Gustave Baumann Collection

GUSTAVE BAUMANN

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GUSTA VE BA U M A N N

G E R A L D P ET E R S GA L L E R Y ® 1005 Paseo de Peralta, Santa Fe, New Mexico 87501 Tel 505-954-5700 | www.gpgallery.com

E AR L Y W O R K AND IL L U STR ATIONS While Gustave Baumann was born in Germany in 1881, he devoted his life to creating art that celebrated the landscape and culture of his second home, the United States. Baumann emigrated from Germany with his family at the age of ten, and settled in the industrial metropolis of Chicago. Despite a somewhat challenging upbringing in the city, Baumann always sought after opportunities to be close to art. He learned wood working at the hand of his father, ran errands for an engraver’s studio, and attended art classes whenever and wherever possible. In 1905, Baumann saved up enough money to travel to Munich and truly immerse himself in his artistic training. It was in Munich that Baumann learned the trade that would be his artistic legacy, woodblock printing. Unlike the delicate watercolor washes of the Japanese print tradition, popularized by masters like Hokusai, the Munich tradition relied upon heavy flat blocks of color.

Differing from etching, engraving, and other forms of intaglio printing, woodblock printing is a method of relief printing—the design is raised above the background and ink is applied to the raised surface, rather than into the groves as intaglio methods. Baumann described the process, saying “Draw directly on the block whatever you want then cut away whatever you don’t want and print what is left.” While some artists outsourced the carving or printing during this process, Baumann personally carried out each step of this tedious procedure.

Upon returning from Munich, Baumann struggled to provide for his family, engaging in commercial art as a necessity. A few years later, Baumann found a retreat from the urban bustle of Chicago, in rustic Brown County, Indiana. Inspired by the rolling hills and idyllic small towns, Baumann found time to experiment with his own art. The muted palette, strong outlines, and soft contours of these early pieces are reminiscent of the Munich style that marked his early training. In addition to works like Mathis Alley and The Print Shop, which were directly inspired by Baumann’s time in small town Indiana, pieces like Children in Stream come out of his commercial illustrative work.

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The Big Day woodblock print, second state, 23/125, 6 ¾ x 9 ⅛ inches 5

Fishing Hut on the North Shore woodblock print, 7 x 7 inches

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Harden Hollow woodblock print, 19 ⅝ x 26 ⅜ inches 7

Harden Hollow woodblock print, 38/125, 9 ⅛ x 11 ⅛ inches 8

The Landmark woodblock print, 96/100, 10 ⅞ x 9 ⅞ inches 9

Mathis Alley woodblock print, 9 ⅛ x 13 ⅛ inches

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The Mill Pond woodblock print, 24 ⅜ x 33 ¾ inches 11

October Night woodblock print, first state, 31/125, 9 ½ x 11 ⅛ inches

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Plum and Peach Bloom woodblock print, 19 ⅝ x 26 ½ inches 13

Print of Book Cover Plate (Children in Stream) / August woodblock print, 7 ⅞ x 6 ¼ inches 14

The Print Shop woodblock print, 9 x 13 ¼ inches

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The Questionnaire woodblock print, 6/100, 9 ½x 11 ¼ inches 16

Road to Town woodblock print, second state, 33/125, 9 ⅝ x 11 ⅛ inches 17

Summer Breeze woodblock print, 70/100, 11 x 10 inches 18

Summer Shadows woodblock print, 40/125, 9 ½ x 11 ⅛ inches 19

Town Gossip woodblock print, 9 ⅛ x 13 ⅛ inches

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The Dooryards woodblock print, 9 x 13 inches

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The Swimming Pool woodblock print, 9 x 13 â…› inches

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Wash Barnes Cabin woodblock print, 19 ½ x 26 ⅜ inches 23

Way of the Year woodblock print, 2/125, 10 ⅞ x 9 ⅞ inches 24

The Packard August 1914 Calendar woodblock print, 11 ⅛ x 8 ¼ inches 25

FLORALS Throughout his career Baumann created prints solely or peripherally focused on the beauty of the flora surrounding him. Ranging from traditional depictions like Oval Floral (Marigolds) to more experimental works like Tares, Baumann investigated a myriad of compositions and colors to capture the flowers that held such a fascination for him. One theme that runs through a majority of Baumann’s floral works, and many of his landscapes is the blossoming of the fruit trees in spring. Visually vibrant, these symbols of spring prove to be particularly powerful when placed within the context of the otherwise stark landscape of the Southwest, as seen in works like Green Gate Orchard and Spring Serenade. Regardless of subject matter, Baumann always had an eye for the aesthetic and beautiful—of which this collection of floral prints is a stunning example.

