasy, and helped build some of the most iconic brands in American history. And lucky for us collectors, it left behind one hell of a paper trail.
Below are a few examples of advertising relics:
