Glenis Bebb, Jan 18
Luis Fontanills, Feb 17, 1959
* Su Fang, Feb 17
Germán Gámbaro, Feb 22
Piotr Czerniachowski, Feb 23, 1972
Gede Merte, Mar 10, 1965
Marco Favero, Mar 31, 1942
Rune Kyrdalen, May 25, 1977 (37 in 2014)
Tony Bebb, June 16, 1967 (53 in 2020)
Karl Thier, Aug 22, 1952
Fischweiler Yves, Aug 28, 1971 (42 in 2013)
Dick Miller, Aug 30, 1934 (79 in 2013)
Alejandro Bedini G., Aug 31, 1968 (45 in 2013)
Youri van Pinxteren, Sep 13, 1995 (18 in 2013)
Jim Gremel, Oct 9, 1944
German Arellano, Nov 9, 1973
Carlos Tramujas, Nov 14, 62 in 2023
* Min Hsuan Lo, Nov 30

About CBK
History tells us that bonsai were first displayed in South Africa at the British Empire Exhibition held in Johannesburg in 1933 [sic], where Asian exhibitors displayed their trees.  Thereafter, mention is made of soldiers, returning home from the east after the Second World War, expressing interest in the beautiful trees they had seen in Japan.
However, the person who was responsible for the initial start of the art of bonsai in the Cape was Becky Lucas who, loving what she saw and wishing to find out more and improve, went to Japan in the 1960s.  There she attended a bonsai course under the guidance of a bonsai master.  On her return she founded the Bonsai Society of South Africa -- the first society in the Cape, and set about traveling the country promoting the club and the love of Bonsai.  Through her many different offshoots of the Society were formed.
http://www.capebonsaikai.co.za/index.php?option=com_content&view=article&id=247:about-cbk&catid=38:miscellaneous&Itemid=152

Jack E. Billet

Lynn Boyd
http://www.bonsai-wbff.org/nabf/newsletter5/boyd.htm
http://www.aias-suiseki.it/en/LynnBoyd
http://ibonsaiclub.forumotion.com/announcements-f5/our-friend-lynn-boyd-s-he alth-t245.htm
Gustafson, Herb L. Keep Your Bonsai Perfectly Shaped; New York: Sterling Publishing Company, Inc.; 1997. ISBN 0-8069-8134-2. 112 pp. Color photos by author and line drawings by Lynn Boyd.
http://www.oregonlive.com/clark-county/index.ssf/2010/12/leona_carty_clark_countys_constant_zen_gardener.html
Lynn Boyd references:
http://www.bonsai-wbff.org/nabf/newsletter5/boyd.htm
http://www.aias-suiseki.it/en/LynnBoyd
http://ibonsaiclub.forumotion.com/announcements-f5/our-friend-lynn-boyd-s-health-t245.htm

Bob Burgess, b&w photo, Bonsai Magazine, BCI, Vol. XII, No. 9, November 1973, pg. 15

Che Zhao Sheng, 69, has worked as a gardener at The Huntington since 2006.  His main job is to tend to plants in the Chinese Garden and prune them.  Born in Guangzhou, China in about 1951, Che developed and interest in and started studying penjing when he was 26 (about 1977).  He practiced with Lu Zhi Quan, the son of noted master Lu Xue Ming, in Guangzhou, and later became a student of Master Lu himself, who had been trained in the Lingnan school.  "My teacher was considered a top master of penjing in China," Che says.   In 1986, Che immigrated to the United States, eventually settling in San Gabriel.  He worked in various jobs but continued to develop his penjing skills by working on trees he kept in his backyard.  He also volunteered at The Huntington.  Since penjing was little known here, Che had to enter bonsai exhibitions in order to display his work.  It was at one of these exhibitions that Che's work caught the eye of Jim Folsom, the Marge and Sherm Telleen/Marion and Earle Jorgensen Director of the Botanical Gardens.  Folsom hired Che to work in the Chinese Garden and begin detailed pruning of the garden's many pines so that they would reflect a Chinese, rather than a Japanese, style of pruning.  Che made a strong impression right away.   Now visitors to The Huntington's Chinese Garden, Liu Fang Yuan, can see more than two dozen examples of the art form, many created by one of The Huntington's own experts.  Some of the Huntington's approximately 60 penjing are on display in the Verdant Microcosm, a spacious courtyard within the newly expanded garden.  The court is composed of winding paths, whitewashed walls and occasional pieces of gnarled Taihu rock imported from Lake Tai in China.  Currently, he is a member of the Southern Breeze Tree and Stone Society.  He is also the Honorary President of the Guangzhou Penjing Association, which is headed by his good friend, Zhi Quan Lu, his very first teacher.  (McFarling, Ursula Lee,  "The Art of Penjing," VERSO, Oct. 28, 2020; Cheng, Scarlet,  "From 'penniless' to penjing pro: The man behind the Huntington's Chinese Garden art," Los Angeles Times, Oct. 9, 2020; "Artist Curated Double Trunk Chinese Elm by Zhao Sheng Che," Eastern Leaf)

Rodney Clemons,
http://bonsai-bsf.com/?page_id=1428

Bonsai Society of Portland founded in Spetember 1966. Hosted BCI Convention in July 1978 (Nearly 450 attendees; Toshio Kawamoto and Tom Yamamoto; Tosh Saburomaru, John Naka, Dan Robinson (Jan 26) who first did a demonstration using power tools, Herb Gustafson) and June/July 1999 (Kunio Kobayashi (Japan), Dan Robinson (Washington, USA), William N. Valavanis (New York, USA), Joe Harris, Suthin Sukosolvisit, Masahiro Furukawa, Frank Heidt, Roy Nagatoshi (California, USA), Dave DeGroot (Washington, USA), Charlie Anderson.)  Also, the Pacific Northwest Bonsai Association Augut 1995 and Sept 2002. (Robert A Guitron, President for The Bonsai Society Of Portland, Oregon, Inc., 6707 SW Pine St Portland OR 97223,Started in September 1966, https://www.fastbackgroundcheck.com/people/robert-guitron/id/f-7660762555277105080)

Craig Coussins, more
A short video of my brother playing with the Minnesota Youth Orchestra.  Always keen to promote youth in classical music, Ray, a very talented child pianist, started playing with Scottish Philharmonic at age 9 and was one of the youngest LRAM's (Licentiate of the Royal Academy of Music) in the country.  This video was taken some 65 years later.
Our parents were both musical and our grandfather Louis, was a soft shoe shuffler on the music hall stage from the late 1890's with Fred Karno and following the war, to the early 1920's.  My mother was a well-known dance teacher for over 65 years and Dad was a dance band leader from the 1930's.  Subsequently, we love music and dance and play a variety of instruments.  None as brilliantly as brother Ray on his piano.  I always love his artistry.
Never anything else but very proud of my family's theatrical and musical abilities while giving great joy to those around them.
(Nik Tokonoma Facebook posting, Sept 3, 2017)

Tony Roberts posed a question to which I wanted to respond.  I posted some historical images from my Hungarian Bonsai Master friend, Tamas Biro.  Tony commented that I was (virtually) part of the history of the beginning of the UK Bonsai scene.  I was slightly more than virtually though.  I could write a biography of sorts, which he considered may be a fascinating read, with photos.  Photos are plenty.  Most attached are of my Garden in Scotland over the past 20 years.  A couple with good Japanese friends.   That is indeed the problem.  It's my truth and others have theirs of course.  Biographies are just that.  The truth of the person writing the biography.
Bonsai in the UK; 'A POTTED HISTORY FROM ME'  Teachers: In the beginning, there was Peter Adams.  I attended workshops at Peter where I met many other enthusiasts who became great friends over the years.  Dan Barton, Peter Chan, Harry Tomlinson and many others.  There were others prior to him who sold bonsai though, but it was a very small group who started Bonsai in the UK.
Books: A Mr. Larkin wrote a book on his version of Bonsai back in the 50's.  I still have this and while laughing at his efforts I soon came to realise that he was an innovator and was trying to pass on his own knowledge.  A man of his time.  There were some periodicals from Bill Valavanis in America that made their way over to us later.  Distributed by Harry Tomlinson.  However, it was the Bristol Bonsai Association and Dan Barton who created the first really big effort in Bonsai, publishing booklets each quarter, sometimes more.  It was that group to which Peter Adams belonged.  Other clubs such as the Southport based club, the NBA had regular magazines but these were focusing on mostly local and local enthusiasts.  However, they had cleverly called themselves the National Bonsai Association and people from all over the UK signed up to get their journals.  It was a start.  I used to regularly visit them and give talks and workshops.  Lovely crowd of folk.
Book highpoints of the 90's: was the first and then the second edition of John Nakas books followed by The Magical Technician, Kimura.  That was in Japanese, although master potter Gordon Duffett had that translated for his friends.
Courses and workshops: I have always been a fan of workshops as opposed to the theatricality of the convention demo.  Even John Naka could not really see the point and commented on his five-city 1984 tour that most of those demo trees would end up in the wrong person's hands and will die.  At least the Edinburgh demo forest is still alive and under the care of Peter Chan.  Peter Adams, a prolific writer of Bonsai Books, started importing trees for customers.  I would travel to him once a month to take weekend courses then travel back to Edinburgh to teach my friends.  Often carrying a new bonsai that he had got for me from a dealer in Japan.  That was in the 1970's.  Peter's first book in the early 80's became the bible for all of us as that was geared to what we wanted to know.  Make small trees.
Early enthusiast in Scotland: We had an early enthusiast in Ayr who saw a bonsai book from Japan and proceeded to make excellent bonsai but as he only knew these from pictures, all his lovely bonsai were pretty flat and two dimensional.  He was a butcher and made moulds of his pie pots in which to hold his wee trees.  Early famous potters were led by the great Gordon Duffett.  Still here and still making exceptional pots for bonsai, now joined by so many others including Scotland's own Ian Baillie with, Peter Jones in England.>br> I founded the Scottish Bonsai Association in 1978 and helped found the Federation of British Bonsai Societies in 1981 along with Bill Horan of the British Bonsai Society and other worthies of the time.  As a FoBBS, the new UK wide Federation had got together to bring over John Naka in 1984, I funded the filming by a group that I had arranged to follow the tour and record a one hour video which I had edited down from two sets of cameras covering eight hours of film for each of the four English venues.  FOrthy-eight timed videos edited by me into four one hour watchable films.  A huge amount of work.  The videos were sold to raise money for FoBBS.  However, being naive, we did not appreciate that various club members then copied the videos and freely handed them out to members making the sales of the videos negligible.  In Ireland, I was even offered one by a professional Medical man who had done the copies for his club members and was happy to give me those.  Not having noticed that my name was on the production team.  I asked him if he had actually read the cover of the original tapes.  He had and then I saw a perfectly pale face turn red, then quite white again.  Of all people, academics are well aware of the perils of copying without permission or even citation.  If this guy could do this, it was a free-for-all it soon emerged.  My wife, a professor, was shocked at the idea this went on.  As I said, we were naive and trusting.  I still have faith In humanity despite these miscalculated enterprises.
"Saru mo ki kara ochiru (Even monkeys fall from trees = Everyone makes mistakes)."  These videos covered four out of five of Master Nakas Workshops, but the fifth, held in Edinburgh, was made but we did not produce it because of this problem.  It's a pity as it was rather good.  I have posted a couple of snippets on Facebook though.  That was a great workshop and demo as the masters from the 1980's on stage were Naka, Adams, Jordan, McCurrach, McNiel, and me.  Memories lost in time, "like tears in rain."
My own little story: I loved teaching in Scotland but although I had been living in Scotland all my life, starting bonsai in 1970 and founding the SBA in 1978, had to leave in 1987 to take up work in London and Russia from 1987 to 1991.  I had used my own martial arts studio as a meeting room for workshops, bringing up many of the leading bonsai teachers of that time -- Adams, Tomlinson, Chan, McNeil, Barton, and many others.  All at my own expense with little contributions from the folk attending.  It was not about money but about learning.  I gifted my very large collection of books to the club before I left.  Always professionally handled by my dear friends, the Mulgray Twins.  I was made honorary President before I went.  That was a great honour.  I arranged the installation of the first National Collection in Edinburgh and helped my friends Hector Riddle and Ian Bailie come up with the plan and build.  It has now been moved to another friend at his wonderful Peony Nursery.
Although I was honorary President of the SBA, I made the error of thinking that as the founder and benefactor to the tune of many thousands of GBP, and as Hon Pres, I could make comments when I felt the need to do some very gently questioning about the direction it was taking.  I wanted a federation of Scottish Bonsai Clubs with each having their own membership fees, powers, etc. and coming together to organise visits from masters on tours.  I was shot down by a letter from the secretary and told that I was no longer welcome in the SBA and that I should keep my nose out of their affairs.  The result was that although I returned to my homeland Scotland in 1991, I have not taught Bonsai at any SBA club since 1990.  Meantime, from 1992 I wrote five books, headed up 9 conventions worldwide, undertook numerous tours of America, Australia and New Zealand, Russia, Europe and even the Far East.  I became known in international circles as a Bonsai Master.   Sadly, Scottish Bonsai, in my home country, was, at the time mired in their own version of politics by a small group of people who, for some reason, did not want me around.  Something about being a prophet in his own land comes to mind.  Water under the bridge but the pain is still there.  It's not ego but practicality that I really thought that it was very wrong during the ensuing 30 years I was unable to teach bonsai to my own fellow Scots in Scotland.  That I was persona non grata.  I still had a number of great Scottish colleagues like the amazing talented Robert Porch who came with me to workshops both in England and overseas.  We also appeared together at the European Bonsai Association (EBA) Convention in Bruges as well.  At the regular workshops in my Bonsai Garden in Glasgow, we had many bonsai masters coming to work with me on my own collection including many great masters from England, Wales, Japan, China, Argentina, America, Canada, France, Italy, Spain, South Africa, Australia, and New Zealand.  All places that I, in turn, had been to to give classes.  Sadly, although I made the offer to the then leader of the group, few Scottish enthusiasts came to meet those masters.  I also organised three Scottish Bonsai conventions which were attended by visitors from across England, Wales, Ireland, and Europe.  Very well attended by many hundreds of interested people from far-flung places like Russia.  Including one who became my wife.
I am at peace now and very happy that the SBA has gone from strength to strength now that their anchors have gone.  New blood is always refreshing and positive. I have had very good relationships, albeit at arm's length, with the SBA. (Nik Tokonoma April 20, 2018 Facebook posting)

Gordon Duffet

Maria Elena de Duran

French teachers/artists who've passed on
* http://translate.google.com/translate?hl=en&sl=fr&u=http://www.jeker-bonsai.fr/index.php%3Fid%3D17&prev=/search%3Fq%3DThierry%2BFont%2Bbonsai%26start%3D10%26sa%3DN%26biw%3D1600%26bih%3D730

