Pattern Making

Michael Wolgemut and Wilhelm Pleydenwurff
Church Council at Florence
1493
hand-colored woodcut and letterpress
(illustration to the Nuremberg Chronicle)
Herzog August Bibliothek, Wulfenbüttel

Albrecht Dürer (designer)
Allegory of Divine Justice
1521
hand-colored woodcut
Herzog August Bibliothek, Wulfenbüttel

Anonymous German Artist
Imperial Eagle with Coats of Arms of Electors and Cities
16th century
hand-colored woodcut
Herzog Anton Ulrich Museum, Braunschweig

Giuliano di Piero Pandolfini
Tabletop with Liechtenstein Coat of Arms
ca. 1636
pietra dura framed in gilt bronze
Liechtenstein Museum, Vienna

Simon Renard de Saint-André
Still Life
ca. 1645
oil on canvas
Musée d'Art et d'Histoire de Narbonne

Anonymous British Artist
Panel with Sequence of Stories from Genesis
17th century
beadwork-embroidery on silk
Fitzwilliam Museum, Cambridge

Marco Carlone (et al)
Design for Ceiling Decoration
ca. 1775-80
watercolor and gouache on paper
(after painted fragments from the Baths of Titus, Rome)
Graphische Sammlung Albertina, Vienna

Friederike Meinert
Upper Round Hall, Schloss Charlottenburg
1843
watercolor on paper
Schloss Charlottenburg, Berlin

Édouard Vuillard
Café au Bois de Boulogne
ca. 1897-98
oil on paper
Musée des Beaux-Arts de Besançon

Charlotte Rollius
Hohenzollern Kunstgewerbehaus
1907
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Otto Carl Lendecke
Fashion Illustration
ca. 1910
watercolor on paper
Graphische Sammlung Albertina, Vienna

Frank Cousins
Staircase - Moses Williams House - Boston
ca. 1910
collodion print
Kunstbibliothek, Staatliche Museen zu Berlin

Natalia Goncharova
The Forest
ca. 1913
oil on canvas
Scottish National Gallery of Modern Art, Edinburgh

Friedrich Skurawy after Dagobert Peche
Decorative Composition
1922
woodcut
Graphische Sammlung Albertina, Vienna

Wassily Kandinsky
Composition X
1939
oil on canvas
Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Gudmundur Gudmundsson Ferro
Revolutionary Landscape
1988
screenprint
(commissioned for Bicentennial of the French Revolution)
Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève

Antony

     But have I no remembrance?

Alexas                                        Yes, a dear one:

     Your slave, the Queen –

Antony                               My mistress,

Alexas                                                     Then your mistress,

     Your mistress would, she says, have sent her soul,     

     But that you had long since. She humbly begs

     This ruby bracelet, set with bleeding hearts,

     The emblem of her own, may bind your arm.

                                                                       (Presenting a bracelet)

Ventidius

     Now, my best Lord, in honour's name I ask you,

     For manhood's sake, and for your own dear safety,

     Touch not these poisoned gifts,

     Infected by the sender; touch 'em not.

     Myriads of bluest plagues lie underneath 'em,

     And more than aconite has dipped the silk.

Antony

     Nay, now you grow too cynical, Ventidius:

     A lady's favours may be worn with honour,

     What, to refuse her bracelet! On my soul,

     When I lie pensive in my tent alone,

     'Twill pass the wakeful hours of winter nights

     To tell these pretty beads upon my arm,

     To count for every one a soft embrace,

     A melting kiss at such and such a time,

     And now and then the fury of her love

     When – and what harm's in this?

Alexas                                             None, none my Lord,

     But what's to her, that now 'tis past forever.

Antony (going to tie it)

     We soldiers are so awkward – help me tie it.

Alexas

     In faith, my Lord, we courtiers too are awkward

     In these affairs. So are all men indeed;

     Even I, who am not one. But shall I speak?

Antony  

     Yes, freely.

Alexas           Then, my Lord, fair hands alone

     Are fit to tie it: she who sent it can.

Ventidius

     Hell's death! this eunuch pander ruins you,

     You will not see her?

– John Dryden, All for Love (1677)