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Fairbanks. Morse 
I MANUFACTURERS I I CHICAGO 
Color Effects With May-Flowering Tulips 
[Continued from page 45) 
Combination G. Very warm cherry reds 
*0-—Ariadne: brilliant rosy crimson 
shaded scarlet; not the scarlet of 
the oriental poppy, however. That 
does not appear in any of the tulips.$ .60 
D—William Pitt; similar but the least 
bit duller.80 
Sp— Carinata rubra-, described as crim¬ 
son with .green stripe down center 
of petal, small flower somewhat dis¬ 
appointing.60 
*D—Mr. Farnscombe Sanders: enor¬ 
mous rose, very glowing, described 
as .scarlet, but seems a lovely, in¬ 
tense rose.65 
D—Pride of Haarlem: slightly darker 
than the preceding, but good; large, 
almost double .in effect, described as 
brilliant rosy carmine.50 
D—Professor Francis Darwin: a little 
cooler, but blends with the group, 
described as crimson-scarlet.55 
The next group is still very intense. 
It may be called vivid rose but is 
cooler than the preceding. It may be 
used to connect Group G to cooler 
pinks or as a climax to give life to a 
garden filled with pinks and lavenders 
from Groups L and M. 
Combination H. Vivid rose or cherry reds 
*D—Louise de la Valliere: described 
a bright deep rose pink, a lovely 
flower .$2.20 
D—Mattia: large, fragrant, described 
as clear carmine rose.80 
D—Edmee: described as vivid cherry 
rose . 
D—Berthold Schwartz: deep cerise, 
appearing slightly bluish, described 
as bright garnet flushed rose.85 
^D—Centenaire: enormous, rich, cool 
violet rose... 1.25 
Now we insert Groups I, J and K, 
three lovely pastel combinations that 
harmonize with the bronze or coppery 
Breeders of D and E or with the cool 
lavenders and pinks of Groups L and 
M. These three groups combine ex¬ 
quisite subtle tones of violet, dull pur¬ 
ple, heliotrope, ashy white overlaid vio¬ 
let or pink, with some clear cool pink, 
and dull gold—much more interesting 
than mere lavender or pink. 
Combination I 
B—Heloise: large, warm heliotrope 
brown, shaded rose: described as 
Van Dyck brown, but far more 
beautiful than that would amply.. .$2.40 
B—Dom Pedro: similar, but yellower 
and smaller, described as coffee 
brown . 2.70 
B—Sabrina: similar, but yellower than 
the above.65 
B—Yellow Perfection: light bronze 
heliotrope, edged golden yellow.80 
B—Gloria: like Heloise, but smaller... 2.00 
D—Pensee Amere: dull neutral (de¬ 
scribed slaty) violet, flushed rose- 
lilac .70 
D—Reverend Harpur Crewe: dull neu¬ 
tral rose, described as dull ama¬ 
ranth red edged rose.85 
Combination J 
D—Anton Roozen: rose pink edged 
pale rose.$' .55 
*l3-^Sir Trevor Lawrence: very large, 
violet purple flushed ash. 1.20 
B—Gris-de-lin Pale: rosy lilac, lighter 
and larger than the preceding. 1.00 
D—Mauve Clair: soft lilac mauve, 
might be called white edged laven¬ 
der .80 
D—^Suzon: soft buff rose, blush mar¬ 
gins, almost white.65 
Combination K 
*D—Marconi: immense violet purple, 
maroon on opening.$ .70 
D—Flamingo: soft clear shell pink, 
pointed, very refined.85 
D—Ronald Gunn: small deep violet.. 1.20 
D—;Wally Moes: white edged pink and 
violet, described as pale whitish lav¬ 
ender pencilled pink and violet.... 1.40 
.D—Suzon: soft buff rose, white in ef¬ 
fect in garden...65 
D—Paul Eudel: specimen sent was 
very small, made pleasing contrast 
with the large ones, almost white, 
soft violet edge.70 
The next group is composed of clear 
pinks, some with a tinge of gold, but 
none more vivid than an apple blos¬ 
som. The most intense are La Fiancee, 
Princess Elizabeth, Mrs. Stanely, Baron 
de la Tonnaye, and Flamingo. This 
group is next in the transition after the 
rose pinks of Group H. 
Combination L. Apple-blossom pinks 
C—Sir Harry: large, pale lavender 
pink, slightly reflexed.$1.20 
B—Perle Royale: opening white, nar¬ 
row pencilled edge of bright car¬ 
mine .70 
*D—Flamingo: large, clear, soft shell 
pink .85 
D—Mrs. Stanely: silvery cool rose, 
blue center. 55 
D—La Fiancee: delicate pink, lighter 
edges described as deep rose shaded 
old rose. 3.00 
B—Madame Lethierry: old rose, de¬ 
scribed as dark crushed strawberry 
edged and flushed salmon.75 
*C—John Ruskin: large egg-shaped, 
salmon-rose with distinctive golden 
flush .80 
B—Marie Louise: button-shaped, old- 
rose flushed orange; similar to pre¬ 
ceding but more golden.65 
D—Baron de la Tonnaye: medium 
sized, bright rose margined blush.. .45 
D —Princess Elizabeth: lovely pink de¬ 
scribed as clear deep pink, changing 
to rose pink, white base.85 
B—Turenne: an effect of lavender, 
gold and pink described .inadequately 
as purplish brown margined amber 
yellow; a lovely one to tie pink with 
lavender . l.SQ 
Combination M. These are lavender, pro¬ 
ceeding from light to dark 
B—Le Mogul: small pale lavender- 
mauve, white base, a good transition 
from the pinks.$1.40 
D—Euterpe: larger and pinker than 
the above, described as silvery 
mauve-lilac . 1.00 
D—Dream: pale heliotrope, darker 
stripe, tips wine-red.60 
D—Dal Ongaro: warm lavender-violet, 
white base. 1.20 
D—La Tristesse: slightly cooler than 
the above, dull violet, white base.. .65 
*D—John Malcolm: large, smoky lav¬ 
ender-rose .75 
B—Gris-de-lin Pale: rosy lilac or lav¬ 
ender-purple . 1,00 
*D-;-Sir Trevor Lawrence: very large 
violet-purple, darker than above... 1.20 
B—Godet Parfait: still darker, de¬ 
scribed as plum purple. 1.70 
D-—Zanzibar: pansy purple, very dark, 
described as glossy maroon-black... .65 
D—Purple Perfection: glossy claret- 
purple, tones with Philippe de Com- 
mines and Zanzibar.70 
B—Superba: very warm coffee cast, 
tones v/ith Breeders. 1.20 
To liven the lavenders do not use 
clear yellow, but those of violet with 
a golden tinge, such as 
Combination N 
B—Yellow Perfection: light bronze 
yellow, heliotrope flush, edged gold..$ .80 
B Garibaldi; pafe lilac bronze edged 
primrose . 4.00 • 
The descriptions are more brief than 
those given in most catalogs, and one 
may gain a fuller impression by con¬ 
sulting the latter. It is^ of course, possi¬ 
ble to obtain beautiful effects with very 
few kinds and those in large masses, 
but to one imbued with something of 
the collector’s ardor, there is no thrill 
like that which comes from seeing the 
harmonies evolved from the interweav¬ 
ing of the manifold exquisite varieties. 