Ms. Felicidad Gupit, founder of the Natural Stones Society of the Philippines (NSSP), The NSSP was founded by “Mama Bonsai” Fely S. Gupit in 2001 with a mission to promote the art of viewing stone collection, display, and appreciation among the Filipinos.  Over the past years, the NSSP has been working with various local and international groups to deliver insightful workshops, conferences, and exhibits.  In 2018, the NSSP organized the first Suiseki Summit Philippines with Dr. Tom Elias, Chairman of the Viewing Stone Association of North America (VSANA), as the keynote speaker.  This successful event was followed by the "Sanib Pwersa" events in 2019 which are series of exhibits and workshops about Suiseki, Bonsai trees, and Ikebana creations around the country co-produced with the Philippine Bonsai Society and Ikebana Society of Manila.  To open the new decade of Suiseki appreciation in the country, NSSP intends to push for bigger and better events with the hope to impart its expertise, knowledge, and resources to spark the interest of more Filipinos towards Suiseki.
("About the NSSP")

Keiseki Hirotsu (1903, Komatsu, Japan - 1987, California.  He immigrated to the USA after completing his formal education.  In 1954 he visited Japan on vacation and there he saw suiseki for the first time.  He returned to the USA fired up and began a life-long pursuit of the elusive stone jewels.  He, with a friend, were the first to explore what were to become suiseki collecting treasures from the rivers of Central to Northern California.  These legendary rivers and streams have been visited by many international collectors, including Japanese from Japan!   Kusamura Bonsai Club arose out of an initial organization named Hokubei Kusamura Mujin-ko with its earliest recorded formal meeting in 1956.  It became known as the Northern California Kusamura Mutual Association a few years later.  It began meeting in member's homes and was led by Keiseki Hirotsu who only spoke Japanese.  Hirotsu-Sensei was the aesthetic head of the two most famous and oldest Japanese suiseki clubs in the West.  Located in the San Francisco Bay area, the Kashu Suiseki Kai, in Palo Alto has been in existence for over 40 years, Hirotsu being the founder and first instructor of it, and the San Francisco Suiseki Kai, over 22 years old and Hirotsu being the first instructor of it.  Kashu Suiseki Kai, known as the first suiseki club in the U.S., located in Palo Alto, the club was started in 1963/1964 by Keiseki Hirotsu.  His outstanding collection, along with his teaching and inspiration and tough critiques, has been the cornerstone for the suiseki community in Northern California.  Hirotsu-Sensei exhibited his suiseki in Japan numerous times.  The very famous "Mt. Fuji" won awards in Japan, and is the only American suiseki to be highlighted on television there.  "Mt. Fuji" is a large stone, being 16 inches wide (40 cms).
Photo taken for the Golden Statements bonsai magazine in 1984.  http://www.hokubei.com/en/news/2009/04/Suiseki-Kai-Featured-Artist-Cupertino-CBF
(http://www.gsbf-bonsai.org/kusamura/aboutClub.html)
(http://www.aisekikai.com/resources/june+newsletter+07.pdf)
(http://www.felixrivera-suiseki.com/KeisekiHirotsu.html; "Keiseki Hirotsu, Master of Suiseki" by Hideko Metaxas and Nancy Eaton, Bonsai Magazine, BCI, July/Aug. 1989, Vol. XXVIII, No. 4, pg. 23.  Reprinted from Golden Statements, GSBF, no date given.)
add to Feb 25? http://www.magiminiland.org/Days/DaysFebc.html

1943 -- Hu Yunhua was born.  (In 1960 he would enter the Beijing Forestry Institute, majoring in gardening design and overseeing the construction of gardens in Nanjing and Shanghai.  He would graduate in Landscape Architecture.  In 1977 he would become director of Penjing research in Shanghai.  He would be named a permanent board member of the Chinese Horticulture Institute, director of the Penjing Research Centre, the deputy director of the Shanghai Botanic Garden, a standing council member of the China Landscape Association, and honorary president of the ____ Penjing Society.  Master Hu would be most widely known in the west through his book Chinese Penjing, Miniature Trees and Landscapes.  Those who would see him demonstrate would agree that he was one of China's most accomplished Penjing exponents.  A WBFF China Region Director, he would become President of World Bonsai Friendship Federation President in about 2010.  (http://www.bonsai.asn.au/seminars.html ; http://www.stevenyoung.co.nz/component/option,com_mailto/link,3c0e957c9ecb32674f7d7158863b9b78ecd72c39/tmpl,component/chinesevoice/identity/index.php?option=com_content&task=view&id=57&Itemid=29 )

Oskar Jonker b. Sept. 26-

Tei'ichi Katayama (b.1908)
http://www.aisekikai.com/resources/august+newsletter+09.pdf One of the larger and more widely known groups is the Hamamatsu Suiseki Association, which is based in the mid-sized city of Hamamatsu in Shizuoka prefecture.  Originally dubbed the Hamamatsu Aiseki Association, the group was founded in 1983 by the renowned collector Sakae Ohashi, who was also a member of Tei'ichi Katayama's Ichiu-kai, and through his efforts the club quickly rose in status and attracted high quality exhibitors from around the country such as the late Reiji Takagi of the former Takagi Bonsai Museum, Choseki-kai founder and keido instructor Iwao Yokoyama, Uchiku-en bonsai garden proprietor Seiji Morimae, and others.  With many of the founding members also being followers of Mr. Katayama's teachings, it is not surprising that the influence of keido can be seen in many of their displays, though the club was never officially meant to be an extension of the Ichiu-kai or a strictly keido-based club as such.  Unfortunately, since the passing of Mr. Ohashi in 2002, the club has lost some of its original drive, though it continues to produce excellent shows every year, and this year's 27th annual exhibition was no exception.
The Hamamatsu Suiseki Association is one of the few large-scale clubs that has exhibitions open to the public and displays stones in this semi-formal fashion, and its leadership continues to actively pursue the ideals espoused by Mr. Katayama through his teachings in keido, even if they must be adopted to compensate for shortcomings in the exhibition venue. (pp. 7, 9)
After obtaining the pot from my master I also had to convince him to let me have one of his favourite tables.  The table in question was made over 40 years ago as a commission for Katayama Tei-ichi, the headmaster of the Keido school of display.  It is made from Rosewood by the master craftsman Kaneko.  Katayama was one of Kobayashi's teachers and it seemed appropriate that the table had passed down from master to pupil and then from master to pupil again.  (http://www.saruyama.co.uk/rosemary.php)

Paul Katich ( - June 2017), bonsai artist and world class potter, per Louise Lester

Shiba Kato (Bonsai Masterpieces, Editor, per English, pg. V, 77, 84)

Shichinosuke Kawasumi (a.k.a. Masakuni I, 1880-1950)
Official Gazette of the United States Patent and Trademark ... https://books.google.com/books?id=td0TsYkV4kcC 1979 - ?Snippet view - ?More editions Class 8-Hand Tools SN 71,792. Masakuni Kawasumi, Kawaguchi-shi, Japan.  Filed Dec 15, 1975.  MASAKUNI "Masakuni" means "1et the country prosper" in the Japanese language.  I For Scissors, Knives, and Hand Tools and Implements for ...

Rob Kempinski Birthday: 1990?-03-02 --- WRONG, he's a bit older than that.

Yonekichi "Beio" Kibe (1853-1920), was one of the founders of modern bonsai.  Taiko-en nursery,  He was known to have made wooden models of containers, which models would be then sent through Bansui-ken, a famous dealer in Tokyo, to China for production as a ceramic. (Bonsai Masterpieces, Eng. pg. 13, which gives the date of "about 1870" when a wooden model was made.  Kibe would have been 17 or 18 years old then.)  Kibe Yonekichi wrote Bonsai Baiyo Ho (Cultivation Methods for Bonsai), published by Sangin Suisekien in 1903.  At the International Exposition, St. Louis in 1904 Kibe had on display a Yamato cedar, Hyakunichiko, Pine, and a Cedar.  Probably Kibe's most famous student was Toshiji Yoshimura.   At about age 14 (c. 1905) Toshiji became an apprentice at Taiko-en nursery, and continued receiving strict training and discipline until Beio died in 1920.  (Toshiji also must have learned techniques from well-known bonsai enthusiasts who were customers of Taiko-en.)  Toshiji worked for four more years under Hanjiro Kibe, Beio's son-in-law and successor.  Toshiji's most famous child was Yuji (born in 1921 at Taiko-en), who would bring traditional Japanese classical bonsai to the West starting in late 1950s.
The earliest Nanban containers entered the bonsai scene before the Meiji period and were typically small round trough-shaped pots, dishes and jar lids, which were modified into a bonsai pot by drilling holes in their bottom.  These were produced in Taiwan, Ryukyuan Islands, Luzon, and Southern China.  The age of Nanban pots is generally not essential.  They are primarily admired and valued for their rustic grace and charm.  At some point in the past, an anonymous bonsai aesthete realised that these qualities would complement bonsai.  Soon after that however, Nanban containers became quite popular, while they were rather rare.  Yonekichi Kibe has been the lead driver of the Nanban popularity till the late Meiji period.  In response to this popularity, Chinese merchants set up a production of containers imitating Nanban shape and appearance.  They were mostly produced in Xiamen, Fujian from where they were shipped to Japan via Shanghai.  This supply of Nanban containers to Japan continued throughout the pre-war period until 1941.  Kibe was the first to use copper wire for shaping and was considered "second to none" by a source from around 1934. (The Exhibition of the Empire of Japan, Official Catalogue, 1903, http://www.archive.org/stream/exhibitionempir00japagoog/exhibitionempir00japagoog_djvu.txt, pg. 223; "Nanban bonsai pots")   SEE ALSO: Aug 27

Nobukichi Koide (d.1987) (Bonsai Masterpieces, English, pp. 27, 81-82)

January 30,

Masumitsu Kubota
works.bepress.com/cgi/viewcontent.cgi?article=1004&context=jonas...

Muriel Leeds

Amy Liang, A native Taiwanese, she was born into a respected family in northern Taiwan and married a prominent gynecologist/obstetrician before becoming an internationally renowned bonsai master. Amy Liang is not only lovely and elegant, but also very talented.  However, she suffered from clinical depression a few years after getting married.  Although her husband attempted to help her during these difficult years, it was of no avail.  She eventually recovered from her depression after her father introduced her to the art of bonsai cultivation. After going through her tribulation, Amy Liang has dedicated most of her time and energy to the cultivation and promotion of bonsai art over the past five decades, which won her the reputation as a highly respected bonsai master.  Due to her tremendous contribution to the international bonsai community and her compassion to other people and her art, she is highly revered by people in bonsai circles at home and abroad. Amy Liang has written a total of 11 bonsai-related books.  Among them, The Living Art of Bonsai: Principles & Techniques of Cultivation & Propagation was selected as one of the top 10 best books of the year in the United States in 1991, and has been used as a bonsai textbook in over 20 countries.  Another book, entitled The Art of Bonsai, won her the Golden Tripod Award for Publications in two different categories in 1990, which is the highest honor that can be awarded in the Taiwanese publishing industry. As ex-president of the National Bonsai Association of Taiwan and Asia-Pacific Friendship Federation, not only did Amy teach at universities in Taiwan, but she was also a professor at Seattle Pacific University and the South Seattle Community College in the United States (1987-1989). In 1988, she was invited to give lectures at the U.S. Puget Sound Bonsai Association, the American University Bonsai Association, and the Mei Hwa Bonsai Association.  Moreover, she was the first Taiwanese invited to give lecturers and conduct bonsai demonstration at the U.S. National Bonsai and Penjing Museum in 1988.  Over the years, she has given lectures in over 20 other countries across the globe. Being honored with the World Bonsai Contribution Award by the World Bonsai Friendship Federation, Amy was appointed International Consultant to the WBFF, and received the Lifetime Contribution Award for Bonsai Cultural Exchange between the Two Sides of the Taiwan Straits in 1995. In 1984, she was invited to host a TV show called Taiwan's Art of Bonsai for the Taiwan Public Television Service for two years, which gave rise to an upsurge of interest in bonsai art in Taiwan. As one of eight first-generation bonsai masters in China, Amy Liang has conducted bonsai training sessions to over 6,000 students in China since 1991.  She was appointed as Honorary President of the Chinese Penjing Artists Association, and won the honorary title of Bonsai Art Master of China in 1995. Located in the suburbs of Taipei City, Amy Liang's residence is surrounded by a spectacular bonsai garden, also known as the Purple Bonsai Garden, covering 2.2 acres (8,925 square meters), where her personal collection of about 500 bonsai trees in some 100 species are on display.  Among them, five were selected for Taiwan postage stamp images, and one for a U.S. postage stamp image. To further promote bonsai art and to allow more people to appreciate the beauty of bonsai, Amy has turned her invaluable bonsai garden into a museum called the Amy Liang Bonsai Museum.  Attended by 380 guests from 26 countries, the opening ceremony of the museum was held along with the launch ceremony of her memoir, The Revelations of Bonsai: 50-Year Milestone of Amy Liang and Her Bonsai Journey on November 3, 2017 in Taipei, Taiwan. In her memoir, in addition to recording her life from childhood to adulthood, her career, and how her interest in bonsai supported her during difficult times, she also shared her valuable experiences while dedicating herself to the art of bonsai over the past half century. (Shyu, Billy  "A Legendary Bonsai Master and Her Museum," Vision Times, November 8, 2017)

