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POSTER: NIKLAUS STOECKLIN (1896-1982). [J. PE
NIKLAUS STOECKLIN (1896-1982) [J. PETIT JEAN CLUSER TRANSMISSIONEN]. 1925.
50x35 1/4 inches, 127x89 1/2 cm. Anstalt W. Wassermann, Basel.
Condition B+: Tape stains in margin and image. Abrasion in image. Framed.
During the 1920s, Otto Baumberger, in Zurich, and Niklaus Stoecklin, in Basel, were the two leading figures in the Swiss graphic school. Both were brilliant and versatile artists whose prolific output reflected their command of the medium, and their understanding of different artistic movements and styles. In 1919 Baumberger designed Switzerland's first realistic object poster, the black top hat for Baumann, and in 1923 he elevated this new style to a higher level with his iconic masterpiece depicting the lining of a PKZ overcoat. In 1925 Niklaus Stoecklin designed this poster, for a transmission company, depicting a realistic object, without any ornamentation. By the 1940s Stoecklin had developed this New Objectivity to a kind of hyperrealism, or magic realism, lithographically depicting objects in nearly photographic precision and perfection. This is the version before lettering. Realisme 21, Weill p. 251, Stoecklin p. 28, Swiss Poster p. 201, Schweiz p. 41.
50x35 1/4 inches, 127x89 1/2 cm. Anstalt W. Wassermann, Basel.
Condition B+: Tape stains in margin and image. Abrasion in image. Framed.
During the 1920s, Otto Baumberger, in Zurich, and Niklaus Stoecklin, in Basel, were the two leading figures in the Swiss graphic school. Both were brilliant and versatile artists whose prolific output reflected their command of the medium, and their understanding of different artistic movements and styles. In 1919 Baumberger designed Switzerland's first realistic object poster, the black top hat for Baumann, and in 1923 he elevated this new style to a higher level with his iconic masterpiece depicting the lining of a PKZ overcoat. In 1925 Niklaus Stoecklin designed this poster, for a transmission company, depicting a realistic object, without any ornamentation. By the 1940s Stoecklin had developed this New Objectivity to a kind of hyperrealism, or magic realism, lithographically depicting objects in nearly photographic precision and perfection. This is the version before lettering. Realisme 21, Weill p. 251, Stoecklin p. 28, Swiss Poster p. 201, Schweiz p. 41.
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