Maintenance Before & After Bonsai

b&a2

This muscular little tree is a good example of a maintenance before and after. The artist (or artists) that wired and trimmed it perform their magic at Bonsái Pavía. You might remember them from just the other day. The tree looks a lot like a Taxus
 Yesterday we posted a from scratch before and after. Today it’s a maintenance before and after that we found at Bonsái Pavía. This is when a bonsai that has become overgrown is brought back to presentable (this is a little oversimplified, but you get the drift). Every quality bonsai that has been around for a while, has experienced this type maintenance. In many cases dozens of times.
Continued below…

 

after1

Trees like this are wired when they are still thin enough to bend into such radical curves. After the shape has taken and the wire has been removed, they are field grown for years to thicken up and develop branching. How many years depends on your climate and other conditions, and just how thick you want it to be

Continued from above…
This points to the practice of allowing your trees to periodically grow freely. A good idea if you want them to remain vigorous and healthy and to continue to develop things like strong branches, thicker trunks, nebari, good taper etc

before1

The trunk was already established when the maintenance was performed, as were the primary branches (they're covered with foliage in this shot and difficult to see)

Continued from above…
If you reflect on the notion of before and after, you could break down almost any process that way. Take a picture of a tree and then remove a branch, take another picture and you’ve got a before and after. Still, the way we (and others) have been using before and after, involves clear and even dramatic improvements. One that might stimulate your interest and cause you to wonder what kind of magic was involved (I’ve heard it said that when westerners first saw Japanese bonsai, magic is exactly what some of them thought)….

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Bonsai from Scratch – Before & After

b&a

I think this qualifies as 'from scratch.'No small amounts of skill and imagination were required to get from what you see on the left to what you see on the right. You've got the good makings of a trunk and a lot of potential leaders and branches to choose from, but beyond that it's pretty rough. The artist is Paolo Salemi. Here's his caption... "Thuja, before and after 5 years. I start working on this tree in the 2012, work in progress..."

Time to pick up our recurrent before and after series. Several things struck me about this one… first, it’s a ‘true’ before and after, rather than the periodic trimming, wiring and grooming of an already established tree that you often see (here’s an example of a maintenance before and after). Not that there isn’t a lot of skill involved in maintenance of established trees that are overgrown, but just that the process is different.
Continued below…

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aA closer look at Paolo Salemi's handwork. One thing that struck me was how he left the foliage growing straight up. On our Northern white cedars (Thuja occidentalis) new foliage grows up, and then as it matures, it starts to sag a bit and grow a more horizontally (see the photo below). Having said this, I don't know what kind of cedar this is. Perhaps the growth habit is a little different than with our local cedars.

Continued from above…
Second, the tree isn’t over styled. Paolo has kept the relaxed informal look that you see with Thuja in nature (arborvitae and cedar are two common names for thuja). The other thing is Paolo’s treatment of the foliage (as mentioned in the caption just above)

 

cedar-1Here's a Northern white cedar that belongs to Brian Donnely of Quebec City. It's from a post we did in December 2016. As you can see, the foliage is horizontal. I suspect Brian trimmed off the vertical foliage

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Culture & Local Bonsai Styles

OLYMPUS DIGITAL CAMERA

This venerable, naturally dwarfed Ponderosa pine belongs to American/British bonsai artist and teacher, Colin Lewis. Colin lives on the coast of Maine. Ponderosa pines grow in the inland mountains of the western U.S.; two distinctively different environments

This post originally appeared here in June, 2011. It was titled Local Bonsai Styles 2: Growing Conditions, Native Species & Culture. I’ve done a little editing and rewriting

If you get a chance, take a look at the comments from the last post (from June, 2011). They provide insight into what started as a simple post with a single idea: the effects of human culture on local bonsai styles.
Continued below…

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A gnarly Premna by Robert Steven and his good friend, ‘Mother Nature.’ No way you’ll ever find a tree anything like this in the pine forests of Maine. It is distinctively tropical (Indonesia). 