South Africa -- Becky Lucas had also met Donald Sanborn, an American living in Japan for many years.  Through Donald they imported pots from Japan.
        Becky had some contact with the American bonsai people and might even have visited America, meeting Connie and Horace Hinds and joining BCI.
        This resulted in a number of members leaving the Society and acrimonious correspondence was exchanged.  In the Sept 1970 issue of Bonsai Magazine, BCI, pg. 15, it was noted that "South Africa reports problems which many will understand -- revolving around the merits of 'one strong society' with branches; versus a number of independent Bonsai groups by one name or another, usually made up of people like those of most arts, who do not agree on one or more phases of the art and the public image of the group...  Reports of club activities indicate our Bonsai friends in Capetown are taking problems in stride and continue excellent programs."
        (In 1971 Lionel Theron was unaware of these conflicts and in addition to joining the Cape Bonsai Kai he joined the Bonsai Society.  When he told Becky, she said that normally she would revoke his membership but as he had no part in what had gone by she was pleased to have him as a member.  At about the same time (1972) he became Chairman of the Cape Bonsai Kai and tried to heal the rift, without success, and the two groups operated separately up until the present time.)
        One of the members, in addition to other South Africans, of the Becky's club was Phil Alden, an American living in South Africa. (b&w photo of Phil pg. 19 and D. Sanborn pg. 22 BCI issue w/10 Year Index, July/Aug 72)
        Four original members whoformed the Cape Bonsai Kai: Bob Richards, Peter Hattingh, Phil Alden, and Bernard Coetzz. (More details Bonsai Magazine, BCI, Vol. XIX, Np. 9, Nov. 1980, pg. 302.
(There is evidence of at least one more visit by Becky to Japan in 1972, but it is not known if she studied then.  It was a trip to visit old friends.)  Because of her travels, she had tremendous insight into the eastern (Japanese) culture and tried to apply this culture here.  Becky was taken ill in 1972 (1982?).         One thing that is apparent from conversations with Wim Tijmans and miss Jean McInnes, a close friend of Becky's, is that Becky was a very generous and hospitable person.  (Miss Jean is very frail and in a wheelchair now, and her memory and stamina to maintain a conversation not very good.)
        Becky was also a strong-minded person and her discipline and some of her ideas did not appeal to everyone.  One hears a lot of talk about the days when the South African Bonsai Society, with Becky at the helm, and the Cape Bonsai Kai were the only two clubs in the Western Cape.  It is difficult to bring these stories and legends in line with the descriptions and reports gotten from people who knew her personally.  She had her quirks and foibles just like all other human beings.  She liked things being done her way and if this had not been the case she would have derived much more satisfaction and joy from this amazing activity.
        Bonsai in South Africa is now very much established, with many people enjoying the art as a hobby and others making a living out of it.  They have national conventions, with international speakers.  There is a national competition for upcoming artists and a national photographic competition, as well as an annual national dig.  There are five regional organizations and a national body.  A part of the international bonsai community, all thanks to a person who was enthusiastic about her art in the nineteen-fifties, the woman who established a new art form from an unfamiliar culture to the Western Cape and South Africa.  Any lesser person might have practiced the art in isolation and it might have died with her.  She certainly was one of the first instigators of bonsai in South Africa and she made a very considerable contribution to Interest in Bonsai and we need to respect, recognise and thank her for this.
(Personal e-mail to RJB from Coenie Brand, 7 Dec 2010; personal e-mail to RJB from Lionel Theron, 17 Feb 2011; Davis, Doreen  "The Cape Bonsai Kai," Bonsai Journal, ABS, Vol. 12, No. 3, Fall 1978, pg. 59; Cape Bonsai Kai was welcomed in Bonsai Magazine, Vol. IX, No. 7, September 1970, BCI, pg. 7, with mention of its upcoming show October 3 and 4 on pg. 15;
        The February 1971 issue of Bonsai Magazine (Vol. X, No. 1), pg. 14 mentions "CAPE BONSAI KAI, South Africa, will hold its mid-summer show at the home of Bob Richards in Pineland, Cape Town." and pg. 15, states the following: "TRANSVAAL includes Braamfontein, Pretoria and Johannesburg in South Africa's Transvaal Province, not in Cape Province and not part of the Bonsai Society of South Africa headquartered in Cape Town.  Their meetings are on Saturdays, once a month, usually in the garden of a member and include demonstrations and lectures as well as work-shops.  They put on three exhibitions a year, set up in conjunction with other Shows such as the Horticultural Society.  They do not hold contests nor judge trees; but they do bring their 'prides and problems' to meetings for display and discussion.  The sale of trees and other Bonsai material is conducted 'at our JUMBLE,' as they say; which struck us as a clever name.  The January meeting in Braamfontein featured the Chinese elm by Doug Hall; and the membership-display was directed to be elms available.  Ken Wilkens in Pretoria talked on soil composition.  And in February Johannseburg held a private Club Bonsai Show of its own with an entrance fee  THE DISPLAY OF ONE TREE PER PERSON."  The March 1971 issue on pg. 15 specifically mentions the "TRANSVAAL BONSAI KAI."  The June 1971 (Vol. X, No. 5) issue on pg. 15 welcomed Bonsai Society of South Africa (Natal Branch) from Durban as a new BCI Member Club, the first of the BSSA Branches to join.  July/August 1971 (Vol. X, No. 6), pg. 6 stated that for the 1971 International Bonsai Convention in Cleveland, OH "[t]he guest to travel the greatest distance was Phil Alden of Cape Town, South Africa..." who was also the contact person for that club.  Pg. 15 notes that the Natal Branch Show was scheduled for July 10, and for the Transvaal club Mervyn Kilpatrick was president and Dr. Carstens was vice president.  Sept. 1971 (Vol. X, No. 7) pg. 4 mentions the Cape Bonsai Kai [Spring] Show would be Sept. 18-19 at the Kirstenbosch Botanical Gardens.  Nov. 1971 (Vol. X, No. 9) pg. 19 stated that the TRANSVAAL club held their Spring Show in October in conjunction with the Transvaal Horticultural Show.  Sept. 1972 (Vol. XI, No. 7) pg. 3 listed the Cape Town show Sept 30-Oct 1 and Natal Oct. 14, and pg. 20 stated that "The interest in a Bonsai Club and in a Newsletter in Afrikaans has been nil.")

+Phil Alden brief bio, Bonsai Magazine, July-August, 1973, pg. 19

October 20 1969-- Sergio Luciani was born in Buenos Aires, Argentina.  (A Graphic Design professional, he would have no familiarity with bonsai until 1999, when he would enroll in a basic course taught by Marita Gurruchaga.  While serving as his teacher, Ms. Gurruchaga also became his partner and friend.  After participating in many international Bonsai events, in 2005 Sergio would co-edit the Bonsai Manual which would be published by Emecé Editores in Argentina.  After many trips abroad and exhibitions, he would have gained knowledge and experience sufficient to win 1st Prize in the Senior Bonsai Competition during the 2006 Matsuri at the Japanese Gardens in Buenos Aires.  He would also receive the award during the 2007 and 2008 events with international juries.  After winning a prize for the Most Interesting Blog for his Bonsai Blog of Argentina, Sergio would begin editing the magazine Bonsai Puntoar which started in Argentina and would soon became popular in all of South America.  In September 2008, Sergio would begin studying in Belo Horizonte, Brazil under the direction of Salvatore Liporace of Italy.  In 2009, he would win the Gold Medal for the best bonsai publication during the World Bonsai Convention in Puerto Rico.  Many presentations on different bonsai clubs in Argentina and Brazil would bring Sergio to create the study group "cincoBARRAcinco," which by 2016 would be the core of most of bonsai in Latin America.  In 2010, after completing his studies in Brazil, Sergio would perfect his education in Milan, Italy at the Botanic Studio, home of the European School, where he would receive a Master's Degree and be named Instructor of the School.  He would continue to organize bonsai events and become one of the Argentine resources for bonsai internationally.  In November 2010, he would start his first Advance Bonsai School in the province of Cordoba, Argentina.  Afterward, he would form similar schools in Rosario and Buenos Aires, Argentina and Montevideo, Uraguay.  Sergio would give classes and demonstrations in many cities in Argentina, Uruguay, Brazil, Colombia, Puerto Rico, Ecuador, Bolivia, and Mexico where he would be the official curator of the Tatsugoro Museum in Fortin, Cordoba.  In 2012, he would be named Official Demonstrator of the Latin American and Caribbean Federation of Bonsai.  He would be the first Argentine bonsai expert to be recognized abroad.  In September 2013, he would participate in the World of Bonsai in Shintang, China, a first in the history of Argentine Bonsai.  In November 2013, he would start his Argento Bonsai Studio in Tapiales, Buenos Aires, Argentina, organizing different international events which would allow cultural and artistic interchange between bonsai enthusiasts of many different countries.  He would administer the First Bonsai Evolutionary Competition "cincoBARRAcinco" in which 15 Latin American countries would participate with more than 200 projects.  In August 2014, he would again be Official Demonstrator of the Latin America and Caribbean Federation of Bonsai.  On this occasion, Sergio would also be asked to organize the exposition as well as show his work with other Latin American artists.  In this event, he would win the prize for the best Latin American tree the Deciduous and Large Leaves Category -- the category in which he also would receive 3 levels -- 1st and 3rd.  In October 2014, he would again travel to China, by invitation from the Chinese Artists Association, in the city of Yuyao, where Sergio would be named Ambassador.  He would return to administer the Second Bonsai Evolutionary Competition with more than 300 works participating with the recognition of the Latin American and Caribbean Federation of Bonsai.  Sergio would be a part of the international community, Black Scissors, an international group of artists seeking free expression in bonsai.  In May 2015, he would return to Ledesma, Jujuy in northern Argentina as a member of a federal program for the promotion of Bonsai in Argentina.  That September he would visit Sucre, Bolivia as the only demonstrator of the National Convention of Bonsai, organized by the Cuquisaca Association.  Two months later, he would visit India in the setting of the All India Bonsai Convention, in Vadodara, India.  He would work as an exhibitor together with eminent international bonsai participants.  In March 2016, he would open a new school in Northeastern Argentina in the province of Salta.  In May, with Mauro Stemberger from Italy, Nacho Marin of Venezuela and German Arellano of Colombia, they would organize an International Meeting for the Study of Argento Bonsai, with the participation of Su Fang from China.  In September, Sergio would return as Demonstrator of the Latin America and Caribbean Federation of Bonsai, the first person asked to perform as such in three consecutive conventions.
("Sergio Luciani, Tuesday, September 13, 2016 at 6PM," The Bonsai Society of Southwest Florida, Inc., 09/09/16)

Maggie Lumley was born on March 9, 1942, South African with strong Dutch roots. Although not too much is known about her ancestors as [her] father grew up in an orphanage. He was one of 10 and they were all individually adopted.  [She met her husband] in Johannesburg, South Africa at the one and only ice rink in SA. [His] family came from Scotland. He used to love to say he was made in Edinbough, Scotland but born in SA. They had two children, Caroll (1962) and her brother.  (Caroll met Steve Hermann in Sodwana Bay, South Africa. She went on holiday and he was working there. Married 6 months later. Their beach wedding was in Sodwana. At that time, outdoor weddings were not legally recognized, so they had another church wedding a week later in Gauteng with their families. They would produce thee boys.)  Maggie's partner after her husband died in the 1990's was from Aberdeen, Scotland. He passed away in December 2023.
(FB Messages to RJB, Jul 10, 2023, Oct 4, 2023, Jan 17, 2024)

Lu Xuenming

Dennis Makeshima
(b. 1947) was born and raised in Berkeley, California.  A Sansei (third generation Japanese-American), his mother and father were Kibei (born in the U.S., educated in Japan, and later returned to the U.S.).  A graduate of Berkeley High School, Dennis served in the U.S. Army in Vietnam, and graduated from U.C. Berkeley, where he majored in Political Science.  Dennis is a pioneer of Aesthetic Pruning (ornamental tree pruning up to 15 feet in height) and coined the term and its definitions (ladder was 10 feet tall and he was 5 feet tall).  He created the now nationally renowned Aesthetic Pruning Program at Merritt College and has mentored over 100 apprentices during his illustrious career.  A revered celebrity practitioner, he has pruned over 10,000 trees, including in San Francisco's Japanese Tea Garden, a tree that Walt Disney personally planted in Disneyland, and Ruth Bancroft's Garden.  In addition to their much sought-after commissioned work, he and his students continue to volunteer their time pruning trees in Higashi Honganji Buddhist Temple in Berkeley and many other temples with Japanese garden-style trees in the San Francisco Bay Area.  Approximately two years into Dennis' aesthetic pruning practice he had the good fortune to meet Mas Imazumi, a bonsai master in Northern California.  They were both at a family party in Hayward, CA -- Mas' son married into Dennis' wife's family.  Dennis overheard Mas talking about bonsai and soon after Dennis signed up for Mas' bonsai class.  In 1990, he was selected to apprentice under Bonsai Master Yasuo Mitsuya for 18 months in Toyohashi, Japan.  After returning from his training in Japan, Dennis taught aesthetic pruning and bonsai to students, and then travelled the world giving workshops.  He was active in the bonsai community and served in leadership roles for the Golden State Bonsai Federation for 20 years, including as President from 2002 to 2004.  Dennis' works may be found in the prestigious Huntington Botanical Gardens in San Marino, CA, the Ritsurin Garden in Takamatsu, Japan, and also in the Bonsai Garden at Lake Merritt in Oakland, CA.

Boon Manikitivipart
Per Apr 15, 2022 FB posts, "On April 15, 1979, when I was 19, I was hit head-on with the truck.  I was on the bicycle.  I woke up in the ICU.  And fell asleep again.  Woke up the second time with the sore throat.  I found out that I was turning blue.  The doctor pump blood out of my lungs and saved me.  I was dead for a little bit.  My former [sic] and my shoulder broke.  I was in the hospital for 3 weeks."

