Garden Tripod 25 by Garden Tripod

GARDEN TRIPOD

IssueIssue 20 February/March 25 August 20142014

Horticultural Science Technology & Art

Cover Image Potted wattle byÂ Chris Allen

All The Materials Contained May Not Be Reproduced, Copied, Edited, Published, Transmitted Or Uploaded In Any Way Without the artist/photographers Permission. These Images/writings Do Not Belong To The Public Domain. All images and information within the Garden Tripod magazine are the responsibility of the owner/artist/writer/photographer & not the Garden Tripod magazine 2012-2014â&#x20AC;¨

GARDEN TRIPOD Horticultural Science Technology & Art Issue

25 August 2014 Garden Tripod Web Site www.gardentripod.com

7 8 24 34 37 43 48 50 61 70 76 83 88

Office News Hound

Small Trees and Shrubs

! !

Feature johnrf

Office Temp Dragonflies

Marilyn Cornwell Sketchbook of Bonsai

History of Bonsai

Open Library

Calendar Feature, Ludwig Wagner

Calendar Feature, Bob Daalder

Fine Art America features

Katie Freeth The Culture of Gardens Tradition

Chris Allen

Denise Allen

GARDEN TRIPOD Horticultural Science, Technology & Art Welcome to our 25th edition of the Garden Tripod. This is our 25th edition and still looking amazing due to all the fabulous images that are arriving. Thank you everyone for joining in and supporting the Garden Tripod.

It seems like only yesterday that we have a refit of the office with everything running smoothly. So it was a complete surprise to all here that we had a flood !! out came the office as a new floor was fitted. You may notice that this edition is slightly late and missing a few regular features .. lets put it down to mother nature giving the office a royal visit.

As always we are including real text, so grammatical errors and spelling mistakes are all included free of charge

The Garden Tripod is also beginning its search for talented artists and photographers to be included in the Garden Tripod hard cover book. As this is going to be printed we will need high res images (300 dpi) and an artist statement with a short bio.

So if you would like your images to be looked at for inclusion, please go to the Garden Tripods Web site (Talk to Us page) and fill in the request form or email to gardentripod@yahoo.com. Closing date is the 1st September 2014 (the closing date is extended to 1st november) Look forward to seeing your applications. ed

A little word from our

Office News Hound Hi Folks ..

I am officially the office dog for the Garden Tripod Magazine.

O wow ~ I just love the tote bags .. how cool would it be to see my photo being taken out on a tote bag. It could be full of my treats or a picnic for a sunny day, shopping or just to look great on your arm..

I hate water and getting wet, so not been around lately due the the vast amounts of water in the office, so I have had a holiday from work while a lovely new floor was being laid

! Guess I am trying to say .. woof :)

Stay Safe Princess Summer

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Bonsai Topiary

Bonsai

Trees Arch

Bonsai

Garden

Small Trees & Shrubs Catalogue

Garden Tripod Supports Country Gardens come grow with us group challenge

A perfectly sculpted fullgrown treeâ&#x20AC;Śin miniature. Dedicated to all those who toil with love. Beautiful Bonsai tree at the Montreal Botanical Gardens, Montreal Canada.

Patience and Love byÂ Sandra Fortier

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Bougainvillea bonsai

byÂ Celeste Mookherjee

Bonsai Maple tree photographed at RHS Wisley Gardens, Surrey, England.

Bonsai Autumn

byÂ John Thurgood

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By the blue door

byÂ Mortimer123

Lavender and clipped box by the blue front door.

Twisted. by Jeanette Varcoe. Underneath tree canopy, showing gnarled trunk of old Acer Palmatum in autumn colour. Victoria, Australia.  Age increases beauty and character.

Orange Tree - Hunter Valley Gardens by Marilyn Harris

Apple Tree by Margaret Stevens

Willow Beauty by Alexandra Lavizzari

The Lonely Tree by JulipDesigns

April in Belgrade park byÂ Ana Belaj

A pot full of roses ... Kilmore East, Victoria, Australia byÂ Margaret Morgan (Watkins)

Leptospermum 'Pink Cascade' byÂ Elaine Teague

Laburnum (commonly called golden chain) is a genus of two species of small trees in the subfamily Faboideae of the pea family Fabaceae, Laburnum anagyroides (common laburnum) and L. alpinum (alpine laburnum). They are native to the mountains of southern Europe from France to the Balkan Peninsula. Some botanists include a third species, Laburnum caramanicum, but this native of southeast Europe and Asia Minor is usually treated in a distinct genus Podocytisus, more closely allied to the brooms.  Laburnum tree in full flower  The trees are deciduous. They have yellow peaflowers in pendulous racemes 10–30 cm (4–12 in) long in spring, which makes them very popular garden trees. In L. anagyroides, the racemes are 10–20 cm (4–8 in) long, with densely packed flowers; in L. alpinum the racemes are 20–30 cm (8–12 in) long, but with the flowers sparsely along the raceme.

The leaves are trifoliate, somewhat like a clover; the leaflets are typically 2–3 cm (0.8–1.2 in) long in L. anagyroides and 4–5 cm (1.6–2.0 in) long in L. alpinum.

Most garden specimens are of the hybrid between the two species, Laburnum × watereri

(Voss’s laburnum), which combines the longer racemes of L. alpinum with the denser flowers of L. anagyroides; it also has the benefit of low seed production.

Laburnum seed can poison anyone who mistakes the seeds for peas.

The yellow flowers are responsible for the old poetic name ‘golden chain tree’ (also spelled golden chaintree or goldenchain tree).

All parts of the plant are poisonous, and can be lethal if consumed in excess. Symptoms of laburnum poisoning may include intense sleepiness, vomiting, convulsive movements, coma, slight frothing at the mouth and unequally dilated pupils. In some cases, diarrhea is very severe, and at times the convulsions are markedly tetanic. The main toxin in the plant is cytisine, a nicotinic receptor agonist. It is used as a food plant by the larvae of some Lepidoptera species, including the buﬀ-tip.

The heart-wood of a laburnum may be used as a substitute for ebony or rosewood, very hard and a dark chocolate brown, with a butter-yellow sapwood.