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Apple Blossoms woodblock print, 9 ½ x 11 ¼ inches 27

April woodblock print with aluminum leaf, 27/120, 13 x 12 â…ž inches

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April, #102 original woodblock, 12 ⅞ x 12 ¾ inches inscribed on verso: #102 – APRIL – BLACK / MAY 1930 29

The Bishops Apricot woodblock print, 71/125, 6 ⅛ x 7 ⅝ inches

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Cherry Bloom woodblock print, 49/100, 9 ⅝ x 11 ¼ inches

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From Hillside Gardens woodblock print, second state, 45/125, 12 ž x 12 � inches 32

Green Gate Orchard woodblock print, RC, 7/125, 9 ½ x 11 ⅛ inches 33

Morning Sun woodblock print, third state, 132/over, 10 ž x 9 ž inches 34

Oval Floral (Marigolds) woodblock print, 21 ⅝ x 17 ¾ inches 35

Rose Farm woodblock print, 10/100, 9 ⅜ x 11 ¼ inches 36

Spring - Tesuque Valley woodblock print, first state, 19/125, 12 ⅞ x 12 ¾ inches 37

Spring Blossoms woodblock print, first state, 8/130, 12 ¼ x 13 ⅛ inches 38

Spring Serenade woodblock print, first state, 49/120, 9 â…œ x 11 Âź inches 39

Tares woodblock print, first state, 7/125, 12 ⅝ x 12 ½ inches 40

Tulips woodblock print with aluminum leaf, 6/120, 13 x 12 ¾ inches 41

Zinnias #95 original woodblock, 12 ¾ x 12 ¾ inches inscribed on verso: #95 ZINNIAS - SILVER 42

SO UTH W E ST AND P U E BL O SCE NES Feeling constrained by city life, and having drawn everything he could from the rural countryside surrounding Chicago—Baumann felt the ever growing urge to move west. Baumann was particularly drawn to New Mexico, which his colleagues Walter Ufer and Victor Higgins lauded and urged him to explore. After a few years of planning, Baumann headed west in 1918 and never looked back. After spending his initial summer in Taos, with the vibrant art colony there, Baumann traveled to Santa Fe and found there the home he had been searching for.

Baumann’s time in New Mexico and the surrounding region proved revolutionary for his style.

Abandoning the muted tones and rigid lines of his earlier prints, the Southwest inspired a brighter and bolder style. In prints like Beginning of the Fiesta and Eagle Ceremony at Tesuque, Pueblo Baumann depicts the cultural phenomenon unique to the region, a subject which he returned to throughout his career. As exemplified by many of the prints in this section, Baumann also found inspiration in his immediate surroundings of the Santa Fe and Taos landscapes. Baumann continued to depict and explore the landscape, people, and distinct culture of the Southwest, until his death in Santa Fe in 1971.

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Arroya Chamisa woodblock print, third state, 116/125, 9 ⅜ x 11 ⅛ inches 44

Beginning of the Fiesta woodblock print, 55/125, 7 ⅜ x 6 ⅛ inches 45

Bound for Taos woodblock print, seond state, 40/125, 9 ½ x 11 inches 46

Bright Angel Trail woodblock print, 22/120, 9 ½ x 11 ¼ inches 47

Bright Angel Trail woodblock print, second state, 30/125, 9 ½ x 11 Ÿ inches 48

Cedar - Grand CaĂąon woodblock print, second state, 55/125, 13 x 13 inches 49

Chile con Cabra woodblock print, 2/100, 6 x 7 â…? inches 50

Cholla and Sahuaro woodblock print, third state, 109/125, 12 ž x 12 ž inches 51

Church Ranchos de Taos woodblock print, 61/100, 9 ½ x 11 ¼ inches 52

Cliff Dwellings woodblock print, 73/125, 7 ¼ x 6 ¼ inches 53

Corn Dance - Santa Clara woodblock print, 74/125, 5 ⅞ x 7 ½ inches

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Day of the Deer Dance woodblock print, 22/100, 19 ⅛ x 21 ½ inches 55