Gary J. Marchal was born and raised in the New Orleans area.  After high school, Gary attended the University of Southwestern Louisiana, majoring in Fishery Biology.  In 1969-1971, he enlisted in the United States Marine Corps and was stationed in the Military Police barracks of Camp Pendleton, Ca. and assigned to the Western White House in San Clemente, Ca. under then President Richard Nixon.  After completion of his military duties, Gary returned to the Southeast Louisiana area and began working in the family elevator business while attending local colleges, majoring in electrical engineering.  After the family business was sold in 1987, Gary, along with his brother Jim, founded Marchal Elevator Corporation.  After 12 years in business, Marchal Elevator Corporation was sold and Gary moved to the Atlanta, Georgia area.  Gary is now working for Otis Elevator Company in Marietta, Ga.  An avid gardener since 1973, Gary began his serious study of Bonsai in November, 1985 under the expert guidance of Vaughn L. Banting.  Gary assisted Vaughn at the 1992 Florida Bonsai Societies convention in Orlando, Fla. with his Flat-Topped Cypress group planting presentation.  Gary was presented with a Certificate of Merit from Bonsai Clubs International for being a finalist in the 1993 Ben Oki International Design Competition for his Bald Cypress.  In 1994, he was again presented with a Certificate of Merit from Bonsai Clubs International for being a finalist in the 1994 Ben Oki International Design Competition for his Water Elm.  In 1997, Gary was honored to be the winner of the 1997 Ben Oki International Design Award Competition for another of his Bald Cypress Bonsai.  Gary has presented programs for many Bonsai Clubs and Societies throughout the United States, including Hawaii.  This is a listing of the conventions / conferences / seminars that Gary has presented programs for: In 1995, 1996, and 1997 Atlanta Bonsai Society's 2nd, 3rd, and 4th Annual Conventions.  In 1997, the Bonsai Societies of Florida 25th annual convention.  In 1999, the Mid-Atlantic Bonsai Societies Annual Conference, the Lone Star Bonsai Federation's Annual Conference, and the Golden State Bonsai Federation's Annual Convention.  In 2002, the American Bonsai Society Convention in Milwaukee, WI.  In 2003, the Joy of Bonsai in Bath, UK. for the Association of British Bonsai Artists.  And coming in 2004: The Shohin Convention of California, Bonsai Societies of Florida Annual Convention, New Zealand Bonsai Conference.  As an artist, Gary enjoys working on large collected specimens and all varieties of pines, but he emphasizes wiring as well as scale and proportion in design regardless of the material.  Gary considers himself a serious student and enthusiast of the art of Bonsai.  Gary states, "In what other hobby, art, sport, etc. are the 'greats' so approachable for help or advice??  This, and the special friendship that is shared by fellow artists, is what makes Bonsai so enjoyable!!"
("Gary J. Marchal," Atlanta Bonsai Society, June 2015 Newsletter)

Nacho Marin, June 10, 1961 (52 in 2013)

Arishige Matsuura (b.1935, Tokyo) "Suiseki with Arishige Matsuura" by Hideko Metaxas, GSBF, http://www.gsbf-bonsai.org/suiseki.htm)

Serapion S. Metila
("Philippine bonsai artworks are world-class, too," May 2, 2012)

David Meyer, 83 on May 15, 2020.

see: http://www.starbeacon.com/news/local_news/family-business-thrives/article_410966f8-92b4-5483-a8fa-8a933475f65c.html and "Importing Little Plants Creates Big Problems," Bonsai News blog, 05 March 2005 : Caution guided Frank Mihalic's plans to restock his family's Geauga County bonsai nursery with foreign plants.  He had heard about changes in federal import regulations.  He wasn't sure what he could -- or could not -- do under his existing permit.  So Mihalic checked and double-checked with state regulators before moving ahead.  He booked a trip to the Far East only after getting a letter from the Ohio Department of Agriculture giving him the go-ahead to import bonsai specimens onto American soil.  Mihalic spent $20,000 buying 229 bonsai plants on that trip in March 2004.  He arranged shipment to Wildwood Gardens in Hambden Township and flew home to await the arrival of the small, artistically styled trees.  His investment, however, went up in smoke.  The permit issues that Mihalic fretted about before traveling overseas turned out to be valid.  U.S. Department of Agriculture inspectors impounded the bonsai trees as they entered the nation from Japan and Taiwan.  Weeks later, the USDA torched the plants.  "We tried to do things the right way," laments Mihalic, 48, who operates Wildwood Gardens with his father, Tony.  "We tried . . . we really did."  A lawsuit over the "bad advice" that Mihalic says he received from the state is pending in Ohio's Court of Claims in Columbus.  Wildwood Gardens is seeking $29,872 in damages from the state, enough to cover the bonsai plants, shipping costs and travel expenses on the trip to Asia.  The state is not liable for Mihalic's loss and will fight the claim, says LeeAnne Mizer, a spokeswoman for the Department of Agriculture.  She said it was Mihalic's responsibility -- not the state's -- to know the federal import regulations.  "We are not the USDA," Mizer said.  "If he had questions, he should have asked them."  Mihalic said he contacted the state inspector who usually works with Wildwood Gardens to get importation answers.  Mary J. Smallsreed, a plant pest control specialist, replied with a pair of memos on state Department of Agriculture letterhead.  She wrote both times that Wildwood was following requirements.  Smallsreed could not be reached for comment.  In the second memo, dated March 2, 2004, Smallsreed wrote that Mihalic could continue following "regulations which have been used in the past.... This will allow Wildwood Gardens to import plants needed for their business" and meet inspection standards.  But federal rules regarding bonsai imports changed twice between September 2002 and October 2003, resulting in more restrictive regulations, according to Dore Mobley, a spokeswoman with the USDA's Animal and Plant Health Inspection Service.  Worries about wood-boring beetles arriving with the foreign plants pushed the policies, which mandated that artificially dwarfed plants be quarantined and monitored for two years to guard against hitchhiking foreign bugs.  State departments of agriculture receive notices about new guidelines, Mobley said.  Meanwhile, Wildwood Gardens fights to survive after 58 years in business.  Sales under the quarantine restrictions are down more than half, dropping from about $100,000 annually to about $40,000.  Some good news came this week, however.  Federal and state officials inspected and gave a preliminary OK for a quarantine facility, which will allow the nursery to take in foreign plants.  Wildwood would become the 11th site in the nation entered into the program.  Still, Wildwood may not be able to stay open, says Tony Mihalic, 82.  The nearly $30,000 loss on the ill-fated Asian trip may force the nursery to close.  "We're struggling ...struggling like hell," the elder Mihalic said.  "The state doesn't want to take blame for what happened, and neither does the federal government.  I'm the only one paying here, and I can't afford it.")

Yasuo Mitsuya. Professional bonsai artist and instructor from Toyohashi, Japan where he is the proprietor of Tokai-en Bonsai Garden.  He maintains numerous fine-quality private bonsai collections throughout Japan. He freely shares his love, knowledge and skill of bonsai with others and has trained many American and Japanese instructors.  Mr. Mitsuya's high standards are always evident in his beautiful bonsai masterpieces.  He often travels to California to teach.  ("Speakers," http://www.internationalbonsai.com/symposia/symposia.html)

Shig Miya, 89, first met John Naka when he joined John's class for the Marina Gardeners' Association.  Shig relates that John early on wanted to include non-Japanese Americans as students, but this took some persuasion of traditionalists in the association.  Shig joined the group because he wanted to make oriental style gardens, which were becoming popular in Los Angeles.  He soon got into bonsai for its own sake, first with discarded garden trees he'd transplant, then with junipers he dug with John and the other guys in Horse Canyon.  Shig has no favorite bonsai, although he likes the prostrata juniper a lot and dislikes seeing so many deciduous trees in pine tree style.  He prefers natural-looking trees and recommends against using trees that do not grow well in the local climate.  He advises using conifers at first; learn from scratch, chokan to shakan.  (Somerfeld, Sharon  "The Iron Men of Naka," Golden Statements, Vol. XXXV No. 2, https://web.archive.org/web/20120505234436/http://www.gsbf-bonsai.org/magazines/2012/v35_02.pdf, pg. 24

Tsunaichi Miyoshi emigrated to Sao Paulo and began pine seedlings at Nipponso. (Yoshimura, Yuji "Modern Bonsai, Development Of The Art Of Bonsai From An Historical Perspective -- Part 3," International Bonsai, IBA, 1992/No. 1, pg. 22.)
It started in Santo André, in the Camilópolis / Utinga neighborhood.  Mr. Tsunaichi Miyoshi, a native of Ehime Prefecture, who was engaged in agriculture and the cultivation of Japanese ornamental plants (such as Bonsai), was visited by many Japanese immigrants during World War II, who sought solace in their place, where they could exceptionally speak Japanese, and visit his garden, similar to those in Japan.  Mr. Miyoshi gathered his friends, also idealists, and prepared with them large stones with Japanese inscriptions, erected a large portal (torii) and a statue of Saint Dizô, so that everyone could pray for the health of the children and especially for peace.  The venture was not easy, as the place was remote and the sculptor who worked with these stones, Mr. Izukawa, was in Sao Paulo, in the Pinheiros neighborhood.  But faith removed mountains.  At least in this case. The Dizô, commissioned a year earlier, was completed in 1948, and even lacking some details in the garden, the first Dizô Matsuri was held in June of that same year.  The disclosure was made by letter and by the community newspapers.  To make the party brighter, Mr. Miyoshi dressed in the scarecrow costume (kakashi in Japanese, which was his pseudonym as a haikai poet) and climbed the yagura, a specially assembled wooden stage, from where he ran the Japanese theater shows and amateur singers.  In the end, he took the moti, a rice cake that was used as an offering during the ceremony, cut it into small pieces and shot it to the public.  Thus began the tradition of moti-maki.  At that time, the moti was punched in the pylon right there, with the participation of family members.
Matsuri Dizô continued in Santo André until 1965.  That year, Petrobras disengaged the site for the construction of the pipeline, and the entire Japanese garden, including Dizô and all the stones, were transferred to Nippon.  The transfer took a long time, and the first tribute to Dizô-Sama would not occur until three years later.  Nippon is the only entity in Brazil to perform Dizô Matsuri, an important tradition that continues to attract many visitors to this day.
(Google translation of "The tradition of Dizuri Matsuri" in http://www.culturajaponesa.com.br/index.php/festivais/nipponfest/ )

Susumu Nakamura (b.c. 1932).  His father was a landscape designer, and he himself studied landscape on tour through America, Europe, Australia and New Zealand.  He later exhibited 50 bonsai in Paris in 1969 winning the Grand Prix.  In 1976 he displayed at the Japan Bonsai Exhibit and won an award there.  That year he formed his own bonsai school and also became a director of Japan Bonsai Exhibit for the year 1977.  One of his bonsai is shown in the Emperor's 50th Anniversary Album.  He is closely affiliated with Nihon Bonsai Union and is an Instructor-Lecturer; also he is a lecturer for their headquarters.  He was the senior guest for BCI's Chicago Convention in 1977.  Japanese bonsai master, sensei of Shonan School of Bonsai in Yokohama, proprietor of Shonan Garden Center, Director of Nippon Bonsai Association, KOKUFU-TEN Judge, donated 19 fine bonsai ( http://www.chicagobotanic.org/pr/press_releases/CompleteBonsaiListFINAL.htm) to the Chicago Botanic Garden.  Winner of the 2002  prestigious Hutchinson Medal for his contributions to horticulture, botany and conservation.

Jim Newton -- BCI Eastern Editor into 1980 when he became ABS Journal Editor.  ("Our Loss Is Their Gain," Vol. XIX, No. 3, April 1980, pg. 74)

SOBOKU NISHIHIRA was born 10 September 1903, got Social Security number 575-36-6868 (indicating Hawaii,) and died June 1979.
http://ssdmf.info/by_birthdate/19030910.html
(http://www.bonsai-nbf.org/tropical/kaneshirobio.htm) SEE ALSO: Sep 23

________________________________________
From: rjb
Sent: Wednesday, September 09, 2015 9:11 PM
To: Eric Schrader
Subject: Nomura Article Part 1
Eric,
Attached is a scan of the cover of the source, basically a celebration of the joint BCI/ABS National Bonsai Convention '74 that took place in Pasadena, CA in mid-July.  Edited and Published by Juyne M. Tayson, M.D.  The cover tree is Richard Ota's moyogi style 21" tall corked pine, Pinus thunbergii var. corticosa, grafted onto Japanese black pine.  Calligraphy by George Yamaguchi.
But I digress...
I'm going to try to send one page of the article, scanned full-size, in each of six emails to you.
Let me know if you get them all.
Cordially,
Robert


________________________________________
From: Eric Schrader [eric@phutu.com]
Sent: Tuesday, September 08, 2015 12:40 AM
To: rjb
Subject: Re: BSSF Club Logo Tree
Hi Robert,
I'm surprised I haven't had the opportunity to be introduced to you previously (at least by email.)
Thanks indeed for your information about John's P.'s article.  John P. is no longer active with our organization or in bonsai as far as I know.  I have thought to re-write his article a couple times as I find the conjecture and open-ended speculation to be simply a sign of laziness when it comes to writing a historical document.  But, I've not yet done so since it is not my piece.  I do control the website and I could remove it or re-write it or list notes at the bottom that update it.  See the live version here in case you didn't already find it: http://www.bssf.org/articles-and-stories/
Would you mind sending me the article you mention?  I'd also be interested to know if you have any other resources relating to this tree or to the people involved in it's creation and care.  Particularly missing from the Pennington article are any details about Robert Harrington.  I received an email a couple years ago with another correction to the article from a person who I believe is related to Mr. Harrington, but I sadly lost the email and have not been able to remember their name or any other details.  My searches for anything relating to Mr. Harrington have not turned up anything.
I did undertake some primary research just recently when I recorded a conversation with John Boyce, a founding member of BSSF, and asked a few questions about the logo tree.  The portion relating to the history of BSSF and the logo tree didn't make it into the interview article that I posted to my blog as I focused that piece on John B.'s long-time passion relating to bunjin trees and ikebana.
Kind regards,
Eric Schrader
President BSSF


On Sun, Sep 6, 2015 at 7:47 PM, rjb > wrote:
Eric,
In the Oct 2007 issue of the Fog City Bonsai newsletter, an article about the club's logo tree by John Alan Pennington states that the tree was originally designed and grafted by Ryozo Nomura.  On page 2 of the article it is stated that "Mas Ishii was apparently a student of Nomura, and we speculate that the tree passed to his possession on Nomura's death.  Nomura's death probably came in the 1950s, along with some others of his cohorts who had been active at the same time."
However, I have found an interview by Dr. June Tayson with a California Ryozo Nomura from 1974.  (International Bonsai Digest presents Bonsai Gems, Fall 1974.)  Although the interview (pp. 72-77) does not mention San Francisco or Ishii, it does say that Nomura (b.1899) was an expert at grafting and did like goyomatsu and shimpaku.
Perhaps Mr. Pennington's research needs to be updated.  On request I can supply a scanned copy at no charge of the 1974 interview.
Cordially,
Robert J. Baran
Bonsai Researcher and Historian


--
Eric Schrader
Photo Researcher
415-823-7984

Shinobu Nozaki (1895-1968)  As a boy he loved to grow tulips and dahlias.  In youth, he cultivated alpine plants.  He made seedlings of a Japanese cedar and a pomegranate in 1921.  He edited an agricultural magazine called the Nogyo Sekai, published by the Hakubun Kan.  In the late 1930s he grew chrysanthemums, morning-glories, orchids and omoto, the ornamental plant Rohdea japonica, in his garden besides raising bonsai of various trees and grasses.  He found endless passion in the company of these plants in the leisure from his busy daily life.  He is best known to the West for his 1940 work, Dwarf Trees (Bonsai) which was the first substantial book in English on the subject.  His other books in Japanese included Komono bonsai shitatekata: tsuketari sansō yasō (1931); Shumi No Jumoku Bonsai: Shitate Hihou (The Hobby of Bonsai Trees: Cultural Secrets) (1938); Bonsai no tsukurikata (How to make bonsai) (1954); Shitate zukai bonsai ensho (Complete book of bonsai technique) (1957); Shitate zukai hanamono mimono bonsai (1957); Bonsai (1960); Komono bonsai to kusamono bonsai: shitate hiketsu (Bonsai in small scale plants and herbage: the secret of pruning) (1960); Bonsai: kanshō to shitatekata (1965); and Hachiue to bonsai (1966).  (Nozaki, Dwarf Trees, Tokyo: Sanseidō Company, Ltd.; 1940), pp. 2, 16, 27)

Ben Oki International Design Award was first presented at BCI Convention in Birmington, England, July 1991. (Bonsai Today, No. 10, pg. 4.)

