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| Adrian Feint The Collector 1926 etching Art Gallery of New South Wales, Sydney |
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| Adrian Feint The Goddess and the Aspidistra 1934 wood-engraving Art Gallery of New South Wales, Sydney |
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| Adrian Feint The Striped Petunia 1939 oil on canvas Art Gallery of New South Wales, Sydney |
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| Adrian Feint Flowers in Sunlight 1940 oil on canvas Art Gallery of New South Wales, Sydney |
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| Odilon Redon St George and the Dragon ca. 1909-1910 oil on panel Barnes Foundation, Philadelphia |
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| Odilon Redon Profile of a Woman ca. 1916 pastel on paper Von der Heydt Museum, Wuppertal |
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| Odilon Redon The Barque ca. 1900 oil on canvas Hamburger Kunsthalle |
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| Odilon Redon The Port of Morgat 1882 oil on canvas Dallas Museum of Art |
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| Henri Fantin-Latour White and Pink Mallows in a Vase 1895 oil on canvas Norton Simon Museum, Pasadena, California |
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| Henri Fantin-Latour The Engagement Bouquet 1869 oil on canvas Musée de Grenoble |
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| Henri Fantin-Latour Portrait of a Woman 1879 oil on canvas Centraal Museum, Utrecht |
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| Henri Fantin-Latour Portrait of Manet 1867 drawing Dallas Museum of Art |
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| Johann Heinrich Schönfeld Varie Teste (from a series of heads) 1656 etching Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Heinrich Schönfeld Democritus contemplating Earthly Decline ca. 1654 etching Herzog August Bibliothek, Wulfenbüttel |
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| Johann Heinrich Schönfeld Christ carrying the Cross before 1684 oil on canvas Liechtenstein Museum, Vienna |
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| Johann Heinrich Schönfeld Salvator Mundi ca. 1675-80 oil on canvas Deutsche Barockgalerie, Augsburg |
from The Sea and the Mirror
(a commentary on Shakespeare's The Tempest)
Prospero to Ariel:
Where I go, words carry no weight: it is best,
Then, I surrender their fascinating counsel
To the silent dissolution of the sea
Which misuses nothing because it values nothing;
Whereas man overvalues everything
Yet, when he learns the price is pegged to his valuation,
Complains bitterly he is being ruined which, of course, he is.
So kings find it odd they should have a million subjects
Yet share in the thoughts of none, and seducers
Are sincerely puzzled at being unable to love
What they are able to possess; so, long ago,
In an open boat, I wept at giving a city,
In an open boat, I wept at giving a city,
Common warmth and touching substance, for a gift
In dealing with shadows. If age, which is certainly
Just as wicked as youth, look any wiser,
It is only that youth is still able to believe
It will get away with anything, while age
In dealing with shadows. If age, which is certainly
Just as wicked as youth, look any wiser,
It is only that youth is still able to believe
It will get away with anything, while age
Knows only too well that it has got away with nothing:
The child runs out to play in the garden, convinced
That the furniture will go on with its thinking lesson,
Who, fifty years later, if he plays at all,
Will first ask its kind permission to be excused.
That the furniture will go on with its thinking lesson,
Who, fifty years later, if he plays at all,
Will first ask its kind permission to be excused.
– W.H. Auden (1942-44)