28 



The Florists' Review 



Apbil 28, 1921 



E,l7-»-»»Mmcat»j.»KM 



Mother^s Day—Sunday^ May 9 



"Say It With Flowers"- 



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\ Mother's Day- 



— Commtmtrtte it Wilk I'lavatrt 



SUNDAY. MAY 9 



iIk- lanrcd ilirinr «t mother. 



THE ARBOR 



The Stort of Mothtr's Favortle F/owtnf 



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I ,'iin<lii V >i>iin ■ Irn 1i>>urv limr, b> irlcgrapli, 

 111. Ill or luDg dmlant'c pbonr 



'"'"«^- The Arbor ""'^-^ 





Don't Forget Your 

 Best Friend on 



Mother's 

 Day 



Thr Mi>u itnt IbM M Ib.t a^^U* (« 



ripnM uuT wBlirMvU wilh floarn '. 



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flHfn «f .11-flo-rrt A'Drma B»a«ti«--iih I. 



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CMlufd morid Ihrii^ MI I I .!.•( Trkfi jpb ItPliwa A*-»-J«..ou 



JOHN CONNON Co., Ud 



69 KING STREET EAST 



SarltlViili 

 F/ozvcn 



Mother's 

 Day 



Miller & Sons 



SifyllH^ilh 



Mother's 

 Day 



-I NUAi. M W 9 



M. Ofield 

 and Sons 



()t>..ri. .ii<l 

 l>..lr.li.il.,r. 



Gnm^by, OnUno 



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Say It IVith F/otvers from the Flower "Sljoppi 



Make Your Mother Happy | 



"I I'l ..I.. I.M. 1 



Flowers in RemembrtiHre of ' 



MOTHER'S DAY 



I Inn en dflitrrrJ i.iimiIi.i, >>. Cjiiailj vr ibr I i.ilr.l 

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 iiij ilMutoiia**. 



Price's Flower "SHioppe*' 



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On Mother^ s Dtiy— 



Ui Thii Bf ram 



ROYAL FLOWER STORE 



J.m., V It n,-i 



Itionr HrfMt IWT 



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W. H. GRAY 



ri«n-i. liundi--. nm 



Btantifml ftwrt. Dm/fitJi/f. 



Csma/iOMt, 7m//pt. 



flnttumg Plamts. Rtt. 



This Type of Co-operative Advertisement Is Still Popular In Some Places. 



it offered an opportunity to study in- 

 stallation such as one seldom has and 

 an analysis of some of its principal fea- 

 tures should be instructive. 



The most evident fault, in the great 

 exhibition referred to above, was that 

 of overcrowding. There was material 

 enough used to fill comfortably a space 

 twice as large as that at the disposal of 

 the society. The halls were so filled 

 with wonderful plants and flowers there 

 was little room left for the crowds of 

 people who came to see them. During 

 the popular visiting hours it became 

 evident that the spaces left for aisles 

 were inadequate and too restricted for 

 convenient passing. The inference to 

 be drawn is obvious; overcrowding of 

 the exhibition spaces should be avoided, 

 not only as detrimental to the exhibits, 

 as such, but also out of consideration 

 for the comfort of visitors who come to 

 study and to en.ioy. 



As the orchids were made the dom- 

 inant feature of the exhibition, their 

 installation demands first attention. A 

 spacious hall, the dimensions of which 

 are about 50x70 feet, with a lofty ceil- 

 ing, and lighted from high windows on 

 two sides, contained the principal ex- 

 hibit. The supply of plants and flowers 

 seemed inexhaustible, in quality, con- 

 dition and variety unsurpassable, and 

 an unsparing hand controlled the ex- 

 pense of installation. A more extraor- 



dinarily favorable combination of con- 

 ditions to eclipse, in its special prov- 

 ince, anything that had ever been done 

 before, could not well be imagined. It 

 was a tremendous undertaking and was 

 carried through to completion, consist- 

 ently, and with great skill and inge- 

 nuity. The motif chosen was the simu- 

 lation of an orchid forest, the illusion 

 being carried out by the introduction of 

 palms, ferns, moss and masses of tufa 

 stone; and more particularly by some 

 well placed and well spaced huge, arti- 

 ficial tree trunks made of cork bark and 

 topped out with large palms or ferns, on 

 which were arranged pockets, more or 

 less concealed, in which were arranged 

 the epiphytic varieties. The terrestrial 

 varieties were arranged all around the 

 hall on sloping banks that retreated up- 

 ward from the floor. So much for the 

 general scope. It was bewildering in 

 its richness and profusion, and the or- 

 dinary observer was overcome with sur- 

 prise and wonderment. 



