Inside the Museum, Museum Curators, NBF News
Brendan Bailes
Spring Arrives with Fresh Blooms and Budding ...
Spring Arrives with Fresh Blooms and Budding Bonsai
Bonsai People, Inside the Museum, Museum Curators, Museum Donors Trees
Brendan Bailes
Introducing Stunning Recent Additions of Bonsai ...
Introducing Stunning Recent Additions of Bonsai and Suiseki
Inside the Museum, Photographing Bonsai
Brendan Bailes
Our Best Bonsai Photos of 2023
Our Best Bonsai Photos of 2023

A Natural Treasure From the Abe River in Japan

RECENT Donations to the National Bonsai & Penjing Museum
Part 6/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

On behalf of Ron Maggio’s family, Seiji Morimae presents the Horseshoe suiseki to Dr. Richard Olsen, Director of the U.S. National Arboretum, in 2024.

When searching for suiseki, or “waterstones,” beauty is in the eye of the beholder. Like other art forms, these viewing stones are open to interpretation, and every viewer will find their own meaning in each one. But when a special stone is discovered, it’s hard not to be compelled to share its captivating form with the world.

The Horseshoe suiseki, or waterstone, on its Kiribako display.

Viewing stones, which can be appreciated for their likeness to naturally occurring scenes or objects, are often sourced from rivers or beaches where centuries of water movement, tumbling, and erosion shapes and softens their sharp edges.

In 2024, the family of the late Ronald Maggio, a passionate and prolific collector of bonsai and suiseki, donated one such stone to The National Bonsai & Penjing Museum.

Maggio, who also cared for bonsai, exhibited several suiseki throughout his life, including at the 61st Exhibition of Suiseki Masterpieces, the U.S. National Bonsai Exhibition, and the 10th Japan Suiseki Exhibition. He was known for hosting suiseki displays and demonstrations and for his meticulous stone records. He liked to exhibit suiseki in the name of his son and grandson, and he could often be found traveling around the world with his wife JoAnn, hunting for the next enchanting suiseki.

Seiji Morimae at the National Bonsai and Penjing Museum in 2024.

Seiji Morimae — a renowned bonsai and suiseki expert, board member of the Nippon Suiseki Association, and longtime supporter and donor to the Museum — previously owned the stone. Maggio purchased it from his personal collection on a trip to Japan. On behalf of the Maggio family, Seiji presented the stone to the Arboretum’s director, Dr. Richard Olsen, during a recent visit to the Museum in 2024. Peter Warren, an international bonsai professional based outside London and one of the few who has completed a full six-year apprenticeship in Japan under legendary expert Kunio Kobayashi, accompanied the trip and served as translator.

This particular suiseki, nicknamed the “Horseshoe stone”, was formed by natural geologic processes in Japan’s Abe River. The Abe — which is known for its crystal-clear waters, stunning mountain scenery, and as the likely birthplace of wasabi cultivation due to its mineral-rich streams — flows near Mount Fuji and the city of Shizuoka on Honshu, Japan’s main island.

A vintage description of the suiseki.

The remarkable viewing stone is displayed atop a Kiribako, a wooden box traditionally carved to protect and present special gifts and goods that also serves as a symbol of good luck and prosperity. The two Japanese characters on the box translate as “seisen”, literally “ground water coming out naturally” — otherwise known as a natural spring. Including the Kiribako, which helps to display the stone’s unique formation, the suiseki measures 14.5 cm wide by 12.5 cm deep by 10.4 cm tall.

This Abe River stone, naturally shaped by wind and water over centuries, holds deep spiritual significance. The Horseshoe stone’s “heavenly pond” feature embodies the serenity and spirituality found in Japanese tea ceremonies. Metaphorically, the puddle that collects within it can represent a hole that contains the entire universe.

Museum Curator Michael James, Peter Warren, Seiji Morimae, and U.S. National Arboretum Director Dr. Richard Olsen at the National Bonsai and Penjing Museum.

