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| Félix-Jacques Moulin Standing Model ca. 1850 salted paper print Metropolitan Museum of Art, New York |
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| Edward Jacobs A Young Carpenter ca. 1850 hand-colored daguerreotype Chrysler Museum of Art, Norfolk, Virginia |
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| Harrison & Hill Portrait of a Woman ca. 1850 hand-colored daguerreotype Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Edmund Wormwald Niche with Victorian Imitation of Roman Sculpture in Leeds at the house of William Lyndon Smith ca. 1851-52 albumen print Victoria & Albert Museum, London |
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| John Adams Whipple The Moon 1851 salted paper print Princeton University Art Museum |
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| John Adams Whipple Self Portrait ca. 1850 daguerreotype Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Jeremiah Gurney Portrait of a Woman ca. 1850 hand-colored daguerreotype Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Jeremiah Gurney Portrait of a Family ca. 1852 hand-colored daguerreotype Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Jeremiah Gurney Portrait of a Girl ca. 1852 daguerreotype Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Édouard Baldus Temple of Augustus and Livia, Vienne 1851 salted paper print Cleveland Museum of Art, Ohio |
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| Édouard Baldus Maison Carrée, Nîmes 1853 albumen silver print Metropolitan Museum of Art, New York |
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| Benjamin Brecknell Turner Willowsway, Elfords, Hawkhurst, Kent ca. 1852 albumen print Victoria & Albert Museum, London |
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| Benjamin Brecknell Turner Pepperharrow Park, Surrey ca. 1853 albumen print Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Maxime Du Camp Palais de Karnak 1852 salted paper print Chrysler Museum of Art, Norfolk, Virginia |
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| Olympe Aguado Six-Oxen Team and Driver ca. 1853 salted paper print Cleveland Museum of Art, Ohio |
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| attributed to Bruno Braquehais Model before a Mirror ca. 1850-52 hand-colored daguerreotype Getty Museum, Los Angeles |
from Two Tales of Clumsy
Now Clumsy tries to think of what to write.
He cranes his neck around stage-left and -right,
He gazes toward the rafters thinking hard
And sometimes shakes his head as to discard
Ideas he finds less than adequate,
Then caroling a joyous, "I know what!"
He pulls a giant lightbulb from a sack
And holds it overhead and puts it back,
And in his vast excitement both his hands
Pull up his earlobe-anchored rubber bands
To lift from scalp his tiny frizzy wig:
"I'd like to start with 'God is very big.' "
– Gjertrud Schnackenberg (Supernatural Love: Poems 1976-1992)