After the Great Kanto Earthquake in 1923, which leveled the region, bonsai artists in the destroyed Tokyo needed to relocate. They selected an area near Omiya, north of Tokyo with clean air, good water and among a grove of tall Japanese red pines. In 1925, 100 years ago, three pioneer bonsai artists, Ritaro Shimizu, Tokuo Kuraishi and Tomekichi Kato combined their talent and effort to establish Omiya Bonsai Village in March 1925. By December 1926 19 bonsai gardens were founded and enthusiasts began moving to the Omiya Bonsai Village to grow, train and appreciate bonsai.

In the beginning years residents had several rules to follow: maintain at least 10 pots of bonsai, have their gardens open to the public, no two-story buildings and must include a hedge of living plants. Today the Omiya Bonsai Village includes eight bonsai gardens. One of the earliest, the Mansei-en Bonsai Garden was established by Tomekichi Kato and in 1925 is the only remaining original pioneers. Currently the garden is managed by the 5^th generation Takahiro Kato. Kyuka-en Bonsai Garden closely followed being established in 1929 by Kyuzo Murata. 

Over the next 100 years the founders established a modern-day bonsai culture, preserving the bonsai tradition despite the threat of its demise during World War II. Today Omiya Bonsai Village has come to be regarded as “The Bonsai Mecca” by people around the globe.

There have been special exhibits, sales and festivals throughout 2025 in Omiya. The pride of the current bonsai artists cumulated on November 14, 2025 at the Palace Hotel Omiya with the invitation-only 100^th Anniversary Commemorative Ceremony, well-organized by the Executive Committee lead by the Executive Chairman Takahiro Kato.

The commemorative ceremony evening event was a special and elegant for about 300 people. During the reception a side room had large historical photos enlarged and maps from 1920s showing the development of the Omiya Bonsai Village. In the large reception room approximately 30 large-size famous bonsai were displayed by the bonsai garden owners, a few from each, representing their artistry and speciality. Of course, each masterpiece bonsai was on an appropriate display table.

Mr. Kato’s famous masterpiece bonsai, an estimated 700-year old Sargent juniper was displayed on the right side of the stage in an antique Chinese container with the poetic name “Ryuoh.” The tree was so large and heavy a wooden block was placed under the sturdy display table to prevent collapse. It was carefully hidden with a brown cloth identical to the table covering it was displayed on. In fact all the bonsai were displayed on identical brown tablecloths throughout the room. On the left side of the stage was a famous large Japanese five-needle pine masterpiece named “Murakumo” displayed by Tetsu Kurosu. Looking from the back side of the room, both bonsai were well-balanced and of the same height. Although the Japanese five-needle pine was shorter in height than the huge heavy Sargent juniper, the tops of each of the bonsai were level, with the terminals at the same height. The shorter Japanese five-needle pine was sitting on a taller display table to even out the height difference between it and the taller Sargent juniper sitting on a shorter display table. It is little details like the table covering color and tree heights which elevates the art of bonsai to the refined level we now appreciate. Probably none of the 300 guests notice these small details, but I did.

Japanese koto music was playing during the reception time and there was “heavy grazing.” The official ceremony began with a welcome from Mr. Kato followed by remarks from the Governor of Saitama Prefecture and the Mayor of Saitama City (Omiya.)

The next part was most interesting and appropriate. Seven of the bonsai garden owners each spoke for a few minutes and also discussed their masterpiece trees. I think it is rare to see all of these gentlemen together, dressed in suits with white flower ribbons. In fact, they all stood in a reception line at the end thanking everyone for attending. It was a truly classic refined event

Omiya Bonsai Village Owners left to right:

Takahiro Kato, Mansei-en Bonsai Garden

Yukio Murata, Kyuka-en Bonsai Garden

Hirota Kanta, Toju-en Bonsai Garden

Tomio Yamada, Seiko-en Bonsai Garden

Hiroshi Takeyama, Fuyo-en Bonsai Garden

Teruo Kurosu, Shotetsu-en Bonsai Garden

Tadashi Ohno, Bonsai Ohno

After the garden owners spoke there were two foreign speakers, Harold Lehner from Germany representing the European bonsai community and me who represented the English-speaking bonsai world. It was appropriate for me to say a few words since I first came to Japan to study bonsai in Omiya 55 years ago and have seen many positive changes in the Japanese bonsai community.

