Andrew D. Lytle's Baton Rouge: Photographs, 1863--1910 (The Hill Collection: Hol
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Andrew D. Lytle's Baton Rouge: Photographs, 1863--1910 (The Hill Collection: Hol
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Condition:
“Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE ”... Read moreabout condition
Very Good
A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear.
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Located in: Harrisburg, Pennsylvania, United States
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eBay item number:364496594313
Item specifics
- Condition
- Very Good
- Seller Notes
- ISBN
- 9780807132968
About this product
Product Identifiers
Publisher
LSU Press
ISBN-10
0807132969
ISBN-13
9780807132968
eBay Product ID (ePID)
63888137
Product Key Features
Book Title
Andrew D. Lytle's Baton Rouge : Photographs, 1863-1910
Number of Pages
144 Pages
Language
English
Topic
United States / State & Local / General, Individual Photographers / General, General, Artists, Architects, Photographers, History
Publication Year
2008
Illustrator
Yes
Genre
Photography, Biography & Autobiography, History
Book Series
The Hill Collection: Holdings of the LSU Libraries Ser.
Format
Hardcover
Dimensions
Item Height
0.3 in
Item Weight
12.3 Oz
Item Length
10 in
Item Width
10.5 in
Additional Product Features
Intended Audience
Trade
LCCN
2007-019763
Dewey Edition
22
Dewey Decimal
779/.9976318092
Synopsis
Andrew David Lytle produced thousands of photographic images in the sixty years during which he lived in Baton Rouge and operated Lytle Studio. His heirs, alas, reportedly shattered his glass-plate negatives by dropping them down a dry well soon after his death, not realizing their value. Andrew D. Lytle's Baton Rouge preserves some of the only images that remain, a vintage treasure for contemporary viewers. These 120 photographs give entr e into life in Louisiana's capital city from the 1860s through the early 1900s. They compose the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. Together they capture the day-to-day existence of the community, fleeting moments of great importance, and long-term changes over time, revealing not only the perceptions of the photographer but also the self-perceptions of his subjects. In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, noting advances in camera and printing technologies. Martin then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Thousands of northern soldiers and sailors came through the city during that time, and Lytle, a native of Ohio, photographed them in his studio, on the riverfront, in camps, on boats and ships, and from a bird's-eye view atop buildings. This work brought Lytle fame fifty years later when select images were published in The Photographic History of the Civil War along with the claim that Lytle had been a secret agent, a "camera spy," for the Confederacy. Martin exposes the impossibility of this popular belief, which nonetheless persisted well into the twentieth century. Over the years Lytle Studio, which Andrew's son Howard eventually joined, produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways, LSU sports teams, outdoor landscapes, and individuals. Andrew Lytle was more than a studio photographer, though. A husband, father, and grandfather, he took an active role in the community as an entrepreneur; volunteer firefighter, 'member of religious, social, and fraternal organizations; and participant in local theatrical productions and other entertainments. His photography provides in many cases the only visual record of the life and times of Baton Rouge and its people in that period.Much of what is depicted in Andrew D. Lytle's Baton Rouge remains central to the city's vitality today: politics, family, home, commerce and industry, social events, parades, LSU sports, and the riverfront (now with levees). Readers will find here a priceless glimpse at a bygone world, yet one still recognizable., Andrew David Lytle produced thousands of photographic images in the sixty years during which he lived in Baton Rouge and operated Lytle Studio. His heirs, alas, reportedly shattered his glass-plate negatives by dropping them down a dry well soon after his death, not realizing their value. Andrew D. Lytle's Baton Rouge preserves some of the only images that remain, a vintage treasure for contemporary viewers. These 120 photographs give entrée into life in Louisiana's capital city from the 1860s through the early 1900s. They compose the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. Together they capture the day-to-day existence of the community, fleeting moments of great importance, and long-term changes over time, revealing not only the perceptions of the photographer but also the self-perceptions of his subjects. In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, noting advances in camera and printing technologies. Martin then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Thousands of northern soldiers and sailors came through the city during that time, and Lytle, a native of