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| Olympe Aguado Jeune Femme à la Tapisserie ca. 1860 albumen silver print Museum of Fine Arts, Boston |
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| Olympe Aguado Man with Cow ca. 1850-60 albumen silver print National Gallery of Canada, Ottawa |
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| Olympe Aguado Still Life with Garden Equipment 1855 salted paper print Getty Museum, Los Angeles |
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| Olympe Aguado Tree in the Bois de Boulogne ca. 1855-60 albumen silver print National Gallery of Canada, Ottawa |
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| Philip Akkerman Painting 1981 no. 15 1981 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| Philip Akkerman Painting 2007 no. 84 2007 oil on panel Museum Boijmans Van Beuningen, Rotterdam |
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| Philip Akkerman Painting 2016 no. 15 2016 tempera and oil on panel Museum Boijmans Van Beuningen, Rotterdam |
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| Philip Akkerman 1990 screenprint Museum Boijmans Van Beuningen, Rotterdam |
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| Louise Abbéma Luncheon in the Conservatory 1877 oil on canvas Musée des Beaux-Arts de Pau |
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| Louise Abbéma Portrait of Renée Delmas de Pont-Jest, sociétaire de la Comédie Française 1875 oil on canvas National Gallery of Victoria, Melbourne |
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| Louise Abbéma Winter Walk in Paris (Eleonora Duse) ca. 1895 oil on canvas private collection |
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| Louise Abbéma Diane (Sarah Bernhardt at the Hunt) ca. 1897 oil on canvas private collection |
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| Harold Allen Marble Sphinx, Brunswig Pyramid, Metairie Cemetery, New Orleans 1978 gelatin silver print Art Institute of Chicago |
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| Harold Allen Cemetery Angel, Mattoon, Illinois 1950 gelatin silver print Art Institute of Chicago |
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| Harold Allen Salon, Francis J. Dewes Mansion, Chicago 1968 gelatin silver print Art Institute of Chicago |
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| Harold Allen Warehouse Demolition, Philadelphia 1966 gelatin silver print Art Institute of Chicago |
The Watershed
Who stands, the crux left of the watershed,
On the wet road between the chafing grass
Below him sees dismantled washing-floors,
Below him sees dismantled washing-floors,
Snatches of tramline running to a wood,
An industry already comatose,
Yet sparsely living. A ramshackle engine
At Cashwell raises water; for ten years
It lay in flooded workings until this,
Its latter office, grudgingly performed.
And, further, here and there, though many dead
Lie under poor soil, some acts are chosen,
Lie under poor soil, some acts are chosen,
Taken from recent winters; two there were
Cleaned out a damaged shaft by hand, clutching
The winch a gale would tear them from; one died
During a storm, the fells impassable,
During a storm, the fells impassable,
Not at his village, but in wooden shape
Through long abandoned levels nosed his way
And in his final valley went to ground.
Go home, now, stranger, proud of your young stock,
Stranger, turn back again, frustrate and vexed:
This land, cut off, will not communicate,
Be no accessory content to one
Aimless for faces rather there than here.
Beams from your car may cross a bedroom wall,
They wake no sleeper; you may hear the wind
Arriving driven from the ignorant sea
To hurt itself on pane, on bark of elm
Where sap unbaffled rises, being spring;
But seldom this. Near you, taller than grass,
Ears poise before decision, scenting danger.
– W.H. Auden (1927)