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| Edvard Munch Kneeling Nude ca. 1920-23 oil on canvas Hirshhorn Museum, Washington DC |
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| Romaine Brooks Portrait of arts patron Baroness Catherine d'Erlanger ca. 1924 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Matthew Smith La Chemise Jaune 1924-25 oil on canvas Art Gallery of New South Wales, Sydney |
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| André Derain Mano the Dancer ca. 1924-28 oil on canvas Phillips Collection, Washington DC |
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| Georges Barbier Le Printemps 1925 lineblock and pochoir (fashion plate) Cooper Hewitt, Smithsonian Design Museum |
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| John Lavery Portrait of Lila Lancashire ca. 1925 oil on canvas Museum of Fine Arts, Boston |
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| Man Ray Kiki de Montparnasse (Alice Prin) ca. 1925 gelatin silver print Smithsonian American Art Museum, Washington DC |
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| Sybil Craig Portrait Study of a Woman 1926 drawing National Gallery of Australia, Canberra |
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| Nickolas Muray Judith Anderson in Behold the Bridegroom ca. 1927 gelatin silver print National Portrait Gallery, Washington DC |
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| George Luks The Polka-Dot Dress 1927 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Augustus John Tallulah Bankhead 1930 oil on canvas National Portrait Gallery, Washington DC |
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| Edward Steichen Anna May Wong 1930 gelatin silver print National Portrait Gallery, Washington DC |
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| Marty Mann Portrait of photograph Barbara Ker-Seymer ca. 1930 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Raphael Soyer Portrait of Rebecca ca. 1930 oil on canvas Portland Art Museum, Oregon |
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| Harold Weston The Spider ca. 1930-31 oil on canvas Wichita Art Museum, Kansas |
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| Alma Lavenson Portrait of photographer Consuelo Kanaga 1931 gelatin silver print National Portrait Gallery, Washington DC |
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| Alfred J. Frueh Katharine Cornell 1931 drawing (caricature commissioned by the New Yorker) National Portrait Gallery, Washington DC |
ALLITERATION – The repetition of the same letter at the beginning or (less frequently) in the body of different words in more or less close juxtaposition to each other. This, which appears slightly, but very slightly, in classical poetry, has always been a great feature of English. During the Anglo-Saxon period universally, and during a later period (after an interval which almost certainly existed, but the length of which is uncertain) partially, it formed, till the sixteenth century, a substantive and structural part of English prosody. Later, it became merely an ornament, and at times, especially in the eighteenth century, has been disapproved. But it forms part of the very vitals of the language, and has never been more triumphantly used than in the late nineteenth century by Mr. Swinburne.
– George Saintsbury, from Historical Manual of English Prosody (1910)