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| Bettina Rheims Martine 1989 gelatin silver print Art Gallery of New South Wales, Sydney |
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| Irving Penn Gypsy Rose Lee 1948 gelatin silver print Art Gallery of New South Wales, Sydney |
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| John O'Neal Torsos from the Bonham Project 1992 gelatin silver prints Princeton University Art Museum |
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| Joan Moss Mother and Child Carol Blatcher and her mother Faye, Skokie, Illinois 1981 gelatin silver print Minneapolis Institute of Art |
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| Lee Miller Pablo Picasso, Cannes 1958 gelatin silver print Scottish National Gallery, Edinburgh |
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| Tilo Rausch Untitled 1992 gelatin silver print Minneapolis Institute of Art |
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| Harold Cazneaux Life Class, Sydney Art School 1931 gelatin silver print Art Gallery of New South Wales, Sydney |
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| Keast Burke Labour ca. 1940 gelatin silver print Art Gallery of New South Wales, Sydney |
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| William Carrick Abacus Seller, Saint Petersburg ca. 1860 albumen print Scottish National Gallery, Edinburgh |
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| Julia Margaret Cameron Deathbed Study of Adeline Grace Dogstoun 1872 albumen print National Gallery of Art, Washington DC |
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| Anonymous Photographer (circle of Thomas Eakins) Three Models supporting a Fourth 1886 albumen print Clark Art Institute, Williamstown, Massachusetts |
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| Eikoh Hosoe Embrace no. 59 ca. 1969-71 gelatin silver print Yale University Art Gallery |
-and-I-with-Painter's-Trolley-and-Teal-Drapery-2015-pigment-print-mounted-on-framed-mirror-Art-Gallery-of-New-South-Wales-Sydney.jpg) |
| Lyndal Walker Carl-Henrik and I with Painter's Trolley and Teal Drapery 2015 pigment print mounted on framed mirror Art Gallery of New South Wales, Sydney |
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| Eva Vermandel Brothers Heath 2006 inkjet print Scottish National Gallery, Edinburgh |
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| Nadav Kander Portrait of cyclist David Millar 2011 pigment print on aluminum Scottish National Gallery, Edinburgh |
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| Julien Vallou de Villeneuve Standing Model in Tragic Pose ca. 1853 salted paper print Princeton University Art Museum |
from History
It is the unregarded congruence:
The boy who cries 'Bull'
Because he is leading one
Past the antique cart
Which the winter's advent
Will convert to firewood.
He does not mark it
Nor will he mark its absence –
Himself, the guardian
Of a continuity he cannot see
And – grant him means –
Because he is leading one
Past the antique cart
Which the winter's advent
Will convert to firewood.
He does not mark it
Nor will he mark its absence –
Himself, the guardian
Of a continuity he cannot see
And – grant him means –
Would injure readily . . .
– Charles Tomlinson (1963)