Beverly Oliver, founder of the Indianapolis Bonsai Club, passed away in February 1976.  The Indianapolis Bonsai Club with 18 charter members was founded in January 1968 to promote interest in and appreciation of bonsai.  Members of the I.B.C. participated in a 1/2-hour-long television program, "A Bonsai Workshop", on Channel 20 with Bev Oliver moderating BCI president in 1973-1975 (photo on pg. 10, Bonsai Magazine, BCI, Vol. XII, No. 7, Sept 1973)

Richard Kazumasa Ota was born in Sacramento, CA in 1926.  Four years later, with the Great Depression under way, Richard's father took the family back to Japan and bought a farm 10 miles outside of Hiroshima.  Richard grew up there, went to school there, and was there on That Day.  In 1956, at the end of the Korean War, he, his bride Taka, and their two children, moved to Los Angeles.  Although he was an American citizen and had not served in the Imperial Armed Forces, it took two years to obtain clearance for return to this country.  Back in California, his brother-in-law gave him a job as a gardener in Beverly Hills and the Hollywood area.  By the following year, RIchard was in business for himself.  He was a success.  He bought a house on Harcourt Street.  Three doors away lived one John Naka.  Mrs. Taka Ota soon met Mrs. Alice Naka and saw the now famous Naka bonsai collection.  "When she told me what she had seen, I did not believe there were Bonsai in this country," Ota recalls.  "So I went to see for myself."  "As a boy, I had no interest in Bonsai.  My grandfather had some trees.  But I am sorry to say, that when he died, his Bonsai followed him within a month." ... (Donovan, Earl H., "The Ota Window," Bonsai Magazine, BCI, Vol. XIII, No. 2, March 1974, pp. 10-11 w/b&w photo)

Richard Ota, 85, began studies of bonsai with John, who was his next-door neighbor, in 1957.  He started helping John with set-up for his bonsai when the California Bonsai Socity had its second show in 1959.  Not so long after, Richard began showing his own trees and gradually became a prominent artist and teacher.  Richard was known for his co-authorship with John Naka and Kenko Rokkaku of Bonsai Techniques for Satsuki, as well as for his Ota Bonsai Nursery, which closed in 1987, regretably.  Richard continued teaching and demonstrating to this day, as well as presiding over the extensive San Gabriel Nursery bonsai collection.  Besides his passion for satsuki, Richard particularly likes black pine, shimpaku, and pomegranate.  Richard advised that arid Southern California was not ideal for satsuki but recommended Yamano Hikari, Kazan, Eikan, and Takasago.  Azaleas should be trimmed in June and have a final trim during the second half of July -- if they are trimmed later, fewer blossoms.  As for bonsai, in general, Richard remarked that many people quit too soon, that bonsai were not easy and the art required patience.  Richard's bonsai were refined masterpieces that spoke eloquently of his understanding of the art and his dedication to it.  He was the author of two definitive articles on bonsai and suiseki that were published in "Bonsai in California," Volume 1, 1967.  (Somerfeld, Sharon  "The Iron Men of Naka," Golden Statements, Vol. XXXV No. 2, https://web.archive.org/web/20120505234436/http://www.gsbf-bonsai.org/magazines/2012/v35_02.pdf, pg. 25

Greetings, I just stumbled across the bonsai book of days and saw that you were looking for information on Charlie & Cheryl Owens. Charlie died in 2008 during the time of the ABS seminar in TX - Cheryl, and ABS board member at the time, couldn't attend the TX seminar because of funeral arrangements. Cheryl passed away yesterday (at the age of 90) which is what started my search. I'm thinking of writing an article about her for an ABS Journal. I have a bunch of her old newspaper clippings from her years of running bonsai study groups in Elkhart, IN. Though talk of Cheryl (really the bonsai person, Charlie would just fund her hobby) leads to talk of the Ben Oki award which was a cash prize that the Owens sponsored for many years, I've included a photo of a pot that was a prize on the 10th anniversary of the award being given out.
If there are questions that you'd like to know about Cheryl please feel free to ask. If I don't know them off the top of my head I might stumble upon the answer as I dig through some of her old bonsai history files.
-Cat Nelson
To rjb@magiminiland.orgAdd contact Date 2017-04-26 22:43

British Potter Andrew Pearson, of Stone Monkey Ceramics, first for having the fortitude to even enter the show (at the clearly right headed urging of Peter Warren and Akiyama San), and second, and foremost, for taking a gold award in the unglazed category, at the 10th Annual Modern Shohin Container Artist Exhibition in January 2015 held as part of the 40th Gafu-ten Shōhin Bonsai Exhibition in Kyoto.  Gold award winning unglazed trio. The attention to detail is outstanding, in both the razor sharp lines and relief carvings. The display is very well presented also. Andrew is the first Western Bonsai potter to exhibit at major exhibition in Japan, and certainly the first to take Top Prize.
I have been making ceramics since 2002. My interest first started with Bonsai in 1993 of which the pot is an intrinsic part of the finished image. I was introduced to Ceramics and I had a go at making my own pots and with a lot of time and practise I started to get better. After purchasing a small electric kiln I started to make, glaze and fire Bonsai pots. At first I made them for my own enjoyment and for my own trees, however members of my local Bonsai club started to ask for pots for their trees and I also sold some to a local Bonsai Nursery.
I gained a lot of inspiration from other great Potters and this drove me to search for my own individual style, however Japanese ceramics always, and still does, have a huge influence over me. Over the years I attended several ourses at colleges and universities in my quest to improve and better myself. These courses have included throwing pots and glaze formula. In the early part of 2003 I purchased a potter's wheel and a 9 cubic foot gas kiln. Again there was another learning curve with new glaze recipes and reduction firing. Eventually I progressed enough to sell my Bonsai ceramics all over Europe via shows and also from my website under the name of Stone Monkey Ceramics.  The blog he had on that site was moved to a Facebook page in September 2015.
I also have a huge interest in Studio Ceramics and I am just starting to deviate from the field of Bonsai Ceramics on a different but complimentory journey. I am an avid fan of the "Leach Tradition" as this stemmed from the Japanese ethos of producing pottery of which I try to portray in my work. I love subtle lines and quite forms and the ceramic pieces I create must have "Wabi-Sabi", beauty in in-perfection and aged things. In 2010 I saw the Japanese potter Ryoji Koie at a demonstration at the V&A Museum, he had a huge impact on the way I work now and how I approach the clay. I like to think now that my ceramics have a voice and are an extension of me, embodying a little of my way of freedom, spirit and life.
In 2015 I was humbly accepted to enter pots in the prestigious Gafu Ten show in Tokyo. I was priviledged to have been awarded the Gold Award for the unglazed catagory of bonsai pots.
Bonsai Ceramics The Noelanders / Best of Trophy Show, Genk, Belgium: 2008, 2009, 2010, 2011, 2012 , 2013, 2015, 2016, 2018 & 2019 Best of British Bonsai Expo, Birmingham, UK: 2009 & 2011 Joy of Bonsai Expo, Bath, UK: 2010 Bonsai World Expo, Crawley, UK: 2011, 2013 & 2015 French Bonsai Expo, Plourhan, France: 2010 Bonsai Traders Association Shows, UK: 2009, 2010 & 2011 European Bonsai Association Show, Ostend, Belgium: 2007 Natural Flux Exhibition, Brick Lane Gallery, London 2013 Shohin UK, Bristol, UK: 2013 & 2015 Spirit of Shohin, RHS Wisley, Surrey, UK: 2016 Swindon Winter Image Show, Swindon, UK: 2010, 2012, 2013, 2015, 2016, 2017, 2018, 2019 & 2023 Bonsai Europa, Bury, UK: 2015 & 2017 Gafu Ten Bonsai Show, Tokyo, Japan: 2015 & 2016 Founding the Triskele group together with Tom Benda and Thor Holvila 2015 Supplier of Bonsai Ceramics to Ryan Neil at Bonsai Mirai, Portland Oregon since 2019  Bonsai Show Live 2022 01 & 02 10/22 Bonsai Expo UK 2021 & 2023 Heathrow Bonsai Show 2016, 2017,2018, 2019 and 2021 Awards Gold Award in the "Unglazed Category" at the 40th Gafu Ten Show Japan 2015   Media 4th British Shohin Exhibition Book 2009 Best of British Bonsai Book 2009 Best of British Bonsai Book 2011 Esprit Bonsai Magazine 2010 & 2011 Bonsai Focus Magazine 2015 & 2017 Kinbon Magazine 2015 Bonsai World Magazine 2017 Bonsai in Conversation Podcast Ep 15 2020 Bonsai Mirai Asymmetry Podcast Ep 169 2021 Bonsai Mirai Asymmetry Podcast Ep 202 2022 Studio Ceramics Ceramics South East 2009 London Potters Exhibition, Morley Gallery, London 2011 Singing Soul Gallery, Cranbrook, Kent 2011 – 2018 West End House Gallery, Smarden, Kent 2011
  ("The 10th Annual Modern Shohin Container Artist Exhibition, Part 1," Japanese Bonsai Pots Blog, January 14, 2015' "About Andrew Pearson the Stone Monkey," Stone Monkey Ceramics)    SEE ALSO: 

The Plant Quarantine Act, originally enacted by Congress on August 20, 1912 (7 U.S.C. 151-164a, 167), went into effect on October 1 and gave the Animal and Plant Health Inspection Service (APHIS) the authority to regulate the importation and interstate movement of nursery stock and other plants that may carry pests and diseases that are harmful to agriculture.  Nursery stock was defined in part to include all field-grown florists' stock (trees, shrubs, vines, etc).  The authority to regulate interstate movement is particularly important to the agency's ability to prevent or limit the spread of a harmful non-native species within or to a state or region of the United States.  All states have some type of domestic quarantine laws as well, but under the Plant Quarantine Act, federal quarantines preempted state quarantines in interstate commerce.  History indicates that the success of domestic quarantines is highly variable.  (The Act was amended March 4, 1913, and March 4, 1917.)
     After July 1, 1913, foreign certificates of inspection of nursery stock (which are a condition of entry) were not accepted except when issued and countersigned or officially sealed by duly authorized officials of foreign countries or their agents in accordance with the provision of the regulation mentioned, and with section 1 of the Act.  After July 1, 1918, imported nursery stock not certified, or improperly certified, was stopped at the customhouses and its entry was be impossible.
     The Federal Horticultural Board was established, effective August 21, 1912, by the Plant Quarantine Act (37 Stat. 315).  The Board was abolished, effective July 1, 1928, by the Agricultural Appropriation Act (45 Stat. 565), May 16, 1928, which created the Plant Quarantine and Control Administration.  The PQCA was redesignated the Bureau of Plant Quarantine by the Agricultural Appropriation Act (47 Stat. 640) on July 7, 1932.  It was consolidated with the Bureau of Entomology to form the Bureau of Entomology and Plant Quarantine in 1934.
     This Act has been superseded by the consolidated APHIS statute, the Plant Protection Act of 2000 (7 U.S.C. 7701 et seq.).  (http://ncseonline.org/nle/crsreports/biodiversity/biodv-26c.cfm; "Plant Quarantine Act," http://en.wikipedia.org/wiki/Plant_Quarantine_Act; http://www.archives.gov/research/guide-fed-records/groups/007.html#7.3; http://www.archive.org/stream/plantquarantinea00unit#page/n1/mode/2up; http://books.google.com/books?id=psAUAAAAYAAJ&pg=PA70&sig=ZLSr9xCgavdg8gSqMrBGdDTE_PY&hl=en#v=onepage&q&f=false ; "Certificates of Inspection of Nursery Stock," http://books.google.com/books?id=GvAOAAAAYAAJ&pg=PA1&sig=TS1KfyGr2CQjo6vTssy2v-tU_r8&hl=en#v=onepage&q&f=false; http://www.ceris.purdue.edu/fr_archive/0104/27/00001.html; http://ncseonline.org/nle/crsreports/biodiversity/biodv-26c.cfm)

Ted (b.c. 1932) and Shirley Poynton's nursery in Clayton South, Melbourne, Victoria, Australia.  The couple were skilled in Australia native bonsai.  "[Before the end of June 1989, approximately 50] Members and friends gathered at 'Benbow', the Frankston home of Mrs. Diana Gibson, to hear an interesting and informative talk on Bonsai by Mr. Ted Poynton of the Clayton Bonsai Nursery.  This was followed by a basket luncheon.  We were again fortunate with the weather and able to be outside to view a large display of plants which Mr. Poynton had brought with him.  He also donated a Bonsai tree as a prize for our lucky number.  $1,658.33 was raised."  In 1989 at the 3rd Australian National Bonsai Convention in Melbourne Ted was the headliner, doing a demo "101 techniques of bonsai."  In 1993 at the 7th ANB in Brisbane he did a presentation of "secrets and techniques."  A "Handy Tip for Collecting Cuttings: A small plastic soft drink bottle is extremely useful for transporting and keeping cuttings safely for up to 24 hours.  Make sure the bottle is moist inside, and gently insert the cuttings through the top opening, leaving the cap off.  This nct only keeps the cuttings fresh, but prevents crushing or bruising.  Ts [sic] remove, cut the base from the bottle, then pot up in the usual way. (From Nurseryman Ted Poynton, as repcrted in the Epacris Study Group Newsletter, October 2003)."  In 2003, Ted Poynton (Waverley Garden Club -- Bonsai Group) was awarded the John Pascoe Fawkner Gold Service Medal by the Royal Horticultural Society of Victoria.  One specimen in the National Bonsai & Penjing Collection of Australia is a 140 cm tall Angophora costata (smooth-barked apple, a gum tree), arguably the best example of Eucalypt you will ever see  It was planted in 1959 as nursery stock, styled since 1979 by Ted Poynton, loaned to the NBPCA in Spring 2009   (Photo by NBPCA Curator, Leigh Taafe.)  "Williams Nursery was in Clayton (not too far from Keysborough), the Poyntons sold up about 5 years back (c. 2009), it is now a block of townhouses.  Ted and Shirley (still alive) still make it down to most of our club meetings and even made it to our show dinner this year (2014)!
There exists a 50-minute instructional video, "Bonsai, cultivation of miniature trees, with Ted Poynton" which we have not located yet.)
("Goldfield's Bonsai Society, March 2022 Newsletter, pg. 3; "Tweddle Baby Hospital Central Auxiliary, Tweddle Baby Hospital 69th Annual Report, 1989, pp. 18, 19 ; "RHSV Service Awards"; FB post, Bonsai Empire, December 5, 2018; "Newsletter, December 2003," Association of Societies for Growing Australian Plants, Australian Food Plants Study Group, No. 46, pg. 8 ; "Ted Poynton's Angophora," Ausbonsai, thread starting on January 15, 2009; "Bonsai Empire 21st Anniversary Series," Bonsai Empire, February 12, 2022 ; "Eucalypts with Kevin Ritchie, Bonsai Society of Victoria, February 25, 2023; "Name and Location of a Nursery," reply by Pup, Ausbonsai, August 14, 2014; )

