Image from page 95 of “The Geo H. Mellen Co. Innisfallen Greenhouses” (1896)
Image from page 95 of “The Geo H. Mellen Co. Innisfallen Greenhouses” (1896)
Title: The Geo H. Mellen Co. Innisfallen Greenhouses
Year: 1896 (1890s)
Authors: Innisfallen Greenhouses; Mellen, Geo. H; Geo H. Mellen Co; Henry G. Gilbert Nursery and Seed Trade Catalog Collection
Subjects: Nurseries (Horticulture) Ohio Urbana Catalogs; Plants, Ornamental Catalogs; Flowers Seeds Catalogs; Roses Catalogs; Fruit Catalogs; Nurseries (Horticulture); Plants, Ornamental; Flowers; Roses; Fruit
Publisher: Springfield, Ohio : Innisfallen Greenhouses
Contributing Library: U.S. Department of Agriculture, National Agricultural Library
Digitizing Sponsor: U.S. Department of Agriculture, National Agricultural Library
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90 The Geo. H. Mellen Co. , Florists and Seedsmen. PANSIES. It is needless for us to say anything in praise of this lovely flower. Everybody knows, loves, and cultivates the Pansy. They give such a profusion of bright bloom during the Spring and Autumn months that they are a necessity to every gar- den. We have taken the greatest pains to procure our seed from prize strains only, and it is unsurpassed. Qnadricolor, or Pheasant’s Eye— (Bainbow.) Upper petals sky-blue, edged with violet; the lower petals are mostly pur- ple, sometimes on a white, sometimes on a yellow ground, marbled and spotted. Per packet, 5 cents. Prince Bismarck—Beautiful shades of brown and golden bronze marbled. Per packet, 5 cents. Snow Queen or Snowflake—Flowers of a delicate pure satiny-white. Per packet, 5 cents. King of the Blacks or Faust—Flowers intensely dark, al- most coal-black. Per packet, 6 cents. Lord Beaconsfield—Large flowers, of deep purple violet, shading off in the top petals to a white hue; highly effective. Per packet, 5 cents. Emperor William—Flowers of a splendid ultra-marine blue, with a well-defined purple-violet eye. Per packet, Bets. Dellcata—Light porcelain-blue, with white center. Pkt. 5c. Deep Indigo Blue—Per packet, 5 cents. Fire King—Golden yellow, the upper petals purple, very showy. Per packet, 5 cents. Striped and Mottled Varieties—Very fine and exceedingly beautiful. Per packet, 5 cents. Dark Purple—Bjch, deep color. Per packet, 5 cents. Silver-edged—Dark purple, white border. Per packet, Bets. Gold-margined—Strikingly handsome. Per packet, 5 cents. Pure Yellow—Large, golden flowers. Per packet, 5 cents. English "Face" Pansy—Flowers light and dark-blue in color, each marked with a distinct "face." Per packet, 10cts. Large-flowering, very fine mixed—Embracing all the sepa- rate colors of German Pansies. Per packet, 10 cents. Good Quality, mixed—Fine for bedding; many rich colors. Per packet, B cents. GIANT SUPERB PANSIES. t This class has been selected with a view to large-sized flowers, of thick, velvety texture and most distinct colors, and, we think, have been brought as near perfection as any class of Pansies ever offered. Giant Odier—A handsome variety, the blossoms being very large and perfect in form, with very dark, deep, velvety blotches, margined with an endless variety of colors. Extra large and fine, 15 cents. Giant Trimardeau—This is, without doubt, the largest of all the Pansies. The blossoms are simply enormous, perfect in form, and run through all the various colors, from the lightest shade to the darkest purple. Per packet, 15 cents. Giant Yellow—Golden yellow, with large black eye, flower of enormous size and remarkably showy. Per packet, 16 cts. Giant Cassiers—This is one of the most remarkable strains of Pansies ever offered; the flowers are of immense size, often three inches and over in diameter, with the dark, deep, rich velvety blotches of the Odier type, bordered with endless varieties of colors. The seed we offer was saved from none but the most perfect flowers, and those of the most striking colors. Per packet, 15 cents. Peacock—A striking variety; the form and substance of the flower is very ;x;rfoci., the upper petals being of a beautiful ultra-marino biv.o,.^sembling in shade the peacock feather, while the lateral one’, lower petals are of a deep claret, with white margains. ir’er packet, 15 cents. Bugnot’s G.ciii Dlotched—Flowers of enormous size, per- fectly round, of great substance and of the most varied and attractive markings and colors; each petal bears a blotch that runs out in delicate veins to edge of petals. Packet, 1 Be. Giant Show—An extra fine mixture of Giant flowered Pansies. In color it embraces all the shades known in the Odier, Cassiers, Bugnot, and Trimardeau sections. Those •wishing a display of extra large showy Pansies can make no mistake in ordering Giant Show. Per packet, 1B cents. RiCINUS. (Castor Oil Bean.) Stately strong-growing plants, with very ornamental foli- age, particularly well adapted as center plants of groups of Cannas, Japanese Maize, Caladiums, Dahlias, etc. Height, 4 to 15 feet. Mixture, many sorts. Per packet, 10 cents. PHLOX.