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Laburnum Arch by AnnDixon Wirral, Cheshire, UK,

Japanese garden by Arie Koene

In the Garden of Japan (2) by cullodenmist

FUNCHAL PUBLIC GARDEN by Marilyn Grimble

Entrance Garden # 3 by goddarb Pembroke, Ontario, Canada,

The Wisteria Garden at Longwood by SummerJade

Azalea Bush by WildestArt

Winter Fluff by Fay270

I Never Promised You A Rose Garden by kkphoto1 Lake Michigan in Kenosha Wisconsin, USA.,

One Cloud Reflection by Vicki Spindler (VHS Photography)

Rocky Cactus Garden by Penny Smith Rockhampton Botanic Gardens in QLD, Australia

Small Trees & Shrubs

Top Ten Results

5 Winter Fluff by Fay270

4 By the blue door by Mortimer123

4 Patience and Love by Sandra Fortier

2 Bougainvillea bonsai by Celeste Mookherjee

2 Twisted. by Jeanette Varcoe.

4 Bonsai Autumn by John Thurgood

4 Leptospermum 'Pink Cascade' by Elaine Teague

4 In the Garden of Japan (2) by cullodenmist

2 Willow Beauty by Alexandra Lavizzari

1 April in Belgrade park by Ana Belaj

Winter Fluff byÂ Fay270

Winning Entry Garden Tripod 25

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Garden Ponds Challenge Winner Feature

Flaxmere Garden, Canterbury, South Island, NZ. by johnrf Flaxmere has been made a Garden of National Significance by the New Zealand Garden Trust, which is aﬃliated to the Royal Institute of Horticulture. Flaxmere is situated on the Lake Summer Road 10 kilometers from the local village of Hawarden in North Canterbury near Christchurch.   Taken in 2010 using my Olympus E5 with its 14-54mm lens during a garden tour from Australia.

About..

Retired Australian Professional Structural Engineer.  Active photographer since 1950, and a member of the Pakenham Camera Club in Australia..I enjoy travel, landscape, bird and architectural photography.  I started with an Exacta Varex in 1955; then became a devotee of Olympus.   In retirement I now regularly visit my son and grandchildren in Japan; and have seen most of their beautiful country. I still travel frequently within and outside of Australia.  I embraced digital photography in 2000 and my current Olympus digital camera bodies are E3 and E5; and the new OM-D E-M1. My Olympus lenses are 14-54mm, 14-35mm F2.0 SHG, 50-200mm, 70-300mm, 35mm F3.5 and 50mm F2.0 SHG macro lenses, and EC14 Tele-convertor.; and the new Olympus 12-40mm F2.8 Pro zoom lens.  I use Apple (15" MacBookPro and 27" IMAC ) computers and process my images using primarily Aperture 3, and Perfect Resize .  My slides are digitized on an Epson Perfection 2400 scanner using VueScan software.

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Very early morning at Bright in Victoria byÂ johnrf View along the river at Bright, a very beautiful town at the centre of the wonderful landscape of north eastern Victoria.â&#x20AC;¨

Pool in Windjana Gorge National Park. WA byÂ johnrf Pool, Home of the resident fresh water crocodiles, in Windjana Gorge during the dry season in the Kimberley, Western Australia.

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Cliffs, Argyle River, Kununurra. Kimberley. WA. by johnrf Sunset hour on the cliﬀs on the Argyle river near the town of Kununurra in the Kimberley region of Western Australia.

Windjana Gorge National Park. Western Australia. byÂ johnrf The Windjana Gorge, formed by the Lennard River cutting through the Napier Range in the top end of the Kimberley District in Western Australia.â&#x20AC;¨

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Kookaburra#1

Australian Birds byÂ johnrf

Sulphur Crested Cockatoo #4 Grey Butcher Bird

Pelican in flight

Wattle Bird

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Australian Bush #1, Bright, Victoria. byÂ johnrf Typical Australian bushland, featuring large Messmate Eucalyptus trees, as seen between the villages of Bright and Mt Beauty, which are two of the most photogenic villages in the countryside of Northern Victoria,.

Environmental Art

www.charlie-mclenahan.com

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Dragonflies and

Untitled byÂ Nicole W.

Ramblings from the office temp !

Damselflies !

It’s that time of the year again: August! Many Macro photographers long for this time of year, in spite of the heat and the sometimes dusty dry and at other times damp and misty circumstances. What’s so special about August? In many countries, this is the month that many insects show themselves! Dragonflies and damselflies are a few top favorites of almost every macro photographer. And what’s not to like? Gorgeous colors, wings made of silver, grace and beauty….and so many different ones too. And then there’s the eyes……

Personally, I love this time of year. I go out with my camera and sit by puddles, lakes and ditches trying to find insects that are willing to pose on just the right leaf or flower for me to make a decent picture. I dare not show them all, but sometimes you shoot one that’s just gorgeous. It takes patience, and therefore many photographers don’t like Macro photography. But I would encourage everyone to come with me and try it sometime. Instead of being impatient, you could enjoy the smaller gifts of life, the tiny ones….the insects. They are in a very special world that we can’t see with just our eyes. But we can see it through a macro lens. You just have no idea! Ok some of you do…

Yesterday I went to my special damselfly spot. I go there every year because there are many large blue damselflies. They are very hard to capture because they always face the water when they rest, and unless you are willing to risk your camera and enter the water, you will be stuck with mostly pictures from behind. That’s where my patience kicks in. I sat there for hours, waiting for that one damselfly that would make a mistake and sit backwards, facing me. I didn’t get it, but one of them was kind enough to sit sideways. It was too far away and I ended up with a gorgeous, but cropped image. Not my goal but I’ll try again and again until I get it right!

When you look into photographing damselflies, you automatically also look at dragonflies. And no, they are not the same species! I don’t really care about the difference too much, as long as either one of them makes a gorgeous photo, but I’ll tell you about the main difference, easy to see for everyone. That way you don’t look like a complete idiot when you name it wrong. You can tell which is which by the eyes.

! Untitled

Dragonfly: most have eyes that touch, or nearly touch, at the top of the head   Damselfly: eyes are clearly separated, usually appearing to each side of the head  When you bring a magnifier you can find many other differences, but usually, this bit of eye candy suffices.

by Nicole W. Garden Tripod 25

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! !

And now that we can leave the scientific part behind us, all that’s left is enjoying their beauty and make some fabulous macro photos. Find a puddle or ditch or even a meadow where you see at least a few of them and sit down. If you look for them, you can find them everywhere, as long as there is “wild” vegetation.