The stone adds another layer of cultural and artistic depth to the Museum’s collection, offering visitors a unique look at suiseki, a medium closely linked to bonsai and often placed side-by-side with tree displays. Through the dedication and generosity of collectors like Morimae and Maggio, the Museum remains a place where visitors can appreciate the rich heritage of these art forms. In this way, the Museum continues to serve as a cultural bridge between East and West, preserving these ancient traditions for future generations.

The stone now finds a home at the Museum, honoring the legacy of Ron Maggio, who passed away in July 2024. We are deeply grateful to the Maggio family for their kindness and generosity in donating the stone.

Seiji Morimae (center) explains the significance and artistic merit of the Horseshoe stone, alongside Peter Warren (left) and Dr. Richard Olsen (right) at the U.S. National Arboretum.

We send special thanks to Seiji Morimae for facilitating its delivery and for his longtime support of the Museum.

We also recognize Jason Cederberg, member of the Bonsai Society of Upstate New York, for assisting JoAnn and Seiji in transporting the display to its new home; and Peter Warren, who accompanied Seiji to deliver the stone and served as translator during his visit.

Garden Renovations at the National Bonsai & Penjing Museum

Next year marks the National Bonsai & Penjing Museum’s 50th anniversary! The museum was founded in recognition of the gift of 53 bonsai from the country of Japan to the people of the United States to commemorate our country’s bicentennial. Since then, additional collections have been added, pavilions have been built, and gardens have been planted to create an environment worthy of displaying these and many more national treasures. In preparation for the anniversary, the U.S. National Arboretum’s Public Horticulture and Engagement Unit has begun renovating the museum’s entrance and Japanese Stroll Garden.

Gardens are like bonsai, in that they are always changing and never finished. They both contain microclimates within microclimates. An area that was once in full sun may turn to shade and vice versa. A fifty-year-old focal branch can wither if the crown above isn’t thinned. The Cryptomeria Walk and Stroll Garden have both gone through major changes. Plants have been removed over time due to too much and not enough light.

The garden just inside the Museum’s front gate is known as the Cryptomeria Walk. The intent of its original design was to give visitors the feeling of walking through a forest in preparation for the scaled down versions of nature within. The shady understory was planted with wild-collected specimens from the explorations of past U.S. National Arboretum director John Creech. Many of these were released into the nursery trade as representatives of the Arboretum’s Elite Plant Collection.

A 2025 sketch of the plan for the renovated garden by Museum Curator Michael James.

After selecting and digging up the plants that needed to be saved for the final planting, granite boulders were incorporated into the landscape. Rob Page, of Page Stonework and Landscape, handpicked over 30 of these large stones from New England. Due to the size of the boulders, some of which weighed nearly 5000 lbs., and lack of accessibility for equipment, a crane was utilized for their installation. They have given the gardens an instant feeling of age, with remnants of glacial erratics providing a sense of a geological timescale.

On the hillside directly below the Directors conference room and office, a group of Arboretum staff changed the topography to shape a stoney riverbed that flows through hills evocative of the Blueridge mountains. This effect will be reinforced by future plantings of shrubs that will be shaped into mounds by shearing. Two mounds of soil at the top of the hill will be planted with groves of Virginia Pines that will be pruned with a forced perspective to evoke the feeling of seeing them from a great distance.

The plantings of trees, shrubs, and herbaceous perennials will begin this spring, so the garden will have time to establish a full season of plant material before next year’s 50th anniversary. The garden will continue to evolve, as the training and growth of the plants will have just begun. We are excited to watch the garden’s development for many years to come.

This Western Hemlock Went from a Backyard to a Bonsai Museum

Mike McCallion with his Western Hemlock.

RECENT Donations to the National Bonsai & Penjing Museum
Part 5/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

Among the many influential artists who have left their mark on the National Bonsai and Penjing Museum, the late Nick Lenz stands out for his bold creativity and unconventional approach. From his eye-catching exhibits to his enthusiastic teachings, Lenz has left an intriguing legacy on the art of bonsai in America.

Mike McCallion and the Western Hemlock.

He is remembered as a prolific New England ceramicist, bonsai artist, and author of Bonsai from the Wild, which described how to use native plant material for bonsai. Most recently arriving at the Museum is Lenz’s Western hemlock (Tsuga heterophylla), native to the Northwestern United States and sporting an informal upright style. Lenz planted the tree in one of his own ceramic containers.

