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| Francesco Salviati Design for a ewer 16th century drawing Ashmolean Museum, Oxford |
"In fact the complex pleasure of projecting oneself into elongated limbs and postures never seen before seems to have been one of the delights that many Renaissance artists conveyed to their audiences." – François Quiviger in The Sensory World of Italian Renaissance Art (London : Reaktion Books, 2010)
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| Raphael Drapery study early 16th century drawing Ashmolean Museum, Oxford |
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| Peter Flötner Perspective study with cubes 1528 drawing Metropolitan Museum of Art |
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| Michelangelo Design for a window early 16th century drawing Ashmolean Museum, Oxford |
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| Michelangelo Design for a doorway, Biblioteca Laurenziana 1526 drawing British Museum |
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| Francisco de Zurbarán Cup of water and a rose ca. 1630 oil on canvas National Gallery, London |
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| Johannes Leemans Still life with hunting tackle 1678 oil on canvas Rijksmuseum |
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| Jacques Goullons Watch with cover-painting of angel awakening Jacob ca. 1645-50 enamel on gold Metropolitan Museum of Art |
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| Pierre Adrien Pâris Decorative paneling from a boudoir in the Hôtel de Crillon ca. 1777-80 painted and gilded oak Metropolitan Museum of Art |
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| from a design by Giovanni Battista Piranesi Side table 1760s carved & gilded limewood, marble Getty Museum, Los Angeles |
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| Nicolas-Quinibert Foliot Armchair for the Princess of Parma ca. 1749 carved & gilded oak, silk velvet upholstery Metropolitan Museum of Art |
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| Jean Charles Delafosse Design for an urn with bucrania 18th century drawing Ashmolean Museum, Oxford |
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| Thomas Chippendale Design for three ribband-back chairs late 18th century drawing Metropolitan Museum of Art |
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| Georges Seurat Anchors 1890 drawing Victoria & Albert Museum |