One of the finest architectural photographers in America, Robert W. Tebbs produced the first photographic survey of Louisiana's plantations in 1926. From those images, now housed in the Louisiana State Museum, and not widely available until now, 119 plates showcasing fifty-two homes are featured here. Richard Anthony Lewis explores Tebbs's life and career, situating his work along the line of plantation imagery from nineteenth-century woodcuts and paintings to later twentieth-century photographs by John Clarence Laughlin, among others. Providing the family lineage and construction history of each home, Lewis discusses photographic techniques Tebbs used in his alternating panoramic and detail views. A precise documentarian, Tebbs also reveals a poetic sensibility in the plantation photos. His frequent emphasis on aspects of decay, neglect, incompleteness, and loss lends a wistful aura to many of the images -- an effect compounded by the fact that many of the homes no longer exist. This noticeable vacillation between objectivity and sentiment, Lewis shows, suggests unfamiliarity and even discomfort with the legacy of slavery. Poised on the brink of social and political reforms, Louisiana in the mid-1920s had made significant strides away from the slave-based agricultural economy that the plantation house often symbolized. Tebbs's Louisiana plantation photographs capture a literal and cultural past, reflecting a burgeoning national awareness of historic preservation and presenting plantations to us anew. Select plantations included: Ashland/Belle Helene, Avery Island, Belle Chasse, Belmont, Butler-Greenwood, L'Hermitage, Oak Alley, Parlange, René Beauregard House, Rosedown, Seven Oaks, Shadows-on-the-Teche, The Shades, and Waverly.

One of the finest architectural photographers in America, Robert W. Tebbs produced the first photographic survey of Louisiana's plantations in 1926. The images, now housed in the Louisiana State Museum, and never before widely available, consist of 110 plates showcasing fifty-two homes. Author and curator Richard Anthony Lewis explores Tebbs's life and photographs, revealing in both a new awareness of historic preservation.

Winner of the 2024 SABR Larry Ritter Book Award for best Deadball Era baseball book. Second place finisher for 2023 CASEY Award for best baseball book of the year. While ostensibly a tool for collectors to identify and authenticate Deadball Era photographs, a purpose at which it excels, this book is so much more. At its heart, Baseball Photography of the Deadball Era is the definitive story of the rise of baseball press photographers in the early 20th century and a celebration of the visual splendors of the game they captured. Collectors have long admired the artistry of their beautiful sepia toned baseball prints from the early 1900’s. These images are visual time machines that transport us back to those halcyon days when we romanticize that baseball was pure. What collectors haven’t appreciated, as they have long been shrouded in mystery, are the stories of the men behind the lens and the photo syndicates who distributed their work. These Photographers’ indelible images brought the game from the field to the fans and helped create the baseball legends we still revere. This book lifts the veil on their previously untold stories. Through extensive research and newfound discoveries, the lives of many of the photographic artists and innovators who brought the game to life have been revealed. Their stories are as fascinating as those of the more famous men in front of the lens. Some names are iconic, such as Charles Conlon. Some should be, such as Frances Burke. Dozens more are profiled, all in far more detail than has ever been presented before. The clues to uncovering their stories are embedded in their photos and stamped on the back of their vintage prints. Baseball Photography of the Deadball Era contains extensive and groundbreaking research on identifying and authenticating Deadball photographs through the examination of back stampings. The hundreds of stamps presented, dated and interpreted in this book represent a quantum leap forward in the knowledge base regarding the era’s photographers. Of course, the book contains hundreds of gorgeous are rare images of the Deadball Era, many never seen before by the public. Longtime collectors have generously granted use of their private collections to embellish this story, and what a visual feast it is. Ty Cobb, Babe Ruth, Christy Mathewson, “Shoeless” Joe Jackson and other ballyard legends are all here, as seen in their glory days. Many readers will buy the book for the images alone. My hope is they stick around for the stories.

