WELCOME BACK: The National Bonsai & Penjing Museum is OPEN!

Pitch pine donated by Muriel Leeds

Got plans for this week? We suggest visiting the National Bonsai & Penjing Museum at the U.S. National Arboretum!!

The National Bonsai Foundation is ecstatic to announce that the Museum is open again as of June 1, 2021! After closing last March to maintain staff and visitor safety during the COVID-19 pandemic, we are so happy to invite visitors back to enjoy the national collection’s breathtaking bonsai and penjing.

"Patience is a major component of training bonsai and penjing, but it comes with big rewards,” NBF Board of Directors Chair Jim Hughes said. “Thank you for your patience during the closure of the U.S. National Arboretum’s National Bonsai and Penjing Museum. You will be amply rewarded when you return for a visit."

The Museum will resume its normal daily operating hours of 10 a.m. to 4 p.m. All outdoor portions of the Museum will be open to the public, but please note that the indoor Tropical Conservatory and Exhibits Gallery will remain closed for now.

Not to worry – the tropical bonsai have been moved outside with the rest of the trees to enjoy the summer climate. We ask those who have not been vaccinated yet to wear a mask and maintain 6 feet of distance from others while admiring the trees.

Please donate today to help support the museum's reopening efforts.

A Satsuki azalea ‘Nikko’ donated by Masayuki Nakamura (Left) Juniperus chinensis var. sargentii donated by Kenichi Oguchi (Right)

During the Museum’s temporary closure, these treasured bonsai and penjing continued to grow, bloom, put on a colorful fall show, and enter dormancy in winter, Hughes said. 

"The living sculpture of bonsai and penjing at the U.S. National Arboretum is never static,” he said. “Come back and see how they have flourished in the past year.”

NBF thanks Museum staff for keeping a close eye on the trees while visitors were absent and would like to welcome back the incredible volunteers who skillfully care for the trees and bring warmth and camaraderie to the Museum.  

Ross Campbell, an NBF officer and board member, had just begun volunteering at the Museum a few months before the closure but is eager to get back to caring for and admiring the trees. 

“One of the difficulties of the past year has been the disappointment of not being around, and learning from, the Museum staff and the trees themselves,” he said. “I am thrilled that I can now spend time again at the Museum and grateful the public can too.”

Arboretum Director Dr. Richard Olsen said the year of closure afforded a rare opportunity for the bonsai to grow with vigor and abandon. Olsen added that Museum and Arboretum staff and recently returned volunteers have been busy training, clipping, thinning and repotting in preparation for the trees’ return to center stage. 

“We look forward to your return and reconnecting with these living treasures,” he said.

Museum Curator Michael James said visitors can expect to see a few minor changes throughout the Museum. A few trees have been removed from the cryptomeria walk visitors experience when entering the Museum, which will allow more light into the area and help the remaining trees to flourish. Trees were also taken out of the Kato Family Stroll Garden, which leads to the Japanese Pavilion, to ensure the garden stays in scale as a miniature forest. 

Newly carved deadwood on the Ponderosa pine

Staff have been letting many bonsai grow out, then have aggressively pruned them back to keep them healthy.

“When we see the trees everyday, sometimes those little changes are almost unnoticeable, but when you leave for a long time and come back to them it looks like some trees have changed a lot,” James said.

On the buttonwood donated by the CIA, staff have changed the trunk’s position and are preparing to rewire the tree to adjust its canopy shape. James anticipates the bonsai will be ready for display by the end of the summer. A black hill spruce with twin trunks will also be on display for the first time in the upper courtyard this summer.

“Right now we’re just like busy bees getting everything ready, so we’re a little anxious and a little excited to have people back,” he said. “The national collection is too beautiful to not be seen and enjoyed.”

Please donate today to help support the museum's reopening efforts.

The Future of Bonsai: Todd Schlafer

Bonsai and penjing masters like Saburo Kato and John Naka are recognized as icons who really advanced and expanded the ancient art of bonsai. Now, the next generation of artists are building on those legacies, putting down roots for many more decades of bonsai artistry.

