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| Vincenzo Foppa St Bernardino of Siena ca. 1495-1500 oil on panel (altarpiece fragment) National Gallery of Art, Washington DC |
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| Vincenzo Foppa St Anthony of Padua ca. 1495-1500 oil on panel (altarpiece fragment) National Gallery of Art, Washington DC |
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| Jacopo de' Barbari Two Fauns ca. 1501-1503 engraving Graphische Sammlung Albertina, Vienna |
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| Salvator Rosa Bather with Attendant ca. 1664 drawing Art Gallery of South Australia, Adelaide |
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| Peter Henry Emerson Taking up the Eel Net (Norfolk Broads) 1886 platinum print Portland Museum of Art, Maine |
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| Joseph Pollia Maquette for Sculpture (Lumberjack) ca. 1930-40 plaster San Jose Museum of Art, California |
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| Joseph Pollia Maquette for Sculpture (Miner) ca. 1930-40 plaster San Jose Museum of Art, California |
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| Joseph Hirsch The Confidence 1944 lithograph Carnegie Museum of Art, Pittsburgh |
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| Viktor Hammer Drapery Studies ca. 1950 drawing North Carolina Museum of Art, Raleigh |
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| PaJaMa (Paul Cadmus, Jared French, Margaret French) George Tooker and Paul Cadmus ca. 1950 gelatin silver print Archives of American Art, Washington DC |
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| Nancy Grossman Encounter I (Two Figures) 1962 pastel on paper Hirshhorn Museum, Washington DC |
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| Laurie Simmons Brothers / No Horizon 1979 C-print Whitney Museum of American Art, New York |
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| Raphael Soyer Allen Ginsberg and Peter Orlovsky 1980 oil on canvas National Portrait Gallery, Washington DC |
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| Francesco Clemente Telemon 2 1981 etching Phillips Collection, Washington DC |
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| Francesco Clemente Telemon 1 1981 etching Phillips Collection, Washington DC |
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| George Segal The Computer Moves In 1982 plaster figures with furniture and accessories (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| John Sonsini Byron & Ramiro 2008 oil on canvas Whitney Museum of American Art, New York |
An Epitaph upon Mr. Ashton, a conformable Citizen.
The modest front of this small floore
Beleeve mee, Reader, can say more
Than many a braver Marble can;
Here lyes a truly honest man.
One whose Conscience was a thing,
One whose Conscience was a thing,
That troubled neither Church nor King.
One of those few that in this Towne,
Honour all Preachers; heare their owne.
Sermons he heard, yet not so many,
As left no time to practise any.
Hee heard them reverendly, and then
His practice preach'd them o're agen.
His Parlour-Sermons rather were
Those to the Eye, then to the Eare.
His prayers tooke their price and strength
Not from lowdnesse, nor the length.
He was a Protestant at home,
Not onely in despight of Rome.
Hee lov'd his Father; yet his zeale
Tore not off his Mothers veile.
To th' Church hee did allow her Dresse,
True Beauty, to true Holinesse.
Peace, which hee lov'd in Life, did lend
Her hand to bring him to his end;
When Age and Death call'd for the score,
No surfets were to reckon for.
Death tore not (therefore) but sans strife
Gently untwin'd his thread of Life.
What remaines then, but that Thou
Write these lines, Reader, in thy Brow,
And by his faire Examples light,
Burne in thy Imitation bright.
So while these Lines can but bequeath
A Life perhaps unto his Death,
His better Epitaph shall bee
His Life still kept alive in Thee.
– Richard Crashaw, The Delights of the Muses (1646)