Text Appearing After Image:
Phlox Drummondi. PHLOX DRUMMONDI GRAN DI FLORA. Or large flowered section. These are decided improve- ments over the old class, with much larger flowers and of more compact growth. Grand if lora Splendens—Vivid crimson with pure white eye; very bright. Per packet. 10 cents. Alba—Pure white; very large. Per packet. 10 cents. Rosea—Bose-colored; large whiteeye. Per packet, 10 cents. New Large Yellow—In this we have at last a yellow Phlox of good size. It is of a warm glowing tone of rich straw yel- low, with finely formed flowers of the very largest size. The clusters of bloom are magnificent. Per packet, 10 cents. Grandiflora—Choice mixed, all colors. Per packet, 10 cents. PHLOXES, "Starred and Fringed." These "Starred and Fringed Phloxes" are really entitled to rank as a new race, and the most striking novelties in Phloxes ever introduced. In the Fringed Flowers the petals are partly fimbriate and partly three-toothed, all distinctly bordered with white, which, together with the bright eye of the center, contrasts with the magnificent velvety colors, in more than twenty distinct shades. In the Starred Phloxes the pointed central teeth of the petals are five to six times as long as the lateral ones and project beyond them like little spines, giving the flowers a distinctly marked, regular, star- like form, the beauty of which is enhanced by the broad white margins bordering the edge of the petals. Per packet, 10cts. PHLOX DRUMMONDI. For a splendid mass of colors and a constant display, this is not excelled by any other annual. The Phlox range from purest white to blood red or crimson. Choicest mixed, per packet, 5 cents. SALVIA. The Salvia is now a standard beddintr plant, and well does it deserve its honor. It stands heat and drouth remarkably well, audits colors are very showy and intense. Splendens—Large, scarlet; exceedingly 3howy and useful for cutting and for ornamental beds. Per packet. 10 cents. SALPIGLOSSIS. Large, lovely, funnel-shaped blossoms of velvety texture, and with deeply sunken veins, penciled and shaded with the richest tracings on a groundwork of the most pleasing colors. It stands the sun well, und some of the showiest beds we have ever seen have been of this beautiful and easily grown annual. Mixed colors, many beautiful shades. Per packet, B cents. STEVIA SERRATA. A tender perennial, in great favor for cutting purposes ; large heads of small white flowers of very graceful effect: suitable for pot culture, flowering in winter, or, if sown early, will bloom in the garden the first summer, 1% feet. Per packet, 10 cents. NEW DEPARTURE–SEEDS AT HALF PRICE. SEE CLUB RATES PAGE 84.
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You have a great idea for a nonfiction book. Everybody thinks it’s a great idea. But will a book publishing company think it’s a great idea – enough to pay you an advance, commission you to write it, publish your book and sell it?
That will depend largely on your book proposal. Here’s where you demonstrate persuasively that your idea has merit, and that the company will benefit from publishing your book. Of course, even a solid idea and a great book proposal can’t guarantee success, but they surely can tip the odds in your favor. But if either the idea or the proposal is weak, your chances of a sale are slim to none.
Book editors look for certain things when reviewing book ideas and proposals. To improve your chances of winning a book publisher’s contract, let’s look at the five key questions they ask and the best ways to answer them.
1. Is there a large enough audience interested in this topic to justify publishing a book?
You want to stay away from a highly specialized book, which draws limited audience. You want your book to be among the books that appeal to a general audience or at least to a large segment of the general population.
You must demonstrate to your prospective publishing agent that your large audience – of hundreds of thousands of people, if not millions exists.
One excellent source of market data is Standard Rate and Data Service (SRDS), a book listing US magazines that accept advertising and their circulations. SRDS is available at your local library or from the publisher (tel. 847/375-5000). Look for the combined circulation of the largest publications in your books area.
However, keep in mind that only a small percentage of the intended audience will actually buy your book. And a major book publishing company hopes to sell at least 5,000 copies of your book. So if you’re writing a book that appeals only to the 44,171 branch managers working at banks nationwide (say, How to Manage Your Branch More Efficiently), and 2% can be persuaded to buy the book, you’ve sold only 883 copies – not nearly enough to make the project worthwhile for either you or a publisher.
2. Is this a book or a magazine article? Will it sell?
There are two substantial differences between a book and a magazine article, which will determine if the material you have will be accepted by a book publisher.
First, there is the matter of time: It can take 18 months to two years from conception to bookstore. If you have an idea for a book about Recession proof Business at the onset of a recession, like I had in 1991, that recession may be over by the time the book comes out and it would not sell. However, a magazine articles time line of publication (or that of a small booklet) is much quicker (weeks to few months).
