"The panorama was a ... newsreel travelogue documentary 'movie' all rolled into one long, long, pictorial canvas between two slowly revolving cylinders ... [to the] acccompaniment of explanatory narration by the panoramist, passed the great river, its banks and bluffs, its steamers and squatters' shacks, its hamlets and cities, from St. Paul to New Orleans." Dust jacket.

Union list catalog of the lithographic views of cities and towns made during the 19th century.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

Scenic spectacles collapse the borders of graphic and visual arts, multimedia technology, spectatorship and architecture. Drawing upon various systems of commercial, institutional and public spectacle that intersect with scenic stages of the national landscape, Tenneriello examines how spectacle is entrenched in the formation of national identity.

In this book, Bernard Comment examines the wide variety of panoramas featuring both the old and the new worlds. Included among views of cities are Robert Baker's View of Edinburgh and depictions of Paris, Moscow and Lima.

This biographical dictionary of some 3,000 photographers (and workers in related trades), active in a vast area of North America before 1866, is based on extensive research and enhanced by some 240 illustrations, most of which are published here for the first time. The territory covered extends from central Canada through Mexico and includes the United States from the Mississippi River west to, but not including, the Rocky Mountain states. Together, this volume and its predecessor, Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, comprise an exhaustive survey of early photographers in North America and Central America, excluding the eastern United States and eastern Canada. This work is distinguished by the large number of entries, by the appealing narratives that cover both professional and private lives of the subjects, and by the painstaking documentation. It will be an essential reference work for historians, libraries, and museums, as well as for collectors of and dealers in early American photography. In addition to photographers, the book includes photographic printers, retouchers, and colorists, and manufacturers and sellers of photographic apparatus and stock. Because creators of moving panoramas and optical amusements such as dioramas and magic lantern performances often fashioned their works after photographs, the people behind those exhibitions are also discussed.