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philodendron & 39

philodendron & 39 Philodendron 'Bette Waterbury' ('69686') – Foliage Factory

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Description

philodendron & 39 Philodendron 'Bette Waterbury' ('69686') – Foliage FactoryPhilodendron Bette Waterbury 69686 Philodendron Bette Waterbury, still widely known in cultivation as Philodendron 69686, develops deeply three lobed leaves with a long, narrow central lobe and slim side lobes spreading from the upper part of the blade. This cultivated hybrid has unknown original provenance and was formally published under the cultivar name Philodendron Bette Waterbury; 69686 remains widely used as its collection and trade reference.

Philodendron ‘Bette Waterbury’ 69686

Philodendron ‘Bette Waterbury’, still widely known in cultivation as Philodendron 69686, develops deeply three-lobed leaves with a long, narrow central lobe and slim side lobes spreading from the upper part of the blade.

This cultivated hybrid has unknown original provenance and was formally published under the cultivar name Philodendron ‘Bette Waterbury’; 69686 remains widely used as its collection and trade reference. Mature growth carries short internodes, long cataphylls, dark green petioles and semi-glossy divided blades. As the stem climbs, the leaves can gain size and show the narrow-lobed shape more clearly.

Philodendron ‘Bette Waterbury’ leaf shape and growth habit

  • Leaf shape: Deeply three-lobed blades with a long central lobe and narrow, spreading lateral lobes.
  • Growth habit: Scandent vine with short internodes and aerial roots along the climbing stem.
  • Name note: Philodendron ‘Bette Waterbury’ is the cultivar name; 69686 is the collection and trade reference.
  • Leaf texture: Mature blades are dark green, semi-glossy and firm-textured.

How Philodendron ‘Bette Waterbury’ leaves mature

Philodendron ‘Bette Waterbury’ was found in the Roberto Burle Marx collection and introduced into cultivation in the United States by Bette Waterbury.

A settled specimen can produce longer petioles, thicker stems and better-defined lobes than a juvenile plant. The narrow central lobe becomes the dominant part of the blade, while the side lobes sit at a wide angle near the base.

Philodendron ‘Bette Waterbury’ support and climbing care

  • Support: Add a moss pole, plank, or textured stake early so aerial roots can attach as the stem lengthens.
  • Light: Give bright filtered light. Direct sun can mark the leaf surface, while very dim placement slows leaf size development.
  • Watering: Water when roughly the upper 25–35% of the pot has dried. The roots need moisture with air around them, not a constantly wet pot.
  • Substrate: Use a chunky aroid mix with bark, perlite, coco chips, pumice, or similar mineral pieces so roots can breathe between waterings.
  • Humidity: Moderate to higher humidity helps new lobed leaves unfurl cleanly during active growth.
  • Temperature: Keep it warm, ideally around 18–28°C, and protect it from cold draughts and chilled windows.
  • Repotting: Move it up one pot size when roots fill the container or the plant dries too quickly after watering.
  • Fertilizing: Feed lightly during active growth with a balanced houseplant fertilizer, avoiding heavy doses on dry roots.
  • Propagation: Propagate from stem cuttings with at least one node; aerial-root sections usually establish fastest.
  • Pruning: Trim long or uneven stems above a node if you need to control height or encourage a cleaner climbing shape.
  • Semi-hydroponics: Suitable for mineral or semi-hydro setups if the cutting or rooted plant is transitioned gradually and the crown stays above the reservoir line.

Philodendron ‘Bette Waterbury’ leaf and root problems

  • Small new leaves: Usually linked to weak light, no climbing surface, or an underfed root system. Improve light and give the aerial roots something to attach to.
  • Yellow lower leaves: Check the root zone first. A dense or wet mix can hold too much water around the lower stem.
  • Damaged new growth: If leaves tear while opening, raise humidity slightly and keep the support lightly moist during active root attachment without keeping the pot constantly wet.
  • Stem lean: A larger plant can become top-heavy. Secure the stem loosely before it pulls away from its support.

Philodendron ‘Bette Waterbury’ contains irritating calcium oxalate crystals and should be kept away from pets. Wear gloves when cutting stems if your skin reacts easily to aroid sap.

