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| Gisèle Freund Jean Cocteau under Sign of Glove-Seller 1939 dye transfer print National Gallery of Australia, Canberra |
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| Gisèle Freund Colette 1939 dye transfer print National Gallery of Australia, Canberra |
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| Gisèle Freund Pierre Bonnard, Le Cannet ca. 1946 dye transfer print National Gallery of Australia, Canberra |
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| Gisèle Freund Henri Matisse, Boulevard de Montparnasse 1948 dye transfer print National Gallery of Australia, Canberra |
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| Hendrik de Fromantiou Garland ca. 1670 oil on panel Bonnefantenmuseum, Maastricht |
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| Hendrik de Fromantiou Still Life ca. 1670 oil on canvas Bonnefantenmuseum, Maastricht |
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| Hendrik de Fromantiou Still Life with Flowers before 1694 oil on canvas private collection |
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| Hendrik de Fromantiou Vase of Flowers ca. 1680 oil on canvas Fitzwilliam Museum, Cambridge |
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| John Faber the Elder after Peter Paul Rubens Antique Bust of Quintus Horatius Flaccus ca. 1710 mezzotint British Museum |
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| John Faber the Elder after Peter Paul Rubens Antique Bust of M. Tullius Cicero ca. 1710 mezzotint Newport Mansions Preservation Society, Rhode Island |
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| John Faber the Elder Portrait of John Churchill, 1st Duke of Marlborough before 1721 ink on vellum Metropolitan Museum of Art, New York |
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| John Faber the Elder Elizabeth I as founder of Jesus College, Oxford ca. 1708 mezzotint British Museum |
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| René Magritte La Maison de Verre 1939 gouache on paper Museum Boijmans Van Beuningen, Rotterdam |
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| René Magritte La Reproduction Interdite 1937 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| René Magritte The Endearing Truth 1966 oil on canvas Menil Collection, Houston |
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| René Magritte La Jeunesse Illustrée 1937 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
The Triumph of Achilles
In the story of Patroclus
no one survives, not even Achilles
who was nearly a god.
Patroclus resembled him; they wore
the same armor.
Always in these friendships
one serves the other, ones is less than the other:
the hierarchy
is always apparent, though the legends
cannot be trusted –
their source is the survivor,
the one who has been abandoned.
What were the Greek ships on fire
compared to this loss?
In his tent, Achilles
grieved with his whole being
and the gods saw
he was a man already dead, a victim
of the part that loved,
the part that was mortal.
– Louise Glück (1985)