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

Bonsai People

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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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Photographing Bonsai with Stephen Voss: Trees in Transition

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By Stephen Voss

Stephen Voss is an accomplished professional photographer and member of the National Bonsai Foundation’s board of directors. His photographs are held in the permanent collections of the Library of Congress and the DC Commission on the Arts and Humanities.

For many years, Stephen has honored an annual fall tradition of visiting the National Bonsai & Penjing Museum at the U.S. National Arboretum. He strolls the serene grounds, taking remarkable photos of trees in transition. Below, he shares reflections from his most recent visit in November 2024.

Each fall season at the National Bonsai & Penjing Museum feels like an opportunity to learn something new about the colorful transition of vibrancy and change.

A wonderful Washington Post article outlined the life cycle of a leaf, and I was amazed to learn that as the leaves lose the chlorophyll that makes them green, they reveal their actual colors. That means that the fall colors we're now seeing have been there all along — waiting for this moment to set the museum alight.

The museum is never a static place, and on every visit I find a fascinating new discovery.

This time, I notice a sizable quince fruit hanging off a tree, and a beautiful selection of Chrysanthemums in the Vaughn Banting courtyard, outside of the exhibit space.

A profusion of tiny pollinators swirl around the garden mums along the Kato Family Stroll Garden, as small piles of leaves gather in the nooks and crannies of this peaceful place. The lack of rainfall this season has made for somewhat muted colors; there are more browns than oranges and reds, and we’ve had unusually warm days that maybe aren’t so unusual anymore.

For a long time, I came to the museum and went straight to the bonsai, drawn to their magnificence at the expense of the surrounding gardens. My photos for many years were close-up images, guided by minimalist tendencies. I still lean in that direction; but now, I’m also so taken by the interplay of the trees within the larger space, and how I might interpret these interactions visually. The whole of the museum contributes to the experience of visiting the trees.

Visitors pass through the exhibit space, murmuring questions about the trees and taking in their structural forms that are slowly revealed by the shedding of leaves. It occurs to me that not a day goes by at the National Bonsai & Penjing Museum when someone visits who has never been there before.

As the seasons change, the Museum changes too — revealing another unique chapter in the story of this special place and these incredible trees.

All photos © 2024 Stephen Voss. (Thank you, Stephen!)

Click any of the images below to enlarge it. You can scroll through the gallery using the arrow keys or by clicking the left or right icons.

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Seiji Morimae visits the National Bonsai and Penjing Museum

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We were recently honored by a visit from Seiji Morimae, a renowned figure in the world of bonsai and suiseki. Morimae holds special esteem at both the National Bonsai Foundation and the National Bonsai & Penjing Museum in Washington, D.C., which he has supported for many years.

Curator Michael James welcomes Yaeko and Seiji Morimae to the National Bonsai & Penjing Museum.

As a bonsai expert and board member of the Nippon Suiseki Association, he has made significant contributions to the preservation of Japanese bonsai culture. His deep connection with the museum, particularly as a donor and cultural ambassador, underscores his lasting impact.

Welcoming Seiji and his wife Yaeko for a tour of the National Bonsai & Penjing Museum, we honored his lifelong dedication to bonsai and suiseki while viewing the highlights of America’s renowned national collections. Dr. Richard Olsen, director of the U.S. National Arboretum – along with museum curator Michael James, and National Bonsai Foundation executive director Bobbie Alexander – were on hand to officially welcome the Morimaes. Jack Sustic, Chair Emeritus of the National Bonsai Foundation and Vice-Chair of the World Bonsai Friendship Federation, also joined the group in the welcome. Peter Warren, an international bonsai professional – one of the few who has completed a full six-year apprenticeship in Japan under legendary expert Kunio Kobayashi – accompanied the Morimaes and served as translator.

Among the highlights at the Museum is Morimae’s gift of a “hut stone” suiseki, displayed in the traditional tokonoma setting – a tribute to his commitment to preserving and sharing Japanese culture. He has also donated several first-class bonsai over the years. In the North American Pavilion, Michael discussed how American bonsai has evolved, inspired by influential leaders like Morimae. Dr. Olsen concluded with remarks on the museum’s role in advancing the art of bonsai in America, celebrating Morimae’s impact and support. The event ended with refreshments and reflections on his exceptional contributions to these timeless art forms.

credit: valavanisbonsaiblog.com

Morimae's journey into bonsai began more than 50 years ago with a dedication to the art of formal display, also known as keido. He has learned from and studied with revered bonsai artists, including Susumu Sudo, Jiro Fukuda, and Masahiko Kimura, who shaped his approach and artistry. His life has been deeply intertwined with the practice and philosophy behind these forms, and over the years, he has established multiple bonsai and suiseki businesses, including the prestigious Kyoto Bonsai Garden at the Daitoku-ji Temple in Kyoto, Japan.