Give the Eye a Rest. 



In the arrangement of the plants and 

 flowers there was manifest a not un- 

 usual fault in the failure to appreciate 

 the value of vacant spaces. By vacant 

 spaces bare walls are not meant, but 

 spaces, or intervals, that contain no 

 flowers, and which may be filled with 

 foliage alone. The preciousness of the 



flowers is lost when you place one flow- 

 ering plant against another in endless 

 continuity. You gain a plethora of 

 bloom, but lose the individual value of 

 the flowers. One may, quite reasonably, 

 have large masses of the same kind of 

 flower, but the large masses should be 

 separated by quiet intervals of foliage, 

 thereby giving rest to the eye and 

 greater value to the flowers. 



During the process of installing this 

 exhibit it so happened that along a 

 wall a great mass of cattleyas was 

 placed on either side of the center. 

 Over the center and covering a wide in- 

 terval was placed what well might be 

 called a glorious crown of phalaenopsis, 

 that, in a way, held together the two 

 great groups on either side. Just be- 

 low this wonderful crown was a large 

 space filled oiily with ferns and moss, 

 placed among masses of tufa stone, con- 

 taining no blooms, and deep enough to 

 be suggestively shadowy. A little run- 

 ning water over the tufa would have 

 helped the effect immensely as a foil 

 and diversion. In front were ranged 

 eypripediums carrying the eye from one 

 group to another. That vacant space 

 in the center was a restful spot, and 

 gave inestimable value to all the flow- 

 ers arranged around it. It happened to 

 be one of those accidental arrangements 

 which was well-nigh perfect. Later on, 

 as the installation progressed, that pre- 

 cious, vacant, restful space was filled 

 with blooms, of the same color value as 

 the two sides, creating a monotonous re- 

 dundancy that, while overpowering in 

 its luxuriance, hurt itself in artistic 

 effectiveness by causing a repetition in 

 color effect all the way across the entire 

 group. "When caged birds are introduced 

 in an exhibition of flowers, it would per- 

 haps be best to have them concealed in 

 the foliage. Such an arrangement 

 would provide an element of mystery 

 which is always an added charm. 



Grower aAd1|ibcIilbltor. 



In studying the 'installation of a 

 great exhibition t)^ relation of the 

 grower to the exhiffer is a factor of 

 great interest. In most cases the grower 

 and exhibitor are identical. One would 

 naturally suppose that a person who can 

 produce the exquisite flowers that are 

 shown would know what to do with 

 them after he had produced them, and 

 would know how to show them to best 

 advantage. The question that arises is, 

 Why is it quite frequently the case that 

 the grower is ly^ a good exhibitor? Or, 

 why does he not install his exhibits to 

 better advantage? The answer to the 

 question is a seeming paradox. The 

 grower docs not install his exhibit to 

 the best advantage because he loves his 

 flowers so well. He loves them all so 

 well that he does not wish to give one 

 preeminence over another, and so, treat- 

 ing them all without prejudice, he tries 

 to make each one occupy a dominant 

 position in his exhibit. This, from an 

 exhibitor's point of view, is a serious 

 error, and the result is a monotonous 

 repetition of form and color values 

 which inevitably sacrifices the object 

 which he should wish to attain, that ob- 

 ject being an effective ensemble. 



The societies are more or less to 

 blame for the bad installation of ex- 

 hibits, for, as conditions now exist, in 

 competitive exhibitions, the installa- 

 tion is part of the exhibit and counts 

 so many points in the awarding of 

 prizes. That being the case, should a 



[Concluded on pa^e 40.] 