Desert woodblock print, 14/100, 6 x 7 ½ inches

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Desert Creatures woodblock print with aluminum leaf, 52/100, 10 â…› x 15 inches

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Desert Gossip woodblock print, first state, 5/125, 4 Âź x 4 Âź inches 58

Desert Interlude woodblock print, first state, 11/125, 4 Âź x 4 Âź inches 59

Eagle Ceremony at Tesuque Pueblo woodblock print, 6 ⅜ x 6 ⅜ inches 60

El Pasado woodblock print, 4/100, 10 ¾ x 9 ⅝ inches 61

El Santo woodblock print, third state, 46/125, 9 ½ x 11 ⅛ inches 62

El Velorio woodblock print, 41/100, 8 ⅛ x 8 ¼ inches 63

Grand Canyon woodblock print, 102/125, 12 ¾ x 12 ¾ inches 64

Harvest in Taos woodblock print, first state, 4/125, 9 ½ x 11 inches 65

La Loma Taos woodblock print, 26/100, 9 ½ x 11 ⅛ inches 66

Malapai woodblock print, second state, 29/125, 9 Âź x 11 â…› inches 67

Malapai and White Sands woodblock print with aluminum leaf, 10 x 15 inches

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Morning in Mexico woodblock print, second state, 5/125, 12 ⅜ x 13 ⅜ inches 69

Night of the Fiesta - Taos woodblock print, 47/125, 5 ⅞ x 7 ½ inches 70

Old Santa Fe woodblock print, 87/100, 6 x 7 â…? inches 71

Palo Verde and Ocotea woodblock print, second state, 51/125, 9 ½ x 11 Ÿ inches 72

Past History woodblock print, second state, 7/125, 9 ¼ x 10 ¾ inches 73

The Patio (Watch at the Gate) woodblock print, 12/100, 9 ½ x 11 ¼ inches 74

Pecos Valley woodblock print, second state, 58/125, 9 ⅜ x 11 ⅛ inches 75

Pines - Grand Canyon woodblock print, 17/120, 13 x 12 â…ž inches 76

Primitive Domesticity woodblock print, 13/120, 8 Âź x 8 Âź inches 77

Pinon - Grand Cañon woodblock print, 3/100, 12 ¾ x 12 ¾ inches 78

Pinon Grand Canyon original woodblock, 12 ⅝ x 12 ⅝ inches inscribed on verso: #41 PINON GRAND CANYON / COLOR WOODBLOCK BY / GUSTAVE BAUMANN 79

Quiet Corner woodblock print, second state, 51/125, 7 ½ x 8 ½ inches 80

Rain woodblock print, first state, 14/125, 8 x 8 â…› inches 81

Ranchos de Taos woodblock print, second state, 46/125, 9 ½ x 11 Ÿ inches 82

Rio Pecos woodblock print, second state, 43/125, 10 ¾ x 9 ¾ inches 83

Rio Tesuque woodblock print, 70/125, 9 ⅜ x 11 inches 84

San Domingo Pueblo woodblock print, 60/125, 7 ⅜ x 6 ⅛ inches 85

San Geronimo - Taos woodblock print, 54/125, 7 â…› x 6 inches 86

San Miguel de Santa Fe woodblock print, first state, 55/125, 8 x 8 inches 87

Sanctuario - Chimayo woodblock print, 113/125, 7 ⅜ x 6 ¼ inches 88

Strangers from Hopi Land woodblock print, second state, 19/125, 10 ž x 9 ž inches 89

Summer Clouds woodblock print, third state, 97/125, 10 ¾ x 9 ⅝ inches 90

Summer Rain woodblock print, RC, 47/50, 9 ¼ x 11 inches 91

Superstition Mountains woodblock print, first state, 53/125, 8 â…› x 8 â…› inches 92

