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| workshop of Hans Leinberger St George and the Dragon ca. 1525 painted wood Denver Art Museum |
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| Wenzel Jamnitzer Bell ca. 1550 silver (formerly attributed to Benvenuto Cellini) British Museum |
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| Anonymous Chinese and Italian Makers Nautilus Cup on Eagle Claw with Infant Hercules ca. 1550 Nautilus shell engraved in China, later mounted in silver-gilt in Northern Italy British Museum |
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| Anonymous Italian Makers Cabinet with eleven drawers (some secret) ca. 1554-81 wood and iron, damascened with gold and silver British Museum |
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| Anonymous Makers working in Urbino Pilgrim Flask ca. 1560-1600 tin-glazed earthenware (maiolica) British Museum |
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| Joseph Heinrich Kirchmayer Crown Prince Ludwig of Bavaria 1808 marble Bayerisches Nationalmuseum, Munich |
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| Josef Klieber Flora ca. 1830 marble Belvedere Museum, Vienna |
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| Chauncey Bradley Ives Ariadne 1852-53 marble Chrysler Museum of Art, Norfolk,Virginia |
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| Jules Allard et Fils (Paris) Library Step-Stool ca. 1880-1900 carved giltwood and velvet Newport Mansions Preservation Society, Rhode Island |
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| Jacques Lipchitz Standing Personage 1916 limestone Guggenheim Museum, New York |
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| Jacques Lipchitz Mother and Child 1949 plaster Tate Modern, London |
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| Jacques Lipchitz Sacrifice III 1949-57 plaster Nasher Sculpture Center, Dallas |
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| Leleu Frères (Paris) Armchair designed in 1934, this example made in 1954 sycamore frame with replaced upholstery Royal Ontario Museum, Toronto |
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| Roy Lichtenstein Modern Head 1974 painted steel Smithsonian American Art Museum, Washington DC |
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| Glenn Kaufman The Knights 1976 vinyl and plexiglas Smithsonian American Art Museum, Washington DC |
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| Diane Itter Bordered Fields 1982 knotted linen Smithsonian American Art Museum, Washington DC |
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| Baseera Khan Column 6 2019 polyurethane foam, plywood, resin, silk carpet Whitney Museum of American Art, New York |
What chameleon, what Euripe, what rainbow, what moon doth change so oft as man? He seemeth not the same person in one and the same day; what pleaseth him in the morning is in the evening distasteful unto him. Young, he scorneth his childish conceits, and wading deeper in years (for years are a sea, into which he wadeth until he drown) he esteemeth his youth unconstancy, rashness, folly; old, he beginneth to pity himself, plaining, because he is changed, that the world is changed, like those in a ship, which, when they launch from the shore are brought to think the shore doth fly from them. He hath no sooner acquired what he did desire but he beginneth to enter into new cares, and desire what he shall never be able to acquire. When he seemeth freed of evil in his own estate, he grudgeth and vexeth himself at the happiness and fortune of others. He is pressed with care for what is present, with grief for what is past, with fear for what is to come, nay, for what will never come; and as in the eye one tear draweth another after it, so maketh he one sorrow follow upon a former, and every day lay up stuff of grief for the next.
– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)