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| Herman Saftleven Study of Pinks 1682 watercolor on paper British Museum |
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| Joseph Cornell Beehive 1934 wood box, printed paper, copper screen and found objects Museum of Modern Art, New York |
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| Mark Rothko Untitled 1955 oil and acrylic on canvas San Francisco Museum of Modern Art |
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| Corneille van Clève La Loire et le Loiret 1707 marble Musée du Louvre |
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| Herman Saftleven Cottages among Trees ca. 1630-40 drawing (print study) British Museum |
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| Joseph Cornell Roses des Vents 1942-53 wood box with compasses set into panel above tray with found objects and map-lined cover Museum of Modern Art, New York |
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| Mark Rothko No. 5 / No. 22 1950 oil on canvas Museum of Modern Art, New York |
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| Corneille van Clève La Loire et le Loiret 1707 marble Musée du Louvre |
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| Herman Saftleven Scene with a Barge before 1685 drawing British Museum |
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| Joseph Cornell Taglioni's Jewel Casket 1940 wood box, velvet, glass, paper and found necklace Museum of Modern Art, New York |
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| Mark Rothko Orange and Tan 1954 oil and glue on canvas National Gallery of Art, Washington DC |
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| Antoine-Denis Chaudet Cupid 1817 marble Musée du Louvre |
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| Herman Saftleven Travelers on a Mountain Road 1648 drawing British Museum |
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| Joseph Cornell Roses des Vents 1942-53 wood box with compasses set into panel above tray with found objects and map-lined cover Museum of Modern Art, New York |
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| Mark Rothko Untitled 1970 acrylic on canvas National Gallery of Art, Washington DC |
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| Antoine-Denis Chaudet Cupid 1817 marble Musée du Louvre |
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| Herman Saftleven View of the Moat outside a Walled Town 1648 drawing British Museum |
Perhaps, however, the ordinary reader finds Beddoes' lack of construction a less distasteful quality than his disregard of the common realities of existence. Not only is the subject-matter of the greater part of his poetry remote and dubious; his very characters themselves seem to be infected by their creator's delight in the mysterious, the strange, and the unreal. They have no healthy activity; or, if they have, they invariably lose it in the second act; in the end, they are all hypochondriac philosophers, puzzling over eternity and dissecting the attributes of Death.
– Lytton Strachey on Thomas Lovell Beddoes (1907)