CHECKLIST

Hippolyte Arnoux
French, active in Egypt, c. 1860–c.1890
Fellah Woman
c. 1875–90
Albumen print from wet collodion negative
10 7/8 x 8 3/8 in.
Clark Art Institute, 2015.13

Maison Béchard
French, active in Egypt, 1870s–1880s
Water Carrier, Cairo
1870s
Albumen print from a wet plate collodion negative
10 5/8 x 8 3/8 in.
Clark Art Institute, 2011.5

Robert Frederick Blum
American, 1857–1903
A Street in Ikao, Japan, I
1890
Watercolor and gouache over graphite on paper
8 7/8 x 13 7/8 in.
Clark Art Institute, 1955.1558

Robert Frederick Blum
American, 1857–1903
A Street in Ikao, Japan, II
1890
Watercolor over pencil on paper
14 3/16 x 10 13/16 in.
Clark Art Institute, 1955.1566

Robert Frederick Blum
American, 1857–1903
A Street in Ikao, Japan, III
1890
Watercolor and white gouache over pencil on paper
12 1/16 x 10 7/8 in.
Clark Art Institute, 1955.1568

Jean-Baptiste-Camille Corot
French, 1796–1875
Souvenir d’Italie
1863
Etching on paper
11 9/16 x 8 11/16 in.
Clark Art Institute, 1955.2418

Jean-Baptiste-Camille Corot
French, 1796–1875
Souvenir d’Italie
1866
Etching on chine collé
11 11/16 x 8 11/16 in.
Clark Art Institute, 1955.2618

Lieven Cruyl
Flemish, c. 1640–c. 1720
Fantastic View of Naples
1680s
Pen and black and brown ink with wash over traces of black chalk on vellum
5 13/16 x 8 5/8 in.
Clark Art Institute, 1997.2

Alexandre-Gabriel Decamps
French, 1803–1860
Caravan Halted at an Oasis
1840
Watercolor over pencil on paper
8 9/16 x 11 5/16 in.
Clark Art Institute, 1955.1637

Alexandre-Gabriel Decamps
French, 1803–1860
Cypriot Woman Smoking a Chibouk
After 1828
Watercolor, gouache, and touches of pen and black and brown ink on paper
5 13/16 x 4 3/16 in.
Clark Art Institute, 1955.1638

Alexandre-Gabriel Decamps
French, 1803–1860
Village de Turquie
1847
Etching on chine collé mounted on wove paper
4 3/16 x 7 1/16 in.
Clark Art Institute
Gift of Jay McKean Fisher in honor of David Cass (Associate Curator of Paintings, 1973–1984), 2006.8

Beverly Bennett Dobbs
American, 1868–1937
Panoramic View of Unalaska, from Seward Peninsula, Alaska, U.S.A.
1903–6
Gelatin silver print
7 11/16 x 18 13/16 in.
Clark Art Institute
Acquired with funds donated by Herbert Allen, 2000.8.4.4

Roger Fenton
English, 1819–1869
Orientalist Study
1858
Albumen print from wet-collodion-on-glass negative
12 11/16 x 10 5/8 in.
Clark Art Institute, 2001.6.2

Jean-Honoré Fragonard
French, 1732–1806
The Hermit’s Court in the Colosseum
1758
Red chalk on paper
13 7/8 x 10 7/16 in.
Clark Art Institute, 2003.9.30

Eugène Fromentin
French, 1820–1876
B’etoum
1853
Black chalk and Conté crayon on wove paper with lines
10 1/16 x 15 7/8 in.
Clark Art Institute
Acquired with funds donated by Jeffrey Shedd, 1986.40

Eugène Fromentin
French, 1820–1876
El Aouila
1853
Pen and brown ink on tan wove paper
6 1/4 × 9 7/8 in.
Clark Art Institute
Gift of Herbert and Carol Diamond, 2017.10.4

John Beasly Greene
American, active in the Middle East, 1832–1856
Egyptian Scene with Boat on the Nile
c. 1853–54
Salt print from paper negative
9 1/8 x 11 13/16 in.
Clark Art Institute
Gift of Paul Katz, 1981.168

