HISTORIC PHOTOS OF LEXINGTON, KENTUCKY captures the remarkable journey of this city and her people with still photography from the finest archive of private and public collections. Through four wars and urban development, Lexington has endured and prospered, due in large part, because of the persistence and innovation of its civic leaders. With hundreds of archival photos reproduced in stunning duotone on heavy art paper, this book is the perfect addition to any historian's collection.
Lexington is known as the "Horse Capital of the World," but the city's history runs much deeper. Learn about the mayor who refused the Ku Klux Klan permission to march and organize in the city. Meet one of the nation's foremost advocates for voting rights for women who was a native of the city. Visit the many small hamlets around Lexington that were settlements for the formerly enslaved. Lexington was the state's first capital and the nation's first community to establish an urban service boundary to regulate growth and preserve horse farms. Seventh-generation Kentuckian and Lexington native Foster Ockerman Jr. offers an updated history.
Lexington Market was established in 1782 by Revolutionary War hero John Eager Howard, who donated a plot of land in Baltimore's "western precincts" for a public market. Accessible to farmers from the outlying countryside, Howard's Hill Market, as it was known, became an instant success. Undeterred by the lack of a proper market house, farmers set up plank stalls and began selling fresh meat, eggs, and vegetables to the burgeoning city's population. Almost as soon as a market house was built in 1803, petitions circulated to expand it, a process that continued throughout the 19th century until the market included three block-long sheds with hundreds of stalls spilling down neighboring streets. Far from signaling Lexington Market's end, a disastrous fire in 1949 provided an opportunity for a modern facility with refrigeration and stoves, enabling each stall keeper to bake, roast, or steam according to his own unique recipe. With the addition of an arcade, the market has continued to reinvent itself while maintaining a place in Baltimore's heart for 225 years.
In Kentucky: Historic Houses and Horse Farms, pre-eminent architectural and interiors photographer Pieter Estersohn guides us through Bluegrass Country, the legendary landscape around Lexington, Kentucky. The wealthiest town west of the Alleghenies prior to the Civil War, Lexington has a rich architectural and cultural history that is manifest in the elegant houses within and around the center. Equally compelling is the equestrian heritage that has made Lexington the “Horse Capital of the World.” Among the properties presented are Ashland, an Italian-inspired villa built for distinguished statesman and orator Henry Clay; Pope Villa, one of only two extant residences by Benjamin Latrobe, the architect of the U.S. Capitol; Waveland, a completely intact Greek Revival estate from the 1830s; and Pleasant Hill, the largest restored Shaker community in the country. Dramatic aerial photographs celebrate the rolling landscape and expansive horse farms, including Gainesway Farm, a 1,500 acre site that has produced an impressive roster of legendary Throughbreds. Kentucky is a multifaceted and compelling portrait of a unique part of our country that combines a reverence for history and Southern traditions of hospitality and generosity with a vital present.
"Why did Pa have to die?" What Pa was involved in had been handed down from generation to generation. The Hill's and the Evans' had fought over land and squabbled over money for years - taking each other to court, putting up unseen boundaries on land to keep each other out. Mary Hill didn't understand everything about the feud. She knew that Uncle Jesse was shot and killed two years ago, but was really too young to grasp what had happened. So young, and so familiar with sorrow, Mary struggles to keep her family together in the midst of a bitter and violent feud. Just fifteen years old, she is thrust into the role of mother to her twelve siblings, fearful that, with the coming of each new day, a new tragedy will strike. By escaping Garrard County, Mary may be able to save her family from further bloodshed, but can she get them all out in time?
Benton, traveling alone by train, arrived in the small town of Seven Lakes, Minnesota, on December 5, 1925. In the early evening of December 22, Mary left her room at The Seven Lakes Grand Hotel, venturing out into the middle of a severe snowstorm, never to return. Authorities at the time ruled her disappearance, an accidental death due to exposure even though they never recovered her body. A mysterious letter arriving at the office of Minneapolis detective Joel Vick, nearly ninety years after her disappearance, suggested there may have been something else at play on that fateful night.
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Renowned photographer James Archambeault has the rare ability to capture the historic, archival, and artistic aspects of his photographic subjects. His award-winning craft is evident in the careful selection of time, season, and subjects in his beloved Kentucky. In his new book, he preserves the landscapes, buildings, and sights of old Kentucky as many of them fall into neglect, become irreversibly altered, or disappear completely. In addition to his essay describing the early settlement of Kentucky, Archambeault explains the historical and cultural significance of each of the more than 100 color photographs. Some of these subjects are well-preserved historic landmarks, such as White Hall in Madison County and "My Old Kentucky Home" in Bardstown. Others support the daily life and work of Kentuckians, such as a Sunday afternoon celebration of a baptism in Jessamine Creek or friends sharing their thoughts on a warm February day in Sharpsburg, Bath County. The passing of a previous way of life resonates in photographs of a drive-in theater, mom-and-pop grocery store, covered bridges, and old farm houses. Archambeault captures the friction between the historic Kentucky and its future, such as grain silos from the 1930s standing within view of a new subdivision in Shelby County or the Joseph Ewing log cabin in Scott County bordering the site of a future industrial park. James Archambeault's Historic Kentucky is a photographic elegy to the scenic treasures of our culture. Including a foreword by Wendell Berry, the book also reminds us of our responsibility to serve as stewards for Kentucky's rich history and historic places.
Photographic survey of numerous significant ruins in Virginia including residences, train stations, slave quarters, kilns and forges, canals and locks, villages, viaducts, bridges, mills, springs, and churches.
"Clay Lancaster was infected by a love of architecture at an early age, a gentle madness from which he never cared to recover."—From the Foreword, by Roger W. Moss It is easy to take for granted the visual environment that we inhabit. Familiarity with routes of travel and places of work or leisure leads to indifference, and we fail to notice incremental changes. When a dilapidated building is eliminated by new development, it is forgotten as soon as its replacement becomes a part of our daily landscape. When an addition is grafted onto the shell of a house fallen out of fashion or function, onlookers might notice at first, but the memory of its original form is eventually lost. Also forgotten is the use a building once served. From historic homes to livestock barns, each structure holds a place in the community and can tell us as much about its citizens as their portraits and memoirs. Such is the vital yet intangible role that architecture plays in our collective memory. Clay Lancaster (1917-2000) began during the Great Depression to document and to encourage the preservation of America's architectural patrimony. He was a pioneer of American historic preservation before the movement had a name. Although he established himself as an expert on Brooklyn brownstones and California bungalows, the nationally known architectural historian also spent four decades photographing architecture in his native Kentucky. Lancaster did not consider himself a photographer. His equipment consisted of nothing more complex than a handheld camera, and his images were only meant for his own personal use in documenting memorable and endangered structures. He had the eye of an artist, however, and recognized the importance of vernacular architecture. The more than 150 duotone photographs in Clay Lancaster's Kentucky preserve the beauty of commonplace buildings as well as historic mansions and monuments. With insightful commentary by James D. Birchfield about the photographs and about Lancaster's work in Kentucky, the book documents the many buildings and architectural treasures—both existing and long gone—whose images and stories remain a valuable part of the state's heritage.