Talaya Peak woodblock print, third state, 76/120, 9 ⅜ x 11 inches 93

Talpa Chapel woodblock print, 87/125, 5 ⅞ x 7 ½ inches 94

Taos Patio woodblock print, 113/125, 5 ⅞ x 7 ½ inches 95

Taos Placita woodblock print, second state, 80/125, 9 ⅜ x 11 ⅛ inches 96

Tent Rock Trail woodblock print, 10 ¾ x 9 ¾ inches 97

Wild Horse Mesa woodblock print, second state, 46/120, 12 ž x 12 ž inches 98

Wild Horse Mesa, #87

Wild Horse Mesa, #87

original woodblock, 12 ⅞ x 12 ¾ inches inscribed on verso: #87 – WILD HORSE MESA / (HORSE MESA) / COLOR WOODBLOCK BY / GUSTAVE BAUMANN

original woodblock, 12 ¾ x 12 ¾ inches inscribed on verso: #87 – WILD – ORANGE / (HORSE MESA)

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White Desert woodblock print, first state, 14/125, 9 ½ x 11 ⅛ inches 100

A Recording of Cave Drawings in Frijoles Canyon, They Were Still Intact When I First Saw Them in 1918 woodblock print, 6 ½ x 19 ¾ inches 101

Frijoles Canyon Pictographs woodblock print, 46/125, 10 ⅝ x 20 ½ inches

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Wings of Prophesy woodblock print, second state, 56/125, 9 ¾ x 12 ½ inches

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ST I L L L IF E S, STU D IE S, AND ABSTRA CTIONS While Baumann is renowned for his landscapes, florals, and depictions of the Southwest, like many artists he also experimented with representation and abstraction. Many of the themes and styles used here are a departure from Baumann’s traditional landscape scenes. Abstracted prints, like Waiting to Be Counted, Torrey Pine, Winter Ceremony and Hidden Meaning, include freeform shapes, distortions, and planar elements. Though he never maintained or fully developed this abstract style, he cultivated a respect for abstract artists such as Paul Klee and their developing nonobjective styles. Baumann’s dabbling in abstract art likely grew out of his interest in Native American motifs and children’s art and illustration. The abstract prints in this section are exploratory works, and thus illustrate an important period in Baumann’s artistic career. Additionally, the still life pieces such as Playroom Symposium, Princeton Carrilon, Almost a Still Life, and Marionettes, among others, establish his fondness for children’s art. Two pervasive elements in these works are the depiction of animals and toys. From the cat in Almost a Still Life, to the birds in Tree Party, these works are studies of playful items that appeal to children. The details in the works of this section focus on text, design, and illustration, originating from his roots as a graphic designer.

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Almost a Still Life woodblock print, first state, 1/125, 8 ⅞ x 9 ⅛ inches 105

Hidden Meaning woodblock print, 3/100, 12 x 12 â…ž inches

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Hidden Meaning, #150 original woodblock, 12 ¾ x 12 inches inscribed on verso: #150 HIDDEN MEANING (GREY) 107

Winter Ceremony woodblock print with aluminum leaf, first state, 2/125, 7 â…ž x 8 â…› inches 108

Night Ceremony woodblock print with aluminum leaf, first state, 26/125, 8 Âź x 8 Âź inches 109

Geographical Treatise Together with Greetings from Jane and Gustave Baumann woodblock print, 8 ž x 11 ⅛ inches 110

Playroom Symposiu woodblock print, 11 ⅛ x 10 ⅛ inches 111

Princeton Carrilon woodblock print, first state, 26/125, 10 â…œ x 9 ½ inches 112

Signs of the Eighties woodblock print, first state, 7/125, 8 x 8 â…› inches 113

Torrey Pine woodblock print, first state, 18/125, 12 x 12 ž inches 114

Teatro Torito woodblock print, 8 x 6 ¾ inches 115

Tree Party woodblock print, 8 ⅛ x 7 ⅞ inches 116

Waiting to be Counted, 1954 woodblock print with aluminum leaf, second state, 58/125, 12 ž x 15 ⅞ inches 117

Wide and Broad woodblock print, 7 ⅞ x 7 ½ inches 118

Marionettes woodblock print, first state, 10/100, 8 â…› x 8 â…› inches 119

L AN DS C A P E S AND TR E E S Landscapes predominated many of Gustave Baumann’s prints throughout his career, chronicling the wide variety of places he worked and visited. After living in the Midwest early in his life, Baumann traveled farther west, and spent time in New Mexico, California, Arizona, and Texas. In contrast to the urban Chicago lifestyle of his past, in his later years Baumann dedicated himself to living simply. He soaked up the natural vistas in the West, and delighted in transforming vignettes of the rich landscape around him into novel and expressive prints.