To be able to predict where they will pick a leaf to rest on, it’s best to observe them for a little while. I noticed that most damselflies around water have a favorite spot that they go back to over and over again. You might want to identify a few of those favorite spots so you can determine your best position. Watch out for those nasty stingingnettles, it’s often like they are out to get you and that’s distracting you from your main goal  So what do you need for a good damselfly picture? Besides a damselfly a camera would be useful. And after that, it’s all up to you. You can use a compact camera of course, although it’s much harder to get the so wanted blurry background, that’s best done with a Dslr camera with a macro lens. Of course there are many ways to go, one for every budget. I started out with a cheap slr and a 300 mm kit lens and a small reverse lens. That way I learned all about Depth of Field and distance to the subject. I also learned I best use a tripod, even though that’s a pain really, it’s much more painful when you finally take the right shot, and at home on your computer you notice that it’s just not sharp….

Untitled

I grew from there to a full blown kick ass macro lens today. So just start with whatever you want and can afford, and grow from there. It’s so worth it!

Nicole W.

pretty damsel

ÂŠ Marilyn Cornwell

Sketchbook of Bonsai Trees Pacific Rim Bonsai Gardens, south of Seattle, WA.

from Marilyn Cornwell GRIMSBY, CANADA

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ÂŠ Marilyn Cornwell

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ÂŠ Marilyn Cornwell

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Marilyn Cornwell GRIMSBY, CANADA

History of Bonsai The Japanese art of bonsai originally derived from the Chinese practice of penjing. From the 6th century onwards, Imperial embassy personnel and Buddhist students from Japan had been visiting and returning from mainland China, bringing back souvenirs that included container plantings. At least 17 diplomatic missions were specifically sent from Japan to the Tang court between the years 603 and 839. Japan's historical Shōsōin, which houses 7th, 8th, and 9th-century artifacts including material from Japan's Tempyō period, contains an elaborate miniature tree display dating from this time. This artifact is composed of a wooden tray serving as a base, carved wooden mountain models, and sand portraying a riverine sandbar. Small tree sculptures in silver metal are meant to be placed in the sand, to produce a table-top depiction of a treed landscape. While this display is closer to the Japanese bonkei display than to a living bonsai, it does reflect the period's interest in miniature landscapes. From about the year 970 comes the first lengthy work of fiction in Japanese, Utsubo Monogatari (The Tale of the Hollow Tree), which includes this passage: "A tree that is left growing in its natural state is a crude thing. It is only when it is kept close to human beings who fashion it with loving care that its shape and style acquire the ability to move one." The idea, therefore, was already established by this time that natural beauty becomes true beauty only when modified in accordance with a human ideal. In the medieval period, recognizable bonsai began to appear in handscroll paintings like the Ippen shonin eden (1299). Saigyo Monogatari Emaki was the earliest known scroll to depict dwarfed potted trees in Japan. It dates from the year 1195, in the Kamakura period. Wooden tray and dish-like pots with dwarf landscapes on modern-looking wooden shelf/benches are shown in the 1309 Kasugagongen-genki scroll. These novelties show off the owner's wealth and were probably exotics imported from China. Chinese Chan Buddhist monks also came over to teach at Japan's monasteries, and one of the monks' activities was to introduce political leaders of the day to the various arts of miniature landscapes as ideal accomplishments for men of taste and learning. The c.1300 rhymed prose essay, Bonseki no Fu (Tribute to Bonseki) written by celebrated priest and master of Chinese poetry, Kokan Shiren (1278–1346), outlined the aesthetic principles for what would be termed bonsai, bonseki and garden architecture itself. At first, the Japanese used miniaturized trees

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grown in containers to decorate their homes and gardens. Criticism of the interest in curiously twisted specimens of potted plants shows up in one chapter of the 243-chapter compilation Tsurezuregusa (c. 1331). This work would become a sacred teaching handed down from master to student, through a limited chain of poets (some famous), until it was at last widely published in the early 17th century. Before then, the criticism had only a modest influence on dwarf potted tree culture. In 1351, dwarf trees displayed on short poles were portrayed in the Boki Ekotoba scroll. Several other scrolls and paintings also included depictions of these kinds of trees. Potted landscape arrangements made during the next hundred years or so included figurines after the Chinese fashion in order to add scale and theme. These miniatures would eventually be considered garnishes decidedly to be excluded by Japanese artists who were simplifying their creations in the spirit of Zen Buddhism.

Hachi-no-ki Around the 14th century, the term for dwarf potted trees was "the bowl's tree" (鉢の木, hachi-no-ki). This denoted the use of a fairly deep pot, as opposed to the shallow pot denoted by the term bonsai. Hachi-No-Ki (The Potted Trees) is also the title of a Noh play by Zeami Motokiyo (1363–1444), based on a story from c. 1383. It tells of an impoverished samurai who sacrifices his three last dwarf potted trees as firewood to provide warmth for a traveling monk on a winter night. The monk is an official in disguise who later rewards the samurai by giving him three lands whose names include the names of the three types of trees the samurai burnt: ume (plum), matsu (pine), and sakura (cherry). In later centuries, woodblock prints by several artists would depict this popular drama. There was even a fabric design of the same name. Stories referring to bonsai began to appear more frequently by the 17th century. Shogun Tokugawa Iemitsu (r. 1623-1651) was a hachi-no-ki enthusiast. A story tells of Okubo Hikozemon (1560–1639), councilor to the shogun, who threw one of Iemitsu's favorite trees away in the garden—in sight of the shogun—in order to dissuade him from spending so much time and attention on these trees. In spite of the servant's efforts, Iemitsu never gave up his beloved art form. Another story from this time tells of a samurai's gardener who killed himself when his master insulted a hachi-no-ki of which the artisan was especially proud. Page 43

Bonsai dating to the 17th century have survived to the present. One of the oldest-known living bonsai trees, considered one of the National Treasures of Japan, is in the Tokyo Imperial Palace collection. A five-needle pine (Pinus pentaphylla var. negishi) known as Sandai-Shogun-No Matsu is documented as having been cared for by Tokugawa Iemitsu. The tree is thought to be at least 500 years old and was first trained as a bonsai by, at latest, the year 1610. The earliest known report by a Westerner of a Japanese dwarf potted tree was made in 1692 by George Meister. Chinese bonsai containers exported to Japan during the 17th and 18th centuries would become referred to as Kowatari ("old crossing"). These were made between 1465 and about 1800. Many came from Yixing in Jiangsu province—unglazed and usually purplish-brown—and some others from around Canton, in particular, during the Ming dynasty. Miniature potted trees were called hachi-ue in a 1681 horticulture book. This book also stated that everyone at the time grew azaleas, even if the poorest people had to use an abalone shell as a container. Torii Kiyoharu's use of woodblock printing in Japan depicted the dwarf potted trees from horticultural expert Itō Ihei's nursery. By the end of the 18th century, bonsai cultivation was quite widespread and had begun to interest the public. In the Tenmei era (1781–88), an exhibit of traditional dwarf potted pines began to be held every year in Kyoto. Connoisseurs from five provinces and neighboring areas would bring one or two plants each to the show in order to submit them to visitors for ranking.