John Beasly Greene
American, active in the Middle East, 1832–1856
The Nile with the Theban Hills in the Background
c. 1853–54
Salt print from paper negative
9 1/8 x 11 in.
Clark Art Institute, 1998.42.4

W. Hammerschmidt
German, active 19th century
Grande Pyramide de Ghyzeh
c. 1860
Albumen print
9 7/16 x 12 3/8 in.
Lent by The Troob Family Foundation

W. Hammerschmidt
German, active 19th century
Pyramids of Gizeh
1860s
Albumen print
8 1/4 x 10 5/8 in.
Lent by The Troob Family Foundation

William Gawin Herdman
English, 1805–1882
Fantasy Archway with Strolling Couple
1835
Watercolor on paper
9 1/2 x 8 in.
Clark Art Institute
Gift of Robert Tuggle, 2012.19.2

Jules Ferdinand Jacquemart
French, 1837–1880
Souvenirs de voyage (Still-Life with Shoes)
1862
Etching on paper
7 1/4 x 12 1/2 in.
Clark Art Institute, 1978.5

John La Farge
American, 1835–1910
Behind the House, Nuuanu Valley, Honolulu, Rainbow on Mountains
1890
Watercolor and gouache on board
9 3/8 x 14 in.
Clark Art Institute, Gift of L. Bancel La Farge, 1966.7

John La Farge
American, 1835–1910
Hut in Moonlight, Iva, Savaii, October, 1890
1890
Watercolor, gouache, and gum arabic on wove paper
12 13/16 x 16 9/16 in.
Clark Art Institute, Gift of L. Bancel La Farge, 1966.5

John La Farge
American, 1835–1910
Siva with Siakumu Making Kava in Tofae’s House
c. 1893
Watercolor and gouache, over graphite, on white wove paper
18 9/16 x 23 3/4 in.
Clark Art Institute, Gift of L. Bancel La Farge, 1966.3

Jules-Joseph-Augustin Laurens
French, 1825–1901
Under the Walls of Teheran
1863
Etching on laid paper
8 7/8 x 12 3/8 in.
Clark Art Institute
Gift of James Bergquist, 1993.40.1

Edward Lear
English, 1812–1888
Trichinopoly, 1874 (India)
1877
Watercolor and pencil on paper
9 3/4 x 15 5/16 in.
Clark Art Institute, 1971.47

Robert Macpherson
Scottish, active in Italy, c. 1815–1872
Arch of Constantine
1857 or earlier
Albumen print
112 3/16 x 142 1/2 in.
Clark Art Institute, Gift of Paul Katz, 1999.37.1

Robert Macpherson
Scottish, active in Italy, c. 1815–1872
Cascatelle at the Villa of Maecenas, Tivoli
c. 1857
Albumen print
12 1/2 x 16 1/8 in.
Clark Art Institute
Gift of Paul Katz, 1986.19.2

Robert Macpherson
Scottish, active in Italy, c. 1815–1872
Colosseum, Rome
c. 1857
Albumen print
10 1/2 x 15 1/2 in.
Clark Art Institute
Gift of Paul Katz, 1986.19.3

Robert Macpherson
Scottish, active in Italy, c. 1815–1872
Temple of Sibyl, Tivoli
c. 1857–58
Albumen print
14 7/8 x 11 5/8 in.
Clark Art Institute
Gift of Paul Katz, 1986.19.1

Robert MacPherson
Scottish, active in Italy, c. 1815–1872
The Grotto at Tivoli
c. 1860
Albumen print
15 3/16 × 12 3/8 in.
Lent by The Troob Family Foundation

Adolf Miethe
German, 1862–1927
Unter der Sonne Oberägyptens
1909
Printed book with three-color half-tone illustrations
9 x 7 in.
Clark Art Institute Library
David A. Hanson Collection of the History of Photomechanical Reproduction

Thomas Moran
American, 1837–1926
A Tower of Cortez, Mexico
1883
Etching on wove paper
11 1/2 x 9 7/16 in.
Clark Art Institute, 1980.14

