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| Hiram Powers A Country Woman 1838 marble National Gallery of Art, Washington DC |
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| Hiram Powers Fisher Boy 1843-44 plaster Smithsonian American Art Museum, Washington DC |
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| Hiram Powers Fisher Boy 1843-44 plaster Hirshhorn Museum, Washington DC |
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| Hiram Powers Proserpine 1844 marble Chrysler Museum of Art, Norfolk, Virginia |
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| Hiram Powers The Greek Slave 1846 marble National Gallery of Art, Washington DC |
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| Hiram Powers The Greek Slave after 1846 marble Amon Carter Museum, Fort Worth, Texas |
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| Hiram Powers The Greek Slave after 1846 marble Denver Art Museum |
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| Hiram Powers Portrait of Anstiss Derby Rogers Wetmore 1848 marble Smithsonian American Art Museum, Washington DC |
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| Hiram Powers America 1848-50 plaster Smithsonian American Art Museum, Washington DC |
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| Hiram Powers Diana 1852 marble National Gallery of Art, Washington DC |
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| Longworth Powers (son of Hiram) Portrait of sculptor Hiram Powers ca. 1865 albumen print National Portrait Gallery, Washington DC |
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| Longworth Powers (son of Hiram) Portrait of sculptor Hiram Powers after 1866 marble Hirshhorn Museum, Washington DC |
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| Hiram Powers Portrait of Emily Stevenson Davis Harris 1867 marble Chrysler Museum of Art, Norfolk, Virginia |
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| Hiram Powers Clytie ca. 1868 marble Chrysler Museum of Art, Norfolk, Virginia |
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| Hiram Powers Portrait of Alice Key Pendleton 1870 marble National Gallery of Art, Washington DC |
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| Hiram Powers Portrait of Longworth Powers (son of Hiram) before 1873 marble Chrysler Museum of Art, Norfolk, Virginia |
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| Giacomo Brogi Death Mask of sculptor Hiram Powers ca. 1888 albumen print (cabinet card) Hirshhorn Museum, Washington DC |
from The Friend of the Fourth Decade
When I returned with drinks and nuts my friend
Had moved to the window seat, back to the view.
The clear central pane around which ran
Smaller ones stained yellow, crimson, blue,
Framed our country's madly whipping flag,
Its white pole above roofs, the sea beyond.
That it was time for the flag to be lowered shed
Light on my friend's tactful disinvolvement –
Or did he feel as chastening somehow
Those angry little stripes upon his shoulders?
A huge red sun flowed positively through
Him in spots, glazing, obscuring his person
To that of Anyman with ears aglow,
On a black cushion, gazing inward, mute.
After dinner he said, "I'm tired of understanding
The light in people's eyes, the smells, the food.
(By the way, those veal birds were delicious.
They're out of Fannie Farmer? I thought so.)
– James Merrill (1969)