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| Lucas Cranach the Elder Portrait of Christiane von Eulenau 1534 oil on panel Staatsgalerie in der Neuen Residenz, Bamberg |
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| Bartholomäus Bruyn the Elder Portrait of Doctor Ludwig Falckenberch ca. 1535 gouache and oil paint on paper Musée des Beaux-Arts de Reims |
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| Giovanni Jacopo Caraglio after Girolamo dai Libri Virgin and Child with St Anne, St Roch and St Sebastian ca. 1520-40 engraving Graphische Sammlung Albertina, Vienna |
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| Nicolaes de Bruyn Abigail before David 1608 engraving Graphische Sammlung, ETH Zürich |
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| Michel Corneille the Elder St Paul and St Barnabus denying the Gods of Lystra 1644 oil on canvas (grisaille sketch for May painting at Notre Dame) Musée Carnavalet, Paris |
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| Pietro da Cortona (Pietro Berrettini) Achilles receiving Weapons from Thetis before 1669 drawing Graphische Sammlung Albertina, Vienna |
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| Michel Corneille the Younger Studies for the Figure of Martha ca. 1690 drawing Hamburger Kunsthalle |
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| Louis-Léopold Boilly Young Woman holding Child ca. 1810 pastel on paper Graphische Sammlung Albertina, Vienna |
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| Honoré Daumier The Lover of Oysters 1836 lithograph National Gallery of Canada, Ottawa |
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| William Merritt Chase Man wearing Gold-Rimmed Spectacles ca. 1880 oil on canvas New Britain Museum of American Art, Connecticut |
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| Norman Deck Joan at Witty Combe 1910 gelatin silver print Art Gallery of New South Wales, Sydney |
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| William Ramsden Brealey Rich Man's Treasure - Poor Man's Treasure ca. 1925 lithograph (poster) Allard Pierson Museum, Amsterdam |
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| Herbert Bayer Herbert Bayer, Association of German Advertising Professionals (Bauhaus in Dessau) 1928 lithograph and letterpress Cooper Hewitt, Smithsonian Design Museum, New York |
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| Edward Burra Skull in a Landscape 1946 watercolor and gouache on paper Imperial War Museum, London |
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| Richard Benson Stones of Newport 1977-78 palladium print Smithsonian American Art Museum, Washington DC |
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| Simon Cooper Still Life (Package) 1993 etching National Gallery of Australia, Canberra |
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| Sam Contis Eggs 2015 gelatin silver print Whitney Museum of American Art, New York |
Dedication to the first printing (1623) of The Duchess of Malfi
To the Right Honourable, George Harding, Baron Berkeley of Berkeley Castle, and Knight of the Order of the Bath to the Illustrious Prince Charles.
My Noble Lord,
That I may present my excuse why, being a stranger to your lordship, I offer this poem to your patronage, I plead this warrant: men who never saw the sea, yet desire to behold that regiment of waters, choose some eminent river to guide them thither, and make that, as it were, their conduct or postilion; by the like ingenious means has your fame arrived at my knowledge, receiving it from some of worth who both in contemplation and practice owe to your Honour their clearest service. I do not altogether look up at your title, the ancientest nobility being but a relic of time past, and the truest honour indeed being for a man to confer honour on himself, which your learning arrives to propagate and shall make you arrive at the dignity of a great example. I am confident this work is not unworthy your Honour's perusal; for by such poems as this, poets have kissed the hands of great princes and drawn their gentle eyes to look down upon their sheets of paper when the poets themselves were bound up in their winding sheets. The like courtesy from your Lordship shall make you live in your grave and laurel spring out of it, when the ignorant scorners of the Muses (that like worms in libraries seem to live only to destroy learning) shall wither, neglected and forgotten. This work and myself I humbly present to your approved censure, it being the utmost of my wishes to have your Honourable self my weighty and perspicuous comment: which grace so done me, shall ever be acknowledged
By your Lordship's
in all duty and observance,
John Webster




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