Cool to Warm Listing for GOLDEN Heavy Body Acrylics

Total Page:16

File Type:pdf, Size:1020Kb

Cool to Warm Listing for GOLDEN Heavy Body Acrylics Cool to Warm Listing for GOLDEN Heavy Body Acrylics An arrangement of Golden’s Heavy Body Acrylics from Coolest to Warmest for each Golden Artist Colors, Inc. color range. 188 Bell Road New Berlin, NY 13411-9527 USA Phone: 800-959-6543 / 607-847-6154 Please see the Just Paint article, Defining Warm and Cool Colors: It's All Relative , Email: [email protected] for more information. www.goldenpaints.com Yellow Yellow Earths Orange Orange Earths Red Red / Brown Earths Purple / Violet / Magenta Blue Green Green Earths Black / White A “split primary” color wheel with warm and cool primary colors forming 4 color quadrants. Yellow (Green to Red Bias) Titanate C.P. Cadmium Bismuth Vanadate Hansa C.P. Cadmium Yellow Yellow Primrose Yellow Light Yellow Light Primary Yellow Hansa Yellow C.P. Cadmium Cadmium Yellow Hansa Yellow Opaque Yellow Medium Medium Hue Medium C.P. Cadmium Diarylide Yellow Indian Yellow Hue Yellow Dark Back Yellow Earths Naples Yellow Hue Yellow Oxide Raw Sienna Yellow Ochre Transparent Yellow Oxide Aureolin Hue Nickel Azo Yellow Orange (Red to Yellow Bias) Pyrrole Orange Vat Orange C.P Cadmium Orange Orange Earths (Red to Yellow Bias) Quinacridone Burnt Transparent Red Iron Mars Yellow Quinacridone / Nickel Orange Oxide Azo Gold Red (Blue to Yellow Bias) Permanent Maroon Alizarin Crimson Hue Quinacridone Pyrrole Red Dark C.P. Cadmium Red Crimson Dark Quinacridone Red Primary Magenta Napthol Red Medium Cadmium Red C.P. Cadmium Red Medium Hue Medium Quinacridone Red Pyrrole Red Napthol Red Light Pyrrole Red Light C.P. Cadmium Red Light Light Back Red / Brown Earths Raw Umber VanDyke Brown Hue Burnt Umber Burnt Umber Light Violet Oxide Red Oxide Burnt Sienna Transparent Brown Transparent Red Iron Iron Oxide Oxide Purples / Violet / Magenta (Blue to Red Bias) Light Violet Dioxazine Purple Ultramarine Violet Cobalt Violet Hue Medium Violet Permanent Violet Quinacridone Violet Medium Magenta Quinacridone Light Magenta Dark Magenta Back Blue (Green to Red Bias) Teal Light Turquoise Cobalt Turquoise Turquoise (Phthalo) Manganese Blue Hue (Phthalo) Azurite Hue Cerulean Blue Deep Primary Cyan Phthalo Blue (Green Phthalo Blue (Red Shade) Shade) Cobalt Blue Hue Cerulean Blue, Cobalt Blue Light Ultramarine Prussian Blue Hue Chromium Blue Ultramarine Blue Anthraquinone Blue Smalt Hue Back Green (Blue to Yellow Bias) Cobalt Green Viridian Green Hue Phthalo Green (Blue Phthalo Green (Yellow Permanent Green Shade) Shade) Light Light Green (Blue Light Green (Yellow Green Gold Shade) Shade) Back Green Earths (Blue to Yellow Bias) Terre Verte Hue Titan Green Pale Hookers Green Chromium Green Jenkins Green Dark Chromium Oxide Sap Green Hue Green Gold Green Blacks / Whites (Blue to Yellow or Red Bias) Paynes Gray Carbon Black Graphite Gray Mars Black Bone Black Zinc White Titanium White Titan Buff Back .