Classical period of Bonsai In Itami, Hyogo (near Osaka), a group of scholars of Chinese arts gathered in the early 19th century to discuss recent styles in the art of miniature trees. Their version of these, which had been previously called "Bunjin Ueki," "Bunjin Hachiue," or other terms, were renamed "bonsai" (the Japanese pronunciation of the Chinese term penzai). This term had the connotation of a shallower container in which the Japanese could now more successfully style small trees. The term "bonsai," however, would not become regularly used in describing their dwarf potted trees for nearly a century. Many others terms and compositions adopted by this group were derived from Kai-shi-en Gaden, the Japanese version of Jieziyuan Huazhuan (Manual of the Mustard Seed Garden).

In 1829, a significant book that first established classical bonsai art, Somoku Kinyo Shu (A Colorful Collection of Trees and Plants/Collection of tree leaves), was published. It includes the basic criteria for the ideal form of the classical pine bonsai, in detail and with illustrations. That same year, small tako-tsuki (octopus-styled) trees with long, wavybranches began to be offered by a grower in Asakusa Park, a north-eastern Edo suburb. Within 20 years that neighborhood became crowded with nurseries selling bonsai. The three-volume Kinsei-Jufu, possibly the first book of bonsai, tools, and pots, dates from 1833. Numerous artists of the 19th century depicted dwarf potted trees in woodblock prints, including Yoshishige (who pictured each of the fifty-three classic stations of the Tokaido (road) as miniature landscape) and Kunisada (who included mostly hachi-no-ki in some four dozen prints).[37] The earliest known photograph from Japan depicting a dwarf potted tree dates from c. 1861 by Pierre Rossier. On October 13, 1868, the Meiji Emperor moved to his new capital in Tokyo. Bonsai were displayed both inside and outside Meiji Palace, where they have since remained important in affairs of the Palace. Bonsai placed in the grand setting of the Imperial Palace had to be "Giant Bonsai," large enough to fill the grand space. The Meiji Emperor encouraged interest in bonsai. Government officials who did not appreciate bonsai fell out of favour. Soon all members of the ministry had bonsai whether they liked the tradition or not. Prince Itoh was an exception: Any bonsai that the emperor gave him were then passed to Kijoji Itoh. Kijoji Itoh was a statesman of great influence behind the scenes, and a noted bonsai collector who conducted research and experiments on these bonsai. Bonsai shaping aesthetics and techniques were becoming more sophisticated. By the late 1860s, thick combed and wetted hemp fibers were used to roughly shape the trunk and branches of miniature trees by pulling and tying them. The process was tedious and bothersome, and the final product was unsightly. Tips of branches would only be opened flat. Long, wavy-branched tako (octopus)-style trees were mass-produced and designed in the [renamed capital] Tokyo for the increasing foreign trade, while the more subtle and delicate bunjin-style trees designed in Kyoto and Osaka were for use in Japan. Tokyo preferred big trunks out of proportion and did not approve of Kyoto's finely designed slender trunks. (This cultural rivalry would continue for a century.)

Pots exported from China between 1816 and 1911 (especially the late 19th century) were called Nakawatari (middle-crossing) or Chuwatari, shallow rectangular or oval stoneware with carved feet and drainage holes. Unglazed pots of this type were used at ancestral shrines and treasured by the Chinese. After the mid-century, certain Japanese antiquities dealers imported them and instant popular approval for this type of container for bonsai created a huge demand. As a consequence, orders came from Japan to Yixing pottery centers specifically to make bonsai pots. Th ro u g h t h e l at e r 1 9 t h c e n t u r y, Ja p a n e s e participation in various international exhibitions introduced many in the U.S. and Europe to dwarf potted trees. Specimens from the displays went into Western hands following the closing of the fairs. Japanese immigrants to the U.S. West Coast and Hawaii Territory brought plants and cultivation experience with them. Export nurseries, the most notable one being the Yokohama Gardeners Association, provided increasingly good quality dwarf potted trees for Americans and Europeans— even if the buyers did not have enough information or experience to actually keep the trees alive longterm. An Artistic Bonsai Concours was held in Tokyo in 1892 followed by the publication of a three-volume commemorative picture book. This demonstrated a new tendency to see bonsai as an independent art form. In 1903, the Tokyo association Jurakukai held showings of bonsai and ikebana at two Japanesestyle restaurants. Three years later, Bonsai Gaho (1906 to c.1913), became the first monthly magazine on the subject. It was followed by Toyo Engei and Hana in 1907, and Bonsai in 1921. By 1907, "on the outskirts of Tokio [dwarf] tree artists have formed a little colony of from twenty to thirty houses, and from this centre their work finds its way to all parts of the world." "Its secrets are handed down from father to son in a few families, and are guarded with scrupulous care." Count Okuma (1838–1922) maintained a famed collection of dwarf pines and dwarf plum trees. In 1910, shaping with wire was described in the Sanyu-en Bonsai-Dan (History of Bonsai in the Sanyu nursery). Zinc-galvanized steel wire was initially used. Expensive copper wire was only used for trees that had real potential. Between 1911 and about 1940, mass-produced containers were exported from Yixing, China, and made to the specifications of Japanese dealers. These were called Shinto (new crossing or arrival) or Shin-watare. These were made for increasing numbers of enthusiasts. Some Garden Tripod 25