As an informal professor of bonsai, Lenz liked to hold styling and training classes in his yard. Several of his students are known to collect his work. One such pupil is the hemlock’s donor Mike McCallion, a professional engineer and small business owner who became hooked on bonsai when a juniper bonsai Christmas gift in 2000 led him to the Toronto Bonsai Society (TBS).

The Western Hemlock in its original setting.

His very first TBS meeting centered on collecting wild trees, and within a month he was out foraging for pitch pine, Eastern white cedar, and larch with a senior TBS member. Mike met Lenz in 2004, leading to a dozen years of weekends at Lenz’s house with a load of trees to be critiqued and worked on.

Mike served several roles on TBS’s board, from librarian to vice president and eventually as president from 2007-09. Meanwhile, he built on his experience by hosting workshops and bonsai demonstrations. He then served as the founding president of the Bonsai Society at the Royal Botanical Gardens in Ontario.

The Western Hemlock in the North American Pavilion at the National Bonsai and Penjing Museum.

Lenz purportedly delivered the hemlock to Mike directly during a beautiful misty morning in April 2006. He told Mike once that the hemlock originally resided in an “old lady’s garden” and he pestered her until she “let him take it.”

The bonsai last experienced a repotting in 2021, and now lives comfortably in a fine, soilless mix to retain moisture. Aside from the Western hemlock he donated, Mike also owns Lenz’s stunning Eastern larch named “Penelope.” This is just one example of the ways that Lenz’s art and enigmatic nature touched the lives of so many aspiring bonsai students.

We are deeply grateful to Mike for his donation, which brings the vibrancy of Lenz’s legacy to the permanent collection at the Museum. We are honored to share it with you and with all of the visitors who witness the power of this majestic tree.

 

(Click on images to enlarge.)

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Spring Arrives with Fresh Blooms and Budding Bonsai

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Japanese apricot (Prunus mume 'Kobai')

Sunlight glinting off bright, young leaves. The aroma of sweet quince drifting across your path. The ambiance of refreshed, peaceful trees in the courtyard.

No, this is not a dream — it’s just a peek into the sensory experiences that await you at the National Bonsai & Penjing Museum this spring.

Kusamono display

The energy of the season always brings lots of activity to the Museum, from new growth and fresh buds to tree placement shuffles and pavilion adjustments. In an interview this week, Museum Curator Michael James shared an inside look at preparing for the surge of warm weather visitors, and he discussed what makes the beauty of bonsai so unique.

The Post-Winter Waltz

Sensitive trees are protected in the greenhouse with controlled temperatures during the frigid months. Meanwhile, the consistently cold weather this past winter has prepared the trees for strong growth this spring. Winters that are peppered with warm and sunny days encourage bonsai and penjing to open up earlier than preferred, Michael said.

“When those leaves emerge under glass or in a protected environment, they’re extra thin, and sensitive to sun and wind,” he said. “If we move the trees out at that point, any slightly harsh weather can easily damage that foliage. This year, the trees have stayed very dormant, so we can move the deciduous trees outside before they sprout.”

Trident maple (Acer buergerianum subsp. forosanum ‘Miyasama’)

Every spring, staff complete a major structural change at the Museum by removing the roof of the Chinese Pavilion, which no longer requires winter protection. But the trees aren’t yet completely in the clear. Museum staff remain on frost watch, in case a cold snap sweeps through and requires them to protect these specimens once again.

“There’s this spring dance in horticulture of watching the weather for that last cold night, that last freeze, and moving sensitive plants back inside for a night or two as needed,” Michael added.

A New Focus

The springtime shuffle also allows staff to intentionally ponder this year’s displays. Michael, alongside Assistant Curator Andy Bello and other Museum staff, build the bonsai, penjing, and stone placements from scratch each year, ensuring the dominant flow of directional branches leads visitors through the enchanting exhibits.

Sargent juniper (Juniperus chinensis var. sargentii)

The courtyard display for 2025 showcases native species from the Museum’s collections, aligning with the U.S. National Arboretum’s Lahr Native Plant Symposium, hosted annually in March.

