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| Imogen Cunningham Reflections 1910 platinum print Art Institute of Chicago |
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| Imogen Cunningham Self Portrait 1915 platinum print Smithsonian American Art Museum, Washington DC |
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| Imogen Cunningham Nude 1923 gelatin silver print (recent print from vintage negative) Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Imogen Cunningham Leslie Van Ness 1925 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Roseanna ca. 1925 gelatin silver print Phillips Collection, Washington DC |
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| Imogen Cunningham Water Hyacinth 2 ca. 1925 gelatin silver print (recent print from vintage negative) Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Imogen Cunningham Untitled 1929 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Snake 1929 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Back 1929 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Martha Graham 1931 gelatin silver print National Gallery of Canada, Ottawa |
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| Imogen Cunningham Martha Graham 2 1931 gelatin silver print Whitney Museum of American Art, New York |
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| Imogen Cunningham Self Portrait 1933 gelatin silver print National Portrait Gallery, Washington DC |
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| Imogen Cunningham Madame Ozenfant 1935 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Portrait (series, Age and Its Symbols) 1958 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Man Ray 1961 gelatin silver print Art Institute of Chicago |
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| Imogen Cunningham Ruth Asawa 1963 gelatin silver print National Portrait Gallery, Washington DC |
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| Imogen Cunningham Judy Dater 1971 gelatin silver print Art Institute of Chicago |
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| Abe Frajndlich Imogen Cunningham 1975 gelatin silver print National Portrait Gallery, Washington DC |
from Metamorphoses
Before the Moone should circlewise close both hir hornes in one
Three nightes were yet as then to come. Assoone as that she shone
Most full of light, and did behold the earth with fulsome face,
Medea with hir haire not trust so much as in a lace,
But flaring on hir shoulders twaine, and barefoote, with hir gowne
Ungirded, gate hir out of doores and wandred up and downe
Alone the dead time of the night, both Man, and Beast, and Bird
Were fast a sleepe: the Serpents slie in trayling forward stird
So softly as ye would have thought they still a sleepe had bene.
The moysting Ayre was whist, no leafe ye could have moving sene.
The starres alonly faire and bright did in the welkin shine
To which the lifting up hir handes did thrise hirselfe encline.
And thrice with water of the brooke hir haire besprincled shee:
And gasping thrise she opte hir mouth: and bowing downe hir knee
Upon the bare hard ground, she saith: O trustie time of night
Most faithful unto privities, O golden starres whose light
Doth jointly with the Moone succeede the beames that blaze by day
And thou three headed Hecate who knowest best the way
To compasse this our great attempt and art our chiefest stay;
Ye Charmes and Witchcrafts, and thou Earth which both with herbe and weed
Of mightie working furnishest the Wizardes at their neede:
Ye Ayres and windes: ye Elves of Hilles, of Brookes, of Woods alone,
Of standing Lakes, and of the Night approche ye everychone.
– Ovid (43 BC-AD 17), translated by Arthur Golding (1567)