An explorer by nature, in the West he sought out canyons and forests to serve as inspiration.

Baumann’s landscapes of California, and the East Coast benefit from the use of a lower horizon line, which grounds the immense trees and allows them to become striking focal points. In contrast, his New Mexican landscapes typically utilize a high horizon line, corresponding to the vast and tall mountainous terrain. In addition to conventional landscapes, Baumann frequently depicted trees as the centerpiece of his prints; Oaks, Aspens, Sycamores, Cedars, and blossoming trees envelop his compositions, their limbs and leaves spilling out into the corners of the prints.

Baumann used a variety of artistic techniques to render the natural world; however, arguably it was his depiction of trees, which contributed most to his ability to define, identify, and describe the individual character of the rich landscapes he encountered.

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Aspen on the March woodblock print, 1/125, 12 ⅝ x 12 ⅝ inches 121

Aspen Money, #98 original woodblock, 12 ⅞ x 12 ⅞ inches inscribed on verso: #98 ASPEN MONEY / (EL RITA CANYON) / COLOR WOODBLOCK BY / GUSTAVE BAUMANN 122

Aspen - Red River woodblock print, 100/125, 9 ⅛ x 10 ⅞ inches 123

Aspen - Summer woodblock print, second state, 14/125, 9 ½ x 11 ¼ inches 124

Aspen Thicket woodblock print, second state, 46/125, 10 ¾ x 9 ⅝ inches 125

Autumnal Glory woodblock print, third state, 97/125, 13 x 12 â…ž inches 126

Big Timber Upper Pecos woodblock print, second state, 56/125, 9 ⅛ x 11 ⅛ inches 127

Coast Range woodblock print, 14/120, 9 ½ x 11 ⅜ inches 128

Cottonwoods woodblock print, 30/120, 10 ⅝ x 9 ⅜ inches 129

Early Spring woodblock print, second state, 12/125, 9 â…œ x 11 Âź inches 130

El Rito Cañon woodblock print, 5/120, 12 ¾ x 12 ¾ inches 131

Falling Leaves woodblock print, first state, 24/125, 10 ½ x 9 ½ inches 132

Hillside Woods woodblock print, second state, 42/120, 10 ⅝ x 9 ⅝ inches 133

Leaves Red and Green woodblock print, 10 ⅝ x 9 ⅝ inches 134

Live Oak Landa Park woodblock print, second state, 26/125, 13 x 12 ž inches 135

Mountain Gold woodblock print, 48/120, 9 ½ x 11 ¼ inches 136

Mountain Pool woodblock print, RC, 31/125, 9 ½ x 11 ⅛ inches 137

Nobody is Home woodblock print, first state, 7/125, 10 ž x 9 ž inches 138

October Morning woodblock print, 10/120, 9 ¼ x 11 ⅛ inches 139

Point Lobos woodblock print, first state, 21/125, 12 ¾ x 12 ¾ inches

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Point Lobos

Point Lobos

original woodblock, 12 ⅞ x 12 ¾ inches inscribed on verso: #131 – POINT LOBOS – (PINK)

original woodblock, 12 ⅝ x 12 ⅝ inches

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Point Lobos original woodblock, 12 ⅞ x 12 ⅞ inches inscribed on verso: 111 (SPECIAL) / THIS APPEARS TO BE A LARGER CUT / OF #111 – POINT LOBOS – WHICH / APPARENTLY DID NOT DEVELOP INTO A / COMPLETED PRINT. / COLOR WOODBLOCK BY / GUSTAVE BAUMANN / 1-26-77 142