His connection to the National Bonsai & Penjing Museum has spanned many years, where he has donated both bonsai trees and suiseki stones, helping to enhance the museum’s nationally renowned collections. He has visited the United States numerous times over the past 20 years to share his expertise on the arts of bonsai and suiseki.

credit: valavanisbonsaiblog.com

In 2017, during the renovation and rededication of the museum’s Japanese Pavilion, Morimae delivered a speech expressing his gratitude for the museum’s role in preserving bonsai trees gifted to the United States. He shared that these living symbols of friendship between Japan and America are more than just plants—they are a carrier of our stories, a marker of our time, and a reminder of nature’s elegant resilience​.

“This is the magnificence of life,” Morimae said. “I believe that bonsai can teach us about our own lives.  Each of them tells its own humble story, woven of nature, human history, and time itself.”

Seiji Morimae’s presence at the museum is not just symbolic; it speaks to his deep sense of responsibility. As a figure of great respect in the bonsai community, he often plays the role of a "big brother," checking on the museum’s Japanese bonsai collection, much like the revered Saburo Kato before him. This support has helped the museum maintain a high standard of care and presentation, ensuring the continued vitality of its bonsai and suiseki displays.

Morimae’s dedication to bonsai has also been captured in various media, including the U.S. National Arboretum’s Bicentennial Bonsai film. His passion for bonsai and suiseki extends beyond physical preservation; it is about sharing a philosophy of life that bonsai can teach us—about resilience, growth, and the delicate balance between nature and humanity.

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

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Chin Fun Kwok and his family honor the Museum with a special visit

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Today, the National Bonsai Foundation and National Bonsai & Penjing Museum welcomed Chin Fun Kwok, along with his wife Florence and daughter Daphne, to celebrate his venerated legacy.

In attendance were Museum Curator Michael James and NBF executive director Bobbie Alexander, who presented Mr. Kwok with a certificate of appreciation on behalf of the NBF Board, honoring his dedication and significant contributions. James also presented a certificate on behalf of the U.S. National Arboretum, which has housed the Museum since its inception in 1976. Also joining the celebration were esteemed former NBF board members Chuck Croft and Joe Gutierrez, as well as Jack Rubenstein, an active bonsai community member and officer of the Northern Virginia Bonsai Society.

Together, we proudly honored Mr. Kwok for his remarkable dedication and countless contributions to bonsai and penjing. Over his 25-year tenure on the NBF Board, Kwok’s leadership, expertise, and love for the art form have left an indelible impact. His engineering insights were instrumental in the design and construction of the Museum’s Chinese Pavilion, which now houses the treasured penjing collection.

The Pavilion, brought to life by Chinese craftsmen, features traditional wooden gates, decorative tiles, a serene moon gate, garden stones, and an exquisite dragon wall. Each winter, it transforms into a walk-in cold frame to shelter temperate bonsai from harsh weather, a practical feature blended seamlessly into its elegant design. Above the towering red doors, golden Chinese characters welcome visitors, inscribed with a message that Mr. Kwok translated for us: "The Garden for the Study of Ornamental Horticulture." This message captures the Pavilion’s essence—a place of learning and appreciation of nature’s beauty.

The Kwok family’s legacy extends further through a special bonsai stand donated in Mr. Kwok’s honor, handcrafted by David Knittle, a distinguished bonsai display artisan whose work is celebrated in national exhibitions.

NBF and Museum staff are deeply grateful to Mr. Kwok for his generosity, vision, and dedication, which have enriched the Museum and inspired the bonsai community.

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Curating Bonsai: What I Learned on a Work Study Journey

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The National Bonsai Foundation is proud to partner with the U.S. National Arboretum in maintaining the National Bonsai & Penjing Museum. In addition to caring for these living masterpieces, we support the museum’s expert curators with ongoing education and professional development, ensuring they stay at the forefront of bonsai artistry. These opportunities allow them to refine their skills, explore the latest techniques, and continue growing as leaders in their field.

