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| Georges Vantongerloo Interrelation of Volumes 1919 sandstone Tate Modern, London |
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| Georges Vantongerloo Élément Cosmique 1945 painted wood and nickel-alloy Moderna Museet, Stockholm |
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| Georges Vantongerloo Construction of Volumetric Interrelationships 1924 painted cement Peggy Guggenheim Collection, Venice |
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| Tiffany & Co. (New York) Pair of Bracelets ca. 1876-82 gold and platinum British Museum |
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| Tiffany & Co. (New York) Fish and Water Table Lamp ca. 1902 glass, copper and bronze National Gallery of Australia, Canberra |
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| Tiffany & Co. (New York) Lava Vase ca. 1908 glass National Gallery of Australia, Canberra |
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| Tiffany & Co. (New York) Skull 19th century rock crystal (sold ca. 1890 by Tiffany & Co. as a Mesoamerican antiquity but modern testing suggests that it is a 19th-century forgery) British Museum |
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| Peter Tully Jesus Christ Pin ca. 1990 plastic and metal National Gallery of Australia, Canberra |
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| Staffordshire Potteries (England) Mirror Box with Motto in Cover 1789 enameled earthenware British Museum |
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| Josiah Wedgwood & Sons Plaque with Hercules and the Arcadian Stag (designed by John Flaxman) ca. 1780-90 jasperware set into steel mount as brooch Victoria & Albert Museum, London |
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| Thomas Schütte Model for Crystal 2013 plywood and screws Clark Art Institute, Williamstown, Massachusetts |
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| Isaac Witkin Maquette for Chorale 1980 painted steel Smithsonian American Art Museum, Washington DC |
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| Isaac Witkin Wild Iris 1973-74 painted steel Delaware Art Museum, Wilmington |
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| Williams, Brown & Earle (Philadelphia) Château de Voisins - Garden Sculpture 1936 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Williams, Brown & Earle (Philadelphia) Château Vaux-le-Vicomte - Garden Sculpture 1936 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Joel-Peter Witkin Anna Akhmatova 1998 gelatin silver print Hirshhorn Museum, Washington DC |
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| Joel-Peter Witkin Poet: from a Collection of Relics and Ornaments (Berlin) 1986 gelatin silver print Smithsonian American Art Museum, Washington DC |
If thou dost complain that there shall be a time in the which thou shalt not be, why dost thou not too grieve that there was a time in the which thou wast not, and so that thou art not as old as that enlifening planet of time? For, not to have been a thousand years before this moment, is as much to be deplored as not to be a thousand after it, the effect of them both being one: that will be after us which long long ere we were was. Our children's children have that same reason to murmur that they were not young men in our days, which we have to complain that we shall not be old in theirs. The violets have their time, though they empurple not the winter, and the roses keep their season, though they disclose not their beauty in the spring.
Empires, states, kingdoms have, by the doom of the supreme providence, their fatal periods; great cities lie sadly buried in their dust; arts and sciences have not only their eclipses, but their wanings and deaths; the ghastly wonders of the world, raised by the ambition of ages, are overthrown and trampled; some lights above, deserving to be entitled stars, are loosed and never more seen of us; the excellent fabric of this universe itself shall one day suffer ruin, or a change like ruin; and poor earthlings thus to be handled complain!
– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)