“It’s amazing to see every pedestal in the central courtyards display a native tree this year,” James said. “These species are all relatively new to bonsai, because they weren’t used in the Chinese and Japanese tradition. It really shows how bonsai is global now.”

Though leaf removal, root care, and other maintenance might need different approaches from more traditional bonsai species, Michael and his team have developed their expertise by working with native trees and getting to know their unique characteristics.

Native species also naturally draw pollinators, which facilitates a healthy ecosystem. They are well-adapted to the local environment, making them excellent choices for bonsai cultivation that reflects the natural appeal and resilience of regional landscapes.

Spring Showstoppers

Japanese maple (Acer palmatum)

As with most gardens or naturally occurring vegetation, the beauty of bonsai flourishes in the spring. Small vegetative buds open up on deciduous trees, while the flowering species flaunt their scents and petals.

Drummonds red maple (Acer rubrum var. drummondii)

Chinese quince (Pseudocydonia sinensis)

In the international pavilions, inconspicuous red pearls on maple varieties will unfurl into delicate, star-shaped flowers, while the Japanese apricots boast bright pink blooms. The Chinese quince will display unique flowering, which occurs on bare branches before vegetation sprouts, as well as the cherries. Crab apples and tricolor Higo camellias already have leaves when flowering. Satsuki azaleas will be in full bloom for May visitors – with "satsuki" referring to the "fifth month" in Japanese.

Can’t-Miss Events

Please join us for the Potomac Bonsai Association Festival on the weekend of May 10-11, which coincides with World Bonsai Day on May 10. We will also be celebrating an incredible milestone: The 400th anniversary of the legendary Yamaki Pine. Stay tuned for more about these events in the next few weeks!

World Bonsai Day will include a Beginner Bonsai Workshop (Saturday and Sunday), as well as appearances and workshops from Andrew Robson of Rakuyo Bonsai (Saturday) and John Naka student and contemporary Guy Guidry of NOLA Bonsai (Sunday), who will demo work on his tree in the North American collection.

We hope to see you soon to absorb the beauty of the art of bonsai this spring! Stay tuned for more information on World Bonsai Day and plan your visit here.

 

Click images below to enlarge. Photos by Stephen Voss.

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Queen of the Crepe Myrtles

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RECENT Donations to the National Bonsai & Penjing Museum
Part 4/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

The magnificent bonsai displayed at the National Bonsai & Penjing Museum often hail from unassuming locales across the world. This particular crepe myrtle seemed destined to land back at the U.S. National Arboretum.

In May 1978, the U.S. National Arboretum officially released a cultivar of crepe myrtle called Lagerstroemia indica, or Natchez, that had been specifically bred for its resistance to disease. The seeds were a cross between Asian crepe myrtle genes, impervious to powdery mildew, and U.S. genes that produce the iconic crepe myrtle flowers and mottled bark. They were sent to nurseries all over the United States.

Cliff Pottberg, owner of a Florida nursery called Bonsai at Pasiminan, grew this specimen for more than 35 years, alongside a field of 25 other crepe myrtles. Brussel Martin – founder of Brussel’s Bonsai, the largest nursery in the United States – purchased the tree in 2013 and cared for it for 10 years.

Martin’s nursery manager helped transplant the crepe myrtle from Pasiminan and was told that the tree was either of Natchez or Muskogee cultivar, but this mystery remained unsolved. Although its specific origin had been lost to time, the tree stood out as a quintessential example of a flowering bonsai.

Recognizing the uniquely special characteristics of the tree, McNeal McDonnell – previous co-owner and now sole owner of Brussel’s Bonsai – generously donated it to the Museum. McNeal is a business entrepreneur with a deep appreciation for the art and beauty of bonsai.

In early 2024, the crepe myrtle arrived in Washington, DC. Noted bonsai expert Bjorn Bjorholm, with support from Curator Michael James and Assistant Curator Andy Bello, styled the tree in the Museum’s Yuji Yoshimura Lecture and Demonstration Center. Guided by Bjorholm’s artistic insight while honoring the original vision for the tree, they trimmed, wired, and shaped the crepe myrtle to prepare it for its new home on display among the native species in the North American Pavilion.

