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| Elisabeth Frink Horse Head 1958 drawing British Museum |
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| Elisabeth Frink Torso 1958 drawing British Museum |
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| Elisabeth Frink Animal Head 1962 drawing British Museum |
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| Elisabeth Frink Judas Head 1964 drawing British Museum |
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| Elisabeth Frink Head II 1965 drawing British Museum |
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| Elisabeth Frink The Odyssey: Nausicaa Episode 1974 lithograph British Museum |
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| Elisabeth Frink Figure on Horseback 1975 drawing British Museum |
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| Elisabeth Frink Head of Sir John Pope-Hennessy "the prototypical cultural administrator" 1975 bronze British Museum |
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| Elisabeth Frink Tilted Man ca. 1976 drawing British Museum |
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| Elisabeth Frink Walking Man ca. 1976 drawing British Museum |
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| Elisabeth Frink Seated Man 1981 drawing British Museum |
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| Elisabeth Frink Antony and Cleopatra (Helen Mirren and Michael Gambon) 1982 color etching British Museum |
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| Elisabeth Frink Riace I 1986 bronze, partly painted Tate Modern, London |
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| Elisabeth Frink Head 1986 drawing British Museum |
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| Elisabeth Frink Children of the Gods: Ganymede 1988 etching and aquatint British Museum |
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| Elisabeth Frink Children of the Gods: Jason 1988 etching and aquatint British Museum |
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| Elisabeth Frink Children of the Gods: Laos and Oedipus 1988 etching and aquatint British Museum |
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| Elisabeth Frink Horse Head 1990 watercolor, charcoal and pastel on paper British Museum |
from Entrance from Sleep
To wake into the afternoon for you
Is a familiar gesture. Upon the eye,
As dawn to the shade-embroidered fountain brings
The young fern's wisdom, the first world takes shape
Where shadow and light on a white ceiling meet;
And the late garden builds its trellises
And the machinery of light begins.
To wake is to become what one first sees.
So, waking upon beaches, one is a shell,
A tide; or, afternoons in an apartment
Above a garden, levels of shade and sun
Through which you wade like eyes in tapestries
Through which you wade like eyes in tapestries
That wake only when struck by light and take
Advantage of this grace to change our sleep
Or plant an image of our waking.
– James Merrill (1951)