In our new series The Future of Bonsai, the National Bonsai Foundation is highlighting up-and-coming bonsai and penjing pioneers who are next in line to spread the spirit of bonsai. Colorado native Todd Schlafer, who runs the school “First Branch Bonsai,” is one such artist. Get to know him through this recent interview with Sophia Osorio, the First Curator’s Apprentice at the National Bonsai & Penjing Museum. 

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Sophia Osorio: How were you first introduced to bonsai? 

Todd Schlafer: I was at a market in Spain that had a "grow a bonsai from seeds” kit. I brought it home and tried to grow the bonsai, and it sprouted but died. Then I just started looking for bonsai – I Googled “Colorado bonsai.” I was working as an art director for a pet toy company called Kong, and there was a wholesale nursery called "Colorado Bonsai" near where I worked. I started volunteering on Saturdays, Sundays and after work, and the owner Harold Sasaki introduced me to a man named Jerry Morris, who took me to Utah for the first time to collect trees.

Then I met Ryan Neil while he was traveling around, and he invited me to go out to Oregon and stay there with him. In my head, to get to where I wanted to be, I probably needed to do this full time. And at the time, I was getting up at like six in the morning, working on trees until I had to go into work, and then I would come home and work on trees until I had to go to bed. On the weekends, I would go to the mountains and all of that, so I was already pretty involved.

But I wasn't happy with my job at the store. I had been there for a long time and one day, I was saying to my dad, "something needs to change.” Because at work, I wasn't very patient, and I'm a very patient person. He asked, "If money wasn't an issue, and you could do anything you wanted, what would you do?" I said, "I would do bonsai and collect trees," and he said, "Then that's what you should do.” He said that to me twice, and after the second time, I decided to pursue bonsai as a career. 

Left: one of Schlafer’s ponderosa pines Right: one of Schlafer’s Colorado blue spruces

SO: Where or how did you study bonsai techniques and aesthetics?

TS: I read books. But when I went to Oregon and started studying with Ryan Neil, everything changed. I started realizing what the potential was for our native species. He had trees the size I had never seen in person and the amount of refinement on Rocky Mountain junipers and spruces and our native species, sierras, that I had never seen before. I saw the potential that our species here have. I always tell people that studying with Ryan really changed everything.

SO: What are your future plans with bonsai? 

TS: I just started teaching. I quit my job in 2017 and started traveling doing bonsai that year. When Ryan came back, he traveled, and when Peter Warren finished his apprenticeship, he started traveling, so I was like, "Well, I guess that's what I do!" From 2017 through the beginning of 2020, I traveled between 250 and 280 days a year. I was just trying to see repetition with trees and just get my hands on a lot of trees. You kind of have to prove yourself, I guess.

Last year, I had some classes scheduled but they were canceled because of COVID-19. This year I’m holding classes and still traveling, but not quite as much. I have about 12 different three-day intensive courses at my place in Denver. I just gutted and finished my workshop, and I think eventually I'll need more land. That's something I need to look at – I want more land, I want a bigger greenhouse, a bigger workshop. But it'll come with time. First things first. 

SO: Who would you say has influenced your work in the bonsai community?

TS: Probably the most is Ryan Neil. I still continue my education with him. But now, for about the last year, I’ve started to find my own voice or my own style and approach - trying to figure out who I am and what my stance is going to be, how I’m going to present things and how I explore different forms. But studying with Ryan, and how particular he is, his technique is just so good. It's helped me out a lot and has given me the ability to explore what my vision is, what my thoughts are and having the techniques to be able to pull off whatever that looks like."

SO: Why should someone pursue bonsai? 

TS: All the care and maintenance of this living piece of sculpture can be very therapeutic. There are times where I've struggled with anxiety or depression, so I'll just go and I'll take a toothbrush and clean deadwood on a juniper because there's something therapeutic about it. As an art form, if you're creative, bonsai is a good way of getting some of that creativity out. I love my job and I wouldn't want to change it. But it's also not always as glamorous as everyone thinks. For four years, I was never home. It can be a grind, but it's what I felt like I needed to do at the time.

