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| Herbert Waide Hemphill Portrait of Hermine Katz, Atlantic City 1949 enamel on board Smithsonian American Art Museum, Washington DC |
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| Vivian Cherry Dorothy Day 1955 gelatin silver print National Portrait Gallery, Washington DC |
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| James Chapin Suburban Wife 1960 oil on canvas (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Jan de Ruth Ethel Kennedy 1969 oil on canvas (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Alex Katz Woman in a Kitchen 1973 oil on board Hirshhorn Museum, Washington DC |
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| Jim Sharpe Rose Mary Woods, Nixon's White House Secretary 1973 gouache and collage on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| David Lance Goines Letter from an Unknown Woman directed by Max Ophuls Pacific Film Archive, Berkeley 1977 lithograph (poster) Cooper Hewitt, Smithsonian Design Museum |
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| Michael Leonard Margaret Thatcher 1979 acrylic on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| David Suter Margaret Thatcher 1981 ink, crayon and colored chalks on paper (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Edward Sorel Margaret Thatcher 1982 watercolor and ink on paper (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Brigitte Lacombe Susan Sarandon 1983 inkjet print National Portrait Gallery, Washington DC |
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| Patssi Valdez Split Image 1987 screenprint Smithsonian American Art Museum, Washington DC |
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| Bettina Witteveen Krissy 1998 gelatin silver print Whitney Museum of American Art, New York |
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| Helena van der Kraan Photograph 2010 inkjet print Museum Boijmans Van Beuningen, Rotterdam |
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| Timothy Greenfield-Sanders Christy Turlington 2011 inkjet print National Portrait Gallery, Washington DC |
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| Deborah Kass Gold Barbra 2013 screenprint National Portrait Gallery, Washington DC |
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| Annie Leibovitz Katherine Johnson 2016 pigment print National Museum of African American History and Culture, Washington DC |
BLANK VERSE – On the analogy of blank cartridge, etc. might be held to designate any kind of verse not tipped, loaded, or filled up with rhyme. As a matter of fact, however, and for sound historical reasons, it is not usually applied to the more modern unrhymed experiments, from Collins's "Evening" onwards, but is confined to continuous decasyllables. This measure (which, mutatis mutandis, had already been used by the Italians and Spaniards in the early sixteenth century, and of which curious foreshadowings are found in Chaucer's prose Tale of Melibee and elsewhere) was first attempted in English by the Earl of Surrey in his version of the Æneid. For a time it was very little imitated, but in the latter half of the century it gradually ousted all other competitors for dramatic use. It was still out of favour for non-dramatic purposes until Milton's great experiments in the later seventeenth; while about the same period it was for the a time itself laid aside in drama. But it soon recovered its place there, and has never lost it; while during the eighteenth century it became more and more fashionable for poems proper, and has rather extended than contracted its business since.
– George Saintsbury, from Historical Manual of English Prosody (1910)
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-Hugh-Hefner-1966-67-ORIG-painted-wood-brass-and-steel-National-Portrait-Gallery-Washington-DC.jpg)
-Bob-Hope-1967-ORIG-painted-wood-National-Portrait-Gallery-Washington-DC.jpg)
-Henry-Kissinger-and-Richard-Nixon-1972-ORIG-marble-National-Portrait-Gallery-Washington-DC.jpg)
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