Continued from above…
The first three comments deal mostly with the effects of nature, and the forth by Colin Lewis, returns to and amplifies the notion of human culture as an influence on bonsai styles. Rather than say much more here, I’ll let Colin speak for himself
Continued below…

Japanese beech by Colin Lewis. This species looks like it might be quite at home in Maine. In fact, when it comes to growing conditions, Maine and the northern Japanese island of Hokkaido have much more in common than Maine and the Rocky Mountains.

Colin’s remarks from the last post
“Local growing conditions and species are only part of the story. Look again at the olives from Uruguay and Spain and you’ll see that the do indeed have a lot in common. First, they are similar material, parts of the nebari of what were much larger and extremely old trees that have long since fallen apart and left just a ring of sprouting root remnants. They are not influenced at all by ancient olives because olives simply don’t grow like that. They are in fact the artists’ responses to the material. They are brilliant works of pure fantasy.

“But there is something else: both artists are of Spanish descent, they both have the Spanish flamboyance and the confidence and freedom of spirit to express it. You can feel the swirling flamenco dancers in the works of both. David’s reflects more the sophistication of Madrid, while Andres’ reflect perhaps the more ethereal Uruguayan culture. Transplant either of them to Maine and give them yamadori larch – quite different in nature, and their results would still be similar to each other and would still reflect their Spanish roots.
Continued below…

OLYMPUS DIGITAL CAMERA

A closer look and the ancient bark on Colin's Ponderosa. There are things you can do to make a bonsai look older than it is, but when it comes to bark, only time will do the trick

Colin continues (from above)…
In North America this unity of national cultural influence doesn’t – can never – exist. In part because of all the immigrant groups who still hold on to remnants of their ethnic origins; but importantly, Americans don’t grow up surrounded by a couple of thousand years of cultural and artistic heritage to give them a common emotional expression. Chasing after a national or local style in a multi-cultural society is futile. Looking for cultural styles within that society might be more fruitful.”

Colin Lewis is the author of Bonsai Survival Manual (and several other books), and is the consultant editor to The Bonsai Handbook by David Prescott. Colin owns and operates Colin Lewis Bonsai Art and the Ho Yoku School of Bonsai. Colin is also responsible for Ho Yoku bonsai care products.

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Shopping for Bonsai in Japan

pavia

I've always had a soft spot for three fingered Shohin bonsai (bonsai that are easily held with three fingers). Particularly ones from Japan, where most of the good ones seem to show up... at least in photos. This one looks like a Shimpaku juniper. It's from Bonsái Pavía, as are all the photos in this post.
Today must be my lucky day. Not only did I discover a new bonsai company (new to us at least), I also discover a never before used theme for Bonsai Bark… shopping for bonsai in Japan. The new company is Bonsái Pavía in Madrid, SpainThey’re the ones doing the shopping.

 

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pavia4

Another Shimpaku (the first four shown here are all Shimpaku junipers). Are there too many jins? Seems like a lot of people are commenting about excessive deadwood these days

 

pavia2

Another deadwood dominated Shimpaku. You probably already know this, but Junipers in general are among the best at holding deadwood (meaning, deadwood rots more slowly on junipers than most other type trees)

 

pavia3

I like the aged bark on this one

 

pavia5

Looks like a Pomegranate. No deadwood

pavia7

Is this a Japanese black pine?

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“Nobody thought at that time that the Westerners would ever be able to develop bonsai themselves”

hedgeThe Japanese maple that Walter Pall uses to illustrate his 'hedge-cutting method.' This photo was taken four years after Walter started working with this tree. The before photo is below.