Assistant Curator Andy Bello, Curator Michael James, and bonsai artist Bjorn Bjorholm after styling the Queen of the Crepe Myrtles, 2024.

Four months later, the tree finally flowered. This allowed a botanist on staff to determine that this species was none other than Natchez, the very same cultivar that the Arboretum had introduced back in the 1970s – bringing the Lagerstroemia indica full circle, back to its roots.

Curator Michael James said this cultivar demonstrates how a plant’s value can increase both through breeding – ensuring a species is disease resistant, tolerates droughts, produces more ornate flowers, etc. – and through artistic training techniques.

U.S. National Arboretum Director Dr. Richard Olsen admires the crepe myrtle.

“People often don’t make the connection between bonsai and scientific institutions,” Michael said. “But if you’re going to care for a plant that will last longer than your lifetime, it’s important to start by choosing a plant with strong attributes.”

With its glossy, dark green leaves and pure white flowers, this elegant deciduous tree became known as the “queen of crepe myrtle,” a perfect example of how the Arboretum’s and Museum’s missions are intertwined. The species’ mottled cinnamon bark and powdery, mildew-resistant foliage flaunts its long-tapered pure white flowers between June and September.

We look forward to seeing you at the Museum this summer, when you will be able to witness the crepe myrtle’s full bloom.

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An Award-Winning Bonsai Joins the Collections

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Dr. Karen Harkaway with the spectacular Blue Spruce she donated to the National Bonsai and Penjing Museum.

RECENT Donations to the National Bonsai & Penjing Museum
Part 3/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

If you work in bonsai, chances are you’ve come across a blue spruce. Picea pungens is one of the most common of the 35 species in the Pinaceae family, originating in North America, Northern Europe, and Asia. Hard to miss – but have you ever seen one like this?

In early 2024, Karen Harkaway, a former board member of the National Bonsai Foundation and president of the American Bonsai Society, donated a beautiful blue spruce to the National Bonsai & Penjing Museum.

Blue Spruce (Picea pungens), 2024.

President’s Award 2024, Mid-Atlantic Bonsai Societies.

Her captivating conifer previously appeared at the 2022 and 2024 Mid-Atlantic Bonsai Societies' Spring Festivals and the U.S. National Bonsai Exhibition in 2023, where it won the North American Award for Finest Native American Bonsai.

In its natural habitat, a blue spruce can grow up to 200 feet, enduring heavy snowfall that forces it to form dark, flakey rough bark – one of its best bonsai attributes. For a bonsai display, that protective covering provides a lovely contrast with the spruce’s vibrant green needles and potential for beautiful deadwood features.

Todd Schlafer, of Denver-based First Branch Bonsai, first collected the specimen in 2016. Two years later, Harkaway purchased the tree from Schlafer’s vendor booth at the 2018 U.S. National Bonsai Exhibition. 

Harkaway’s spruce then underwent two stylings in 2019 and 2022 with Italian bonsai master Mauro Stemberger. Stemberger published videos on both the original styling and restyling, where you can learn about the importance of shade and moist, acidic soil for the spruce, as well as the duo’s styling choices.

Harkaway explains that the blue spruce had lived in a growing box and sought to regain health in her greenhouse, before its 2021 repotting with bonsai artist and former NBF board member Chase Rosade. The current moon-style container may appear as stoneware, but is actually European artist Erik Krizovensky’s cement creation – custom made to Harkaway’s specifications.

This tree is on display in the North American Pavilion at the Museum during your next visit. Don’t miss this incredible example of American artistry using a native species with a unique flair.

(click images to enlarge)

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From Wilderness to Wonder: The Journey of Little Lonely Doug

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Bonsai artist, expert, and donor Bjorn Bjorholm with Little Lonely Doug outside the North American Pavilion at the National Bonsai and Penjing Museum.

RECENT Donations to the National Bonsai & Penjing Museum
Part 2/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

In 2016, in the nooks and crannies of the Rocky Mountains in the greater Denver area, Richard Le discovered “Little Lonely Doug”.