containers, including primitive style ones, were also being made in Formosa. By 1914, "at the N.E. corner of Shiba Park is a permanent bazaar (the first of its kind established in Tokyo) where hosts of native-made gimcracks can be bought at fixed prices. The exhibits of potted plants and dwarf trees held here from time to time attract lovers of such things." Also this year, the first national annual bonsai show was held (through 1933) in Tokyo's Hibiya Park. During this period, the tokonoma in formal rooms and tea rooms became the main place for bonsai display. The shaped trees now shared space with other items such as scrolls, incense burners, Buddhist statues and tea ceremony implements. The first issue of Bonsai magazine was published in 1921 by Norio Kobayashi (1889–1972). This influential periodical would run for 518 consecutive issues. Copper wire was being extensively used by this time. Major changes to a tree's shape could now be accomplished with wiring. Trees could be precisely and aesthetically wired, and then sold immediately. A greater number of both collected and nursery trees could now be trained for bonsai. The number of hobbyists increased due to the increased ability to style with wire, but there was also an increase in damaged or scarred trees. The 1923 Great Kanto Earthquake and resulting fire devastated Tokyo, and gutted the downtown area where many bonsai were grown. And so, two years later, a group of thirty families of downtown Tokyo professional growers established the Ō miya Bonsai Village, northeast of the capital. The first great annual public exhibition of trees was held at the Asahi Newspaper Hall in Tokyo in 1927. The first of the very prestigious Kokufu-ten exhibitions were held in Tokyo's Ueno Park, beginning in 1934. By the following year, tokonoma display principles allowed for bonsai to be shown for the tree's individual beauty, not just for its spiritual or symbolic significance. Toolsmith Masakuni I (1880–1950) helped design and produce the first steel tools specifically made for the developing requirements of bonsai styling. By 1940, there were about 300 bonsai dealers in Tokyo, some 150 species of trees were being cultivated, and thousands of specimens annually were shipped to Europe and America. The first major book on the subject in English was published in the Japanese capital: Dwarf Trees (Bonsai) by Shinobu Nozaki (1895–1968). The first bonsai nurseries and clubs in the Americas were started by first and second-generation Japanese immigrants.

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Caretaker of the Imperial bonsai collection, Kyuzo Murata (1902–1991), was one of very few persons allowed to take care of bonsai during the Pacific War. He gathered together and preserved many trees from the other Omiya growers and would water them under the protection of night. Throughout 1945, many old trees were the smallest casualties of the spring and summer napalm bombing of Tokyo (esp. March 9/10) and sixty-six other cities. Gardeners protected the Imperial collection trees from fire by pouring water over them after the Palace caught fire when neighboring areas were bombed on May 25/26. Following the surrender of Japan, there began the post-war re-evaluation and reviving of damaged collections of trees—including the Imperial—which would continue for over a decade as Japan was rebuilt. Many of the Omiya growers did not continue their vocation. During the Allied Occupation of Japan (through 1952) U.S. officers and their wives could take courses in bonsai, bonkei, ikebana, and other traditional arts and crafts as arranged by General MacArthur's headquarters. Many of the older and limited varieties of trees were no longer available, and the bonsai considered in fashion changed partly because of this shortage. Copper wire now largely replaced ordinary iron wire for shaping the better trees, but the latter still would be used for mass-produced commercial bonsai.

Modern bonsai Following World War II, a number of trends made the Japanese tradition of bonsai increasingly accessible to Western and world audiences. One key trend was the increase in the number, scope, and prominence of bonsai exhibitions. For example, the Kokufu-ten bonsai displays reappeared in 1947 after a four-year cancellation and became annual affairs. These displays continue to this day, and are by invitation only for eight days in February. In October 1964, a great exhibition was held in Hibya Park by the private Kokufu Bonsai Association, reorganized into the Nippon Bonsai Association, to mark the Tokyo Olympics. A commemorative album titled Gems of Bonsai and Suiseki was published in Japanese and English. Other countries began presenting bonsai exhibitions as well, with recurring events now taking place in Taiwan and a number of other Asian countries, Australia, the United States, several European countries, and others. Currently, Japan continues to host regular exhibitions with the world's largest numbers of bonsai specimens and the highest recognized specimen quality. Another key trend was the increase in books on bonsai and related arts, now being published for the first time in English and other languages for audiences outside Japan. In 1952, Yuji Yoshimura, son

of a leader in the Japanese bonsai community, collaborated with German diplomat and author Alfred Koehn to give bonsai demonstrations. The first formal bonsai courses opened to the public and outsiders in Tokyo. Koehn had been an enthusiast before the war, and his 1937 book Japanese Tray Landscapes had been published in English in Peking. Yoshimura's 1957 book The Art of Bonsai, written in English with his student Giovanna M. Halford, addressed both cultivation and aesthetic aspects of bonsai growing and went on to be called the “classic Japanese bonsai bible for westerners” with over thirty printings. The related art of saikei was introduced to Englishspeaking audiences in 1963 in Kawamoto and Kurihara's Bonsai-Saikei. This book described tray landscapes made with younger plant material than was traditionally used in bonsai, providing an alternative to the use of large, older plants, few of which had escaped war damage. Other works in Japanese and English had been published by this time, and afterward a tremendous number of books saw print. Translations and original volumes in over two dozen languages were published over the following decades. Once Japanese was no longer the sole language of bonsai, the number of clubs outside of Asia increased and interaction increased between members of all levels of experience. A third trend was the increasing availability of expert bonsai training, at first only in Japan and then more widely. In 1967 the first group of Westerners studied at an Ō miya nursery. Returning to the U.S., these people established the American Bonsai Society. Other groups and individuals from outside Asia then visited and studied at the various Japanese nurseries, occasionally even apprenticing under the masters. These visitors brought back to their local clubs the latest techniques and styles, which were then further disseminated. Japanese teachers also traveled widely, bringing hands-on bonsai expertise to all six continents. By the beginning of the 1970s, these trends were beginning to merge. A large display of bonsai and suiseki was held as part of Expo '70, and formal discussion was made of an international association of enthusiasts. Three monthly magazines were started this year: Bonsai Sekai, Satsuki Kenkyu, and Shizen to Bonsai. In 1975, the first Gafu-ten (Elegant-Style Exhibit) of shohin bonsai (13-25 cm (9.84 in) (5–10 in) tall) was held. So was the first Sakufu-ten (Creative Bonsai Exhibit), the only event in which professional bonsai growers exhibit traditional trees under their own names rather than under the name of the owner. It was organized by Hideo Kato (1918–2001) at Daimaru Department Store in Tokyo.