Time to revisit Walter Pall’s hedge-cutting method. We’ve shown this post several times over the years, but it’s a good one. So just in case you missed it…

I first learned about hedge shearing bonsai from Jim Smith (sadly now deceased*), a highly respected American Bonsai Artist and grower who worked primarily with tropical and sub-tropical bonsai. Because Jim lived in Florida, I figured that hedge shearing was only used in the tropics or sub-tropics, due to rapid rates of growth and recovery.

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That was until I began field growing larches here in Vermont and decided that the only way to keep up is to use my sword shears and periodically cut back to the desired silhouettes (after fairly long periods of unrestricted growth). However, until fairly recently, I didn’t know about Walter Pall’s hedge-cutting methods, which as it turns out are considerably more sophisticated than mine.

What follows are some of Walter’s photos (with his captions in italics) and some remarks (also in italics) that I selected from his hedge-cutting article.

hedgebeforeBefore. "2008-05: The tree arrived in my garden in this state. The previous owner had kept it in Akadama mush and thought that he would automatically improve the tree by pinching. The crown is much too wide and flat and the leaves hide poorly structured branches. Many branches are dead. The Nebari could be much better and the maple is planted too high in its pot."

“Well, a few decades ago when the first bonsai trees were brought to the West, the purchasers asked how they should care for these trees. The answer was given so that no mistakes could be made. It was assumed that the owners wanted to keep the trees in the state in which they purchased them. The pinching was recommended because it is useful for trees that are ‘finished’ and ready for exhibition or sale. Nobody thought at that time that the Westerners would ever be able to develop bonsai themselves.

In the developmental phase, the goal is clearly to improve the tree. The trunk and the branches must be thickened, pruning wounds must close and the tree is to develop so many new shoots that one has a choice of useful branches. The nebari should also improve significantly. At this stage, the immediate image is secondary to the future beauty. That is why leaves can be large and the tree can look ugly for the longest time. To achieve these goals, the tree needs as much excess energy as possible which it can only obtain through the photosynthetic activity of as many leaves as possible. If exactly those sources of energy are removed too early, then the tree can’t develop. In the worst case, it dies a slow death.”

hedge3As you can tell from the sacrifice branches, Walter's methods involve more than just hedge shearing. "2009-01: A deciduous tree can be much better evaluated without its leaves. It is now apparent that the center tree ought to be much thicker and somewhat higher. The previous owner didn’t achieve much by many years of pinching. It looks rather poorly developed. The pot by Bryan Albright seems over powering."

“The numerous leaves produce lots of energy in the form of carbohydrates that moves downwards through the branches and is deposited in the branches, the trunk, and finally the roots. The result is that branches and trunk thicken, that the surface roots – the nebari – also thicken, and that the roots grow strongly. At the same time, many new visible and dormant buds develop. The entire system “tree” is strengthened and it has good reserves for any setbacks. A radical cutback is such a setback.

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“In Central European climate about six to eight weeks after the first flush, in our area from the middle of May to the beginning of June, the tree is then cut back with big sheers to its previous silhouette. It is irrelevant where exactly it is being cut, or if any leaves are cut. This actually ought to occur as a partial leave pruning will allow light and air into the crown of the tree. All other growth inside the silhouette is not touched but strengthened with this method. And the tree is strongly encouraged to bud out again.”

hedge4The final photo in Walter's article. "2013-02: The tree was repotted into a very suitable pot by Walter Venne from Germany. The results of the development thus far are quite presentable. But is is by far not the end of the development. Much has changed in five growth periods, yet the work continues as before. In another five years the tree will be better again. The drawback, however, will be that he tree is not really presentable during much of that time."

The above comments and photos are just a sampling from Walter Pall’s ground-breaking article on his hedge-cutting method.

hedge2Podocarpus macrophylla by Jim Smith. My best guess is that Jim used his own hedge shearing method to develop this tree. Photo is from The Art of Bonsai Project.

*Jim Smith, who was one of the kindest souls I’ve ever met, died last year. A great loss to our bonsai community and to his family and numerous friends. Here’s one of several posts we did on Jim and his bonsai. And here’s one by Adam Lavigne that shows a whole range of Jim’s trees.