In this post, Andy Bello, Assistant Curator (and our 2019 National Bonsai Apprentice), shares insights from a recent experience that helped shape his approach to bonsai care and curation.

Last winter, I had the wonderful opportunity to spend two weeks in Portland, Oregon, traveling to work and learn with a focus on fall and winter seasonal bonsai techniques. Part of my time was spent at Crataegus Bonsai, owned by bonsai professional Michael Hagedorn. Michael is a well-respected bonsai artist and teacher who apprenticed with Shinji Suzuki in Obuse, Japan from 2003-2006. He serves as the Bonsai Consultant for the Portland Japanese Garden, teaches international students at his garden, and blogs weekly at crataegus.com.

I remember my first time seeing a specific bonsai in person at the Portland Japanese Garden in 2017, my first year practicing the art. Walking to the upper bonsai courtyard, I was greeted by a large mountain hemlock planting growing on a slab. It was so large, in fact, that it was displayed on a small wooden stand on the ground, and the tallest tree stood about six feet tall. This composition was the first of this size and refinement I had seen. Its long, elegant trunks reached up and out towards the sky, with lush green foliage artfully arranged to give windows into the interior of the composition, telling the tree's story. This piece changed everything for me—it solidified my love for bonsai and encouraged me to pursue the art form as more than just a hobby.

Six years later, as the assistant curator at The National Bonsai and Penjing Museum, I found myself standing in Michael’s garden on a work trip, pruning my favorite tree. It felt as if my life in bonsai had come full circle. For the time I worked on that tree, I was in pure bliss, and I will never forget that wonderful feeling. But as anyone who practices bonsai knows, there is always more to be done and more trees to work on and care for.

During my time at Crataegus Bonsai, I studied some of the fascinating compositions Michael has created over the years. Some of the ones that stood out to me were planted at inclined angles or mounted on the side of walls, combining traditional Japanese bonsai with modern, innovative ideas. His garden left a lasting impression on me—it showed that we need not be limited by the container or a particular style we are accustomed to following. There is endless opportunity, and ample room to be playful and enjoy the creative process.

The second half of my time in Portland was spent at Rakuyo Bonsai, owned and operated by Andrew Robson. Andrew is an award-winning deciduous artist in the American bonsai community. He completed a three-year apprenticeship with Michael Hagedorn after graduating from Yale University. Andrew also studied shohin bonsai display with Daisaku Nomoto, an award-winning Japanese shohin master and judge at Gafu-ten. He serves as the President of the Bonsai Society of Portland, the largest bonsai club in the United States, and regularly exhibits work at the Portland Japanese Garden, where he also lectures at the Japanese Arts Learning Center. Andrew hosts the Bonsai Wire Podcast and regularly creates new episodes with other prominent figures in the bonsai community. He resides at his deciduous garden, Rakuyo-en, with his golden retriever Bailey, where he teaches and shares the art of deciduous bonsai.

The main reason I wanted to work with Andrew was his focus on deciduous bonsai and the quality and size of the specimens in his garden. At The National Bonsai and Penjing Museum, I’ve become accustomed to working on larger trees, so I felt right at home at Rakuyo with its variety of well-cared-for material. From trees in the early stages of development to award-winning specimens in refinement, there was something interesting to view, study, and learn from throughout the garden. Inside, sheltered from the cool, constant rain of the Pacific Northwest, we focused on fall and winter cleanup, caring for deadwood, pruning, and styling. We also enjoyed engaging conversations about techniques, the art form, and its future—always with Bailey, the bonsai dog, close by.

Most of the work we completed was wiring and pruning for shape and structure on a variety of species such as Stewartia, hornbeam, beech, and maples. Late fall and winter are ideal times to do this type of work, as the leaves have fully changed color and fallen, making it much easier to see and apply wire to the branches. After wiring, we placed the trees in front of a clean backdrop to photograph, discuss, and adjust the branch positions.

Working at Rakuyo with Andrew was educational, inspirational, and pure fun. His focus and dedication to teaching, growing, and learning more about deciduous bonsai inspires me to continue cultivating more varieties of trees and expanding my techniques.

I am very grateful and honored to have spent time working with both Michael and Andrew, and I look forward to working on trees with them again in the future. Thank you to The National Bonsai Foundation for supporting my continued education in this timeless art.