Clif Pottberg started in bonsai in 1965. By 1971 he had started teaching basic classes in the Baltimore area.  That same year Clif began Croton Hill Farms, a Baltimore based bonsai nursery which was subsequently renamed as Modern Plant Technology.  He studied at first with E. Felton Jones and subsequently with John Y. Naka.  He taught bonsai throughout the Baltimore-Washington area at community colleges, the American Horticultural Society and the Smithsonian Institution's Resident Associates program, while touring occasionally on the bonsai circuit as time would allow.
During this time he held numerous Bonsai administrative positions.  Clif was a founder and past president of the Baltimore Bonsai Club in 1971.  He has been VP of the American Bonsai Society, a founding member and president of the Potomac Bonsai Association several times starting in 1972; the Annapolis Bonsai Club, the Washington Bonsai Club, and the Gulf Coast Bonsai Society after moving to Florida in 1981, and also headed the Hukyu Society and Sundamizu Bonsai Kai.
Moving to Florida in 1981, Clif began a wholesale nursery which he called "The Ranch Nursery".  In 1983 he began RN Products, selling wholesale bonsai supplies nationwide.  Because of other commitments he had to stop his work selling and developing new bonsai products.  Now Clif has begun developing some new products again, which have been sorely lacking from the shelves of bonsai suppliers. Products such as "Supermud!" will now be reintroduced.  This was a product which, for the first time, made extreme slopes and altitudes possible in landscape, penjing and saikei scenes. modeled rocks, of many remarkable shapes and colors, and detailed for use in natural landscape designs,concrete slabs, stoneware and landscape trays,and slope stabilizers, classic and also new tool forms, slightly improved or developed for bonsai uses not previously available.
He began teaching bonsai in 1970.  He developed an extensive set of course venues, over the years, from beginners to advanced, and which included the American Horticultural Society, the Smithsonian Institution and the various clubs of the Potomac Bonsai Association, of which he was a founding member.  He also served on the boards of the Potomac Bonsai Association and the American Bonsai Society, being both president of the one and vice-president of the other.
In 1981 he moved to Florida to help in the family trust's business.  At the same time he began a landscape and bonsai nursery of about 15 acres in extent, and served for several years on the Florida Nurserymen Growers and Landscapers Association's board of directors.  Six years ago, he re-established his bonsai nursery, under the name Bonsai at Pasiminan, and began teaching classes again, mostly in the more complex styles such as forests, driftwood work and complete landscapes.  During this time he also helped form the Sundamizu Bonsai Kai, in Clearwater, and has been writing extensively on various bonsai subjects for some time.  He also recently began expanding his business to include boarding trees, selling a complete line of supplies and also underplantings and rocks for plantings
("Our history," Bonsai at Pasminian Home, http://www.pasiminan.com/pasiminan/; "Clif Pottberg," An Extravagance of Azaleas, questionable safety" xa.yimg.com/kq/groups/11205563/1555656950/name/2011+Azalea+Conference+and+Festival.pdf)

Ed Potter (d. Oct 76)

Graham Potter (b. Sept. 24, 1964)

Graham Potter

Jennifer Price was born in Chicago, IL. October 11
June 26 FB post: "When I joined American Ballet Theatre Mikhail Baryshnikov was the artistic director (1980-1989).  He once told me that the word 'Can't' should not exist in our vocabulary.  If you want to become one of the best you simply climb the mountain -- never look back.  Don't worry about others who are also climbing. And embrace what's yet to come.  Just climb."
"I received very good news from the ortho[pedic doctor].  While I do have some neck [and right hand and and foot] issues, no surgery, and no injections are required.  I will be resting my neck and shoulder for the next couple of weeks and then begin another course of {physical therapy]."
Retiring from the ballet world at age 26 due to injuries, she transitioned to bonsai.  "Well, I was really good at growing plants."  Over 11 years ago (c.2009-2010) she saw her first bonsai and she bought it.  She didn't have a real connection with it, though, just thought it was a pretty tree.  "...as a ballerina I had always looked at movement.  So the line of the trees fascinated me right from the get go.  For example, when you see a Literati tree, it looks very tall and sinuous.  I think I was attracted to that -- I saw the movement within the trees, within the trunk line, and kind of just took it from there.  As silly as that sounds, I think all trees kind of dance."  Like most of us she killed her first tree.  She had taken an outdoor Juniper indoors and couldn't figure out why it died.  She was at a local nursery on the west side of Chicago that had some bonsai, Goers Greenhouse, where she met Dan Kosta and he told her about Prairie State Bonsai Society, a few miles to the northwest.  And that their meeting was that night and they needed a special events coordinator.  So she became that.  The following week, I found herself at Brussel's Bonsai Rendezvous, which is one of the biggest bonsai events of the year in the country.  I was really thrown into it.  I was very intimidated actually, trying to take all of these workshops.  I couldn't tell the front of the tree from the back of the tree, didn't know how to wire or do anything.  I was completely lost.  I ended up teaching at the Rendezvous in 2019 -- a year after she started teaching -- and I'm still involved in the local club quite a bit.  I have a lot of friends there, and I try to give back some of the knowledge that I learned throughout my journey.  It's been fun."
"I got very lucky in that first meeting when I went down to Brussel's Rendezvous because I met Jim Doyle there who has a long-established Nature's Way Nursery in Pennsylvania.  I ended up taking his class, and we really hit it off.  Jim was a professional tap dancer when he was young, so we had that dance connection, and he was very patient as a teacher.  Plus, he was only a couple of hours away.  Through Jim, I met Walter Paul who became a huge teacher in 2015 and mentor to me in my life, and then I started going to Europe to teach more."  "I'm still Walter's apprentice to this day.  As long as Walter will have me, I will continue working with him.  I've now made the decision to study with Ryan Neil of Bonsai Mirai, which was a big decision for me because Walter was much more naturalistic in his styling.  I wanted to get a little bit more formal training, technical training, and of course Ryan's artistry is beautiful.  Unfortunately, with COVID-19, I wasn't able to do much.  But with bonsai, you always consider yourself a student.  There's so much to learn.  I don't think you can ever stop.  For myself, I want to keep working with Jim, Walter, add that technical aspect with Ryan and keep going."  She has also studied with Mauro Stemberger and Will Baddeley.
In 2021 she was a headliner with Elsa Boudouri at BSF's 47th Annual Convention in Orlando, FL at the end of May (rescheduled from the COVID-19 postponed one the year before).  She conducted a few workshops at the 2023 ABS Learning Seminar June 10-11 in Denver, CO.  She also assisted Kathy Shaner during a demonstration there.  Jennifer had also taught at the Denver Botanical Garden the previous October.  She has taught workshops and given demonstrations throughout the US and worldwide.  Jennifer was the first female artist to be part of Generation Bonsai in Germany and has twice represented the United States in an international bonsai convention in Shanghai, China.  She specializes in collected yamadori along with broadleaf, deciduous, and also enjoys carving and working on the breadth of material found throughout the country.  A September 2021 video interview with her can be found here.

Earle Pudney  http://news.google.com/newspapers?nid=1957&dat=19990103&id=KTFMAAAAIBAJ&sjid=7-gMAAAAIBAJ&pg=6600,434358

Wolfgang Putz.  Born September 9, 1969 in Ried, Austria (Upper Austria) OberÃsterreich Mark lives in the village of Ried Alber - Oberosterreich 1989 High School Federation and Fruit and Vegetable Research Institute Vienna-Schönbrunn - professional landscape design and garden.  Graduation: 1989 Garden and landscape designers, managers, trainers and management trainee at the site of the Upper Austrian landscape 1984 - First contact with Bonsai Bonsai State Library of alpine garden of Belvedere Palace in Vienna: Start with a collection of trees He has been a complete failure of the small collection of his own fault maintenance (lack of sleep crowded) in the late 1980s - but immediately restarted with a collection of small deciduous trees in natural Since 1994, focused work with plants, now more than 200 trees + more Yamadoris own collection and the side panel 300 or accent plant Pius Notter, Gerhard Vorderwülbecke, Serge Clemence, Angel Mota, Kazuichi Kokubo, Manfred Roth, Jürgen Zaar, Walter Pall, Jim Doyle. Bonsai continuously since 1998 workshops, including at Pius Notter, Gerhard Vorderwulbecke, Serge Clemence, Angel Mota, Kazuichi Kokubo, Manfred Roth, Jürgen Zaar, and Walter Pall, Jim Doyle.  "Scuola D'Arte Bonsai" Othmar Auer 2002-2008.  "Scuola D'Arte Bonsai" Othmar Auer training in 2002-2008. Member of the Bonsai Club Tirol, the BCD (Bonsai Club Germany), the AK-bonsai friends Straubing and board member of the umbrella organization of Austrian Bonsai Club (Austrian Bonsai Association, ABA ) New Zealand, vv Bonsai contact with colleagues from Austria, Germany, Switzerland, Czech Republic, England, Belgium, Holland, Sweden, Italy, Spain, Canada, USA, South Africa, New Zealand, etc. many articles for Bonsai Swiss magazine "Nature and Man" (now "ornamental art"), the German magazine "Bonsai Art," American "BONSAI TODAY" magazine, the "bonsai" - Journal of the Bonsai Club of Germany (BCD) of the Netherlands (published in 6 languages) of the magazine "Bonsai Europe", the "Bonsai Today" - online-magazine (USA), gardening and different magazines. Bonsai 2000, 2001, 2002, 2003, 2004 and 2005, every tree (pine mountains, spruce, larch, mountain information, Austria and larch) in the Top 100 World Bonsai Contest Contribution to European countries and in 2001, bonsai exhibition at the 4th World Bonsai Convention in Munich, in 2003 over 4 Ginkgo Award Laarne / Belgium, 2004 at Shun-TEN ICHI Nymphenburg Castle (Munich), 2005 5 Ginkgo Awards in Belgium, in 2006 in NI Shun-TEN in NSM EBA Congress in 2007 in Oostende, Belgium, 2008 in SAN Shun in Landsberg am Lech-TEN + am EBA Congress in Vienna and in Bonsai on Bavarian some of the past year. Bonsai Harrisburg (Pennsylvania) Rochester (New York) Club meetings and lectures in USA Bonsai Club in Harrisburg (Pennsylvania) and Rochester (New York) Other Interests: Rock Garden (alpinum) with rare alpine and witches broom Cactus and Succulent collection Hosta collection (300 varieties) Travel and nature photography (analog and digital) Travel around the world Tuscany, Hungary, France, England, Wales, Scotland (inc Outer Hebrides), Ireland, Norway, Finland, Sweden, Faroe Islands, Iceland, Czech Republic, Germany, Belgium, the Netherlands , Switzerland, Spain, Italy, Slovenia, Croatia, Denmark, New Zealand, Fiji Islands, the United States, Alaska, Canada, Argentina and Chile. Collecting petrified wood and minerals Alberndorf historiography of Riedmark Manufacturing fruit liqueurs and Zirbengeist my specialty and red wine tastings I am a passionate amateur cook and gourmet. (http://translate.google.com/translate?hl=en&sl=vi&u=http://caycanhngaynay.vn/showthread.php/5007-Hnh-%25E1%25BA%25A3nh-cc-ngh%25E1%25BB%2587-s%25C4%25A9-bonsai-qu%25E1%25BB%2591c-t%25E1%25BA%25BF/page2&ei=16WuT7KdBKmO2QWz2rzpCA&sa=X&oi=translate&ct=result&resnum=1&ved=0CDsQ7gEwADgK&prev=/search%3Fq%3D%2522Kaneko%2BNoboru%2522%2Bbonsai%26start%3D10%26hl%3Den%26sa%3DN%26biw%3D1015%26bih%3D558%26prmd%3Dimvns)

Luciana Queirolo, b.Sept. 6, 1946, Italian expert in the art of the suiseki.  She lives in the North of Italy, in the city of Sarzana, province of La Spezia in the region of Liguri.  In 1980 she began her hobby by the suiseki and at the end of the Decade of the 1980s participated in their first exhibitions. In April 1989 she participated in the first national exhibition of Suiseki within the
==Spring Fair of Genoa, being the first time that a suicide exhibition was organized in Italy. The first conferences on suicide took place between 1992-93 in the ATABS Club of Florence, in the Bonsai Club of Sacile, during the Congress of the Asociación de Bonsái de Italia (AIB) and demonstrations at the Constantino Bonsái Center, in Pescia (Tuscany). Since then, he has participated in more than 118 exhibitions, conferences, demonstrations, etc.
Many of their suiseki have won numerous prizes. In 1995 she won the honorary 'Award of Honour' from the 3rd Asia-Pacific International Convention in Taipei, Singapore; and one of them, cutely called 'La Bella', is exhibited in the bonsai museum of the Arboretum Museum of Washington (EE.UU.), where thousands of visitors a year can admire it. However, Luciana says that her most important prize is 'a great satisfaction and emotion that remains intact over time'.
She is currently president and founding member of the Asociación Italiana de Amantes de Suisekis (Associazione Italiana Amatori Suiseki - AIAS) and of the Club Suiseki 'Unici di Liguria', founded in 1991 and the first European association of suiseki created in Europe.
Qualified to teach artistic subjects, for twenty years I have dedicated myself almost entirely to learning and disseminating the art of Suiseki.
In 1980 my infatuation with bonsai began, which waned in proportion to the growth of my love for stones.
In April 1989 I participated in the first National Suiseki Exhibition, set up as part of the Spring Fair in Genoa. It was the first Suiseki exhibition ever held in Italy. Since 1990 I have brought my stones and those of other enthusiasts wherever a bonsai event took place, both in Italy and abroad. In January 1991, together with a couple of friends and relatives (Sergio Malpeli, Graziella Molinari, Andrea Garbini, Igino Andreoni, Michele Trovato) we founded the suiseki club 'Unici di Liguria', the first suiseki association in Italy and Europe.
The first international recognition awarded to one of my suiseki was the Honorary Award for 'Above the clouds, sunset' at the 3rd ASIA-PACIFIC INTERNATIONAL CONVENTION - TAIPEI - SINGAPORE in 1995.
Since then, many prestigious awards have been awarded to my suiseki. I donated my dearest mountain-stone to the PERMANENT EXHIBITION TO 'BONSAI AND PENJING MUSEUM ARBORETUM' WASHINGTON DC so that many could enjoy it... but there are many of my stones, eager to be shown.
Also in 1995 I created and produced the video 'La pietra viva'; now on VHS in Italian, and on DVD in Italian with English subtitles. Articles and photos of stones from my collection are published in Italian and foreign periodicals, books and websites. I write and publish the newsletter of the Italian Amateur Suiseki Association (AIAS), I take care of the contents of the AIAS website.
Founding member and President of the Unici di Liguria suiseki club since 1991.
Founding member of the Italian Suiseki Amatori Association and President for the three-year period 2005-2007.
ESA member since its establishment, I was elected to the board of directors.
Member of the Italian Bonsaists Union since its foundation.
IBS member since foundation.
National Suiseki Instructor and Judge of the IBS (Bonsai and Suiseki Instructors) and of the UBI (Italian Union of Bonsai Artists).
I live next door, together with my stones. I can say that we grow old together, even if only for them aging is beneficial. I try to make you know and love suiseki deeply: I am living that season of life in which I believe it is right to enjoy without remorse what we like and in which we should no longer wait, to allow ourselves the luxury of being ourselves .