Little Lonely Doug, 2024.

The tree – unique in its scale, taper, age, and character – represents one of North America’s oldest and largest conifers, the Douglas fir (Pseudotsuga menziesii). It was named in honor of Vancouver’s iconic, 230-foot “Big Lonely Doug,” the last Douglas fir standing in the Gordon River Valley, after intense and devastating logging deforestation.

Le, who spends time hunting for large yamadori, or “bonsai from the wild”, sells the trees he collects for use as bonsai or ornamental landscape trees. Little Lonely Doug, which was one of Le’s most compelling discoveries, ended up at Eisei-en, the well-known bonsai artist Bjorn Bjorholm’s nursery, garden, and school in Nashville.

Little Lonely Doug was the first tree to arrive at Bjorholm’s nursery upon its opening in 2018. There, the Eisei-en team repotted the fir in a more suitable container. In the spring of 2020, the tree went through another repotting and styling, while it finished out its term as a centerpiece at Eisei-en.

Staff from the U.S. National Arboretum position Little Lonely Doug in the North American Pavilion at the National Bonsai & Penjing Museum.

The fir was one of the last trees to leave the nursery when Bjorholm moved his business to Kyoto, Japan, where as a student he had completed a study abroad program and met his future wife. He also spent 16 years as a bonsai apprentice in Osaka. Marianne Duhamel, Montreal Botanical Garden’s penjing curator, rewired and styled the tree again under Bjorholm’s direction, just before its arrival at the National Bonsai & Penjing Museum. In March 2024, Le and Bjorholm donated this striking specimen to the Museum.

Staff from the U.S. National Arboretum, including Director Dr. Richard Olsen, Museum Curator Michael James, and Assistant Curator Andy Bello, were on hand to welcome the bonsai to the collections. They were joined by NBF board members Stephen Voss and Ross Campbell, as well as Executive Director Bobbie Alexander.

Left to Right: U.S. National Arboretum Director Dr. Richard Olsen, NBF Board Member Stephen Voss, NBF Board Member and Officer Ross Campbell, bonsai artist, expert, and donor Bjorn Bjorholm, Museum Curator Michael James, Assistant Curator Andy Bello.

Also joining the welcome committee were Aaron Stratten, immediate past President of Potomac Bonsai Association, and Roberto Coquis, President of the Northern Virginia Bonsai Society. Our local clubs do so much to support the art of bonsai, and we are grateful for their presence. Everett Miller, the Diplomatic Associate for the Economic Section of the Embassy of Japan, attended the ceremony as well. We greatly appreciate their partnership and friendship.

Left to Right: Museum Curator Michael James, NBF Board Member and Officer Ross Campbell, immediate past President of Potomac Bonsai Association Aaron Stratten, bonsai artist, expert, and donor Bjorn Bjorholm, President of the Northern Virginia Bonsai Society Roberto Coquis, Assistant Curator Andy Bello.

These esteemed guests helped Little Lonely Doug find its home in the North American Pavilion, where it proudly represents an American species of evergreen conifer with a rugged appearance, hardy resilience, and uniquely “wild” look.

You can see more about the tree’s life and journey to the Museum’s North American Pavilion in Eisei-en’s beautiful tribute.

Little Lonely Doug also found a spotlight as the star of the National Bonsai Foundation’s limited edition World Bonsai Day 2024 clothing line, designed by Aaron Stratten.

The Museum is open daily (see hours), if you want to help Doug feel a little less lonely!

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Introducing Stunning Recent Additions of Bonsai and Suiseki

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Clockwise from top left: Blue Spruce by Karen Harkaway; Western Hemlock by Nick Lenz, donated by Mike McCallion; Douglas Fir by Bjorn Bjorholm; waterstone “Horseshoe” suiseki from Seiji Morimae and Ronald Maggio; Crepe Myrtle from McNeal McDonnell, styled by Bjorn Bjorholm.

RECENT Donations to the National Bonsai & Penjing Museum
Part 1/6

In 2024, curators at the National Bonsai & Penjing Museum were thrilled to welcome four extraordinary bonsai from influential artists along with a striking suiseki, or viewing stone. In the coming weeks, we’ll share a lot more photos and the fascinating stories behind each one!