Wm. N.Valavanis and bonsai tool maker Hirokuni Masakuni

Yukio Murata with one of his grandfather’s Hinokii cypress bonsai

The two foreign speeches concluded the event and we all wish the best of good luck and look forward to progress to Omiya’s Bonsai Village for the next 100 years.

This Japanese maple, Acer palmatum, is from seed, not a cutting, graft or air layer of any special cultivar. It was grown in a field for about 8-10 years, then container grown and trained for about 30 years. The mature bark is an indication suggesting age.

The original oval blue container is a bit small and too deep for my taste. The tall feet, positioned awkwardly, centered too close together bothered my sense of design for a slanting style upright deciduous species. The feet lift the body of the container a bit too high off the display table and allows too much negative space underneath. It does not present a stable feeling. 

Although I prefer outer rim containers for deciduous species, the original container rim is a bit too heavy and prominent for my taste. Also, the sides of the original container are slightly curved a bit too much and presents a deep feeling. The new, contemporary Chinese container, made for the Japanese market, has a less prominent outer rim which is in proportion to the entire container presentation and the sides are more straight presenting a better balance. Both containers are blue and very suitable for deciduous and broad-leaf species. The new light blue container is not as prominent as the dark blue and presents a fine-refined taste. The dark blue is fine, and I have many bonsai in that bold color. But I was looking for a different container which fits the taste I have been developing for over 60 years. Selecting the perfect container is difficult. I have specific tastes for containers and purchase them when available, and if affordable, even though I have no idea what to plant in it.

About ten years ago we were transplanting a maple because the pot was too small. So, we visited my special collection of pots on the second floor of my studio. We found SEVEN “perfect” containers which would all be suitable for the bonsai. In fact, I photographed them with the tree in the old pot and asked members on Facebook which one they would choose. My son Christopher, who does not do bonsai, but has an appreciation and knows how to train them, selected the same container that I did! So, I had seven containers which were all suitable, because I collected them because of my specific standards and tase and had them on hand. The since all seven were suitable I began to study the craftsmanship of the ceramic potter looking for imperfections, quality, glaze, clay body and color (even on the inside where it would not be visible), design and if the pot was damaged or sits level and the thickness of the pot. Beginners and hobbyists usually do not practice bonsai on this level and do have the experience to even notice subtle things, but these small details are necessary when creating masterpiece bonsai.

I was fortunate to be invited to Puerto Rico for their Tropical Bonsai Symposium a few ago. There, just looking around was the perfect container waiting for me at the Jardin Seleto Garden Center of Carlos Morales. I did not even have to measure the size, I just knew it would fit. Matching containers to bonsai for over half a century presents one with the experience and knowledge to accomplish things very few people would ever even think of.

So, I purchased the container and with some help packed it for the trip home. There was even a handle so I could carry it with one hand while my cane was in the other. Since I’m usually one of the first to board the plane, I found a friendly and kind flight attendant who helped me. Although it would have fit in the overhead compartment a flight attendant found a better and safer location in a closet.

The container and I both arrived home in one safe piece. Then a few days later, with the maple if full leaf, we transplanted the tree, even using a Sawzall to shorten the root mass. Yes, it was not the ideal timing since all the leaves would drop in a few short weeks, but we will be giving it special care during the winter and next spring. Transplanting bonsai out of season is common in my garden, but we provide extra special aftercare.

The Japanese maple now looks better in its new home. We put the newly transplanted tree back in a full sun environment where it could be carefully watched. One day I noticed only one half of the foliage was turning yellow, so we immediately rotated it so it would receive sunshine evenly all around the tree. We got lucky and all the beautiful autumn colors developed, and we captured its beauty on film, no, electronically. This worked and we were able to enjoy and share its new beauty with many others in its new home for about two weeks.

A couple of week ago I had the honor and pleasure of teaching at the Tropical Bonsai Symposium, sponsored by Bonsai Shohin Society in San Juan, Puerto Rico. The previous two blog entries have photos from that beautiful exhibition of unique tropical species trained for bonsai. The group arranged for me a couple of unique garden visits.

Gustavo A. Bures

In the morning of the first day, I visited the home and gardens of Gustavo Bures filled with Asian art antiques and of course tropical bonsai. He is a prominent architect with exquisite taste.