Philodendron ‘Bette Waterbury’ etymology and cultivar history

The genus name Philodendron comes from Greek roots meaning “tree-loving”. Philodendron ‘Bette Waterbury’ was formally published as a cultivar name by T.B. Croat in Aroideana in 2022, honouring Bette Waterbury, the first President of the International Aroid Society.

Order Philodendron ‘Bette Waterbury’ 69686 online for a climbing Philodendron with deeply lobed mature leaves.

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Williams' poetry requires some bio, and Charles Tomlinson's introduction in this edition has proved helpful. also Wendell Berry has published a handsome critique in "William Carlos Williams of Rutherford" that helps to mitigate some of the ishiness that may result from reading Williams without understanding the man. that beins said, Williams speaks well to the listeners of the finical new millenium with a mind for the migrant-flux consequences of the coming century -stressing the "thing" and the "American idiom" with attention to detail and irrepressible imagination "flung outward and up-disappearing suddenly" (from "Strains" in Al Que Quiere)
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Reviewed in the United States on September 3, 2011
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rae desmond jones
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★★★★★ 5
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Format: Paperback
This volume is fascinating, because it does show the different stages of Wright's development as a poet and a writer (the prose sketches and descriptions of Italy are wonderful). The early poems are extremely capable but there is a sense in which they feel constrained by formal verse conventions, especially rhyme. This becomes evident when he writes in free verse and his voice becomes easier and more vernacular. Some of the poems like "Hook" and "To A Blossoming Pear Tree" are wonderful: 'An old man / Appeared to me once / In the unendurable snow./ He had singe of white beard on his face. / He paused on a strett on Minneapolis / And stroked my face. // Give it to me, he begged / I'll pay you anything. // I flinched. Both terrified, / We slunk away, / Each in his own way dodging / The cruel darts of the cold. " There are some late poems when he becomes almost incoherent, but the centre of the book is a whole series of poems as powerful and honest as this.
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Reviewed in the United States on March 21, 2011
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Jabbo&MsLove
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★★★★★ 5
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I was not familiar with his work but have become a fan. Of course, as is true of my review of most poets work, I find more of the author's poems that I don't get or can't appreciate than ones I do; however, I found enough which moved me or had some profound impact that I am keeping this collection close for re-reading.
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Reviewed in the United States on December 17, 2025
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Jerry Mcginley
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★★★★★ 5
Above the River: The Complete Poems of James Wright
Format: Paperback
James Wright is a terrific, though not well known, American poet of the 1950's and 60's. Along with Robert Bly and William Duffey, Wright helped to open a new page in modern poetry which encouraged writers to break from the restrictions of traditional British formats. Personal and reflective, the poems focus on nature and have a strong touch of influence from ancient Chinese poets. Though the collection is filled with great stuff, my favorite is "Northern Pike."
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Reviewed in the United States on October 10, 2010
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M. Swinney
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★★★★★ 4
Sublime Poetry Slightly Flawed by Format
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I hate to give this work anything less than 5-stars, because at the moment (and probably most future moments) I revere James Wright's poetry. He makes blue collar blackened river Ohio come alive riven death with darkness and life. So this book is a must for poetry lovers. Where it distracts me is the attempts at completeness is a difficult editor's dilemma and one that doesn't serve the poet or the poet's reader well here. There are two James Wright's out there (this book presents three), as is true with most sublimated artist that pass through a learning phase before hitting on their voice, their style. James Wright started as a formalist (not my favored style) hailing structure and rhyme sometimes at the expense of meaning and language (disclaimer...one man's humble opinion belies a personal taste and no two taste buds seem the same). The book of course being a complete work, offers all of those poems of bandied prose. And then the editor offers a bridge or break of sorts in Wright's translated works of German and Spanish poets. Wright was a great poet in English, but the gift of gifted translation should have been left to the likes of W.S. Merwin, Anthony Kerrigan, Charles Tomlinson, and Stephen Mitchell for Neruda, Paz, and Rilke. So, Wright's "Above the River," really first breaks the surface on page 119 after his epiphany to all thing free form. It is then that his poetry sings darkly. I leave you with some of Wright's beautiful language (there's plenty to be had). Buy the book for the rest. In Fear of Harvests It has happened Before: nearby, The nostrils of slow horses Breathe evenly, And the brown bees drag their high garlands, Heavily, Toward hives of snow.
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