Recommended publications
  • MSDS for #00686 - HEAVY BODY ACRYLIC Page 1 of 10
    MSDS for #00686 - HEAVY BODY ACRYLIC Page 1 of 10 MATERIAL SAFETY DATA SHEET SECTION 1 – COMPANY AND PRODUCT IDENTIFICATION Golden Artist Colors, Inc. Date Revised: 4/5/2013 188 Bell Road Phone: (607)847-6154 New Berlin, NY 13411 Prepared by: Ben Gavett HAZARDOUS COMPONENTS (See Sec. 3) COLOR LINES GOLDEN Airbrush Colors 1,29 GOLDEN Acrylics 1,29 GOLDEN Fluid Acrylics 1,29 GOLDEN High Flow Acrylics 1,29 GOLDEN High Load Acrylics 1,5,20,29 GOLDEN Glazes 1,5,29 GOLDEN Matte Acrylics 1,5,20,29 GOLDEN Matte Fluid Acrylics 1,5,20,29 GOLDEN OPEN Acrylics 1,29 Individual Colors Alizarin Crimson Hue - Anthraquinone Blue - Anthraquinone Red - Aurolein Yellow Hue 24 Azurite Hue 19,34 Bismuth Vanadate Yellow 8.5 Bone Black 13 Bright Orange - Bright Red Orange - Bright Yellow-Green - Burnt Sienna 20,24 Burnt Sienna Hue - Burnt Umber & Burnt Umber Light 20,24,25 Cadmium Red Medium Hue - Cadmium Yellow Medium Hue 6,28 Carbon Black 13 Cerulean Blue, Chromium 14,18 Cerulean Blue Deep 14,18 Cerulean Blue Hue 3,5,19,33 Chrome Oxide Green (all) 14 C.P. Cadmium Orange 7,9,10 C.P. Cadmium Red (all) 7,9,10 C.P. Cadmium Yellow (Dark, Lt., Med.) 7,9,35 C.P. Cadmium Yellow Primrose 7,9,35 Coarse Alumina 4,33 Cobalt Blue 18 Item Numbers: 00686-2129 Page 1 of 101 MSDS for #00686 - HEAVY BODY ACRYLIC Page 2 of 10 Cobalt Blue Hue 19,33 Cobalt Green 14,18 Cobalt Teal 18 Cobalt Titanate Green 6,18,28 Cobalt Turquoise 14,18 Cobalt Violet Hue 34 Deep Violet - Diarylide Yellow - Dioxazine Purple - Fluorescent (all colors) 22 Graphite Gray 23 Green Gold 8,28 Hansa Yellow (Lt., Med.
    [Show full text]
  • Watercolor Basics with Susan Donohoe
    Watercolor Basics with Susan Donohoe BASICS SUPPLY LIST FOR - TECHNIQUES - Day 1 The lists are long, beginners should bring what they have. They SHOULD NOT go out and buy supplies just to have them. I will bring supplies that they can use to fill in the blanks. Better for them to learn in the workshop what is best for them to buy instead of wasting their money. Personal Needs for each day: Please bring any of these items that you will require. A cushion for your chair, the day can get long for your backside. Your lunch each day. There is a microwave and a small refrigerator for your use. Keep it simple. Hydration-bring plenty of liquid to stay hydrated. A sweater or work shirt to stay comfortable as the room temperature may fluctuate throughout the day. Brushes: Preferred brands: Escoda, Holbein, Cheap Joe’s, Loew-Cornell, Da Vinci, Halcyon One of each if you have them: Round: #6, #10, #14, #18+ (the biggest round brush you own - no need to buy one.) Flat: 1/2”, 1”, 2”, Hake (if you have one) Scrubber brushes: assorted sizes. (These brushes can be purchased at Michael’s or JoAnn’s. They are stiff brushes similar to oil painting brushes. They are sometimes called fabric brushes.) Paper: Arches #140 - Cold Press - 1 full sheet. If you know how and wish to do so prior to class, you can tear the full sheet into 4 equal 1/4 sheet pieces. Paint: Artist Grade Paint only!!!! Preferred Brands: Holbein, Daniel Smith, Mission, Aquarelle Sennelier, M.
    [Show full text]
  • Public Swimming Pools List of Director Approved Colors
    Public Swimming Pools List of Director approved colors In accordance with the Ohio Administrative Code (OAC) rules 3701-31-02(G)(2) and (3) and 5.1(C)(1)(b) "the interior surfaces of pools and spas shall be painted white, unless the color is approved by the director." This requirement became effective Jan. 1, 1999 and was revised effective April 1, 2011; and applies to new pools and spas as well as existing pools/spas that will be repainted or will receive a new finish. The colors listed below were submitted to the Ohio Department of Health (ODH) and have been approved. This list does not apply to primer colors. This list also applies to other colored finishes such as tile and pool/spa liners. This list may be periodically revised to add or delete colors. If you have any questions, please call the Public Swimming Pool Program at 614-644-7438. This is not a comprehensive list: any color may be submitted by the manufacturer and be evaluated on a case by case basis. Black or dark lane markers and target marks are exempted from this requirement provided that they meet the standards of the appropriate governing body. Submittals may be sent to: Ohio Department of Health Bureau of Environmental Health and Radiation Protection 246 North High Street Columbus, OH 43215 Attn: Public Swimming Pool Program Any logos or other unique artwork proposed for the pool/spa bottom must be submitted to and approved by ODH. Contact the Public Swimming Pool Program for additional information about logo submissions.