Both his home and gardens are an eclectic treasure. Every room was filled with superb Asian art, even the bathrooms and bedroom. If this were not enough of surprise Gustavo has a large collection of bonsai, both large and small. Mostly perfectly matched in Chinese containers. Every inch of his expansive garden was full of bonsai, even a small garden outside his bathroom.

While looking around trying to appreciate the beauty I looked up to the second-floor bonsai garden on his roof. Against recommendations I made it up (and down) safely with assistance. The rooftop collection of bonsai was worth the danger of the stairs.

Pedro A. Morales

On another visit we stopped by Pedro Morales’ Futago Bonsai School. His garden feature exquisite bonsai artistically displayed throughout the garden. It’s been several years since I’ve visited Pedro and he has expanded quite a bit. He recently designed and constructed a large classroom for his classes, air-conditioned of course. It was 98F during my visit. Each student has a six-foot metal table that rolls. A large television was permanently mounted on the front wall so he could show images during his classes. Many of his bonsai are quite large needing an army of strong men, or fork-lift to move. Like many seasoned bonsai artists, he is selling many of his large bonsai.

Joel Morales

After visiting Pedro’s bonsai school, we walked a few houses down the street to see his son’s bonsai collection. Joel Morales is Pedro’s first son. Since birth he has been exposed and has practiced bonsai. His father taught him well as his bonsai collection, while not as large as his father’s was outstanding.

Every tree was carefully groomed and well cared for. Professionally he is an architect and sometimes works with Gustavo’s bonsai collection. Joel also collects middle east and Asian art and has an excellent eye for quality and taste.

Jarden Selecto– Carlos A. Morales

I spent considerable time with Carlos, who is Pedro’s cousin. His family runs a long-established popular garden center which has a huge selection of tropical bonsai, ornamental tropical trees, orchids and of course associated supplies.

He had a unique hanging four shelf hanging display connected with chains for displaying orchids. Everything necessary for bonsai creation, care and appreciation could be found in his garden center. He even has an air-conditioned classroom, did I mention it was 98F during my three-day visit?

Tonight was the ribbon cutting ceremony officially opening the two day exhibition. Tall tables were distributed throughout the exhibition area where about 50 members and visitors gathered and enjoyed a wide delicious wide assortment of Puerto Rican appetizers. They even had sweet tea.

During the couple-hour reception a skilled jazz musician provided lovely background music. The musician has been a suiseki collector for over 20 years too. Afterwards I presented a short program featuring my garden and bonsai.

During the past 60-odd years, I have had the fortunate and unique opportunity to visit, study, display, and often judge, bonsai exhibitions in Canada: Brazil, Germany, Italy, China, Indonesia, Belgium, England, South Africa, Puerto Rico, Korea, and across the United States and Japan and Australia. I’ve seen a LOT of bonsai around the world.

Every bonsai exhibition is different, and has its own distinct atmosphere and character. All are pleasing and I’ve enjoyed and learned from every-one. Often what to avoid when organizing exhibitions.

The venue is probably the most important factor when evaluating exhibitions; followed by design, layout, presentation of each displayed bonsai and of course the beauty of each specimen. I’ve seen large important exhibitions with less than beautiful refined trees, as well as smaller shows with fewer, but better developed and refined bonsai. Each is different and proudly presented by the organizations presenting their finest bonsai.

The Tropical Bonsai Symposium in San Juan, Puerto Rico, is one of the finest I’ve had the pleasure of visiting. There was a high quality attention to all details including the backgrounds, table coverings/skirting, lighting, appropriate display tables for every bonsai and accessory plantings. Of course, each bonsai was cleaned, as well as the container and display tables, had no dust or dirty pots.

Every bonsai was positioned straight on the display tables and was well presented to the visitors. The overall layout and positioning of each tree may have had the ability to improve their presentation. The general public as well as long-time bonsai practitioners enjoyed this exhibition, as well as me.

A few random thoughts on the Tropical Bonsai Symposium exhibition:

There was a great number of Neea bonsai, but only one Ficus displayed. There was a very wide variety of different species, especially those native to Puerto Rico. I was quite surprised to see a few of the broadleaf evergreen Neea completely defoliated to show the skill and beauty of short refined small twigs. They actually reminded me of Larch or Fukien tea.

