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| Anonymous Photographer Portrait of Florence Elizabeth Benson Owen 1898 hand-colored albumen print mounted on linen Portland Museum of Art, Maine |
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| Anonymous Photographer Portrait of Sultan Paku Alam VII ca. 1920 gelatin silver print Asian Art Museum, San Francisco |
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| Anonymous Photographer S.S. Corinthian in Rapids ca. 1880 albumen silver print National Gallery of Canada, Ottawa |
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| Anonymous Photographer Bauhaus Portrait ca. 1925 gelatin silver print Los Angeles County Museum of Art |
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| Anonymous Photographer Scene in a City Park ca. 1894-96 later print from glass-plate negative Kunstmuseum, The Hague |
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| Anonymous Photographer Scene in a City Park c1894-96 later print from glass-plate negative Kunstmuseum, The Hague |
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| Anonymous Photographer Woman and Child on Forest Path c1894-96- later print from glass-plate negative Kunstmuseum, The Hague |
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| Anonymous Photographer Woman reclining on Chaise and Christ entering Jerusalem ca. 1885 hand-colored glass lantern slide Art Gallery of South Australia, Adelaide |
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| Anonymous Photographer Coronation Procession of Edward VII 1902 hand-colored glass lantern slide Art Gallery of South Australia, Adelaide |
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| Anonymous Photographer Portrait of a Woman ca. 1895 hand-colored glass lantern slide Art Gallery of South Australia, Adelaide |
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| Anonymous Photographer Portrait of a Woman ca. 1910 embellished gelatin silver print Art Institute of Chicago |
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| Anonymous Photographer Charles Kimball painting Couple in Forest ca. 1880 albumen print Portland Museum of Art, Maine |
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| Anonymous Photographer 'Me' ca. 1920 gelatin silver print Art Institute of Chicago |
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| Anonymous Photographer Fashion Illustration ca. 1915 gelatin silver print Los Angeles County Museum of Art |
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| Anonymous Photographer Art Gallery of New South Wales Sydney ca. 1900 gelatin silver print Art Gallery of New South Wales, Sydney |
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| Anonymous Photographer Little Red Riding Hood ca. 1880 hand-colored albumen silver print (cabinet card) National Gallery of Australia, Canberra |
Lover of Flowers
In our family, everyone loves flowers.
That's why the graves are so odd:
no flowers, just padlocks of grass,
and in the center, plaques of granite,
the inscriptions terse, the shallow letters
sometimes filling with dirt.
To clean them out, you use your handkerchief.
With my sister, it's different,
it's an obsession. Weekends, she sits on my mother's porch,
reading catalogues. Every autumn, she plants bulbs by the brick stoop;
every spring, waits for flowers.
No one discusses cost. It's understood
my mother pays; after all,
it's her garden, every flower
planted for my father. They both see
the house as his true grave.
Not everything thrives on Long Island.
Sometimes the summer gets too hot;
sometimes a heavy rain beats down the flowers.
That's how the poppies died, after one day,
because they're very fragile.
My mother's tense, upset about my sister:
now she'll never know how beautiful they were,
pure pink, with no dark spots. That means
she's going to feel deprived again.
But for my sister, that's the condition of love.
She was my father's daughter:
the face of love, to her,
is the face turning away.
– Louise Glück (1990)