Also, working on collected trees, whether it's the initial structure or the repotting, is very rewarding once it's finished, but while you're doing it, it's very stressful. Everyone thinks, "Oh you're just going to trim your bonsai and have a glass of wine,” but that's not really it at all. If you kill a tree, then it hurts a little. But there are all sorts of things that come out of it that are very rewarding.

Schlafer working on a pine

SO: What advice would you give to someone who is interested in pursuing bonsai either as a hobby or a profession?

TS: Even when I was still pursuing bonsai as just a hobby, I found someone that I kind of tuned into, like how they design trees or what their approach was, and I stuck with that one person. There are some schools of thoughts that encourage taking your bonsai to as many people as you can. I think that's fine, but also everyone is going to see things differently. Your tree is just going to get beat up basically because everyone is going to have a different view on it. 

Be careful because it's a slippery slope: you get one tree, then you get two trees, and then it turns into five trees and 10 trees. Then you buy a house and you need sunlight for your trees and then you quit your job to do it for a living. That was my thing. If it's just going to be a hobby, then keep a certain number of trees just for your collection that you can maintain because they are a lot more work in the different seasons than a lot of us have time for.

Schlafer can be found online at firstbranchbonsai.com, on Instagram as @todd_schlafer_bonsai and on Facebook as @ToddSchlafer and @FirstBranchBonsai. 

The National Bonsai Foundation funds and curates several programs to educate and train the next generation of bonsai, like the First Curator’s Apprentice position. To support our work, consider gifting today.

The National Bonsai Foundation funds and curates several programs to educate and train the next generation of bonsai, like the First Curator’s Apprentice position. To support our work, consider gifting today.

Bonsai Around the World: The Matthaei Botanical Gardens and Nichols Arboretum Bonsai and Penjing Collection

Satsuki azaleas from Dr. Melvyn Goldstein’s collection at the Matthaei Botanical Gardens and Nichols Arboretum Photo credit: Michigan Photography.

Bonsai has always had an educational component, but for this edition of Bonsai Around the World, we literally go to school – to the Matthaei Botanical Gardens and Nichols Arboretum at the University of Michigan.

While the arboretum and gardens sit in separate parts of the campus, they form one unit with a single director. The first trees were a gift from the University’s former pharmacology department head, Dr. Maurice Seevers, who had a deep passion for bonsai. The Matthaei-Nichols collection now boasts more than 75 masterpiece bonsai and penjing, with 25 to 30 trees on display in rotation. 

The garden is one continuous loop connected to a nursery space. Carmen Leskoviansky, the bonsai collection specialist, said the displays vary depending on which trees pair well together and looking exceptional. The collection hosts an azalea show each spring showcasing trees and partners with the Ann Arbor Bonsai Society for their yearly show and sale. 

“They use our auditorium, and we have the garden open,” Leskoviansky said. “We work together to perform demonstrations, answer questions and give tours of the collection and garden.”

Many of the collection’s volunteers currently work or have worked for the University, and students work as summer interns and as part of the work-study program throughout the year. Leskoviansky hopes to connect students with the bonsai collection more in the coming years through research and connections with other University units such as the Center for Japanese Studies

She added that the collection’s tropical section will be expanded as a new bonsai display has been built in the conservatory’s Garden House. The outdoor bonsai garden is currently at capacity after receiving an extensive azalea donation from regional bonsai artist Dr. Melvyn Goldstein. 

“Dr. Goldstein has one of the best private collections of Satsuki azaleas in the country,” Leskoviansky said. “It’s definitely a showstopper.”

Bonsai from the nursery space at Matthei-Nichols. Photo credit: Michigan Photography.

Leskoviansky said trees with the biggest draw also include white cedars and native larches. One larch forest in particular wins a “People’s Choice” award almost every year at the Ann Arbor Bonsai Society’s show and sale.

“Visitors really connect with the display because it reminds them of Michigan forests,” she said. 