Congratulations to the Bonsai Shohin Society for presenting and hosting an excellent exhibition and may you continue your quest for promoting bonsai!

The Tropical Bonsai Symposium & Exhibition is being held on October 3-4, 2025. Sponsored by the Bonsai Shohin Society in San Juan, Puerto Rico the event is being held at Jardin Selecto, owned by the Morales family. Organized by Carlos Morales (Pedro’s cousin) their garden center is rather complete with a complete inventory of soils, fertilizers, pesticides, tools and landscape plants for homeowners. Carlos has large sections with bonsai, pre-bonsai, containers, tools, wire and a wide variety of different soil mixtures.

The formal opening of the Tropical Bonsai Symposium will be held on Thursday evening. Critiques, lecture/demonstrations and a workshop will fill the weekend mainly discussing bonsai 3 point displays. William N. Valavanis is the invited guest leading the educational activities.

The exhibition featuring bonsai 3 point displays was not completely set up, so mostly overall view images are included here, along with photos of the garden center. Watch for part 2 featuring individual bonsai and displays.

Jardin Selecto Garden Center:

Thousands of people have visited some of our past nine US National Bonsai Exhibitions since 2008. Every two years visitors from around the world gather in Rochester, New York, to see the state of the art as practiced in America.  The American Bonsai Society held their Learning Seminars at our official hotel about a 15 minute driver on the same weekend.

Set up began at 8:00 am on Tuesday, with a small army of valued volunteers. The backgrounds are kept in plastic tote tubs, over 30 of them. When it was time to hang the purple valance, complete with gold tassels, we noticed one tub was marked “wet.” Upon opening the surprise tub all the heavy purple valances were wet. I’m not certain how they got wet, but the tubs were kept in my dry basement for two years. Quickly we removed the purple velvet and spread them on cement paths to dry out. After drying, they were sprayed with Fabreze fabric freshness. They smelled like a spring rainy day…

Visitors began lining up at 6:30 am for the 9:00 opening. The line of patient people went around the building all the way to the street. Fortunately, we enjoyed good weather, but unfortunately could not sell tickets for Saturday admission. Although we have wide aisles (at least in the exhibition area) the fire Marshall will only allow 450 people in the building at a time. Some waited for two hours or more to enter. There was even an official with a counter carefully watching and counting the entering crowd. As soon as a group exited, another was allowed in. I think the entire building completely renewed about three times. We had over 1,000 special lanyards for the weekend passes and I was pleasantly surprised that only a few remain. We had visitors from Japan, Australia, England, Mexico, Guatemala, Alaska and even a few dedicated Canadians who dared to cross the border.

Personally, I’m quite proud that the aesthetic level of the displayed bonsai is increasing. Not only is the beauty of each specimen improving, but also in the way artists are preparing and presenting to the world to showcase their precious living sculpture.

The quality of the necessary containers is quite different than in the past. Now with established American potters producing some containers that rival those imported from Japan, China and throughout the world. There are a great number of unique native species to North America which have growth characteristics which often require custom-made containers, frequently in larger sizes as well.

Of course, display tables are required to showcase each bonsai according to the artist’s taste and how and if they want to “tell a story, or suggest a particular scenic view” which they have enjoyed in the past and would like to share with visitors. The number of skilled and artistic wood-makers is increasing, with some producing unique display table designs.

Finally, supplies and tools are necessary to shape the trees and also to keep the bonsai alive. A wide selection is always available in the adjoining sales area. In the past exhibitions I remember seeing a good number of vendors selling several different types of soil mixtures, but did not notice many this year. When formally displaying a bonsai, an accessory is often utilized to suggest a season or other event. A wide variety of suiseki, figurines and hanging scrolls were available as well as small perennials and appropriate containers for accent plants.

This year there were a large number of developed bonsai for sale for collectors and those who can’t wait 50 years to train their own specimens for immediate enjoyment.

Enjoy my photos and official list of award winners. Joe Noga photographed all 220 trees, except for the magnificent Dwarf cork-bark Chinese elm bonsai. They will all be in the forthcoming Commemorative Album. The drone photos are from one of our generous sponsors Virtuality 3-D Virtual Tours, Jason Henderberg.

Plans are already set for the 10th Anniversary US National Bonsai Exhibition on September 11-12, 2027. Thank you all for joining us to celebrate the state of bonsai in the United States.         