    [Show full text]
  • COMPLETE WARDROBE of SHADES. for BEST RESULTS, Dr.’S REMEDY SHADE COLLECTION SHOULD BE USED TOGETHER with BASIC BASE COAT and CALMING CLEAR SEALING TOP COAT
    COMPLETE WARDROBE OF SHADES. FOR BEST RESULTS, Dr.’s REMEDY SHADE COLLECTION SHOULD BE USED TOGETHER WITH BASIC BASE COAT AND CALMING CLEAR SEALING TOP COAT. ALTRUISTIC AMITY BALANCE NEW BOUNTIFUL BRAVE CHEERFUL CLARITY COZY Auburn Amethyst Brick Red BELOVED Blue Berry Cherry Coral Cafe A playful burnt A moderately A deep Blush A tranquil, Bright, fresh and A bold, juicy and Bright pinky A cafe au lait orange with bright, smokey modern Cool cotton candy cornflower blue undeniably feminine; upbeat shimmer- orangey and with hints of earthy, autumn purple. maroon. crème with a flecked with a the perfect blend of flecked candy red. matte. pinkish grey undertones. high-gloss finish. hint of shimmer. romance and fun. and a splash of lilac. DEFENSE FOCUS GLEE HOPEFUL KINETIC LOVEABLE LOYAL MELLOW MINDFUL Deep Red Fuchsia Gold Hot Pink Khaki Lavender Linen Mauve Mulberry A rich A hot pink Rich, The perfect Versatile warm A lilac An ultimate A delicate This renewed bordeaux with classic with shimmery and ultra bright taupe—enhanced that lends everyday shade of juicy berry shade a luxurious rich, romantic luxurious. pink, almost with cool tinges of sophistication sheer nude. eggplant, with is stylishly tart matte finish. allure. neon and green and gray. to springs a subtle pink yet playful sweet perfectly matte. flirty frocks. undertone. & classic. MOTIVATING NOBLE NURTURE PASSION PEACEFUL PLAYFUL PLEASING POISED POSITIVE Mink Navy Nude Pink Purple Pink Coral Pink Peach Pink Champagne Pastel Pink A muted mink, A sea-at-dusk Barely there A subtle, A poppy, A cheerful A pale, peachy- A high-shine, Baby girl pink spiked with subtle shade that beautiful with sparkly fresh bubble- candy pink with coral creme shimmering soft with swirls of purple and cocoa reflects light a hint of boysenberry.
    [Show full text]
  • Tucson Art Academy Online Skip Whitcomb
    TUCSON ART ACADEMY ONLINE SKIP WHITCOMB PAINTS WHITE Any good to professional quality Titanium or Titanium/Zinc White in large tubes(150-200ML) size. Jack Richeson Co., Gamblin, Vasari, Utrecht, Winsor & Newton are all good brands, as are several other European manufacturers. I strongly recommend staying away from student grade paints, they do not mix or handle the same as higher/professional grade paints. YELLOWS Cadmium Yellow Lemon Cadmium Yellow Lt. (warm) Cad. Yellow Medium or Deep Indian Yellow ORANGES Cadmium Yellow Orange (optional) Cadmium Orange REDS Cadmium Red Light/ Pale/ Scarlet (warm) Cadmium Red Deep Permanent Alizarin Crimson Permanent Rose (Quinacridone) BLUES Ultramarine Blue Deep or Dark Cobalt Blue Prussian Blue or Phthalo Blue GREENS Viridian Viridian Hue (Phthalo Green) Chrome Oxide Green Olive Green Sap Green Yellow Green VIOLETS Mauve Blue Shade (Winsor&Newton) Dioxazine Violet or Purple EARTH COLORS Yellow Ochre Raw Sienna Raw Umber Burnt Sienna Terra Rosa Indian Red Venetian Red Burnt Umber Van Dyke Brown BLACKS Ivory Black Mars Black Chromatic Black Blue Black MARS COLORS Mars Yellow Mars Orange Mars Red Mars Violet IMPORTANT TO NOTE!! Please don’t be intimidated by this list! You will not be required to have all ​ ​ ​ ​​ ​ ​ these colors on hand for our class. This is intended to be a recommendation for the studio. Specific colors on this list will come in handy for mixing in certain color plans. I will be happy to make suggestions along the way A good working palette for the studio would be: Cad. Yellow Lemon, Cad. ​​ ​ Yellow Pale(warm), and/or Cad.