Second difference is in length: Do you have enough material for a book?
The average nonfiction book is about 200 pages in published form, with approximately 400 words a page. That’s 80,000 words; about 320 double-spaced typewritten manuscript pages. Most books range between 35,000 words (a slim, 100 pages volume) to 200,000 words or more. An article, on the other hand, can include anywhere from 300 to 2,500 words or so.
How do you know whether your idea is a book, article or booklet – and how do you convince a publishing agent that your concept is a big one? Here are some guidelines:
First, see if there are other books on the topic. The existence of a few similar titles indicates that this idea is big enough to deserve a book.
Second, go to the library and see what else is written on the topic. If you feel overwhelmed by all the magazine articles, newspaper stories, booklets, pamphlets, surveys, reports and statistics on your topic, that’s a good indication the topic is ‘meaty” enough to justify a full-length book.
Third, organize your information into chapters. Think about how you would logically explain your topic or present your information, and organize it into major categories. These will become chapter headings.
A full-length nonfiction book typically has 8-15 chapters. If your outline has fewer, the publisher may think there’s not enough information to fill a book on your topic. Shoot for an outline with at least nine chapters.
A detailed table of contents proves to the book publishing company that your topic is appropriate for a book, not just a magazine article.
3. What’s different or better about your book?
The first page or two of your book proposal must contain an overview of your idea, the book content and its target audience.
The first two paragraphs of your overview must tell the editor why and how your book is unique, different or better than other books already published on this topic.
The angle that makes your book different can take many forms: A slant toward a different audience, a better way of organizing the material, or inclusion of topics not covered in other books.
For instance, my co-author and I wrote a nonfiction book, Technical Writing. Structure, Standards and Style, because we wanted to create a handbook for technical writers that emulated the concise, to-the-point style and format of The Elements of Style, William Strunk and E.B. White’s popular style guide for general writers.
Our proposal called our book “the Strunk and White of technical writing,” which instantly communicated the key appeal of the concept. Our book agent sold the book – within three weeks – to the first book publishing company who looked at it.
Another section of your proposal that positions your book in relation to others on the same subject is the “Competition” section. Here you list and describe competing books; each listing should emphasize how your book is both different and better.
Include in the Competition section those books that cover the same – or very similar – topics as your book; that are published by major publishing houses; and that are no more than five years old.
How many books you list in this section will be important. The presence of two to six competitive books shows there’s a market for this type of book, while still room for one more. On the other hand, if there are seven or more books a publisher may think the field is overcrowded, and you’ll probably have a difficult time making the sale.
4. Will people pay $25.38 for this book?
According to Albert N. Greco, professor of marketing in Fordham University, the average hardcover nonfiction book sells for $25.38; the average trade paperback edition – for $20.40. Your book must be interesting or valuable enough to make readers part not only with their money, but with their time as well.
A how-to or reference book proposal should stress the benefits readers will get when they buy the book. If your book is biography, journalism, history, or any other form of nonfiction written primarily to entertain, your proposal should highlight some of the more fascinating details of the book.
5. Why should the publishing agent hire you to write it?
Your proposal must show why you’re uniquely qualified to write the book. Such qualifications fall into two categories: writing credentials and expert credentials.
Writing credentials establish your expertise as an author. In an “About the Author” section of your book proposal, write a brief biographical sketch of yourself, and include information about your past publications (publishers and dates of publications, excerpts from favorable reviews and sales figures if theyre impressive).
Expert credentials establish your position as an authority in the topic of your proposed book.
In my experience, your expert credentials don’t need to be in-depth. Editors understand you can research the topic, and they don’t require you to know everything about it before buying your book. They just want to convince their editorial board – and buyers – that you know what you’re talking about.
Of course, having a published book to your credit is one credential that always impresses the book publishing companies. And that’s a credential I’m sure you’ll soon have if you follow the five key points covered in this article.
Endless Love (2014) – If It's Meant to Be Scene (7/10) | Movieclips
Endless Love – If It’s Meant to Be: Jade (Gabriella Wilde) and David (Alex Pettyfer) try to cope with being apart while Jade’s at college.
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Following their high-school graduation, Jade Butterfield (Gabriella Wilde), a sheltered but privileged teen, becomes enthralled with David Elliot (Alex Pettyfer), a working-class youth with a troubled past. Though Jade and David quickly fall in love, Jade’s father (Bruce Greenwood) strongly disapproves of the relationship, while David’s father (Robert Patrick) advises caution. However, their parents’ disapproval only makes the love-struck teens more determined to pursue the intense affair.
TM & © Universal (2014)
Cast: Alex Pettyfer, Robert Patrick, Gabriella Wilde, Emma Rigby
Director: Shana Feste
Screewriter: Joshua Safran, Shana Feste
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