2025 9^th US National Bonsai Exhibition Awards

FINAL OFFICIAL RESULTS

The National Award

Finest Bonsai Masterpiece

$1,000

WELSEY JONES

Joshua Roth Award

Finest Evergreen Bonsai

$500 

CHRIS JERSAN

Michael Blanton Award

Finest Deciduous Bonsai

$500 

STEVEN JETZER

Bonsai By Fields Award

Finest Medium Size Bonsai

$500

TIMOTHY HUTSON

Joshua Roth Award

Finest Individual Shohin Bonsai

$500

JASON PAYNE

Custom Oriental Woodcraft Award

Finest Shohin Bonsai Composition

Sean Smith Display Table

SHANNON SALYER

New England Bonsai Gardens Award

Finest Classical Literati Bonsai

$500

MARUO DANIEL 

Bonsai Travel Award

Finest Companion Combination

$300

CYRYL GRUM

Futago Bonsai Award

Finest Tropical Species

$300

JESUS BRITO

Ronald C. Maggio Award

Finest Suiseki

$300

SEAN SMITH

American Bonsai Society

North American Award

Finest North American Species

$1,000

RANDY BENNETT

National Bonsai Foundation

All American Award

Finest American Species, In An American 

Container, Shown On American Display Table

$1,000

ISSAIH GREY

Judges’ Special Award

Excellence In Bonsai

SUTHIN SUKOSOLVISIT

We are in the final days of preparation for the US National Bonsai Exhibition. A big thank you to all who have registered to attend, exhibitors, vendors and the valued volunteers who set up, host and take down the Exhibition. 

The International Bonsai Arboretum will be hosting an Open House on Saturday and Sunday from 10am to 3pm ONLY. Several of the legacy bonsai from my collection will be available for sale, both at the exhibition and my garden.

The Weekend and Saturday Passes all sold out as is the Award Banquet. Sunday day passes are still available. For visitors who could not purchase Weekend Passes, you might want to visit the International Bonsai Arboretum on Saturday and Sunday from 10am to 3pm ONLY. Check out the ABS Learning Seminars for workshops, demos and critiques on Friday, Saturday and Sunday at the DoubleTree Hotel, Rochester, NY. Please contact WWW.americanbonsaisociety.org

Everything will be set up by Friday noon. The building will be closed from Friday noon until Saturday morning. Also, the vending area featuring nearly 200 tables will NOT open until Saturday morning, so no early sales please.

Travel safe. We will be ready to welcome you!

A big thank you to everyone who has registered for a Weekend Pass at the upcoming 9^th US National Bonsai Exhibition on September 13-14 2025 in Rochester, New York

We are ready to welcome you to Rochester for the US National Bonsai Exhibition, five lecture/demonstrations by international acclaimed artists, four bonsai/suiseki critiques and the Invitational Suiseki Exhibit which are included in the Weekend Pass.

Due to space restrictions the Weekend Passes are now SOLD OUT. However, The Sunday Only passes and Award Banquet tickets are still available. Award Banquet tickets will not be available at the Exhibition. Reserve your ticket now for the Award Banquet where the winners of the US National Bonsai Exhibition will be announced, as well as the ABS North American Pot Competition and ABS New Talent Contest.

This amazing and jam-packed bonsai weekend will be bursting with the Exhibition, lecture/demos, critiques, workshops and contests at the ABS Learning Seminars and the US National Bonsai Exhibition along with fun and bonsai fellowship from our global bonsai community.

After studying, growing, training and teaching bonsai for 63 years I have accumulated too many bonsai. Many of the trees have grown large and are too heavy for me to move. Watering and coming in contact with each tree is enjoyable. However, it requires many hours and thousands of gallons of water to maintain such a collection of fine bonsai.

Now in my twilight years, I want to share some of what I have learned with others to contribute to the bonsai world primality in a written form. I have numerous topics I’d like to share with others who appreciate the art of bonsai. With my lifelong study, enjoyment and sharing of bonsai combined with my extensive library and photos (over 64,358 images on my iPhone today) I have the necessary background, resources and passion to contribute more to raise the level of bonsai. I still have a bit of energy and desire to contribute more, but I’m too busy caring and keeping the trees alive, healthy and in shape. Today I had 15 dedicated volunteers assisting me, and still have much more to accomplish. Although they are maturing, but still have the desire to help me promote bonsai, many find it difficult due to physical and medical conditions. Getting old DOES suck.