While Goldstein’s trees are traditional Japanese specimens – azaleas, elms, maples and the like – the original Matthaei-Nichols collection is mostly native to the Great Lakes region. Leskoviansky said American bonsai artists have a lot more room to experiment with these local species. 

“The rocky mountain junipers and ponderosas are popular, but many deciduous trees have not been really explored,” she said. “The trees in our collection started from our local group exploring what was growing around them, and there’s a lot of potential with native plants to make some really nice bonsai.”

Leskoviansky added the Matthaei-Nichols mission focuses on sustainability, so they feature a huge native plant garden and incorporate native plants in many of the display gardens. Native plants don’t rely on fertilizer and pesticides, require less watering and prevent run-off well compared to non-native species, making them a sustainable asset to the collection. 

“We’ve tried to use native plants in the bonsai garden’s ground plantings as the backdrop for our trees instead of more traditional horticultural varieties or Japanese species,” she said. “It’s fun to connect the native species bonsai with the native species growing in our gardens or on the trails.”

Left: an American larch forest that frequently wins People’s Choice each year. Right: Leskoviansky works on a collected white cedar planting.

Leskoviansky is Michigan through and through – she grew up on three acres of Michigan land, attended Michigan State University for horticulture until 2008 and has been working at Matthaei-Nichols since 2009. She first worked at the arboretum’s nearly 100-year-old peony garden. Then a full-time position opened up for her to take over the rest of the special collections, including bonsai. She now solely oversees the bonsai and penjing collection.

“I got a crash course in bonsai after I attended the American Bonsai Society convention in 2011,” Leskoviansky said. “My career in bonsai was a complete accident, but it’s become something I really love to do.” 

She’s now taking a three-year break to apprentice with Michael Hagedorn, whose seasonal program she attended from 2018-19. Leskoviansky wants to continue building her skills to give the Matthaei-Nichols collection the care it requires. 

Former National Bonsai & Penjing Museum Curator and National Bonsai Foundation Co-President Jack Sustic – a long-time Michigan resident – will tend to the collection a few days a week while Leskoviansky is gone. One of Sustic’s trident maples has resided in the garden for many years. 

While the collection is temporarily closed, check out the Matthaei-Nichols website for more information on the gardens as well as a breadth of general bonsai and horticultural information.

Mel Goldstein’s root-over-rock satsuki azalea with a rabbit foot fern kusamono. Photo credit: Michigan Photography.

Board Member Ann McClellan Receives Spring Imperial Decoration from the Government of Japan

We are thrilled to announce that National Bonsai Foundation’s Board of Directors Member Ann McClellan and author of BONSAI AND PENJING: AMBASSADORS OF PEACE AND BEAUTY (available for purchase) will be honored by the Government of Japan by receiving a 2021 Spring Imperial Decoration. See the press release issued by the Japanese Embassy in the U.S. below.

Ann McClellan (by Kenji)

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2021 Spring Conferment of Decoration
Ms. Ann McClellan
Issued by Embassy of Japan in the United States

On April 29, 2021 (Japan Time), the Government of Japan announced the foreign recipients of the 2021 Spring Imperial Decorations. Author and writer Ann McClellan, is among this year’s foreign recipients, and in recognition of her contributions of introducing Japanese culture and promoting friendly relations between Japan and the United States, she will receive the Order of the Rising Sun, Gold and Silver Rays.

Order of the Rising Sun, Gold and Silver Rays

• DECORATION: Order of the Rising Sun, Gold and Silver Rays

• SERVICE: Contributed to introducing Japanese culture and promoting friendly Japan-U.S relations

• NAME: Ann McClellan

• MAJOR TITLES: Author and Writer

• ADDRESS (NATIONALITY): U.S.A (United States of America)

SUMMARY OF CONTRIBUTIONS

Ann McClellan has played an important role in strengthening the Japan-U.S. relationship. She has made exemplary contributions to promoting mutual understanding between Japan and the United States through her captivating written work, including "The Cherry Blossom Festival: Sakura Celebration" and "Bonsai and Penjing: Ambassadors of Peace & Beauty.” Through her writing, presentations and appearances at various conventions and events, she has imparted an appreciation and awareness of the art of Japanese bonsai and the history of the cherry blossom trees, which remain an enduring symbol of the Japan-U.S. friendship.