Point Lobos original woodblock, 12 ⅞ x 12 ¾ inches inscribed on verso: #111 (SPECIAL) – BLACK / THIS APPEARS TO BE A LARGER CUT / OF #111 – POINT LOBOS – WHICH AP- / PARENTLY DID NOT DEVELOP INTO A / COMPLETED PRINT. / ANN BAUMANN 1-26-77 143

Pine and Aspen woodblock print, third state, 97/125, 12 ⅞ x 12 ⅞ inches 144

Punch Hunting Chipmunks woodblock print, third state, 56/125, 9 ½ x 11 Ÿ inches 145

Rainy Day Promenade woodblock print, 9 ⅝ x 11 ¼ inches 146

Redwood woodblock print, first state, 41/125, 12 ⅞ x 12 ⅞ inches 147

Road of a Morning woodblock print, 89/100, 11 x 10 inches 148

Salt Creek woodblock print, 61/100, 9 ½ x 11 ⅛ inches 149

Sequoia Forest woodblock print, 47/55, 12 ¾ x 12 ⅞ inches 150

Singing Woods woodblock print with aluminum leaf, 16/120, 13 x 12 â…ž inches 151

Spring Freshet woodblock print, 23/120, 10 ⅞ x 9 ¾ inches 152

The Sycamore woodblock print, 10/100, 10 ⅞ x 9 ⅞ inches 153

Three Pines woodblock print, 10 ¾ x 9 ½ inches 154

Winsor Cañon woodblock print, 39/100, 10 ¾ x 9 ⅞ inches 155

Winter Corral woodblock print, second state, 108/125, 12 ž x 12 ž inches 156

Woodland Meadows woodblock print, 17/125, 9 ⅝ x 11 ¼ inches 157

SE AS C APE S AND CITYSCAP E S Baumann created his cityscapes while staying in New York City and upstate New York. His seascapes derive mainly from his travels to the west coast along California’s beaches and city docks, as well as from his stay in Provincetown, Massachusetts. Muted colors and the presence of facades are commonalities found in both of these genres. For example, in the seascape, Idle Fleet, 28/120, trees play a minimal role in the composition; instead, a flurry of houses lines a subtlety colored sea, whose sailboats drift off into the distance. In Idle Fleet, 6/120, the color palette is again muted, with a low horizon line and far reaching skyscraper buildings along a body of water. The muted colors of Baumann’s seascapes and cityscapes are reminiscent of a watercolor wash, a medium and style common to the woodcut artists of Cape Cod and the Japanese style. While many of Baumann’s prints incorporate soft contour lines indicative of mountainous landscapes, lush ground, and gentle waves, his cityscapes frequently utilize a more graphic and linear style. For example, the angular shape of the roofs, fences, and slabs of wood in the facades of Tom a Hunting contrast greatly to the billowing trees found in Pacific Shore Line, 8/125. This collection of seascapes and cityscapes provides a rare window into some of Baumann’s lesser known but no less remarkable works.

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Idle Fleet woodblock print, 28/120, 9 ¾ x 10 ⅞ inches 159

Idle Fleet woodblock print, 6/20, 11 x 13 â…› inches 160

Madison Square woodblock print, 13 Âź x 11 inches 161

Mending the Seine woodblock print, second state, 38/125, 9 â…? x 11 â…› inches 162

Monterey Cypress woodblock print, first state, 14/125, 8 ⅛ x 8 ⅛ inches 163

Pacific Shore Line woodblock print, first state, 8/125, 12 ž x 12 � inches 164

Pelican Rookery woodblock print, second state, 39/125, 9 ½ x 11 ⅜ inches 165

Point Lobos woodblock print, 80/125, 8 ⅛ x 8 ⅛ inches 166

Provincetown woodblock print, 15/120, 10 ⅜ x 9 ½ inches 167

Tom A Hunting woodblock print, 11 x 13 ¼ inches 168

Windswept Eucalyptus woodblock print, second state, 50/125, 9 ⅝ x 11 ⅜ inches 169

G E R A L D P ET E R S GA L L E R Y ® 1005 Paseo de Peralta, Santa Fe, New Mexico 87501 Tel 505-954-5700 | www.gpgallery.com

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