Luciana has a unique suiseki style: she favors larger stones, and has an artistic flair for creating, not just a miniature suiseki scene, but also an emotionally powerful drama.  Be it a feeling of desolation and loneliness, or a sense of complexity and drama, her style is unmistakable.  She often uses very large suiban to help create the drama via an expansive scene. Luciana is an accomplished pictorial artist, a flair she puts to good use in her suiseki art.  Luciana also makes her own daiza and does her own cleaning of her stones which are infamous for having a cement-like encrustation of mud that must be taken off with wire wheels mounted on a drill or hand press.  Some of these stones measure up to three feet (90cm) in size!
President of the club "Unici di Liguria," founded in 1991, the oldest Suiseki club in Italy.

James B. Ransohoff, Jr.

Cindy Read
Nov 5, 2015 - EL CAJON, Calif. -- Timeless, ageless and mesmerizing, the centuries-old art of bonsai takes root in the backyard of an El Cajon home, known as a hidden gem in East County.  Cindy Reed runs Kuma Bonsai and has been perfecting her craft since the late '60s.  Her backyard is home to hundreds of bonsais, including a 3-inch tall tree that's 35 years old, to a mini white cedar tree nicknamed 'people catnip' due to its leaves giving off an amazing scent.  The centerpiece is a 25-year-old bonsai dug up from the old KCBQ radio station lot.  Cindy calls it "her baby."  All of the plants are meticulously trimmed and arranged by Reed, whose love of nature has turned into a business.  She operates San Diego's only bonsai nursery, supplying bonsais to several places including Balboa Park's Japanese Friendship Garden and San Diego Zoo Safari Park.  To Reed, bonsai is a way of life -- a passion she shares through open workshops.  "Oh my gosh, the kids love it...I've had kids come back two years later and show me their trees," Reed said.  "I hope they come away with a little bit of peace," she said, referring to adults who need to unplug.  She's even met the man who did all the bonsais for the "Karate Kid" movies.  Reed says there's no such thing as the perfect bonsai and anyone can pick it up.  All you need is to open your mind and let the bonsai guide the way.
Bonsai Bonanza in East County - Kuma Bonsai is the only bonsai nursery in San Diego that has survived the test of times thanks to Cindy Reed's massive effort since the late 60's.  All the plants here are trimmed and arranged by Reed including a 3-inch-tall tree that's 35 years old, a mini cedar nicknamed 'people catnip' due to the leaves that give an amazing scent.  Her love for nature has surely turned into some sort of business given that she supplies bonsais to places like the San Diego Zoo Safari Park and the Balboa Park's Japanese Friendship Garden. Kuma Bonsai Nursery Est since 2000, we are a bonsai, succulent, and more nursery located in El Cajon, San Diego County. ("Bonsai bonanza in East County," https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=14&cad=rja&uact=8&ved=0ahUKEwje_avHkNrMAhUE2WMKHVtDCroQFghZMA0&url=http%3A%2F%2Ffox5sandiego.com%2F2015%2F11%2F05%2Fexplore-various-secret-treasures-of-san-diego%2F&usg=AFQjCNGN2VL6W2jat0BCU4NKerWvFQZ6bA; "16 Incredible Places in San Diego You Should Visit," http://www.lifeadvancer.com/places-san-diego-should-visit; Facebook https://www.facebook.com/pages/Kuma-Bonsai-Nursery/508185515934029; )

Antonio Ricchiari Apr 23, 1948

Rémy Samson
http://www.suisekibonsai.net/remy.htm
http://www.kewego.com/video/iLyROoafYan4.html
Few people know about that, but Châtenay-Malabry boasts one of the world's finest collections of bonsais.  The Bonsai Rémy Samson company indeed possesses more than 7,000 trees of all ages, styles and prices.  Thus, at the bend of the alleys it is possible to admire a hackberry more than 300 years old, a 160 year old five needle pine, a 95 year old variegated privet or a 160 year old banyan fig.  But there are also hundreds of younger trees, from 5 to 25 years old, far cheaper, that have been created by Rémy Samson and his spouse.  They also offer workshops to learn how to create, prune, maintain and treat bonsais as well as a care service for trees for people going away on holiday.
http://www.lebonsai.com/old/Franc/Rm/rmdate.htm
Les dates importantes 1948 Naissance à Paris.  1966 Boursier Zelidja - Voyage en ltalie pour étudier les jardins 1969 Découverte du Bonsaï.  Jeune paysagiste, il décore un stand tropical pour un spécialiste d'orchidées.  Des japonais exposent des bonsaï sur un stand voisin.  Le coup de foudre pour cet art.  1970 Création des Jardins de l'Espace (Plantarium en altuglass sous forme de sphère).  1971 Première importation de bonsaï.  1972 Premiers articles de presse dans dîfférents journaux et magazines : Le Monde - Maison Française - Jardins de France - Marie France.  1973 Création de l'entreprise Bonsaï Rémy Samson.  Participations à de nombreuses expositions : MAAF - SAD - Ateliers d'Art en 1978 Premiers voyages au Japon et en Chine.  Premiers cours avec des Maîtres en bonsaï.  Depuis cette date, il effectue chaque année un ou plusieurs.  voyages en Extrème-Orient.  Il continue à suivre des cours avec les Maîtres japonais et chinois.  1979 Premiers bonsaï d'intérieur importés en Europe, essentiellement importés de Chine.  1980 Exposition aux Floralies de Vincennes.  Première grande rencontre du public français avec les bonsaï.  1981 Création de l'A.F.A.B. Association Française des Amateurs de Bonsaï (association Loi de 1901) devenue "Club Bonsaï Rémy Samson", en 1991.  Il dispense des cours aux nombreux adhérents.  1982 Création de la Société Anonyme Bonsaï Rémy Samson.  L'Entreprise individuelle devient une S.A. Marque et Logo déposés.  1988 Exposition "Bonsaï Sculptures vivantes" au Parc floral de Paris réalisé avec le service des espaces verts de la ville de Paris.  1989 Ouverture d'un espace Bonsaï Rémy Samson, situé 10, rue de la Comête à Paris 1991 Création du Club Bonsaï Rémy Samson.  Réunions et cours mensuels avec des adhérents toujours plus nombreux.  1994 Mise en place d'ateliers de travail de Bonsaï.  Rémy Samson dirige et conseille les amateurs commc les professionnels les samedis matin.  1996 Rénovation complète du Musée du Bonsaï de Châtenay Malabry.  Visites guidées ou libres 1999 Rémy Samson fête ses 30 années de rencontre avec les Bonsaï, à Châtenay Malabry comme à Paris.  2000 "Bonsaï Rémy Samson" sur Internet
"REMY SAMSON Interview 2022," 34:21 minute vdieo, "Lover of potted trees, Rémy Samson devoted 40 years of his life to bonsai.  He and his wife Isabelle are the pioneers of bonsai in France and Europe.&bsp; This passion requires a lot of self-sacrifice, he even considers himself a priest.  Because for more than 40 years, Rémy Samson did not hesitate to work in his museum of the Valley of the Wolves (Châtenay-Malabry), which counted up to 9,000 bonsai, spread across more than 350 species, including trees over 300 years old.  The activity was discontinued in 2016.  Isabelle and Rémy SAMSON can now rest and travel.  We were delighted to receive them at the opening of BONSA Nous CULTURE EXPO 2022 at the Floral Parc in Paris, at the same place or in 1988, they created one of the most famous bonsai exhibitions in France having received more than 20,000 visitors.  An event that allows the creation of the bonsai collection at the Floral Parc de Paris the following year.  Part of his collection is now visible for free in the arboretum of the Park de la Vallée aux loops."

November 17

Bud Shafer, Bonsai Societies of Florida Trustee, and fellow Gold Coast Bonsai club member passed away on the evening of June 24th after a brief illness.
http://goldcoastbonsai.com/pdf/GCBS_July_2011.pdf, pg. 5

Tyler Sherrod  My first introduction to Bonsai began sometime during my college years through some unknown Bonsai magazine or book.  After telling my mother how cool these tiny trees were, she purchased a Mugo Pine Bonsai at a local grocery store.  I then placed this tree in my window seal and within a few weeks, it was dead.  Lesson #1: Water Your Bonsai!  Now the Bonsai Bug had me, I had to find all there was to know about this Art.  Following graduating from The University of Tennessee in Knoxville, TN I returned to my home in Hickory, NC.  I then proceeded to fill my yard with nursery plants of every kind which I cut up and called Bonsai.  I found a Bonsai nursery about an hour away from my home where I sought more information.  After countless weekends of helping around nursery and bothering the owner with countless questions about Bonsai, I happen to hear about a Bonsai professional in California, Boon Manakitivipart, who offers a Bonsai Intensive program.  I found his website, BonsaiBoon.com, and signed up for my first intensive during the Fall of 2009.  It was at these intensives with Boon that things began to fall into place.  I was learning more about the techniques of Bonsai as well as learning more about myself as a person.  Having majored in Philosophy during college, the study of knowledge, value, existence, mind and reason has become very important to me and the way I live my life.  All this I have found to be true in Bonsai.  In the Spring of 2011 I joined Boon and a group of Bonsai nuts on a trip to Japan to visit the Kokufu Bonsai Exhibition.  There I was introduced to Mr. Shinji Suzuki and formally asked him to take me on as an apprentice.  I was accepted and returned to Japan on April 18, 2011 and began my apprenticeship.  Over the next five years of my apprenticeship.  In the spring of 2016 Tyler received his professional certification from the Nippon Bonsai Association.  While working under Mr. Suzuki, Tyler was able to work on a variety of coniferous and deciduous trees.  He was responsible for refining the trees and preparing the trees to be entered in Japan's top bonsai competitions which included Kokufu-ten, Taikan-ten and Sakafu-Ten where several of the trees won top prizes.  Tyler returned to North Carolina in June 2016 and established Dogwood Studios.  Tyler has traveled to Oregon, Washington and California working with bonsai professionals in those locations and collecting trees.    (Tyler Sherrod Bonsai; "Tyler Sherrod," Bonsai News, LCBS, Vol. XXX, Number 10, October 2018, pg. 6;)

Ritaro Shimizu

Sashichi Sugimoto (b.1885) started to take care of bonsai at the age of five in the Zen Buddhist temple where he was brought up.  Later he became a well-known stage designer and has received national recognition for both his stage designing and bonsai. (Bonsai Journal, ABS, 1969, Vol. 3, No. 2, pg. 15)

Ben T. Suzuki -- President of the Akebono B.S. was awarded the Ryoku Haku Ju Medal of Merit for accomplishments in the field of bonsai.  It was awarded by the dai Nippon Agricultural Assocation and was signed by His Imperial Highness, Prince Nobuhito Takamatsu-no-miya and Shinjiro Okimoto, President and Chairman of the Assoc.  The presentation ceremony was made at the office of the Japanese Consul General in Los Angeles by the American branch of the dai Nippon Ag. Assoc.  ("In the News...," Bonsai Magazine, BCI, Vol. XIII, No. 3, April 1974, pg. 4)

Tahei Suzuki (b.1865-c.1940s)
("Chapter IV, Famous Collector, Tahei Suzuki," http://www.bonsai-wbff.org/shimpaku/shim4.htm; "Chapter V, Collecting Team of Tahei and His Brother Fukuji," http://www.bonsai-wbff.org/shimpaku/shim5.htm; "Chapter VI, Mysterious Jade Connection, " http://www.bonsai-wbff.org/shimpaku/shim6.htm; "Chapter VII, Drama of Itoigawa Shimpaku," http://www.bonsai-wbff.org/shimpaku/shim7.htm; Ota's article, International Bonsai, IBC, 1988/No. 4, pp. 5-15; Onishi's article, pg. 45; Avery, George S." "'Fudo' Comes To America," ABS Bonsai Journal, Vol. 5, No. 1, Spring 1971, pg. 4: "...'Fudo' was reportedly found during the year 1910, somewhere in the upstream area of the Itoi River, near the Japan Alps, in Niigata Prefecture.  No one knows the details, as [Tahei] Suzuki passed away in 1925.")