Leave a comment below to congratulate Ann!

Save the Date: World Bonsai Day - May 8, 2021

Join our celebration!

May 8, 2021

Bonsai is an opportunity to separate from the anxieties of the world – a chance for bonsai artists or those admiring trees to pause, collect and practice mindfulness.

In many ways, we have been operating with this same mentality throughout the global pandemic. This extra time has given us the space to reflect on what truly matters, engage with nature and reconnect with people in new ways.

To maintain the health and safety of National Bonsai & Penjing Museum staff and visitors, the National Bonsai Foundation will be celebrating World Bonsai Day 2021 online again this year. Read on for details about the festivities!

What is World Bonsai Day?

The World Bonsai Friendship Federation established this international day of celebration to pay homage to bonsai Master Saburo Kato's mission to promote peace and friendship through the art of bonsai. The day is celebrated on the second Saturday of May each year, which this year is May 8th!

NBF's online celebration

On World Bonsai Day, head to bonsai-nbf.org for tons of activities, videos and gifts! Here's a sneak peek of what we have in store:

- World Bonsai Day trivia

- Greetings & garden tours from bonsai collections around the world

- An at-home World Bonsai Day scavenger hunt

- Bonsai & floral origami lessons

- Zoom backgrounds & phone wallpapers featuring gorgeous scenes from the Museum

- Delicious food & drink recipes

We'll also share social media posts with #WorldBonsaiDay2021, so start posting now!

Enter our contest to win this bonsai book!

We're gifting THREE signed copies of Ann McClellan's Bonsai and Penjing book to help people connect with bonsai and the Museum and celebrate World Bonsai Day! For details on how to enter, read our post on Instagram, Facebook or Twitter.

Remembering Barbara Hall Marshall

Photo courtesy of Hallmark

The National Bonsai Foundation (NBF) is saddened to announce the passing of one of its most steadfast supporters, Barbara Hall Marshall. Mrs. Marshall died April 21, 2021, in Kansas City, Mo., at age 97.

A lifelong philanthropist, Mrs. Marshall had a keen interest in the small and precise that led her to grow bonsai and become a founding member of the Bonsai Society of Greater Kansas City. She later joined NBF and served on the NBF Board of Directors for many years, eventually being appointed Honorary Director in 1998. 

Mrs. Marshall was a most generous benefactor to NBF and the National Bonsai & Penjang Museum at the U.S. National Arboretum. Donations from Mrs. Marshall provided critical marketing, administrative and programmatic support to NBF over the years, including an internship program, an assistant curator position and the establishment of the John Y. Naka North American Pavilion.

“Barbara’s dedication to bonsai and NBF was truly second to none,” said James Hughes, Chair of the Board of Directors. “Her presence is deeply felt throughout NBF and the Museum, and we would not have reached such great prominence nationally and internationally without her support. It has been an honor and a privilege to have her as an important member of the bonsai community.”

Mrs. Marshall (L) attends a reception at the Museum in 2009. Also pictured: Marybel Balendonck (NBF Longstanding Board Member), Harry Hirao and Mr. Hirao’s daughter.

Mrs. Marshall’s love of art and the people who create it formed the basis for her lifetime of supporting arts education. She became a nationally recognized collector of miniatures and in 1982 co-founded the National Museum of Toys and Miniatures, where her personal collection remains on permanent exhibit. She was involved with many other organizations in and around her hometown, including the Kansas City Art Institute, Kansas City Symphony, the Nelson-Atkins Museum of Art and The Land Institute in Salina, Kansas, where she led efforts to construct a research facility in 2018.

The second child of renowned Hallmark Cards founder J.C. Hall and his wife Elizabeth, Mrs. Marshall was involved in the Hallmark Company for more than 50 years. She was a member of the company’s product review committee and later became part of a group charged with making acquisitions for Hallmark’s renowned art collection.