These additions bring fresh beauty and new depth to the Museum’s already remarkable collections, inspiring joy and wonder for visitors.

Last year’s donations include (click images to enlarge):

A beautiful Blue Spruce by Karen Harkaway, president of the American Bonsai Society;

A striking Douglas Fir, collected by Richard Le and cultivated by Bjorn Bjorholm;

An intricate Crepe Myrtle from McNeal McDonnell, styled by Bjorn Bjorholm;

A majestic Western Hemlock, created by innovative artist Nick Lenz and donated by Mike McCallion;

And a remarkable waterstone suiseki presented by Seiji Morimae on behalf of the family of Ronald Maggio.

The Museum is home to three historically significant bonsai collections—Japanese, Chinese, and North American—preserving them for public education and appreciation. While maintaining these living works of art, curators also seek new acquisitions that reflect the intricate evolution of bonsai. These new pieces enrich the story of the art form, showcasing its diversity, legacy, and evolving global influences.

Last year, curators focused on contributions from North American artists and collectors, highlighting the role of American art and representation of American culture within this ancient art form, which traditionally was shaped by Chinese, Korean, and Japanese artists. This enhances the narrative of bonsai as both an artistic and horticultural tradition rooted deeply in nature. But these are not just any bonsai.

Adding any specimen to the Museum’s collection is a meticulous and intentional process. Curators do not accept trees on a whim; each must hold historical and artistic significance, reflecting how cultures have transformed nature into art across generations. They carefully evaluate every bonsai and viewing stone based on its aesthetic qualities, artistic interpretation, and place in the broader story of bonsai. Whether naturalistic, highly stylized, or a unique blend of both, each new addition contributes to the ongoing evolution of this art form.

Last year’s acquisitions specifically highlight the role of American artists in shaping bonsai’s future. These trees embrace native species rather than adhering strictly to traditional selections, demonstrating both innovation and an American sensibility within this deeply rooted East Asian tradition. Each piece brings a distinctive vision, skillfully showcases the unique beauty of North American flora, and adds a chapter to the ever-growing legacy of this living art form.

The National Bonsai Foundation is proud to help introduce these five remarkable specimens into the permanent collection at the National Bonsai & Penjing Museum. We extend our deepest gratitude to the artists and generous donors who made these gifts possible: Karen Harkaway, Richard Le, Bjorn Bjorholm, McNeal McDonnell, Nick Lenz, Mike McCallion, the family of Ronald Maggio, and Seiji Morimae.

To see their beauty firsthand, visit the stunning collections at the U.S. National Arboretum in Washington, D.C. The experience will inspire you.

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The First Signs of Spring

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This article from NBF officer and board member Ross Campbell first appeared in the March 2025 edition of Snippets, the Brookside Bonsai Society’s newsletter.

We were foiled by unusually cold temperatures in February and thus discouraged from starting our repotting checklist. But now the weather has warmed into the 60s, and our trees are beginning to respond. The forecasts look promising for the next week or so, meaning that it should be safe to repot. Keep in mind that newly repotted trees still need to be protected from a sudden freeze.

At the National Bonsai and Penjing Museum, many of the trees are wintered in the Chinese Pavilion. The Pavilion is somewhat warmer than ambient temperatures because of the glass panels in the roof and the walls and doors. As a result, trees begin to break dormancy in the Pavilion a little earlier than they would otherwise. A recent stroll past the benches found several trees with buds that are starting to swell.

Parsley Hawthorn (Crataegus marshallii)

The buds on this Parsley Hawthorn are gratifying to see. Proof that Spring is close at hand. This native of the Southeastern U.S. was named in honor of botanist Humphry Marshall (1722-1801), an American botanist. (Not after Elvis Parsley, as you may have thought.) Marshall is known as the “father of American dendrology.”

