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| Katharina, Baroness von Röthlein Nasturtiums ca. 1820 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| August Rokert Caltha palustris ca. 1840 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Anonymous American Designer Vaughan Seed Store ca. 1895 chromolithograph (catalogue cover) Archives of American Gardens, Washington DC |
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| Anonymous American Designer G.R. Gause & Co. 1898 chromolithograph (catalogue cover) Archives of American Gardens, Washington DC |
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| Anonymous American Designer Dreer's Garden Calendar 1899 chromolithograph (cover) Archives of American Gardens, Washington DC |
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| Paul Poiret (designer) Poppies 1912 machine-printed wallpaper Cooper Hewitt, Smithsonian Design Museum |
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| Margaret Jordan Patterson Zinnias and Marigolds ca. 1921 color woodblock print Smithsonian American Art Museum, Washington DC |
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| Anonymous British Designer Delphiniums 1926 screenprinted wallpaper Cooper Hewitt, Smithsonian Design Museum |
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| Elioth Gruner Daffodils 1927 oil on panel Art Gallery of New South Wales, Sydney |
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| William H. Johnson Still Life - Yellow Lilies ca. 1930-35 oil on burlap Smithsonian American Art Museum, Washington DC |
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| Anonymous Canadian Designer Waterlilies ca. 1948 machine-printed wallpaper Cooper Hewitt, Smithsonian Design Museum |
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| Winston Churchill Vase of Red Tulips (after Cézanne) 1957 oil on canvas Dallas Museum of Art |
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| Hans Hofmann Flowering Swamp 1957 oil on panel Hirshhorn Museum, Washington DC |
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| Anonymous French Designer Germinal 1968 machine-printed wallpaper Cooper Hewitt, Smithsonian Design Museum |
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| Ray Robinson Chrysanthemums 1988 oil pastel on paper Museum London, Ontario |
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| Hitoshi Ujiie Floral 2006 digital inkjet print on silk Cooper Hewitt, Smithsonian Design Museum |
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| Jennifer Dickson Meconopsis, Wellington Garden 2013 inkjet print Ottawa Art Gallery, Ontario |
18 October 1945
I suppose money is so fascinating, so repelling and so tiring because it has the power to draw all forms of ingenuity out of people.
11 January 1946
May was burgled last night in the high wind. Or perhaps it was this morning just before dawn.
All the drawers, even the tiny ones in the bureau, were opened, and the dummy books were thrown out on the floor; but all that was taken were two Chelsea figures, a little comfit-box with a tiny silver spoon, a double rose Dubarry scent-bottle and the chocolate in the urn-shaped china sugar-jar.
The burglar also rested on her sofa, washed, brushed his hair, used the closet and polished his shoes. In the kitchen he ate spoonfuls of marmalade, but did not steal the Georgian spoon; then he spread the marmalade about and found biscuits.
When she came down in the early morning she found the front door open and the drawing-room curtains flapping out of the windows.
The man had opened the windows with a knife and had tried to remove the putty round another pane.
Two other houses, Bourne Mill and Faulkners, were also broken into, and the police think a Borstal boy or a deserter had perhaps been at work.
Coming out of the pub at midday, Eric saw an unkempt youth with service respirator case, beret with land badge, an anxious retreating manner. He feels that this youth might have slept in the outhouse at Bourne Mill and then begun his chain of housebreaking, when everyone was asleep.
I side with the burglar unquestioningly and only wish that he'd helped himself to more.
– from The Journals of Denton Welch (who was born in 1915, gravely injured in 1935, then wrote the journals between 1942 and his early death in 1948), edited by Michael De-la-Noy (1984)