According to her official obituary, Mrs. Marshall attended Bradford Junior College and graduated from the University of Kansas in 1945. She was predeceased by her husband, Robert A. Marshall, and is survived by three daughters, two grandchildren and one great-grandchild, among other family members. 

Like many bonsai and penjing enthusiasts, Mrs. Marshall was fascinated by the grand stories we can capture in miniature form — whether through a fine-scale dollhouse or a small tree in a pot. We will always be in awe of Mrs. Marshall’s dedication to the arts and deeply proud that she chose to share her generosity with NBF. Her influence and passion for bonsai will live on through NBF’s mission and the beautiful trees in the Museum’s national collection. 

Seated: John and Alice Naka. Standing (left to right):  Marybel Balendonck, Kay Komai, Barbara Marshall, and Cheryl Manning. The group gathered at a luncheon organized by the Japanese government to honor Frank Goya (one of John's first students) in March of 2004.

Assistant Curator’s Blog: Collecting Moss and Creating Top Dressing

As bonsai practitioners, we are always thinking about the past, present, and future aspects of our trees and the environments in which they live and grow. We constantly plan and prepare for the next step in the wonderful journey of bonsai and penjing. One preparation that can be completed any time of the year and is extremely important for the repotting process is collecting moss and creating top dressing. 

Bonsai and penjing are commonly grown in small containers with inorganic substrate, or the layer of matter that helps trees grow and obtain nourishment. The substrate National Bonsai & Penjing Museum staff uses consists of the Japanese clay substrate called akadama, pumice, and lava rock, although substrates like tree bark and perlite could be used.

This well-drained substrate retains water to provide to the tree while allowing oxygen to flow through the soil, keeping the containerized tree healthy. To ensure the health of bonsai and penjing, a practitioner must constantly check and carefully manage watering to maintain the delicate balance of oxygen and water.

Moss is cultivated on the substrate surface by applying a layer of top dressing. This dressing is composed of local mosses typically collected from places like parking lots, driveways, or a nearby forest. The mosses may be mixed with high-quality sphagnum moss for larger tree collections. The live and sphagnum mosses are then ground to a smaller size, and soil and fine particles are removed.

All you need to collect moss is a container, a scraping tool and scissors, shown here. 

The ideal moss is tight and low growing. Species that spread and climb will create issues when the moss grows up the trunks. This is especially problematic on rough bark trees, which will need to be sprayed carefully with vinegar to kill and remove the moss.

Once collected, place the moss in trays to dry, allowing for the soil and other fines to easily be sifted when grinding.

After the moss has dried, use bonsai substrate-sifting screens that are one-quarter, one-eighth, and one-sixteenth size. Take the moss and rub against the screens, starting with the one-quarter size. It may not be necessary to grind past the one-eighth size screen, depending on the size of the bonsai substrate, and the one-eighth screen can be used to remove the smaller particles.

The top left image shows the sphagnum moss before and after grinding. The top right image shows the locally collected moss before and after grinding. The bottom image shows both the ground sphagnum moss and the locally collected moss separately, as well as after mixing both together with about a one-to-one ratio.  

Spread a thin layer of topdressing to cover the fresh substrate after repotting is complete. 

Applying top dressing to the surface of bonsai and penjing at the end of the repotting process provides multiple benefits. The moss establishes the aesthetic of the composition, increasing its value. The moss layer also holds moisture in the top portion of the media, which would dry out much faster than the lower portion if left uncovered. The moss layer also helps prevent breakdown and erosion of the substrate in the container. 

Once you collect moss, the empty trays can be filled with soil and a layer of top dressing. This allows you to propagate specific moss varieties and avoid having to collect moss each year from other sources.

As important as moss and top dressing is for bonsai and penjing, you also want to remember to follow and stay within specific guidelines. Although it may seem and sound harmless, it is not always legal to collect moss in every area you find, so be sure to always ask permission and obey trespassing signs if you are collecting!