The First World Bonsai Convention was held in Osaka during the World Bonsai and Suiseki Exhibition in 1980. Nine years later, the first World Bonsai Convention was held in Omiya and the World Bonsai Friendship Federation (WBFF) was inaugurated. These conventions attracted several hundreds of participants from dozens of countries and have since been held every four years at different locations around the globe: 1993, Orlando, Florida; 1997, Seoul, Korea; 2001, Munich, Germany; 2005, Washington, D.C.; 2009, San Juan, Puerto Rico. The final trend supporting world involvement in bonsai is the widening availability of specialized bonsai plant stock, soil components, tools, pots, and other accessory items. Bonsai nurseries in Japan advertise and ship specimen bonsai world-wide. Most countries have local nurseries providing plant stock as well, although finding specimen bonsai is more difficult outside Japan and bonsai enthusiasts will often start with local trees that have not been preshaped into candidate bonsai. Japanese bonsai soil components, such as Akadama clay, are available worldwide, and local suppliers also provide similar materials in many locations. Specialized bonsai tools are widely available from Japanese and Chinese sources. Potters around the globe provide material to hobbyists and specialists in many countries. Bonsai has now definitively reached a world-wide audience. There are over twelve hundred books on bonsai and the related arts in at least twenty-six languages available in over ninety countries and territories. A few dozen magazines in over thirteen languages are in print. Several score of club newsletters are available on-line, and there are at least that many discussion forums and blogs. Educational videos and just the appearance of dwarf potted trees in films and on television reach a wide audience. There are at least a hundred thousand enthusiasts in some fifteen hundred clubs and associations worldwide, as well as over five million unassociated hobbyists. Plant material from every location is being trained into bonsai and displayed at local, regional, national, and international conventions and exhibitions for enthusiasts and the general public.

Size classifications Japanese bonsai exhibitions and catalogs frequently refer to the size of individual bonsai specimens by assigning them to size classes (see table below). Not all sources agree on the exact sizes or names for these size ranges, but the concept of the ranges is well-established and useful to both the cultivation and the aesthetic understanding of the trees. A photograph of a bonsai may not give the viewer an accurate impression of the tree's real size, so printed documents may complement a photograph by Garden Tripod 25

naming the bonsai's size class. The size class implies the height and weight of the tree in its container. In the very largest size ranges, a recognized Japanese practice is to name the trees "two-handed", "fourhanded", and so on, based on the number of men required to move the tree and pot. These trees will have dozens of branches and can closely simulate a full-size tree. The very largest size, called "imperial", is named after the enormous potted trees of Japan's Imperial Palace. At the other end of the size spectrum, there are a number of specific techniques and styles associated solely with the smallest common sizes, shohin and shito. These techniques take advantage of the bonsai's minute dimensions and compensate for the limited number of branches and leaves that can appear on a tree this small.

Bald Cypress, 1987-2007 Formal upright style Bald cypress A Bald Cypress (Taxodium distichum) bonsai on display at the National Bonsai & Penjing Museum at the United States National Arboretum. According to the tree's display placard, it has been in training since 1987. It was donated by Guy Guidry. This is the "back" of the tree.

by Ragesoss

History of Bonsai http://en.wikipedia.org/wiki/Bonsai Page 47

Internet Archive Book Images

Image from page 327 of "Handbook of the trees of the northern states and Canada east of the Rocky mountains. Photo-descriptive" (1907) Identifier: handbookoftreeso00houg Title: Handbook of the trees of the northern states and Canada east of the Rocky mountains. Photo-descriptive Year: 1907 (1900s) Authors: Hough, Romeyn Beck, 1857-1924 Subjects: Trees -- North America Publisher: Lowville, N. Y., The author Â Â

Handbook of the trees of the northern states and Canada east of the Rocky mountains. Free to view

www.gardentripod.com

August

Ludwig Wagner LONDON, UNITED KINGDOM

! Ludwig’s multi-faceted life experience is reflected in his art. He produces work inspired by people, objects and places – past, present and imaginary.  He was born in South Africa where he studied Art at the University of Pretoria. Ludwig worked for a few years as a teacher and then in the film industry, one of the passions of his life. He now lives in London and runs a creative agency focused on design and advertising.

August

Ludwig Wagner

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Folly, Petworth Park

by Ludwig Wagner

A17th-century Folly near Petworth House in Petworth, West Sussex, England.  It stands in a 283-hectare landscaped park, known as Petworth Park, which was designed by ‘Capability’ Brown. The park is one of the more famous in England, largely on account of a number of pictures of it which were painted by Turner. It is inhabited by the largest herd of fallow deer in England.

Broadwood's Folly

by Ludwig Wagner

Broadwood’s Folly, Box Hill, Surrey, England   The circular flint tower located on the northern tip of Lodge Hill was built for the piano maker Thomas Broadwood, who purchased Juniper Hall in 1815.

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Thames River Boathouse byÂ Ludwig Wagner

A boathouse on the Thames River, near Shillingford Bridge, Oxfordshire, UK

Beachy Head Lighthouse byÂ Ludwig Wagner

Beachy Head Lighthouse in East Sussex, Englandâ&#x20AC;¨ Beachy Head Lighthouse was built in the sea below Beachy Head. It was 43 m (141 ft) in height and became operational in October 1902. For more than 80 years, the red-and-white striped tower was manned by three lighthouse keepers. Their job was to maintain the light, which rotates, making two white flashes every 20 seconds. It was then visible 26 nautical miles (48 km; 30 mi) out to sea. The lighthouse was fully automated in 1983 and the keepers withdrawn

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Seven Sisters National Park by Ludwig Wagner

The ‘Seven Sisters’ in Seven Sisters Country Park, East Sussex, England, United Kingdom 20th June 2013

Ludwig Wagner

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Factory in Dublin Harbour II

by Ludwig Wagner

A factory in Dublin Harbour, Republic of Ireland, during sunrise

Flowers!in!Art:! Contemporary! International!Artists! By!Cindy!Ann!Coldiron! ISBN:! 978;0;7643;4239;4!

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www.gardentripod.com

August

Bob Daalder DEN HELDER, NETHERLANDS

You are most welcome at my facebook page Bob is especially interested in ‘the soul’ of the things without one, the expressiveness of the lifeless, the essence of material….. macro photography, ‘things’ in particular.   ‘Things’ don’t have the tendency to walk away, to fly, to move, to have a meaning, are always present and do not complex, have patience, don’t nag etc. etc….. As Bob wrote in his profile… “I like it simple!”…

Bob Daalder

August

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Gorgeous You!!!...

byÂ Bob Daalder

Loveable Wood Anemone...

Irresistible Wood Anemone....

Them There Eyes...

byÂ Bob Daalder

Company....

Summer Love....

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Together alone....

byÂ Bob Daalder

Enjoying the spotlight

When should I wake up?….. by Bob Daalder

Just soak in the grass.... Garden Tripod 25

Rise and shine.. Page 65

I can see you in my dreams… by Bob Daalder

Composition in other colors....

Serenity...

Bob Daalder

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Lost virginity... byÂ Bob Daalder

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Blue!Horse!Mukwa! Equine!Retirement!! and!Rescue!Centers! Available!From:! www.gardentripod.com!