So, I’ve decided to significantly reduce my personal collection of bonsai and let others enjoy the decades of love and training which I’ve invested into the trees. I’d like someone else to water and continue to improve the refinement which I have enjoyed and accomplished through the past 63 years.

Listed below are a few of the larger and heavier bonsai I can now let go. If you see something that interests you, please contact me by e-mail (wnv@internationalbonsai.com). Please note these are the prices in US currency and the specimens must be picked up from Rochester, New York. We expect and anticipate many bonsai lovers from across the United States and several foreign countries to converge in Rochester to visit the 9^th US National Bonsai Exhibition, and the ABS Learning seminars in only 31 days on September 13-14, 2025. This would be the ideal time to add one of my bonsai to your collection to take home with you, should they still be available. Four have already found new homes in the past week. Many of my award-winning bonsai are well known. Please contact me to see if those masterworks are available. I am seriously reducing my collection to provide the necessary time and energy to continue my passion to raise the level and understanding of bonsai art.

I’m looking forward to welcoming you to Rochester in only 31 days. 

Developing a bonsai can be a fulfilling accomplishment. Taking a young cutting or seedling and carefully growing it to a size for shaping and training is one of the most common methods for bonsai creation. Although time consuming, this technique has been popular, and a bonsai can be developed right from the beginning according to your own taste and understanding of bonsai. As your bonsai experience and knowledge increase (hopefully) and developing your own style bonsai can be developed.

Last year I suddenly realized I have too many finely developed bonsai and I could not even pick up some of them as they grew larger and heavier. Since my assistants and I are ageing and not as spry as we once were, moving and hand watering becomes more difficult and time consuming. So, I began to release and sell many of my famous, well-known distinctive bonsai from my personal bonai collection.

Last year Dave Steele, one of my long-time, over 30-year, student and friend has been assisting me care and train my bonsai for decades. He has an excellent bonsai collection and does an excellent job caring and training his trees. As he was watering my trees, he kept admiring one of my oldest Valavanis dwarf cypress bonsai which I grew from a cutting over 50 years ago. So, I sold him this bonsai on the lay-away-plan. He wired the entire bonsai last winter and today we refined the shape and transplanted it. Before describing today’s work, I want to present some historical information

The Valavanis Dwarf Cypress

In 1970 I got lost in New Jersey trying to find a nursery. I ended up driving around and around in a rotary circle. While trying to escape from the circular nightmare, I suddenly looked up and discovered a witches’ broom which is an abnormal growth on a plant which differs from the host tree. Oftentimes the abnormal growth is different and has strange foliage and twigs. This is a major origin of a great number of dwarf and unusual plant cultivars. Often someone recognizes differences and is captivated with them. They usually have smaller foliage, twigs, colors and growth habit and want to study the unusual growth resulting in unique cultivars.

Eastern white cedar, Thuja, and Dwarf hinoki cypress, Chamaecyparis, by Marc Arpag. Noga photos

Differences Between Thuja and Chamaecyparis

The tall host tree that attracted my eye was a mature Atlantic white cypress or cedar, Chamaecyparis thyoides. This native narrowleaf evergreen grows to 40 to 60 feet. It is often compared to the American arborvitae, usually called Eastern white cedar, Thuja occidentalis by the bonsai community. It is also named Northern white cedar or Arborvitae, which is another native evergreen which only reaches heights of 20 to 40 feet. This species is quite vigorous and withstands severe growing locations so many dwarfed and interesting trees are often collected for bonsai shaping. However, the main use of the American arborvitae is for hedge and landscape specimens.

The main differences between the Atlantic white cedar, Chamaecyparis, and Eastern white cedar, Thuja, is the foliage and growth habit. Thuja are typically upright trees with dense foliage which have flattened leaves in one plane.  Chamaecyparis, also called false-cypress, have flattened frond-like leaves and are more diverse in shape and colors ranging from green to yellow foliage and often blue. A popular Chamaecyparis used for bonsai is the Hinoki cypress, Chamaecyparis obtusa. A popular Thuja used for bonsai is the common native Arborvitae, Thuja occidentalis which are usually dynamic shaped trees collected in harsh environments.