Sincerely,

Andrew Bello
Assistant Curator

The National Bonsai and Penjing Museum
U.S. National Arboretum

NBF Celebrates National Volunteer Month

Museum volunteers enjoying the snow in 2017

In celebration of National Volunteer Month, the National Bonsai Foundation is paying tribute to the heartfelt, dedicated volunteers who assist the National Bonsai & Penjing Museum’s full-time staff in caring for the timeless and breathtaking trees in the national collection.

NBF is grateful for these volunteers who help make up the heart and soul of the Museum, infusing the spirit of bonsai into everything, from their technical duties to events and meetings that support the Museum.

But who are Museum volunteers, and what do they do? 

Volunteers assist with the maintenance of the Museum's bonsai and penjing collections. Their duties range from cleaning to pruning and wiring trees. Typically, the Museum receives the help of 10 to 15 volunteers annually, and they generally work 4 to 6 hours per week. While some volunteers come and go, others have volunteered for decades and have even been involved with the Museum since its inception. 

Museum Curator Michael James said past years have yielded an average of 2,000 annual volunteer hours. James said each volunteer offers the Museum a unique skill set and personal experiences in horticulture and the art of bonsai. 

“The volunteers are generous enough to give something so valuable as their time,” he said. “The stories they tell are like pages from a horticultural history book.”

Volunteers Janet Lanman and Jim Rieden join Hughes, Museum specialist Kathleen Emerson-Dell and other bonsai club members in a discussion about bonsai. Photos courtesy of Jim Hughes.

Jim Hughes, NBF’s board chair and a former Museum curator, said constantly maintaining the show-ready condition of bonsai for public display is very labor intensive. The volunteers’ many hands help full-time Museum staff make light work of the hundreds of trees within the Museum’s collections.  

“Volunteers help get the job done, week in and week out,” Hughes said. “As curator, I found them to be an invaluable resource that is skilled, dedicated and appreciative of their unique opportunity to work on these storied trees.”

He said some of his closest links to the local bonsai community during his time overseeing the collection from 2005 to 2008 were built around his weekly contact with Museum volunteers, who were bonsai club leaders and steadfast NBF supporters.

Volunteer Tom Inglesby helps Hughes repot the Ponderosa pine in the Museum’s grow out area. 

Hughes added that his role as NBF’s board chair provides him with a heightened awareness of the significant contribution that these volunteers make to the Museum and the U.S. National Arboretum, in lieu of paid staff. 

“Historically, in addition to their time and efforts at the museum, many of them are faithful NBF donors,” he said. “We are thankful to all of them for their hard work at the Museum and their philanthropic support of NBF's mission to promote the art of bonsai and penjing.”

A few of the volunteers Hughes worked with were original founders of the Museum and started their own local bonsai clubs that still thrive today. 

“I am thankful I’ve had the opportunity to personally meet and work with these individuals that established the Museum as a national showcase of this beautiful art form,” he said. “I hope we can do them the honor of continuing to safeguard the legacy we have inherited.” 

The Museum has been closed since mid-March 2020 and hopes to reopen soon, when it is safe for volunteers to return. Their enthusiasm for the national collection, bonsai and the related horticultural and artistic endeavors brings a vibrance to the Museum and NBF, and they have been greatly missed. 

While we have had many volunteers over the years and are grateful for their service and giving, our current list of active volunteers is below.

Jennifer Amundsen

Josh Berer

Ross Campbell

Jack Chapman

Sundara Chintaluri

Young Choe

Scott Clinton

Olivia Cook

Chuck Croft

James Dail

Elizabeth Dame

Robert Drechsler

LeAnn Duling

Matthew Ferner

Pierre Gerber

Brian Gottlieb

Joseph Gutierrez, MD

Richard Hammerschlag

James Haworth

Nia Imani

Tom Inglesby

Richard Kang

David Lieu

Stephanie Mark

Garret Miller

Lee Palmer

Theodore Pickett, Jr.

Julie Pascu

Mike Rainwater

Steve Smith

Akiko Sprague

Lori Sullivan

Janice Vitale

Alexander Voorhies

Richard Winchester