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An exhibition from Fine Art America Group Garden Tripod

Sunning ourselves Denise Clark Garden Tripod 25

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Cream And Tan Iris Debbie Oppermann

Fancy Iris Michael Friedman Garden Tripod 25

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Sunset Iris - Glowing Amber And Bronze... Georgia Mizuleva

Black Iris Ross Henton

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by Katie Freeth

Willunga Almond Blossom Festival

Willunga Almond Blossom Festival is celebrated in my home town at the end of July each year.

The Festival itself is not quite as ancient as its name might suggest. The inaugural festival took place in 1969 – a mere 45 years ago! Back then, festival goers experienced a varied range of events with a variety concert in the town hall, a “Drama Night” in the same venue with the following nine days hosting art and antique exhibitions; archives display; a demonstration of almond cracking, another on cooking with almonds and the Festival Ball at which Miss Almond Blossom was announced. The Saturday procession led by marching girls finished at the local recreation park, where displays

The Culture of Gardens Tradition

of Serbian and Scottish dancing took place; model aircraft buzzed overhead and men competed in a logchopping contest.. However, in the 1950s before the current Festival format, the Almond Blossom Ball was held at winter budburst to raise money for building a new town hall. Now a predominantly fairground type of Festival, a few of the more traditional elements are perpetuated, such as the parade of bands, marchers and floats down Willunga Hill.

ÂŠ Katie Freeth

Almond blossom & leaf

! ! But !

why an Almond Blossom Festival?

The Festival affirms the region’s reputation for fine quality almonds; its assured rainfall and the a b s e n c e o f s p r i n g f ro s t o ff e r s n a t u ra l advantages. The recognition of the region’s Mediterranean climate led early settlers to grow almonds together with other Mediterranean fruits such as grapes, olives and fruit such as figs. Almonds were introduced to South Australia in 1836 – some five months prior to proclamation of the State. With the first commercial almond orchards planted in the 1890s, almond growing rose and fell in popularity, with peaks in the 1900s and then again in the 1920s. The final surge of popularity came in the 1950s when orchard areas closer to the city were grubbed out and the land gave way to the march of suburbia. By the 1960s almond cultivation was the major revenue source for the region. In the early 1970s, however, the industry moved to the Riverland, bordering the River Murray to the NE of Willunga. Land in the Riverland was cheaper and more plentiful and not only was the climate even more suitable, with warmer and drier springs, but plenty of water was available for irrigation. In SA production continues to be principally in the Riverland, but other major growing regions now include Victoria and New South Wales.

Varieties were developed locally in Willlunga, such as Strout’s Papershell and the Baxendale – the latter rarely grown now but developed as a pollinator. Varieties were chosen for their retail potential – with exhibits at the Willunga show separated into shell almonds and kernels.

almonds

Some varieties, such as Chellaston, were particularly suitable for salting, smoking and devilling. Almonds were important components of World War II emergency ration packs and Tom Strout, one of the principal producers of the region, although called up at the age of 18 was sent back to his Willunga orchard for his War service.!

The Festivals provided local

entertainment and so they evolved into festivals in the old-fashioned sense of feast days, holidays, days of revellery – much as European festivals celebrated important days in the agricultural and church year.!

The first of the almond blossoms open each year during July – not long after the winter solstice, their arrival varying in tune with the weather of the preceding months and the hours of sunshine in July. Blossoms are late this year as cold and wet conditions have been predominant for the past 4 - 6weeks. Blossom is delicate white or blushed with pink centres and its appearance reassures us of warmer weather to come and with it the accompanying fertility of the region. !

Festivals played an important part in the lives of the early settlers, celebrating and commemorating their successes with enterprises reflecting their traditional European heritage. Most involved eating and drinking – almonds, olives, grapes, cherries, figs are good examples of celebrated fare. And of course, the first farmers and townspeople were relatively isolated living in sparsely populated settlements which were well spread out. The Festivals provided local entertainment and so they evolved into festivals in the old-fashioned sense of feast days, holidays, days of revellery – much as European festivals celebrated important days in the agricultural and church year.

Commercially grown almonds Commercially grown almonds are varieties and/or cultivars of Prunus dulcis var. dulcis a native of central and south west Asia. The specific epithet ‘dulcis’ indicates sweet and thus edible characteristics. Wild or bitter almonds are laced with cyanide and unsuitable for eating! The almond that we think of as a nut is botanically the seed of the almond tree and not a true nut. Like its relatives, the peach, cherry and apricot, the almond tree bears fruits or drupes, consisting of a fleshy, leathery, grey-green exocarp (the hull) within which is the endocarp. The exocarp has a downy exterior. The endocarp is a reticulated, woody shell with a stone-like seed within. It is the seed of the almond fruit which we call the almond nut.

Nonpareil makes up about ½ of Australian commercial production, with pollinating varieties such as, Peerless, Carmel, Price, Neplus and Fritz Varieties popular in the home garden include: • Hard shell varieties - "Mission", "Peerless" and "Fritz" • Soft shell varieties - "Johnston Prolific" and "Brandis Jordan" • Paper shell varieties - "Nonpareil", "Ne Plus Ultra" and "IXL"

! ! ! ! ! ! ! ! ! ! ! !

Commercially almond varieties are categorised by their shell type: • Paper shell: can be easily rubbed off by hand • Soft shell: can be easily removed by hand but firmer • Hard shell: similar to other nuts

Few almond varieties are self-fertile and almond orchards must be planted with pollinator rows for satisfactory crops. Almond trees are compact – less than 9 metres tall, popular as domestic garden trees.

by Katie Freeth

References: Santich, Barbara; McLaren Vale: sea & vines; Wakefield Press 1998 http://www.austnuts.com.au/almonds.html http://nutproducers.com.au/almond-products/australianalmond-history/ Local verbal communication

The Culture of Gardens! Tradition Katie Freeth July 2014

ÂŠ Katie Freeth

Almond tree displaying old shells new blooms by Katie Freeth

Chris Allen

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ÂŠ Chris Allen

1 Fallen magnolia petal 2 Frog in space 3 Baby water dragon 4 Tree Frog 5 Tree Frog nestles in Lamb's Ears 6 Bluebells after rain 7 Convolvulus after rain 8 Syzgium erythrocalyx bloom and bud 9 Syzigium erythrocalyx blooms on trunk 10 Bromeliad blooms 11 Trametes versicolor

ÂŠ Chris Allen

A joy of gardens was no doubt inspired by my father’s keen interest in cultivating one. That childhood imbibing of the evolving beauty of the growing world no doubt built an expectation and desire to continue surrounding myself with such beauty in adult life. In my late teens I came upon a camera, and suddenly I got a kick out of wandering the garden and finding treasures underfoot to photograph, and though my photographic horizons have expanded beyond the backyard, it remains a source of opportunity and inspiration.

