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| Lyubov Popova Artistic Clothing no. 1 1921 gouache on paper Museum Ludwig, Cologne |
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| Alexander Rodchenko Maїakovski - 20 ans de travail ca. 1975 lithograph (Pompidou Center poster reproducing 1926 original) Moderna Museet, Stockholm |
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| Gisbert Combaz La Libre Esthetique 1895 lithograph (exhibition poster) Musée Fin-de-Siècle, Brussels |
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| Hans Looschen Grosse Berliner Kunstausstellung 1912 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Georg Lemberger Title-Page - Old Testament 1524 hand-colored woodcut and letterpress (leaf from the "Luther" Bible) Graphische Sammlung Albertina, Vienna |
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| Hans Wechtlin Ornamental Title-Page Border 1557 woodcut Herzog Anton Ulrich Museum, Braunschweig |
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| Rudolf Decker Monumental Capitals from Decker Type Foundry, Berlin ca. 1900 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
-c1925-gelatin-silver-print-Moderna-Museet-Stockholm.jpeg) |
| August Sander Pianist (Max van de Sandt) ca. 1925 gelatin silver print Moderna Museet, Stockholm |
-Villa-Stenersen-2002-C-print-KODE-(Art-Museum-Complex)-Bergen-Norway.jpg) |
| Mette Tronvoll Eline, Villa Stenersen 2002 C-print KODE (Art Museum Complex), Bergen, Norway |
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| Upson (Hampton, Iowa) Two Women ca. 1880-90 collodion silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
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| Felice Beato Untitled ca. 1865 albumen print Moderna Museet, Stockholm |
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| Anonymous German Artist Portrait of Frau Aloisia Gerling ca. 1845 oil on canvas Staatliche Kunsthalle, Karlsruhe |
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| Bernhard Pankok Portrait of Karl Ernst Osthaus 1918 oil on canvas Osthaus Museum, Hagen, Germany |
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| Albrecht Dürer Ornamental Column with Seated Satyr 1517 woodcut Graphische Sammlung Albertina, Vienna |
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| Greek Culture in South Italy Askos 300 BC terracotta Museumslandschaft Hessen Kassel |
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| Hans Thoma Logo Design with Helios driving Chariot of the Sun (Helios Actien Electric Light Company, Frankfurt) 1886 oil on cardboard, mounted on metal Historisches Museum, Frankfurt |
Though a tearful fate befell thee, O Euripides, devoured by wolf-hounds, thou, the honey-voiced nightingale of the stage, the ornament of Athens, who didst mingle the grace of the Muses with wisdom, yet thou wast laid in the tomb at Pella, that the servant of the Pierian Muses should dwell near the home of his mistresses.
Hail Euripides, dwelling in the chamber of eternal night in the dark-robed valleys of Pieria! Know, though thou art under earth, that thy renown shall be everlasting, equal to the perennial charm of Homer.
All Hellas is the monument of Euripides, but the Macedonian land holds his bones, for it sheltered the end of his life. His country was Athens, the Hellas of Hellas, and as by his verse he gave exceeding delight, so from many he receiveth praise.
This is not thy monument, Euripides, but thou are the memorial of it, for by thy glory is this monument encompassed.
Thy delicate flesh encompassed by the blast of glowing fire yielded up its moisture and burned away. In the much-wept tomb is naught but dumb bones, and sorrow for the wayfarers who pass this way.
The Macedonian dust of the tomb covers thee, Euripides, but ere thou didst put on this cloak of earth thou wast scorched by the bolts of Zeus. For thrice the heaven lightened at his word and purified thy mortal frame.
Neither dogs slew thee, Euripides, nor the rage of women, thou enemy of the secrets of Cypris, but Death and old age, and under Macedonian Arethusa thou liest, honoured by the friendship of Archelaus. Yet it is not this that I account thy tomb, but the altar of Bacchus and the buskin-trodden stage.
– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)