lambs ear plant indoors Helen von Stein Lamb's Ear for Sale
SKU: 67631185200
lambs ear plant indoors

lambs ear plant indoors Helen von Stein Lamb's Ear for Sale

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Description

lambs ear plant indoors Helen von Stein Lamb's Ear for SaleOversized Fuzzy Silver Leaves for Sunny Garden Texture Helen von Stein Lambs Ear is a large leafed Lambs Ear selection grown for its soft, fuzzy silver foliage and low spreading habit. Also known as Big Ears Stachys, this perennial creates a velvety mat of oversized leaves that instantly softens sunny borders, walkway edges, rock gardens, and mixed perennial beds. Unlike standard Lambs Ear, Helen von Stein is valued primarily for its foliage rather

Oversized Fuzzy Silver Leaves for Sunny Garden Texture

Helen von Stein Lamb’s Ear is a large-leafed Lamb’s Ear selection grown for its soft, fuzzy silver foliage and low spreading habit. Also known as Big Ears Stachys, this perennial creates a velvety mat of oversized leaves that instantly softens sunny borders, walkway edges, rock gardens, and mixed perennial beds.

Unlike standard Lamb’s Ear, Helen von Stein is valued primarily for its foliage rather than flower spikes. The large leaves are noticeably broader and more substantial, giving the plant a fuller, more dramatic texture in the landscape. It is a smart choice for gardeners who want the classic touchable Lamb’s Ear look in a bolder, cleaner, foliage-first form.

A Foliage-First Perennial That Rarely Flowers

Helen von Stein Lamb’s Ear is often described as a rarely flowering or nearly non-flowering cultivar. That makes it especially useful where gardeners want the silver foliage effect without frequent deadheading or unwanted seedlings from flower stalks.

The broad silver leaves provide color and texture through much of the growing season. Their soft, woolly surface reflects light beautifully, helping brighten hot sunny beds and dry garden edges. This foliage also pairs well with purple, blue, pink, white, yellow, and burgundy flowers, making the plant easy to use in many garden styles.

Perfect for Edging, Rock Gardens, Sensory Gardens, and Dry Borders

Helen von Stein Lamb’s Ear works beautifully as an edging perennial, low groundcover, sensory garden plant, rock garden accent, or front-of-border foliage plant. Its soft leaves make it especially appealing along paths and patios where the texture can be seen and touched up close.

Use it to soften stone, brick, gravel, retaining walls, and sunny foundation beds. It pairs well with salvia, catmint, lavender, yarrow, sedum, coneflower, Black Eyed Susan, Russian sage, ornamental grasses, and other sun-loving perennials. In mass plantings, the silver foliage creates a cool, calming contrast against brighter summer flowers.

Deer Resistant, Rabbit Resistant, and Drought Tolerant Once Established

Helen von Stein Lamb’s Ear is generally considered deer-resistant and rabbit-resistant, making it a useful option in landscapes where browsing pressure can limit plant choices. The fuzzy, woolly foliage is usually less appealing to deer and rabbits than softer leafy perennials.

Once established, this plant is also drought tolerant and performs well in lean, dry, well-drained soil. It is best suited for sunny sites with good air circulation and good drainage. Avoid wet, humid, or poorly drained locations where woolly foliage can decline, rot, or develop leaf problems.

Easy Care with Full Sun, Drainage, and Light Cleanup

Plant Helen von Stein Lamb’s Ear in full sun to light shade with well-drained soil. Full sun usually produces the best silver color, densest growth, and strongest drought tolerance. In hot climates, light afternoon shade can help reduce stress as long as the soil still drains well.

Water regularly after planting until roots establish, then water sparingly. Avoid overhead watering when possible, because wet foliage can encourage disease in humid weather. Remove damaged or tired leaves as needed, trim the edges if the plant spreads beyond its space, and divide mature clumps when they become crowded or open in the center.

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SKU: 67631185200

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L.m
Chelsea, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
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MB
Los Angeles, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
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Ruth
Alexandria, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Fort Morgan, US
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Reviewed in the United States on January 22, 2026
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dra
Carnegie, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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