7 !

Photography couples the eureka moment of stumbling upon some visual magic with the process of stamping a semblance of permanence on its intrinsically ephemeral nature. That process hinges upon technology, and that’s where I get a further fix. It has been a long journey from an Instamatic film camera to a Canon 5D Mk II and a Sony Rx100, not to speak of the in-house post-production wonders of photoediting software. With the latter, images can be massaged into something more, where their essence (or at least your take on their essence) can be distilled and at times expanded. Add to that the capacity to share images with like-minded folk at the press of a key or two, and it doesn’t get much better.

Unless you meet and marry a woman who likes to grow things too, and then ups the ante and the degree of difficulty by cultivating bonsais. Something else to take photos of! So while I whip a memory card from camera to computer and dash off an edit or two, she hangs about for a decade or so to watch her creations evolve.

That’s where this article started, with Charlie (ed Garden Tripod) noticing my photo of her Acacia Howittii on Red Bubble. We hope you enjoy some images from my garden-wandering, and a little insight into the world of bonsai.

Denise Allen Bonsai

! !

Denise Allen

Acacia Howitti

I have been fascinated by the beauty of bonsai since childhood, particularly the way a skilfully shaped bonsai can capture the essence of a mature tree growing in nature. When shopping in a supermarket about 20 years ago I spotted a Japanese Black Pine seedling which I bought, and my passion, perhaps obsession, began. Japanese Black Pines are one of the more difficult trees to bonsai, and over a number of years, despite my efforts, my seedling grew into a large pot plant rather than a compact and graceful bonsai. Nevertheless, my desire to learn had been ignited. To grow a great bonsai can take decades, and requires knowledge of horticulture , artistic styling - and a great deal of patience! But that does not mean that a beginner cannot have a lot of joy tending a few bonsai. Bonsai trees need to be grown outside, but with protection from the harsh afternoon sun (of course harsher here in Australia than in many other countries). Owing to the small amount of soil in which they grow bonsais need daily, or even twice daily, watering during the heat of summer. They generally need repotting every year, pruning at least several times a year, and require frequent fertilising or a slow release fertiliser. Good varieties to grow for someone new to the art are Chinese Elms, Maples and Figs. Many Australian native species are now proving they make good bonsai trees, and one of my favourites is the Acacia howittii, commonly known as the Sticky Wattle. This species has a beautiful weeping habit, grey, lightly-textured bark, and in late winter, soft yellow balls of flowers. The featured tree was trained from a seedling and is now 12 years old. The first stage of styling began with wiring the trunk when it was thinner than a pencil (similar to the example pictured of a young one year old wattle). The wiring gives rise to the curves in the trunk. Initially it was grown in a 20cm garden pot to thicken up the trunk, was repotted yearly and pruned four or more times a year to encourage ramifications, or fine branching. It was planted in a bonsai pot when 8 years old and has flowered since it was 9 years old. The progression of photos from 2010 to today show the trunk thickening and greater maturity becoming evident. The 2014 photo was taken in our winter so the growth is not as vigorous. It does however show that the left side of the tree has stronger growth and will need heavy pruning to create greater energy and growth in the branches on the right. This will hopefully rebalance the tree in the coming growing season.

2010

2012

My passion for bonsai has more recently led me to ceramics, and I now make customised pots for my trees. This has added a whole new level of creativity and enjoyment. The Crab Apple and two Ficus bonsai show off examples of pots I have made. Â Denise Allen

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2014

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aerial view

Ficus Rubignosa

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in Drum Pot

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Crab apple in semi-cascade pot

Denise Allen

www.exhibitionswithoutwalls.com

Angel On Call Dog Rescue, Inc!

The mission of the Rescue, Rehab and re-home, In the Northwest Ohio area. http://angeloncalldogrescue.org twitter @aocdogrescue http://angeloncalldogrescue.org

Angel On Call Dog Rescue, Inc! !

Blue!Horse!Mukwa! Equine!Retirement!! and!Rescue!Centers! Available!From:! www.gardentripod.com!

www.gardentripod.com!

Flowers!in!Art:! Contemporary! International!Artists! By!Cindy!Ann!Coldiron! ISBN:! 978;0;7643;4239;4!

Contributors

Founder & Editor C Mclenahan

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Treasurer V Gore News Hound feeders of the night The Agency

Cover image Potted wattle by Chris Allen

Written Features by Marilyn Cornwell Katie Freeth Nicole W.

Spotlight features

johnrf en.wikipedia.org/wiki/Bonsai Internet Archive Book Images Ludwig Wagner Bob Daalder Chris Allen Denise Allen

RedBubble Group Country Gardens Come Grow With Us small trees and shrubs

Patience and Love by Sandra Fortier Bougainvillea bonsai by Celeste Mookherjee Bonsai Autumn by John Thurgood By the blue door by Mortimer123 Twisted.by Jeanette Varcoe. Orange Tree - Hunter Valley Gardens by Marilyn Harris Apple Tree by Margaret Stevens Willow Beauty by Alexandra Lavizzari The Lonely Tree by JulipDesigns April in Belgrade park by Ana Belaj A pot full of roses ... Kilmore East, Victoria, Australia by Margaret Morgan (Watkins) Leptospermum 'Pink Cascade’ by Elaine Teague Laburnum Arch by AnnDixon Japanese garden by Arie Koene In the Garden of Japan (2) by cullodenmist FUNCHAL PUBLIC GARDEN by Marilyn Grimble Entrance Garden # 3 by goddarb The Wisteria Garden at Longwood by SummerJade Azalea Bush by WildestArt Winter Fluff by Fay270 I Never Promised You A Rose Garden by kkphoto1 One Cloud Reflection by Vicki Spindler (VHS Photography) Rocky Cactus Garden by Penny Smith

Fine Art America Group, Garden Tripod

Sunning ourselves by Denise Clark Cream And Tan Iris by Debbie Oppermann

Fancy Iris by Michael Friedman Sunset Iris - Glowing Amber And Bronze… by Georgia Mizuleva Black Iris by Ross Henton

Catalogues

Potted wattle byÂ Chris Allen