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Winter Bonsai Silhouettes – Coming Sooner than You Think

WS1

In addition to the massive nebari and the lush soft green foliage contrasted with the soft creme pot, you might appreciate the near perfect photograph. It was taken by the omnipresent Joe Noga (all the photos in this post are his as are numerous other bonsai photos featured on this blog and elsewhere). As you can see, the tree is a Willow leaf ficus. No mention is made of the artist. The photo is from the 2016 Winter Silhouette Bonsai Expo gallery.

I can’t say with certainty that this year’s Winter Silhouette Bonsai Expo will be the best yet, but there’s a good chance it will. Bonsai is still relatively new here in North America, so improvement from year to year is to be expected. And judging from last year’s photos, the show should be, at the very least, excellent and well worth a trip to North Carolina

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WSAD

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WS2

Here's a great candidate for a winter silhouette. I won't bother to guess what it is

 

WS4

Larch are one of only a handful of deciduous conifers in the world. Most larch turn yellow in the fall, like this one, though I have seen reddish needles on at least one species. There are thirteen (give or take) larch species that form an almost continuous ring around the colder regions of the northern hemisphere (with breaks for the North Atlantic and Bering Sea). My guess is this one is a Tamarack (Larix laricina), a species native to parts of the Northeast U.S. and much of Canada

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WS3

Bougainvillea with its brilliant bracts and its well chosen stand that almost mirrors the contorted trunk

 

WS1cu

A close up of the lead tree's impressive nebari

 

venue

Part of the rather spectacular venue

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A Small Man Contemplates a White Pine from Below

pinemain

I borrowed this delicious little gem from Michael Bonsai. Michael doesn't say who it belongs to or what it is, but given his fondness for Japanese black pines, and given that it looks like a Japanese black pine, well you get the drift. We could even go a little further and speculate that Michael took this photo in Japan; he's been know to do such things and the tree does have a Japanese feel

Continuing from yesterday with Michael Bonsai photos and another plug for this weekend’s  Mid-America Bonsai Society Show & Sale

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wbf

A small man contemplates a Japanese white pine from below... Here's Michael's caption... "Happy World Bonsai Day - May 13th. World Bonsai Day celebrates Saburo Kato’s belief that bonsai has the power to unite people by acting as a bridge to international friendship and peace." Okay, we're three months late, but for some of us, everyday is a good day to celebrate Saburo Kato's belief that bonsai has the power to unite people

 

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pinew

Kuromatsu - Shohin display is Michael's caption for this one. And just in case you've been lagging in you Japanese bonsai vocab studies (it takes one to know one)... Kuromatsu is Japanese black pine

 

pinewcu

Close up...

I hear Chicago has some great restaurants…

Mid-America Bonsai Society
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Friday, August 18, 2017, noon – 5 p.m.
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pmaincu2

Close up of the tree at the top of the post. I love the way the moss, lichen and bark fuse and bind the tree to the soil

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Celebrating Forty Years of Bonsai

kuro

This sweet Japanese black pine with its thinned and reduced needles and its gnarled old trunk jumps right off the page. The luminous pot and the way it accentuates the color of the tree's bark doesn't hurt either. Together they provide a study in simplicity and attention to detail. It belongs to Michael (of Michael Bonsai). Here's his caption... "Ready for the 40th Midwest Bonsai Show. My kengai kuromatsu. Japanese Black Pine. - Come visit the show next weekend August 18th - 20th at the Chicago Botanic Garden."

