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| Johann Knapp Marigolds ca. 1795-1805 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Anonymous British Printmaker Tritoma uvaria ca. 1857 chromolithograph Cooper Hewitt, Smithsonian Design Museum |
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| Martin Johnson Heade Two Hummingbirds above a White Orchid ca. 1875-90 oil on canvas Amon Carter Museum, Fort Worth, Texas |
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| Charles Walter Stetson Magnolia 1895 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Herbert Wendell Gleason Gentiana farreri ca. 1915 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Herbert Wendell Gleason Narcissus triandrus ca. 1915 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Herbert Wendell Gleason Cypripedium pubescens ca. 1915 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Herbert Wendell Gleason Lilium superbum ca. 1915 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Georgia O'Keeffe Yellow Calla 1926 oil on board Smithsonian American Art Museum, Washington DC |
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| Mary Vaux Walcott California Lilac 1935 watercolor on paper Smithsonian American Art Museum, Washington DC |
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| Mary Vaux Walcott Fremontodendron 1926 watercolor on paper Smithsonian American Art Museum, Washington DC |
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| Jeannette Klute Pink Lady's Slipper ca. 1950-60 dye transfer print Akron Art Museum, Ohio |
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| Jeannette Klute Larkspur ca. 1950-60 dye transfer print Chrysler Museum of Art, Norfolk, Virginia |
-c1960-offset-print-on-paper-bag-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Anonymous Designer Shopping Bag from Bonwit Teller, New York ca. 1960 offset-print on paper bag Cooper Hewitt, Smithsonian Design Museum |
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| Olivia Parker Rose 1977 gelatin silver print Chrysler Museum of Art, Norfolk, Virginia |
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| Mary Koga Tulips - Pink #21 1984 C-print Art Institute of Chicago |
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| Dorothea Tanning Convolotus alchemelia (Quiet willow window) 1998 oil on canvas Whitney Museum of American Art, New York |
1 September 1945
The picture was fine because the warm dust-coloured porticoes, dome and pavilions were set against a deep background of sage-green trees and hill. We sat at the end of the avenue and gazed for some time at this house, perfect of its kind and time. The old-fashioned architecture books point out disparagingly that it is a slavish copy of one of Palladio's villas, but yesterday it looked quite perfectly eighteenth-century English. It seemed as if the countryside cried out for it, and after we had left it I felt that everything else seemed unrealized and insipid.
At last, after I had said how much I wished I could have it to look after it and live in, we went back to the car. Eric had found some mushrooms and I had eaten a few autumn blackberries and tasted their mysterious juice, delicious and bitter and sad.
We went down the hill and came to some cottages, and across the road were stretched many flags and the legend "Welcome Home Frank." I thought that it would be nice to be a soldier and find this waiting when one at last came home; but only the people who live in cottages treat their sons in this way.
– 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)