Formed by distorting the inside front cover of 'Diversæ insectarum volatilium : icones ad vivum accuratissmè depictæ per celeberrimum pictorem', Jacob Hoefnagel, 1630.
Source Firkin
From a drawing in 'Art Embroidery', M.S. Lockwood and E. Glaister, 1878.
Source Firkin
This one could be the shirt of a golf player. Angled lines in different thicknesses.
Source Olivier Pineda
A seamless pattern formed from a square tile. The tile can be retrieved by selecting the rectangle in Inkscape and using shift-alt-I.
Source Firkin
A seamless texture traced from an image on opengameart.org shared by Scouser.
Source Firkin
No idea what Nistri means, but it’s a crisp little pattern nonetheless.
Source Markus Reiter
Remixed from a drawing in 'Hungary. A guide book. By several authors', 1890.
Source Firkin
Same as the black version, but now in shades of gray. Very subtle and fine grained.
Source Atle Mo
From a drawing in 'Artists and Arabs', Henry Blackburn, 1868
Source Firkin
Geometric triangles seem to be quite hot these days.
Source Pixeden
Derived from an image that was uploaded to Pixabay by mdmelo.
Source Firkin
Used in small doses, this could be a nice subtle pattern. Used on a large surface, it’s dirty!
Source Paul Reulat
Remixed from a drawing in 'Paul's Sister', Frances Peard, 1889.
Source Firkin
Seamless , tileable CC-0 texture. Created by my own, feel free to use wherever you want!
Source Linolafett
Just to prove my point, here is a slightly modified dark version.
Source Atle Mo
A smooth mid-tone gray, or low contrast if you will, linen pattern.
Source Jordan Pittman
Prismatic Geometric Tessellation Pattern No Background
Source GDJ
This was formed by distorting an image of a background on Pixabay.
Source Firkin
Prismatic Polka Dots Mark II 3 No Background
Source GDJ
Zero CC tileable Laminate wood texture, photographed and made by me. CC0
Source Sojan Janso
A repeating background of thick textured paper. Actually, it turned out to look like something between a paper and fabric.
Source V. Hartikainen
This is lovely, just the right amount of subtle noise, lines and textures.
Source Richard Tabor