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| Anonymous British Furniture Maker Settee ca. 1790-1820 painted beech with caning Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Divano 18th century painted walnut with silk upholstery Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Letto da Giorno 18th century walnut with silk upholstery Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Divano 18th century painted walnut with silk upholstery Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Parma Side Chair ca. 1750-1800 walnut with caning Isabella Stewart Gardner Museum, Boston |
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| Anonymous German Maker Side Chair in Biedermeier style ca. 1820 painted wood with birch veneer Denver Art Museum |
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| Anonymous British Maker Chaise Longue ca. 1810 rosewood-grained and partly-gilt wood with satin upholstery Denver Art Museum |
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| Anonymous Paraguayan Maker Armoire ca. 1750 painted wood Denver Art Museum |
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| Anonymous French Maker Console Table ca. 1730 carved giltwood Denver Art Museum |
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| Anonymous Venetian Maker Sgabello ca. 1775-1825 gilded walnut Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Curule or Faldistorio ca. 1690 carved giltwood with velvet upholstery Newport Mansions Preservation Society, Rhode Island |
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| Anonymous Roman Maker Ornamental Column ca. 1650-1700 painted and gilded walnut Isabella Stewart Gardner Museum, Boston |
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| Anonymous Italian Maker Toilette Mirror ca. 1750 painted wood and mirror Isabella Stewart Gardner Museum, Boston |
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| Josef Hoffmann Miniature Chest of Drawers for Photographs ca. 1902 veneered wood and silver Art Institute of Chicago |
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| Mark Dion New Bedford Cabinet 2001 wood and glass cabinet filled with dig finds Institute of Contemporary Art, Boston |
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| Salvador Dalì Mae West Lips Sofa 1938 wood, wool flannel, cotton, brass rivets Museum Boijmans Van Beuningen, Rotterdam |
To Autumn
Morning quivers in the thorns; above the budded snowdrops
caked with dew like little virgins, the azalea bush
ejects its first leaves, and it is spring again.
The willow waits its turn, the coast
is coated with a faint green fuzz, anticipating
mold. Only I
do not collaborate, having
flowered earlier. I am no longer young. What
of it? Summer approaches, and the long
decaying days of autumn when I shall begin
the great poems of my middle period.
– Louise Glück (1975)