I’ve been a fan of Michael Bonsai for a long time, and he’s been a fan of Japanese black pines (but not just JBPs) for a long time. If you’re anywhere near Chicago, you can view Michael’s Black pine and a host of other quality bonsai at Mid-America Bonsai Society Show & Sale this coming weekend

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kurocu

The bark's gnarled aged feel is near perfect. Then there's the bright orangish color and those little touches of green climbing up from below

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Mid-America Bonsai Society
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Celebrating 40 Years!
Enjoy a display of 200 bonsai trees

pink-bonsai

Celebrating 40 Years

Friday, August 18, 2017, noon – 5 p.m.
Saturday and Sunday, August 19 – 20, 2017, 9 a.m. – 5 p.m


Meandering Myrtles

myrtus3

Here's the copy from our source (a Bark post last November titled Meandering Lines)...  "This Myrtle (Myrtus communis) belongs to Andrea Albergo. The pot is by Greg Ceramics and the photo is by Harry Harrington. I chose it for the lead tree for several reasons; I'm not sure I've ever seen a Myrtle with such a massive trunk (turns out I had), deadwood on most non-conifers isn't all that common (though becoming more common) and I like the loose abstract meandering lines of the deadwood and living veins."

Yesterday we feature a very muscular Myrtle (Myrtus communis) for your viewing pleasure. There was a day when I didn’t believe any Myrtles existed with such massive trunks. Now I know better
Continued below…

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myrtus3cu

Are the lines on this trunk too contrived? No matter, It's beautiful and it draws your eye

Continued from above…
All four Myrtles shown here were borrowed from Bark posts. They represent the sum total of our massive Myrtles to date, with the exception of yesterdays

 

myrtusMauro1I haven't seen that many real Myrtle bonsai and of the ones I have seen, this one that belongs to Mauro Stemberger is by far the most impressive (was by far the most impressive at the time). Though the flowers aren't necessary to appreciate the tree, they add a nice touch.

 

myrtusMaurocu

There's a lot going on here

musclemyrtle

Myrtus communis by Rui Ferrreira. The photo is from the EXPOS PORTUGAL – 3º Congresso Federação Portuguesa de Bonsai – Ericeira 2011. You can find it on Kintall’s home page.

 

musclemyrtlecu

The well-gnarled trunk adds character

 

TICKLEMYRTLEAs you can see by the copyright, this muscular Myrtle belongs to Tony Tickle (or belonged to Tony Tickle at the time), an artist we've featured numerous times over the years

 

TICKLEMYRTLEcu

I like a good twin trunk tree and this one is no exception. I guess you could call it 'mother and child' if such a term is still used. In this case, the child is quite small

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Even Though No Vacation Goes Unpunished, We’re Back & Ready for the Next Round

myrtle

You almost never see Myrtles this massive. And when you do, they're never from North America (go ahead, prove me wrong). This one is from Spain. It belong to Gabriel Bonsaisantboi Romero Aguade (something of a regular here on Bark). Here's his caption... "After a day and a half removing inner leaves, it's ready for a wire and correction."

We’ll just feature one tree today. I’m recovering from jet lag and worse, buried in two weeks of work (no vacation goes unpunished). Anyway, I’m back and Ric (our warehouse master) will be back and recovered from routine surgery on Monday
Continued below… 

We are now fully stocked in all sizes of
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Myrtlecloseup

Close up of Gabriel Bonsaisantboi Romero Aguade's massive Myrtle (Myrtus communis). You can enjoy more of Gabriel's impressive bonsai on facebook

Continued from above…
Orders received during vacation will be shipped first come, first served. As will orders received from here on. We expect to be caught up by the end of this coming week. Thanks to all of you for your patience and understanding

And even though someone complained about our ads the other day – it was a first and I reminded them that Bonsai Bark is 100% free and entirely optional – still, we know that at least some of you want to know what’s going on at Stone Lantern…

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some of the lowest prices we’ve ever offered
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TC-SET5-AESTHETICS-680

a small sampling of our 30 Aesthetics tools

Bonsai Aesthetics are the perfect tools
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additional 10% off orders 150.00 or more
FREE Shipping on Continental U.S. orders 75.00 or more
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