Toshinori Suzuki. Daiju-en Bonsai Garden in Okazaki, Japan was founded by Saichi Suzuki and has his grandson Toshinori Suzuki as proprietor.  The younger has won two Prime Minister Awards for bonsai art. ("Daiju-en," http://wiki.bonsaitalk.com/index.php/Daiju-en; "Toshinori Suzuki," http://wiki.bonsaitalk.com/index.php/Toshinori_Suzuki)  

Hayata Takemoto (1848-1892) -- "Born in Tokyo, he was one of several ceramic painters, attracted to the Kantō area at the time of the 1873 Vienna exhibition because of the official workshop that had been established to prepare ceramic exhibits for the show, who set up independently in Tokyo after the exhibition.  An incense burner by him won a prize at the International Exhibition in Vienna in 1873 and a strong following of customers in the West, all eager to join the craze of owning anything connected with Japan.  His workshop was called Gansuien.  In the mid-1870s he built a French-style cylindrical kiln at his Gansuien workshop in Koishikawa and began using plaster of Paris moulds for slip-casting.  His father Yōsai had learned about the slip-casting technique from a merchant who returned from the 1867 Paris exhibition.  He made practical experiments, which were continued by son Hayata and completed after the latter came into contact with potters returning from the 1873 Vienna exhibition.  He had worked for a while in Satsuma style, but in 1874 was influenced to begin to develop high-fired transmutation glazes for porcelain: copper reds and purples and iron browns with tortoise-shell effects.  During the 1890s many potters were competing to produce novel Chinese-style glaze effects, and the three leaders in the field were said to be Miyagawa Kōzan, Takemoto Hayata  and Seifū Yohei in Kyoto.  One contemporary article in 1893 compared the three potters to the Chinese "Three Friends of Winter": pine, bamboo, and plum.  Takemoto was likened to the pine: "he had always produced beautiful [monochrome] colours but died before he had reached an elevated position."  Seifū was likened to the plum: "invariably setting himself high targets and able to rise above the normal dross."  Kōzan was likened to the bamboo: "possessed of a very singular taste, although unable to escape the occasional error."
Takemoto was an early enthusiast of Western technology.  Like Kō zan, he was one of the most successful potters to make the transition from Satsuma-style export wares to venture into the field of underglaze porcelain decoration.  Unfortunately a promising career was cut short by his premature death.  He was a minor government official before the Meiji revolution but after the revolution turned to his hobby of morning-glory cultivation and ceramics.  All of his pots are molded but because of his hot temper, large amounts of his creations were destroyed by him.  There is a Takemoto Association whose sole purpose is to preserve his creations.  Besides pots, he made incense burners, flower vases, water basins, decorative tiles and other articles.  Because of the limited number of his bonsai pots, they bring high prices among Japanese collectors.
Takemoto Hayata was born Takemoto Marks Masanori In the first year of the Kaei period, 1848. The son of Takemoto Yotoki, a Shogunate Bannerman, he was born into the Samurai class of nobles in the feudal Shogunate system in Tokyo. As his father was powerful and he himself was a samurai, they lost everything in the Meiji Restoration. In 1867, upon the restoration of the Emperor to the throne, the Shogunate ended. Over the course of several years, Samurai and Daimyo had their rank, property, income, and elite status revoked by the Emperor.
Many Samurai chose to side with the Emperor, and in Takemoto’s area of Tokyo, these became the Tokyo police. Many others did not go quietly, and revolted. The revolts were quickly squashed by the new Imperial Army, headed by a core of Samurai that were the Tokyo Police. Takemoto refused to fight on either side, and thus, having no income, property, or trade, spent the rest of his years living in poverty.
Takemoto and his father were already pottery hobbyists when the Meiji restoration occurred, having made the acquaintance of Inoue Ryusai, a Seto Potter who visited the Edo suburbs. After the Restoration, Takemoto began producing pots professionally and in earnest, having built a kiln with his father from old bathroom brick and tile in the Takatamura suburb of Tokyo very early in the Meiji period, dubbed Takemoto Hayata.
After repeated failures and much consultation with Ryusai(who eventually became the foreman at his kiln when he adopted western Slip casting methods), Takemoto began producing excellent small works, loved by the Imperials and their retainers. Eventually he also produced vases and tea ceremony items, but is still most famous for his bonsai pottery. Most of his work is in the Cochin-China style, but several other glazes, clays, and techniques were employed before his early death in 1892, only 44 years old.
He played a pioneering role in modern craftsmanship by perfecting the method of firing using press moulds, and was awarded the Kamon award at the first National Industrial Exhibition in 1877 for his achievements.
At the Chicago Columbian Exposition of 1893 Japanese crafts were for the first time exhibited abroad on the same level as the fine arts, and Miyagawa Kozan and Takemoto Hayata received particular acclaim.
Count Yorinaga Matsudaira is considered the most important person in the popularization of Shohin bonsai in Japan, and his love of Takemoto’s containers is well known and documented. One of the reasons Count Matsudaira was able to fulfil his goals in creating tiny Mame bonsai was surely the new availability of tiny containers made by Takemoto, many of which were commissioned by the count.
(Itoh, Yoshimi  "Bonsai Origins," Bonsai Journal, ABS, Vol. 3, No. 1, Spring 1969, pg. 5; Pollard, Clare  Master Potter of Meiji Japan, Makuzu Kōzan (1842-1916) and his Workshop (Oxford University Press, 2002), pp. 25, 38, 62, 63, 72, 75; "Miscellaneana: Satsuma," https://www.liveauctioneers.com/news/columns-and-international/miscellaneana/miscellaneana-satsuma/; "Takemoto Hayata," Japanese Bonsai Pots, November 11, 2014; Japanese Culture In The Meiji Era, Vol.7 (Arts and Crafts), edited by Naoteru Uyeno, 1958; "Takemoto Hayata," Dictionary of Japanese Potters)   SEE ALSO: May 20

Keibun Tanaka  The Currency Museum. (Bank of Japan)
From the outline :- 'The Currency Museum was established in 1982 in commemoration of the Bank's Centenary and opened in November 1985. The Museum belongs to the Institute for Monetary and Economic Studies, the Bank of Japan.'
'The Bank of Japan has collected both domestic and foreign currencies for research purposes. Acquiring the "Sempeikan Currency Collection" at the close of the Second World War from Keibun Tanaka, one of the foremost collectors in the numismatic field, the Bank formed a large collection of currencies (about 200 thousand currency items) centered around Japan and other East Asian countries.'
'This collection is the largest in Japan and is world famous for the variety of its Japanese and Chinese currency collection. About 4,000 representative currency items of our collection are displayed in the museum. Many documentary materials, photos and maps are also shown for historical comparison with other countries to help visitors understand Japanese currency history well.' ("plep Archive," http://www.nutcote.demon.co.uk/nl02oct0105.html)

Hotsumi Terakawa was born in 1962 in Nagasaki, Japan.  At the age of fourteen he chose a life dedicated to bonsai.  He learned the art in the bonsai garden of Hideo Kato, the Yagumo Mansei-En.  After a very intensive period of 7 years in the garden, he worked in Japan.  Afterwards he chose the Netherlands as his home.  Not only theat country but the whole of Europe has benefited enormously from his presence.  His agenda is always well filled with appointments for demonstrations, workshops, maintenance of private collections and teaching his students.  They are taught in small groups in his bonsai studio in Ammerzoden where individual attention is an important aspect.  However, it is precisely in these small groups that there is a problem.  The groups have little contact with each other and the exchange of experiences and ideas is limited.  Consequently there arose in the late nineties an idea amongst the students of Hotsumi to found a bonsai association.  There were two objectives, to maintain social and educational contact.  That idea became a reality in the year 2000 and many successful meetings have taken place.  Every year there are several pleasant events where the members meet and get to know and learn from each other.  Several workshops, demonstrations and lectures by famous European bonsai masters, also on related art forms, can be attended.  However, Hotsumi Terakawa is active in various countries and he, along with his family, has chosen Japan again as his permanent residence.  With great regularity he travels back and forth between Japan and the Netherlands.  As a result of this development he is now less involved with the association, but where necessary, he supports the association through the provision of information and attending activities in which he shared his views with the attendees.
http://www.sho-ryu-kai.nl/information.htm

Tony Tickle was born March 29, 1956 in Ramsbotton in Greater Manchester, England.  [He would study 3D Industrial Design at Leeds Polytechnic and garduate in 1978.  He would be introduced to bonsai in 1983.  He would specialise in native European trees, in particular: hawthorn (Crataegus), yew (Taxus), and pine (Pinus).  Tony would train under the stewardship of Takeo Kawabe and work with many of Europes leading artists.  He would be a Director on the Board for Bonsai Clubs International 2003-2005 and Member of Association of British Bonsai Artists.  Tony would be a founding member of "Black Scissors," the global creative brotherhood of bonsai artists.  A Royal Horticultural Society Judge Tony would oversee the judging of competitions in the UK and as far afield as China and Australia.  An event planner, in 2015 and again in 2017 he would organise Bonsai Europa, the BIGGEST bonsai event to take place in the UK since 1991.  In September 2019 he would organise the UK National Bonsai show.  He would have a regular column in the widest circulation Bonsai Magazine Bonsai Focus and would also write for specialist publications worldwide.  Tony would demonstrate at major conferences throughout the UK and Europe and across the world, including Australia, South Africa, China, Brazil, India, and the USA.  Nominated for a Noelanders award in 2009, he would win his first Ginkgo award in 1997, UK winner and runner-up in the European New Talent Competition in 1995.  In 2017 he would win "Best Deciduous Bonsai" at the prestigious Noelanders Trophy in Belgium.  In October 2018 Tony would win a Bonsai Clubs International excellence award, only one of three presented that year, for his cascade Mugo Pine on a rock.  Tony would seek to promote Bonsai as an art form in its own right, hosting exhibitions in Museums and Art Galleries along with unusual locations that capture the public imagination.  He would present bonsai in a creative and dynamic way courting controversy and praise in equal measure.  Tony would champion the introduction of a fair and transparent judging system that is now widely used across the global bonsai scene.  Over the years Tony would create hundreds of bonsai for himself, clients and students.
Appeared at these events: Gingko Award, Noelanders Trophy, EBA events, World Conference in Munich (2001), most major Bonsai Shows in the UK. Appeared in these magazines: Bonsai Focus, Bonsai Today, BCI Magazine, Bonsai International, China Penjing and Scholar Rock (feature) Awards: Runner Up New Talent Contest (1995), Gingko Award (1997), UBI Award (1997 and 1999), EBA Award of Merit (1999), Chase Rosade Medal work with the best artists, sharing and giving are key to Tonys own teaching methods, and to this end he created the Burrs events, these can be seen here. The Burrs events have been running since 2004, with many invited artists coming and sharing their talents with participants. His website, https://yamadori.co.uk/, would date from at least the Fall of 2000.  The director of Bonsai Residency Workshops is Tony Tickle. He is a winner of the first Gingko awards in 1997, UK winner and runner up in the European New talent competition in 1995, coached three UK new talent winners including David Prescott in 1997 and Mike Sullivan who won the Event in 1998 in Fermo Italy. Board of Director for Bonsai Clubs International 2003- 2005 and Member of Association of British Bonsai Artists. He has demonstrated widely at major conferences throughout the UK and Europe, He is widely published and has had Bonsai selected for four Gingko awards, World Conferences and many European events. He currently demonstrates at clubs, societies and organisations throughout the UK and Europe       [Three questions he would ask when he viewed a tree in a show: 1) Do you like it?  2) If it was your tree, what would you do to change it?  3)Would you have it in your garden?  Impatience is the single biggest killer of bonsai.  He would also support many ceramicists, especially in their early days.]
ony is the organiser of the UK National Bonsai show. He has a regular column in the widest circulation Bonsai Magazine ‘Bonsai Focus’ and writes for specialist publications worldwide. Tony demonstrates at major conferences throughout the UK and Europe and across the world, including Australia, South Africa, China, Brazil, India and the USA. Nominated for a Noelanders award in 2009, World Conferences and many European events, He won his first Ginkgo award in 1997, UK winner and runner-up in the European New Talent Competition in 1995. In 2017 Tony won “Best Deciduous Bonsai” at the prestigious Noelanders Trophy in Belgium. In October 2018 Tony won a Bonsai Clubs International excellence award, only one of three presented that year, for his cascade Mugo Pine on a rock. Tony seeks to promoted Bonsai as an art form in its own right, hosting exhibitions in Museums and Art Galleries along with unusual locations that capture the public imagination. He has presented bonsai in a creative and dynamic way courting controversy and praise in equal measure. Tony has championed the introduction of a fair and transparent judging system that is now widely used across the global bonsai scene.    ("About Tony," Bonsai & Yamadori from Tony Tickle ; "Tony Tickle," bonsaiempire.com ; https://www.bonsai-bci.com/index.php/tony-tickle)   SEE ALSO:

2011 BONSAI IN THE BLUEGRASS INSTRUCTORS PROFILES

Tosui Uematsu -- "He dedicated his life to studying pots for bonsai and died in poverty of malnutrition after World War II.  He made it possible for suitable pots to be mass produced and through his ingenuity and effort many inexpensive bonsai pots are on the market here and abroad."
(Itoh, Yoshimi  "Bonsai Origins," Bonsai Journal, ABS, Vol. 3, No. 1, Spring 1969, pg. 5)

Nobuichi Urushibata (b. 1946, Shizuoka - July 18, 2021)  http://216.65.36.71/subscriber/profile102a.htm;
https://bonsaitoday.com/part-time-deshi/ ; https://valavanisbonsaiblog.com/2020/02/13/a-visit-to-taisho-en-bonsai-garden/; https://www.bonsaiempire.com/inspiration/bonsai-japan/taishoen https://valavanisbonsaiblog.com/2020/01/09/shunka-en-bonsai-museum-taisho-en-bonsai-garden/

George Yamaguchi (d. Jan 2005)  John Naka started his very first Bonsai Class at Yamaguchi Bonsai Nursery, with George Yamaguchi as one of his first students.  (<< what source??>>)
http://articles.latimes.com/1985-05-30/news/we-4978_1_sawtelle-boulevard Outgrowing the Past Distinctive Sawtelle Neighborhood Gives Way to Development May 30, 1985|LYNDON STAMBLER, George Yamaguchi, 72, who started his Yamaguchi Bonsai Nursery in 1949

Keiko Yamane -- In 1969, she opened the Keijukai Bonsai School, specializing in grasses and accent plants.  Yamane was born in Mitaka, Tokyo, graduated from Keisen Women's College where she majored in horticulture, and had studied under Saburo Kato at Mansei-en in Omiya since 1964.  She was the first woman to study and train in bonsai for a professional career, owning and operating her own nursery.  She would go on to publish many articles and books, and would win many awards in Japan for her work.  Her specialty is, of course, kusamono bonsai, accent plants and plantings of wild flowers, rushes, and grasses. (Bonsai Magazine, BCI, November/December 1992, pg. 46.)

Tak Yamaura (b.1944, Nagasaki) http://www.japanbonsai.com/ http://www.psba.us/tak.html Mr. Tak Yamaura has 30 years of experience in the art and skill of bonsai. He graduated from the University of Agriculture in Tokyo Japan, in 1968. While attending university, Tak was fortunate to receive training from Mr. Toshio Kawamoto, bonsai master of Nippon Bonsai Saikei Institute. Arriving in Canada in 1970, Tak established "Japan Bonsai" in White Rock, BC. The nursery has grown to be one of the largest in Canada with over 60,000 indoor, outdoor, and pre-bonsai nursery stock, as well as a complete line of Japanese pots, Korean mica pots and tools.

Carl & Shin Young  Also (International Bonsai, 1983/No 4, pp. 14-15, Bonsai Magazine, BCI, March/April 1988, pg. 14)

Zhao Shaojuan, penjing master who killed himself in the 1960's due to the Communist Party's actions against penjing.