Quiet Corner is a color woodcut from 1936 by American master printmaker Gustave Baumann (1881-1971). This impression is pencil signed, titled, and editioned II 61-125. It is from the second printing within the edition of 125 which was never completed. Quiet Corner was printed by the artist circa 1949 on an unidentified ivory wove paper and the image measures 7-1/2 x 8-5/8 inches.
The reference for this work is Chamberlain 150. For an explanation of the printing record for this color woodcut and the number of blocks used, we refer you to pages 397-398 of In A Modern Rendering The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné.
This serene shadowed patio with turquoise benches and a vine covered trellis was discovered by Baumann in Velarde, New Mexico. This imagery obviously pleased Baumann as he returned to it three times. He carved the scene in a linear block to be included in his block book, Woodcut Impressions of New Mexico. He then carved a smaller linear block of the same imagery which he included in his self-published pamphlet Gus Baumann Sketch Booklet for 1949. In 1958, he cut another block with similar imagery but with the addition of a Santo in his niche for his holiday greeting card.
Gustave Baumann was born in Magdeburg, Germany on 27 June 1881. Ten years later his family immigrated to the US, settling in Chicago. In 1896, Baumann began working in the commercial art field while saving money to study in Germany. After returning from Munich in December 1905 where he studied at the Kunstgewerbeschule, Baumann worked again in commercial art to support his family. In 1909, he discovered Brown County, Indiana where life was inexpensive and he could stay for three months. He produced a series of small format color woodcuts featuring the people and places of Brown County and then produced five large format color woodcuts. His woodcuts were accepted by the committee for the 1915 Panama Pacific International Exposition and he won a gold medal in 1916. Baumann headed east to Wyoming, New York in 1917 and taught at a summer school. From there he headed to Provincetown and New York City before returning to set up his studio in Wyoming. The southwest beckoned and he headed west in May 1918, stopping in Taos for the summer and fall. His funds were low and he needed to head back to Chicago but first stopped at the new art museum in Santa Fe to see an exhibition of his woodcuts. The rest, they say, is history.