Thomas Moran
American, 1837–1926
The Castle of St. John d’Ulloa, Vera Cruz, Mexico
1884
Etching on paper
11 13/16 x 10 3/16 in.
Clark Art Institute, Gift of Paul Katz, 1981.60

John Murray
Scottish, active in India, 1809–1898
Nainital, View of Lake Through Trees
c. 1858–62
Albumen print
14 x 16 15/16 in.
Lent by The Troob Family Foundation

John Murray
Scottish, active in India, 1809–1898
Taj Mahal from the East with Dr John Murray Seated in the Foreground
1862
Waxed paper negative
14 7/16 x 18 1/16 in.
Clark Art Institute
Acquired in honor of Martha Asher (Institute Registrar, 1970–1999), 1999.35.1

John Murray
Scottish, active in India, 1809–1898
Taj Mahal from the East with Dr John Murray Seated in the Foreground with Dark Slide
1862
Albumen print from paper negative
14 7/16 x 18 1/16 in.
Clark Art Institute
Acquired in honor of Martha Asher (Institute Registrar, 1970–1999), 1999.35.2

Eugène Edouard Soulès
French, 1811–1876
View of Étretat
19th century
Watercolor, over graphite, on wove paper
11 5/8 × 18 3/4 in.
Clark Art Institute
Gift of Judith Selkowitz, 2019.1

Félix Teynard
French, 1817–1892
Colosses de Memnon, Gournah à Thebes
1851–52
Salt print
9 1/2 x 12 3/16 in.
Lent by The Troob Family Foundation

Félix Teynard
French, 1817–1892
Rock-Cut Architecture--Tomb of Khnumhotep, Beni-Hasan
c. 1851–52
Salt print from waxed paper negative
9 1/2 x 12 in.
Clark Art Institute
Gift of Fernando and Gloria Barnuevo Ybarra, 2001.15.2

Félix Teynard
French, 1817–1892
Upper Part of a Sculptural Niche in Tafa
1851–54
Salt print from waxed paper negative
9 1/4 x 12 in.
Clark Art Institute, 2012.8

Theodore Valerio
French, 1819–1879
A Dalmatian Shepherd
c. 1850–55
Watercolor and pencil on wove paper
11 15/16 x 8 11/16 in.
Clark Art Institute, 1985.13

Adrian Zingg
Swiss, 1734–1816
Strollers in the Hills Above Carlsbad
c. 1805
Brush and various brown washes, over etching, on ivory wove paper
11 3/4 × 17 7/16 in.
Clark Art Institute, 2015.1

Something about travel seems to go hand in hand with image making. When we encounter new destinations, monuments, and scenery, we feel eager to record our experiences in photographs; equally, perusing images of unfamiliar lands from the comfort of an armchair is often the trigger for booking (or at least dreaming about) our next vacation. Some might say that using visual aids can engage the imagination and allow us to travel faster in our minds than would be possible by physical means. That premise seems to explain the enduring popularity of armchair voyages even in our age of mass tourism.

Like travel itself, the speed of image production and diffusion has accelerated beyond anything tourists from earlier centuries would have thought possible. Yet, although methods of transmission are now digital and instantaneous, the impulse to document and enhance one’s travel impressions carries through from earlier and slower methods of image making. For nineteenth-century European and American artists—the main focus of this exhibition—drawings, sketches, and photographs made during their visits found various avenues toward wider exposure: they might be used as raw material for finished paintings, sold for compilation into personal albums, or diffused via the medium of print. Thus, advances in technology and distribution methods introduced Europeans and Americans to a wide array of people and cultures they had not encountered before.

Perhaps the most important form of mediation, even before these processes of distribution and dissemination, was the artist’s own vision. Then as now, what people see during their travels is not determined by itinerary alone. Expectations and preconceptions heavily shape the impressions that are taken away. Likewise, image makers may construct scenes that resonate as “typical” or “authentic” of a given culture even if they are not—or never were. Across a range of artists, media, and locales, this exhibition acknowledges the variable mixture of observed detail and pure invention that marks the most indelible images of foreign places and peoples.