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Applications Open: National Bonsai Apprenticeship

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Description

The U.S National Arboretum is offering a unique opportunity for an individual to receive advanced bonsai training at the National Bonsai & Penjing Museum located in Washington DC. The purpose of this national apprenticeship program is to prepare aspiring horticulturists with the knowledge needed for a career in bonsai collection management. The successful applicant will be involved in the day-to-day care of a storied collection of historic bonsai, some of them in training for hundreds of years; and will receive one-on-one instruction from bonsai museum staff to develop skill in the styling and maintenance of bonsai.

This training opportunity is typically from March through mid-November each year. The position has a 40-hour work week of five days per week and does require weekend work. This apprenticeship is funded with a stipend by the National Bonsai Foundation*. Stipend amount can vary depending on the training period and funding.

This apprenticeship provides the applicant access to one of the largest bonsai collections in the United States, bonsai literature and scholarship, as well as access to a network of professional bonsai practitioners from around the world. Many of our past apprentices are now curating bonsai collections in private and public gardens.

Qualifications
Applicants should have an active interest in the art of bonsai and a basic understanding of plant care. While coursework is not required, candidates that demonstrate commitment to the art of bonsai are desired. Background in horticulture, life sciences, or visual art is a plus.

Duties
The bonsai apprenticeship will prepare individuals for bonsai collection management. As the applicant’s knowledge and abilities develop, and skills are learned and demonstrated, supervised work on the bonsai will be offered. These responsibilities will include seasonal bonsai care such as, repotting, pruning, wiring, de-wiring, and other maintenance as needed throughout the year. The apprentice will assist with educational programs offered to the public by helping to teach classes and bonsai demonstrations.
As an integral part of the U.S. National Arboretum, the National Bonsai & Penjing Museum serves over 700,000 visitors each year. Courteous and helpful interaction with visitors is essential. Daily tasks related to museum operations include keeping gardens and bonsai displays clean, opening and closing the museum, weeding, and watering. The applicant will frequently be requested to safely lift and move heavy, but fragile, trees around the museum. Much of the work is performed outdoors in all weather conditions,
including hot, cold, and wet.

The selected apprentice will join other U.S. National Arboretum staff and interns on field trips to public gardens in the Washington, D.C. area. The apprentice will be assigned an independent study project related to bonsai design, developed in collaboration with the Museum Curator. The results of the study project will be presented to staff of the U.S. National Arboretum and the National Bonsai Foundation.

Applications

Applications will be accepted August 12 through September 16 each year. Interviews will be scheduled thereafter with the final candidate selected by the end of October. Please email a cover letter including your personal background in bonsai and your long-term career plan to USNA.Internships@usda.gov. Describe pertinent talents and life experiences that you bring to this position. Also include your resume, references, and transcripts (unofficial are acceptable). If you have any questions, please call the National
Arboretum’s Coordinator at 202-245-4529.

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In Memoriam: Larry Ragle

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We recognize and celebrate the life of Lawrence “Larry” Ragle, a beloved figure in the bonsai and suiseki communities, who recently left us peacefully at home in Laguna Beach, CA at the age of 91, with his loving wife Nina by his side.

Larry joined the National Bonsai Foundation (NBF) to contribute to the mission of elevating and expanding the value of bonsai on a global scale. As one of the original board members when the organization was founded, Larry was deeply involved in the bonsai community, with constant partnership and support from Nina. His directorship was an important step to honor his teachers, bonsai legends John Naka and Harry Hirao.

While founding NBF and helping grow the organization, Larry also supported the early development and expansion of the National Bonsai and Penjing Museum in Washington, DC. He played a pivotal role in planning events that honored bonsai masters like Naka, Hirao, and George Yamaguchi.

“It has been a delight to see the Museum become a reality and watch all the improvements with so many dedicated volunteers,” Larry once said. “It was an honor to have played a small part, along with the rest of the bonsai community and beyond, to help make NBF the quality organization it has become.”

Nina and Larry Ragle.
Photo credit: usnationalbonsai.com

In June 2023, the Ragle family generously donated a commemorative bench in Larry’s honor, which now sits in the courtyard of the National Bonsai & Penjing Museum.

