Hello lovely ladies, How are you all?
Here the weather is getting nasty. We've had some night frost, and I really need to think about protecting my lemon tree.
But let's start this blog post with a postcard as per usual:
Frank Duveneck’s parents were German immigrants. He showed talent at an early age painting signs and decorating coaches, and by age fifteen was apprenticed to an altar-building shop in a German-American neighborhood of Cincinnati. (Quick, An American Painter Abroad: Frank Duveneck’s European Years, 1988) His teachers encouraged him to travel to Munich, where he could study the works of Europe’s masters. The training at Munich’s academies influenced a generation of American painters, who adopted their professors’ confident brushwork and direct application of paint. Duveneck established himself as a successful portraitist and teacher in Cincinnati and Munich, and toward the end of his life created landscapes during summer vacations in Massachusetts.
This block in the series was issued on August 28, 1981 at the National Building Museum in Washington, DC. The buildings in this group date from the late 1800s to the early 1900s, a period when architects stopped sticking to particular styles and began exploring new directions. The eclectic architecture of this era often took inspiration from any styles or buildings that came before it, and might even combine elements from multiple styles into one building.
The stamps show the New York University Library by Stanford White, the Biltmore House by Richard Morris Hunt, the Palace of the Arts by Bernard Maybeck and the National Farmer’s Bank by Louis Sullivan. I found some photos of this last one, that is on my stamp:
One of the nation's most enduring and significant architectural buildings used to be called the Farmer's National Bank in Owatonna, Minn. It might never have been built in 1908 if it hadn't been for a couple of anti-establishment architects and a wealthy local banker who were not afraid to invest in new ideas.
Louis Sullivan and George Grant Elmslie were hired though their own studio was in a chaotic state. Sullivan had become an excessive drinker, and the gifted Elmslie was left to shoulder much of the design work.


