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| Pablo Picasso Seated Satyr 1964 glass Albright-Knox Art Gallery Buffalo, New York |
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| attributed to Orléans Manufactory Abduction of Proserpine ca. 1760-70 soft-paste porcelain Metropolitan Museum of Art, New York |
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| attributed to Giuseppe Mazzuoli A Nereid ca. 1705-1715 marble National Gallery of Art, Washington DC |
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| Giuseppe Mazza Bust of Diana ca. 1692-93 marble Art Institute of Chicago |
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| Wilhelm Matthiä Crouching Venus (derived from antique models) 1853-57 marble Staatsgalerie, Stuttgart |
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| Joseph-Charles Marin Bacchante ca. 1800 terracotta Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Lomonosov Porcelain Factory, Saint Petersburg Prima Ballerina Galina Ulanova ca. 1950 porcelain Cooper Hewitt, Smithsonian Design Museum |
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| attributed to Giovanni Battista Locatelli The Dancer Baccelli, mistress of the 3rd Duke of Dorset 1778 plaster National Trust, Knole, Sevenoaks, Kent |
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| attributed to Giovanni Battista Locatelli The Dancer Baccelli, mistress of the 3rd Duke of Dorset (detail) 1778 plaster National Trust, Knole, Sevenoaks, Kent |
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| Jean-Louis Lemoyne La Crainte des Traits de l'Amour 1739-40 marble Metropolitan Museum of Art, New York |
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| Chauncey Bradley Ives Pandora 1864 marble Detroit Institute of Arts |
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| Anonymous Italian Artist Four Cherub Heads (crèche fragment) 18th century painted plaster Albright-Knox Art Gallery Buffalo, New York |
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| Anonymous Italian Artist Winter ca. 1700-1720 ivory Victoria & Albert Museum, London |
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| Anonymous Italian Artist Venus ca. 1580-90 bronze National Gallery of Art, Washington DC |
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| Anonymous Italian Artist Hercules Pomarius ca. 1490-1510 bronze Victoria & Albert Museum, London |
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| Malvina Hoffman Bacchanal ca. 1925 bronze Cleveland Museum of Art, Ohio |
Selected Lyrics, by Amelia Josephine Burr. George H. Doran Co.
These poems will be familiar to many who read the standard magazines and the women's periodicals in which they have been widely published. A book so filled with sound sense and bright ideas should be easier to read than this one. One difficulty is with the poet's untrained ear.
Prophet of a Nameless God, by Joseph Kinmont Hart. Harold Vinal (publisher)
As a theological or philosophical modern interpretation of the biblical story of Elijah, this book may have value – we do not pretend to say. But we are fairly sure that as a poem it has none; it turns the grand old tale, so briefly told in the Books of the Kings, into 178 pages of futile wordiness.
– from Brief Notices, anonymously printed in Poetry, May 1928