Felix Laughlin, Chair Emeritus of the National Bonsai Foundation, shared: "I have so many memories of Larry, and Nina as well who was always by his side. We usually chatted via email given their location in California, but they were very active members of the NBF board of directors and came to Washington frequently for meetings at the US National Arboretum. I fondly recall having breakfast meetings with Larry and Nina during their DC visits, in which they filled me in on everything going on in the West Coast bonsai world, and told me about their adventures collecting viewing stones. They were close to bonsai luminary and founding NBF board member Marybel Balendonck, and the three of them were strong and effective advocates for the creation of the John Y. Naka North American Pavilion. The bonsai and viewing stone communities will certainly miss Larry, and he left a lasting legacy in both art forms."

Larry at the 2018 Japan Suiseki Exhibition with his Buffalo stone.
Photo credit: samedge.wordpress.com

Born in Springfield, Missouri in 1932, Larry's family moved to Albany, CA in 1940. He graduated from U.C. Berkeley with a degree in chemistry and served as a Patrol/Investigator for the City of Berkeley. In 1956, he married Carole Watchers, and they relocated to Costa Mesa, California in 1960, where Larry pursued a career at the Orange County Crime Lab.

It was during this time that he developed a passion for the art of bonsai. He started training his first three bonsai in 1962 – trees that are still alive today and represent vibrant examples of the art form.

Larry married Nina Shire in 1981, and in 1989, he retired as the Director of Forensic Sciences, Orange County Sheriff-Coroner, later writing the book "Crime Scene" in 1995. It was his first book, but not his last. Later, he authored two additional texts on bonsai and suiseki (viewing stones).

Larry deepened his study of bonsai under his sensei and the father of American bonsai, John Naka, in 1966, and later with bonsai master Harry Hirao in 1974. With Harry, he co-founded Kofu Bonsai Kai in 1977. Larry served as president of the Golden State Bonsai Federation, California Bonsai Society, and Kofu Bonsai Kai. Larry, along with others, established the California Shohin Society in 1989. He held memberships in several bonsai organizations, including Nan Pu Bonsai Kai, John Naka’s select club. Along the way, Larry took iconic photographs of many major bonsai figures, especially of Naka and Hirao.

Harry Hirao and Larry Ragle, longtime friends and co-founders of Kofu Kai.
Photo credit: bonsaial.wordpress.com

Larry was an original board member of the National Bonsai Foundation when it was founded in Washington, D.C., and served on its Board of Directors from 1982 until 2020. Jim Hughes, a Chair Emeritus of NBF and former Museum Curator, reflected, "Larry helped establish and maintain a West Coast connection to the National Bonsai Museum and National Bonsai Foundation, ensuring the national scope of both entities."

Larry dedicated himself to promoting the art of bonsai and suiseki on a local, national, and global scale. Together, Larry and Nina founded California Aiseki Kai in 1983, a club focused on suiseki and the traditional values and techniques of Japanese viewing stones. They organized and led many collecting trips for the club in California and surrounding desert areas. Larry and Nina also studied bonsai display with Susumu Sudo in Japan and have displayed some of their masterpiece stones in the Nippon Suiseki Exhibition in Tokyo, Japan. Larry was also chairman of the Golden State Bonsai Federation, which established the collection at the Huntington Library and Gardens in Pasadena.

One of Larry’s suiseki.
Photo credit: bonsainut.com

In 2002, Larry authored text for Awakening the Soul, a book about the national viewing stone collection at the National Bonsai and Penjing Museum. In a review, Dr. Thomas Elias of the Viewing Stone Association of North America rates the book as “excellent,” and says, “This volume is as pertinent today as it was twenty years ago when it was first published. This book beautifully illustrates and identifies the best examples from this modest but important collection. This is a book to study and learn how to appreciate a great viewing stone.”

Jack Sustic, Chair Emeritus of NBF and former Curator of the museum, reflected, "I've been thinking a lot about Larry, and so much has been said about him and his work for NBF and the art of bonsai. We know his contributions well, such as being a driving force in establishing the viewing stone collection and the Harry Hirao reception room. Personally, he was always kind and friendly, a true gentleman who truly possessed the spirit of bonsai, bonsai-no-kokoro."

Larry was clever, creative, charismatic, and humble. He will be remembered for his charm and wit, perfect timing, and keen skill for public speaking. His legacy in the bonsai community and beyond will be cherished and remembered by all who had the privilege of knowing him.