    [Show full text]
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • STMGA-GOLD-RED-W-Winter-Rules
    STMGA GOLD/RED TEE POLICY Effective February 1, 2015, the STMGA policy to move to or from the gold/red tees is as follows: 1. A STMGA member may, at his discretion, elect to move to the gold/red tees for STMGA events and have his handicap calculated from the gold or red tees on the STMGA handicap list. 2. A player may make one move (either to the gold/red tees or return to the gold/white tees) in any STMGA membership year which is from Oct.1 to Sept. 30. 3. A player must request a change in writing or via email to the STMGA handicap chairman. The change will become effective with the next publication of STMGA handicaps on the 1st and 15th of the month. 4. A player incurring a disability which might cause him to temporarily move to the gold/red tees, may submit a request to the STMGA Handicap Committee for approval at any time. He will not be subject to #2 above. 5. Before playing from the new tees in any Major Tournament* a player must report for handicap calculation at least 5 scores played from the new tees. *(Member/Guest, Spring and Fall Member/Member, Club Championship) Note: this policy in no way should be interpreted as a dictate on which tees a player plays from in non-STMGA events. That decision is up to the player and the group he is playing with. Winter Play Tee Policy: * 1. A player may make a “winter season” decision to move forward one tee box on November 1st and must move back one tee box March 1st, not before.
    [Show full text]
  • 54.03 Application for a Color Trademark Consisting of a Gold Color, Etc
    54.03 54.03 Application for a Color Trademark Consisting of a Gold Color, etc. In the case of an application claiming a color trademark, if the color is a metallic color such as gold and silver or any other similar thereto ("gold, etc."), it would be almost impossible to present the color in a trademark sample or define the color under a color specification system such as RGB. An application for such color would be accepted only if the applicant fills out the trademark sample section by presenting a color similar to the claimed color and states, in the section "Detailed explanation of the trademark," the registration number, etc. of the claimed color in a trademark sample book that is widely used. (Example 1) Example of an acceptable trademark sample of a single color trademark consisting of a gold color (Example 1-1) (Example 1-2) Trademark sample expressing a color Trademark sample expressing a color similar to gold by using color gradations similar to gold by presenting an approximate color [Explanation] Gold, etc. is not merely a color but is also a concept including elements of luster and texture. Metallic luster, etc. is caused as a result of mutual interaction between the free electrons in the metal, etc. and the photons coming from outside. It would be possible to present gold, etc. expressing its luster and other characteristics by using color gradations. However, it would be impossible to accurately present the color in a trademark sample. Thus, it would suffice if the applicant presents a color similar to gold in a trademark sample.