Charting the Plantation Landscape from Natchez to New Orleans examines the hidden histories behind one of the nineteenth-century South’s most famous maps: Norman’s Chart of the Lower Mississippi River, created by surveyor Marie Adrien Persac before the Civil War and used for decades to guide the pilots of river vessels. Beyond its purely cartographic function, Persac’s map depicted a world of accomplishment and prosperity, while concealing the enslaved and exploited laborers whose work powered the plantations Persac drew. In this collection, contributors from a variety of disciplines consider the histories that Persac’s map omitted, exploring plantations not as sites of ease and plenty, but as complex legal, political, and medical landscapes. Essays by Laura Ewen Blokker and Suzanne Turner consider the built and designed landscapes of plantations as they were structured by the logics and logistics of both slavery and the effort to present a façade of serenity and wealth. William Horne and Charles D. Chamberlain III delve into the political activity of formerly enslaved people and slaveholders respectively, while Christopher Willoughby explores the ways the plantation health system was defined by the agro-industrial environment. Jochen Wierich examines artistic depictions of plantations from the antebellum years through the twentieth century, and Christopher Morris uses the famed Uncle Sam Plantation to explain how plantations have been memorialized, remembered, and preserved. With keen insight into the human cost of the idealized version of the agrarian South depicted in Persac’s map, Charting the Plantation Landscape encourages us to see with new eyes and form new definitions of what constitutes the plantation landscape.

In an evocative sequel to the acclaimed "New Orleans: Elegance and Decadence, " Sexton returns with an in-depth visual journey through the hidden mansions--some inhabited, many now long abandoned--of Louisiana's River Road. 200+ color photos.

A study of Louisiana French Creole sugar planters’ role in higher education and a detailed history of the only college ever constructed to serve the sugar elite The education of individual planter classes—cotton, tobacco, sugar—is rarely treated in works of southern history. Of the existing literature, higher education is typically relegated to a footnote, providing only brief glimpses into a complex instructional regime responsive to wealthy planters. R. Eric Platt’s Educating the Sons of Sugar allows for a greater focus on the mindset of French Creole sugar planters and provides a comprehensive record and analysis of a private college supported by planter wealth. Jefferson College was founded in St. James Parish in 1831, surrounded by slave-holding plantations and their cash crop, sugar cane. Creole planters (regionally known as the “ancienne population”) designed the college to impart a “genteel” liberal arts education through instruction, architecture, and geographic location. Jefferson College played host to social class rivalries (Creole, Anglo-American, and French immigrant), mirrored the revival of Catholicism in a region typified by secular mores, was subject to the “Americanization” of south Louisiana higher education, and reflected the ancienne population’s decline as Louisiana’s ruling population. Resulting from loss of funds, the college closed in 1848. It opened and closed three more times under varying administrations (French immigrant, private sugar planter, and Catholic/Marist) before its final closure in 1927 due to educational competition, curricular intransigence, and the 1927 Mississippi River flood. In 1931, the campus was purchased by the Society of Jesus (Jesuits) and reopened as a silent religious retreat. It continues to function to this day as the Manresa House of Retreats. While in existence, Jefferson College was a social thermometer for the white French Creole sugar planter ethos that instilled the “sons of sugar” with a cultural heritage resonant of a region typified by the management of plantations, slavery, and the production of sugar.

In Creole Italian, Justin A. Nystrom explores the influence Sicilian immigrants have had on New Orleans foodways. His culinary journey follows these immigrants from their first impressions on Louisiana food culture in the mid-1830s and along their path until the 1970s. Each chapter touches on events that involved Sicilian immigrants and the relevancy of their lives and impact on New Orleans. Sicilian immigrants cut sugarcane, sold groceries, ran truck farms, operated bars and restaurants, and manufactured pasta. Citing these cultural confluences, Nystrom posits that the significance of Sicilian influence on New Orleans foodways traditionally has been undervalued and instead should be included, along with African, French, and Spanish cuisine, in the broad definition of “creole.” Creole Italian chronicles how the business of food, broadly conceived, dictated the reasoning, means, and outcomes for a large portion of the nearly forty thousand Sicilian immigrants who entered America through the port of New Orleans in the nineteenth and early-twentieth centuries and how their actions and those of their descendants helped shape the food town we know today.

From the Potomac to the Gulf, artists were creating in the South even before it was recognized as a region. The South has contributed to America's cultural heritage with works as diverse as Benjamin Henry Latrobe's architectural plans for the nation's Capitol, the wares of the Newcomb Pottery, and Richard Clague's tonalist Louisiana bayou scenes. This comprehensive volume shows how, through the decades and centuries, the art of the South expanded from mimetic portraiture to sophisticated responses to national and international movements. The essays treat historic and current trends in the visual arts and architecture, major collections and institutions, and biographies of artists themselves. As leading experts on the region's artists and their work, editors Judith H. Bonner and Estill Curtis Pennington frame the volume's contributions with insightful overview essays on the visual arts and architecture in the American South.