Edward Blore (1787–1879), Two of three original illustrations for James Hall's Essay on the Origin, History and Principles of Gothic Architecture, 1809. Pencil and grey wash on paper, 265 × 315 mm.
Derek Boshier (*1937), 16 Situations: 5. Flock of 40,000 snow geese over a cornfield. Oaks, North Dakota, USA, 1971. Mounted photograph with markup tracing paper overlay, 280 × 406 mm.
Nigel Coates (*), Caffè Bongo, Tokyo, 1988. Graphite, acrylic and oil pastel on paper, 420 × 590 mm. © The architect.
Andre-Marie Chatillon (1782–1859), Recueil de dessins d'architecture, c. 1814 – 1830. From album of prints and drawings: engraving on laid paper, 225 × 305 mm.
Charles Robert Cockerell (1788–1863), Survey of the Parthenon Pavement, 1813. Pen and ink with pencil and grey and orange wash on paper, 820 × 420 mm.
Peter Märkli (*1953), Untitled, c. 1990. Charcoal on tracing paper, 295 × 240 mm.
Gordon Matta-Clark (1943–1978), Untitled (Drawing for the Judson Memorial Poetry Reading #7), c. 1973. Ink and felt pen on wove paper, 317 × 1400 mm.
Ludwig Mies van der Rohe (1886–1969), High-Rise Building (possibly Promontory Apartments), Chicago: exterior perspective sketch, c. 1946. Pencil on notepaper, 152 × 212 mm.
Cedric Price (1934–2003), Battersea Power Station, c. 1990. Red pen and coloured crayon on sketchbook sheet, 203 × 253 mm.
Aldo Rossi (1931–1997), Urban Fragment, 1997. Ink, oil crayon and felt pen on paper, 300 × 290 mm.
John Ruskin (1819–1900), 30. Chrysoprase, c. 1850. Mineral. <p>'A condition of silica, intermediate between flint and chalcedony, but varying in colour from white to green; dull in fracture, as the broken piece will show, better than the old surface; and never throwing itself into globular or stalactitic forms. It is found, I believe, only at one place in Europe, Frankenstein in Silesia, and is extremely respected by me because it is found nowhere in America. It is the most valuable form of silica except opal; but it is properly connected with flint and chalcedony, opal forming an entirely distinct family of minerals'</p>.
Karl Friedrich Schinkel (1781–1841), Design for a pilaster capital for main floor Tilebein House, Sulechów, Poland (formerly Stettin, Prussia)., 1806. Black ink and wash on paper, 625 × 1060 mm.
Ludwig Mies van der Rohe (1886–1969), Courthouse study, c. 1935. Pen and India ink on wove paper, laid on board, 215 × 298 mm.
Gilles-Marie Oppenord (1672–1742), Capriccio Landscape with Figures and a Fountain, c. 1720. Sanguine, black ink and pen on ten sheets of joined paper with an addition on the bottom, 865 × 550 mm.
Mario Sironi (1855–1961), Architectural Study, c. 1925 – 1938. Pencil on watermarked paper, 210 × 300 mm.