Of course, I parked my car and climbed to the top of the tree. I was younger then only 19 years old. A few branches with unusual small foliage which were vastly different than the host tree was pruned, taken home and easily rooted.

The cuttings quickly rooted and grew into nice compact rounded shapes. There are hundreds of popular named dwarf Chamaecyparis cultivars, and I did not think this new variety was anything special. As they grew, they were given away to students, collectors of rare plants and nurserymen. Many years later I attended the closing auction of the Mayfair Nursery in Nichols, New York. As I was browsing the available plants I suddenly heard “Valavanis dwarf cypress” bring auctioned. I looked up and saw one of my cuttings being auctioned. Apparently, the nurseryman named this plant after me since I introduced it to the horticultural trade. 

Valavanis dwarf cypress, March 2010 before shaping, note lower two branches appear opposite.

Valavanis dwarf cypress, March 2010 after one hour of shaping.

The Valavanis dwarf cypress is easy to root, very winter-hardy, grow quickly and trained for bonsai. I often use them for workshops. In the early 1970s one of my students rooted a cutting and began training it for bonsai. In 2010 he moved into a smaller home, and I was able to purchase his bonsai. In March 2010 the tree was wired and shaped in one afternoon. Only a few smaller branches were trimmed, but rather the annealed copper was magic to change the design according to my understanding and concept of classical bonsai. The tree was allowed to grow unpruned for a year to establish vigor and new growth for training. It quickly developed into an acceptable bonsai in only two years with my horticultural growing techniques and bonsai training techniques.

Valavanis dwarf cypress November 2012, two years after training.

Towards The Future–

Last year after introducing and growing this variety for over 50 years it suddenly mutated and began to grow smaller tight new dark-green growth. This new cultivar will be named “Little Willy” and is still being evaluated before releasing.

Valavanis dwarf cypress before pruning. Valavanis dwarf cypress after pruning

Refining Dave Steele’s Valavanis Dwarf Cypress Bonsai

Today, June 11, 2025, was a beautiful day and we spent a few hours refining and repotting his new bonsai. The tree was carefully evaluated. We felt the triangular silhouette was too wide and the lower branches were about the same length. This created a static image and lacked movement.

The two lower branches were pruned to create different lengths. With the right branch a bit longer and massive created a bit of movement. Other smaller branches were trimmed and moved into better positions. This was easy since Dave had the entire bonsai wired.

Rotated tree to create new front

While studying the tree again we discovered a slightly new more dynamic front. So, the tree was slightly rotated, improving the lower trunk and surface root display. Also, the lower right branch had some of the foliage moved to hide the bare branch. Additionally, the two lower branches opened the trunk view too much. It reminded me of a “flasher.” Although the image does not clearly show this, rotating the tree and adjusting the branches helped to present a more refined appearance.

After the reshaping was completed, as the tree had not been root pruned for over ten years. However, the water drained right through the soil, so the tree remained healthy. The bonsai was transplanted back into the same container.

This is a vintage Japanese Tokoname-ware container. It was originally imported by Yuji Yoshimura in the early 1960s through his Yoshimura Bonsai Company. Although this container might seem at first common shaped, it has patina and a few other highlights which were common many decades ago. The container front is not exactly straight and note the bottom feet do not sit level on the display table, thus adding additional interest.

Valavanis dwarf cypress with two viewing fronts

When completed, we of course looked at the bonsai from all sides. The total aesthetic impact this bonsai has two acceptable fronts. Many of my bonsai have this characteristic, which I try to develop because it comes in very handy when formally displaying bonsai. I use both sides as the front depending on how it is used and displayed considering the scroll and accessory movement. Plus, the displayed front could depend on where the tree is displayed. 

When displaying bonsai, the entire exhibit area (not only your tree) or row of displays is important for positioning. If a bonsai has a right to left eye movement, the bonsai looks more comfortable on the left side leading your eye towards the center of the entire row of displays. Likewise, a tree which presents a left to right movement looks better at the other end of the table row with the trunk movement also going toward the center. Ideally, the largest bonsai should be placed in the center of the row for visual stability. A large-size formal upright style would be ideal for this position. 

So, if you are fortunate to have a “double sided front” bonsai a distinctive, well-balanced display can be appreciated.