Chinese Quince (Pseudocydonia sinensis)

This Chinese quince is far ahead of the hawthorn, with some leaves fully open and flowers soon to follow. One of the original 1976 Bicentennial gifts to the nation from Japan, this quince has been in training since 1875. That means that the tree is celebrating its “Sesquincentennial” this year. ;)

Drummond Maple (Acer rubrum drummondii)

If you look closely, you can see not only the buds at the tips of this Drummond Maple’s branches, but also along the branches. It appears that pruning has triggered interior buds, a very welcome development.

Chinese Elm (Ulmus parvifolia)

On the other hand, this Chinese Elm forest is still in the depths of winter dormancy, at least to all outward appearances. Perhaps it is convenient that different species wake up at different times; that way we can schedule deciduous bonsai repotting in a sequential manner, starting with those that are showing bud swelling.

Letter from 2024 National Bonsai Apprentice Isiah White

As I reflect on my experience as the 2024 National Bonsai Apprentice, I am overwhelmed with gratitude and a profound sense of growth. Thanks to the support of the National Bonsai Foundation, the National Bonsai & Penjing Museum, and the U.S. National Arboretum, I have gained invaluable knowledge and discovered a renewed confidence that will guide me for the rest of my life. This journey has not only deepened my understanding of the art of bonsai, but it has also transformed me as an artist and an individual. My time as the National Bonsai Apprentice will remain a golden milestone in my bonsai journey.

Just as it has enriched my knowledge of bonsai, this educational opportunity has enriched my knowledge of myself. From learning how to water efficiently to mastering the precise timing for pruning pine trees, every lesson has enhanced my skills and abilities. It has been an honor to be part of the talented team at this world-class museum.

One of the things I admire most is the attention to detail emphasized during my apprenticeship. By repeatedly performing the same technique on multiple trees of the same species, I learned to internalize the process, creating a natural response when working with other species of similar growth habits. For instance, my approach to a maple tree would be different from how I work with a pine tree; but I can apply the same pruning techniques to a beech as I would to a maple, since both are deciduous. This thorough understanding allows me to be more decisive and has elevated the quality and sophistication of my work.

The trust placed in me during this apprenticeship has been transformative, and it gave me a level of confidence I have rarely felt. In the past, I have faced doubt from others—particularly as a Black bonsai artist. I once told someone, “I am a Bonsai Artist,” only to have them laugh and reply, “Black people don’t do bonsai.” Encounters like that made me reserved and hesitant to fully show my potential. But at the museum, the staff’s belief in my abilities gave me the courage to step into my full self, as an artist and as a person.

One of my favorite tasks is pruning extended growth to redirect energy and refine a tree’s silhouette. Working on legendary specimens that many bonsai artists can only dream of is a real privilege. And seeing people admire the trees I worked on has been one of the greatest joys of my life. I’ll never forget the moment an entire family stood in front of a juniper I had just worked on, taking pictures and complimenting how beautiful the tree looked. Hearing their kind words about the work we do as bonsai artists gave me a profound boost of confidence and determination.

As my apprenticeship nears its end, I am filled with mixed emotions. I am honored and proud of my growth and success during this experience, but I will miss this place. When I first arrived, my biggest fear was that I might fail—despite my prior experience, I had never worked on trees of this caliber. But working alongside some of our nation’s greatest bonsai artists has strengthened my confidence and renewed my passion for this living art form even more. For that, I am deeply grateful.

My goal on this journey is to use the knowledge I’ve gained to pursue my dream of becoming a bonsai farmer. I believe the bonsai community in the United States needs an expert farmer who can provide high-quality material at a reasonable price. This apprenticeship has given me the confidence to take the next steps toward starting my own bonsai business, and soon I will be launching a company and online store to sell quality pre-bonsai trees. Meanwhile, I plan to continue my college education, focusing on botany. I have also been accepted into a Veteran Farmers Program, where I will gain skills that will directly improve my bonsai cultivation and growing practices.

I’ve found my focus in life, and that focus is the art of bonsai. Once again, thank you to the amazing people at the National Bonsai Foundation, the National Bonsai & Penjing Museum, and the U.S. National Arboretum for helping me rediscover who I am and what my purpose is.

Warmly,
Isiah White
2024 National Bonsai Apprentice

This apprenticeship is funded in part by The Henri and Tomoye Takahashi Charitable Foundation.