    [Show full text]
  • Study of Fragments of Mural Paintings from the Roman Province Of
    Study of fragments of mural paintings from the Roman province of Germania Superior Thesis submitted in partial fulfilment of the requirements of the degree Doctor rer. nat. of the Faculty of Environment and Natural Resources, Albert-Ludwigs-Universität Freiburg im Breisgau, Germany by Rafaela Debastiani Freiburg im Breisgau, Germany 2016 Name of Dean: Prof. Dr. Tim Freytag Name of Supervisor: Prof. Dr. Michael Fiederle Name of 2nd Reviewer: PD Dr. Andreas Danilewsky Date of thesis' defense: 03.02.2017 “The mind is not a vessel to be filled, but a fire to be kindled” Plutarch Contents Nomenclature ........................................................................................................................ 1 Acknowledgment ................................................................................................................... 3 Abstract ................................................................................................................................. 5 Zusammenfassung ................................................................................................................ 7 1. Introduction .................................................................................................................... 9 2. Analytical techniques in the non-destructive analyses of fragments of mural paintings ..13 2.1 X-ray Fluorescence Spectroscopy ..........................................................................13 2.1.1 Synchrotron-based scanning macro X-ray fluorescence (MA-XRF) .................17
    [Show full text]
  • Red, Crimson, Scarlet) a Word Study By: Jonathan Machtemes (Results from KJV Word Search)
    Determining Correct Colors in the Early Scriptures (Red, Crimson, Scarlet) a word study by: Jonathan Machtemes (results from KJV word search) Red H119 adm pass appears: 10x translated as: dyed red, red, ruddy related modern words ?: Lat. adamantem "iron" (produces red), many Euro etymologies on "adam/adem" words are in dispute, damage (in the sense of injury, bloodletting) related obry words: H122 adm- red, ruddy H125 admdm- reddish H132 admny- red, ruddy H1818 dm- blood (of living beings, or of grapes) H120 adm- man, "Adam" of gn odn "garden of Eden" H121 adm- "Adam" of gn odn "garden of Eden", city in knon "Canaan" H124 adm- sardius (stone, gem) H123 adum, adm- owu "Esau", due to Gen 25:30. Also related: H130 admy/ adumym- of adum="Edomite", or adumym="Edomites" pl. H127 adme- ground, or perhaps "Adamkind" (Gen 12:3) and so on passed based, in large part, on dm being the root. dm is blood. Blood is a familiar, naturally occurring substance. d, as bizarrely simplistic as it seems to me at times, seems to often draw one's attention specifically to the fact that it appears as a pointed tip. It's used in ahd- one, unity, bd- apart, or dd- nipple, teat, (also dud- beloved, as in "between the teats" or the emotions). a, on the other hand, seems to act most frequently as an augmentative or giver of strength. Perhaps it is a glyph of a bull, or something with horns. Additionally, the d can be seen in words with the meaning or idea of cutting: H1843 do, H1856 dqr, H1417 gdud, or in directional words od, qdm, H1864 drum.
    [Show full text]
  • Cortinarius Caperatus (Pers.) Fr., a New Record for Turkish Mycobiota
    Kastamonu Üni., Orman Fakültesi Dergisi, 2015, 15 (1): 86-89 Kastamonu Univ., Journal of Forestry Faculty Cortinarius caperatus (Pers.) Fr., A New Record For Turkish Mycobiota *Ilgaz AKATA1, Şanlı KABAKTEPE2, Hasan AKGÜL3 Ankara University, Faculty of Science, Department of Biology, 06100, Tandoğan, Ankara Turkey İnönü University, Battalgazi Vocational School, TR-44210 Battalgazi, Malatya, Turkey Gaziantep University, Department of Biology, Faculty of Science and Arts, 27310 Gaziantep, Turkey *Correspending author: [email protected] Received date: 03.02.2015 Abstract In this study, Cortinarius caperatus (Pers.) Fr. belonging to the family Cortinariaceae was recorded for the first time from Turkey. A short description, ecology, distribution and photographs related to macro and micromorphologies of the species are provided and discussed briefly. Keywords: Cortinarius caperatus, mycobiota, new record, Turkey Cortinarius caperatus (Pers.) Fr., Türkiye Mikobiyotası İçin Yeni Bir Kayıt Özet Bu çalışmada, Cortinariaceae familyasına mensup Cortinarius caperatus (Pers.) Fr. Türkiye’den ilk kez kaydedilmiştir. Türün kısa deskripsiyonu, ekolojisi, yayılışı ve makro ve mikro morfolojilerine ait fotoğrafları verilmiş ve kısaca tartışılmıştır. Anahtar Kelimeler: Cortinarius caperatus, Mikobiyota, Yeni kayıt, Türkiye Introduction lamellae edges (Arora, 1986; Hansen and Cortinarius is a large and complex genus Knudsen, 1992; Orton, 1984; Uzun et al., of family Cortinariaceae within the order 2013). Agaricales, The genus contains According to the literature (Sesli and approximately 2 000 species recognised Denchev, 2008, Uzun et al, 2013; Akata et worldwide. The most common features al; 2014), 98 species in the genus Cortinarius among the members of the genus are the have so far been recorded from Turkey but presence of cortina between the pileus and there is not any record of Cortinarius the stipe and cinnamon brown to rusty brown caperatus (Pers.) Fr.
    [Show full text]
  • Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
    Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S.
    [Show full text]