Ohio, photographed them in his studio, on the riverfront, in camps, on boats and ships, and from a bird's-eye view atop buildings. This work brought Lytle fame fifty years later when select images were published in The Photographic History of the Civil War along with the claim that Lytle had been a secret agent, a "camera spy," for the Confederacy. Martin exposes the impossibility of this popular belief, which nonetheless persisted well into the twentieth century. Over the years Lytle Studio, which Andrew's son Howard eventually joined, produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways, LSU sports teams, outdoor landscapes, and individuals. Andrew Lytle was more than a studio photographer, though. A husband, father, and grandfather, he took an active role in the community as an entrepreneur; volunteer firefighter, 'member of religious, social, and fraternal organizations; and participant in local theatrical productions and other entertainments. His photography provides in many cases the only visual record of the life and times of Baton Rouge and its people in that period.Much of what is depicted in Andrew D. Lytle's Baton Rouge remains central to the city's vitality today: politics, family, home, commerce and industry, social events, parades, LSU sports, and the riverfront (now with levees). Readers will find here a priceless glimpse at a bygone world, yet one still recognizable., Andrew David Lytle produced thousands of photographic images during the sixty years he lived in Baton Rouge and operated Lytle Studio. Although his heirs reportedly shattered most of his glass-plate negatives, ANDREW D. LYTLES BATON ROUGE preserves 120 photographs of those remaining, giving entre into life in Louisiana's capital city from the 1860s through the early 1900s. They comprise the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, and then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Over the years, Lytle Studio produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways; LSU sports teams, outdoor landscapes, and individuals., Andrew David Lytle produced thousands of photographic images in the sixty years during which he lived in Baton Rouge and operated Lytle Studio. His heirs, alas, reportedly shattered his glass-plate negatives by dropping them down a dry well soon after his death, not realizing their value. Andrew D. Lytle's Baton Rouge preserves some of the only images that remain, a vintage treasure for contemporary viewers. These 120 photographs give entrée into life in Louisiana's capital city from the 1860s through the early 1900s. They compose the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. Together they capture the day-to-day existence of the community, fleeting moments of great importance, and long-term changes over time, revealing not only the perceptions of the photographer but also the self-perceptions of his subjects. In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, noting advances in camera and printing technologies. Martin then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Thousands of northern soldiers and sailors came through the city during that time, and Lytle, a native of Ohio, photographed them in his studio, on the riverfront, in camps, on boats and ships, and from a bird's-eye view atop buildings. This work brought Lytle fame fifty years later when select images were published in The Photographic History of the Civil War along with the claim that Lytle had been a secret agent, a "camera spy," for the Confederacy. Martin exposes the impossibility of this popular belief, which nonetheless persisted well into the twentieth century. Over the years Lytle Studio, which Andrew's son Howard eventually joined, produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways, LSU sports teams, outdoor landscapes, and individuals. Andrew Lytle was more than a studio photographer, though. A husband, father, and grandfather, he took an active role in the community as an entrepreneur; volunteer firefighter,'member of religious, social, and fraternal organizations; and participant in local theatrical productions and other entertainments. His photography provides in many cases the only visual record of the life and times of Baton Rouge and its people in that period.Much of what is depicted in Andrew D. Lytle's Baton Rouge remains central to the city's vitality today: politics, family, home, commerce and industry, social events, parades, LSU sports, and the riverfront (now with levees). Readers will find here a priceless glimpse at a bygone world, yet one still recognizable.
LC Classification Number
TR140.L97A54 2007
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- j***a (3155)- Feedback left by buyer.Past monthVerified purchaseVery pleased with the book and the buying process on ebay.
- s***y (2363)- Feedback left by buyer.Past monthVerified purchaseExcellent seller! Speedy shipping! Item received was as described. Thank you!
- o***a (2576)- Feedback left by buyer.Past monthVerified purchasePROMPT EFFICIENT EXCELLENT.
- l***o (371)- Feedback left by buyer.Past monthVerified purchaseThank you!