Giant cuspidata

Hello,

First picture is the tree when he arrived in Belgium 3 years ago.

Second picture after Noelanders styled him.

Next year, the tree can go in a smaller pot, and I can concentrate on forming the leaf. The tree must be turned a little to the left in his new pot. The pot should be at least 50 cm, if you have any pot suggestions ....

Greetings from Belgium,

Henk



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pot suggestions no ..sorry...
but...wooow...what a tree!
it is good for starters like i am to see these kind of works
see how much it is important to only keep the essential
i still get the hope to do something close to this ..one day...
if i live really old..in fact

the first pcture is the back of the tree isn t it?

Thanks,

This is the tree after a first selection, the original idea was a father-son tree, but the distance between the two was too far, so, the "relationship" wasn't really there ....

Henk


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Impressive. I like it a lot!

Love this tree. How big is it? My guess is about 26", but I could be off by 100% either direction...

Thanks for the nice comments,




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Pretty good guess Mike!

Absolute stunner of a Yew, Henk. There's a lot of lovely detail in the carving but I'd like to see the deadwood once it has toned down a little. Natural yew deadwood is silver and grainy. Have you seen the technique that Simon Temblett developed? He Lime Sulphurs then uses a soot wash, (carbon black or sumi ink are all the same thing) rubs it off and then lime sulphurs the highlights again. The process can be repeated until it looks beautifully naturally aged.

Thanks Kev,

Yes , that's true, it should also looks much older.

No I haven't seen the technique that Simon Temblett developed, do you have a link ?

I found a pot from Dan Barton who should be perfect for this tree (the pot as in the Gingko 5 book, the best of bonsai in Europe, page 20), but Dan couldn't make a pot before summer 2010 ... Off course , I don't know if I could transplant the tree in one time to his final pot ...

In the picture below I have made an arrow in the middle of the tree, I think the transition or change (I do not know the correct word) from living to old wood is too abrupt, what do you think ?

Thanks,

Greetings from Belgium,

Henk

There's an article describing his technique on the second page of this club newsletter http://www.fobbsbonsai.co.uk/news/BR09/BR26Aug.pdf but the illustrations show the during not the after.

Amazing tree.. I just hope I can do something like this in many many years..

Very good design, but I didn't expact nothing less from Noelanders.

Sorry it has taken a while. I couldn't find a decent image that didn't require copyright clearance. Thankfully I tracked Simon down and he has very kindly sent me this picture of his Yew.



So I enhanced and cropped it to show you the detail in his carving with the lime-sulphur and soot wash treatment.


Oh, by the way, as well as styling the tree over many years, Simon also made the pot and stand.

Henk,
You quoted ........."the original idea was a father-son tree, but the distance between the two was too far, so, the "relationship" wasn't really there ...."
Maybe it still can be a father-son as I'm sure there are a few of those relationships that are "distant" if you know what I mean.
Cheers Gman

Henk,

You have a world class tree there.

I wouldn't worry about the dead to live transition (I don't know of a single English word for it either ). All masterpieces have to have some idiosyncrasy of they would be cookie cutter trees, which this is not.

Kev Bailey wrote:Sorry it has taken a while. I couldn't find a decent image that didn't require copyright clearance. Thankfully I tracked Simon down and he has very kindly sent me this picture of his Yew.
So I enhanced and cropped it to show you the detail in his carving with the lime-sulphur and soot wash treatment.


Oh, by the way, as well as styling the tree over many years, Simon also made the pot and stand.

I love this tree and several others of Simon. I met him when I visited Green Lawns Bonsai last year for my demo. I watched him work with the lime sulfur and the colorant. He also was using lime sulfur and colored paints to treat driftwood (not attached to anything live) for accents. Very nice work. The only draw back, when you work with lime sulfur all day, you develop a distinct aroma about you.

Nice yew, Henk...

About the dead to live transition; maybe a little bit more deadwood?



Best regards,
Hans

Rob Kempinski wrote:Henk,

I wouldn't worry about the dead to live transition (I don't know of a single English word for it either ). All masterpieces have to have some idiosyncrasy of they would be cookie cutter trees, which this is not.

About the only instance where I might be tempted to use the word "interface" without fear of sounding like I'd just come off a 1980's sales and marketing course.

What a wonderful tree Henk.

How does the Marc Noelanders connection work in? (sorry if everyone else knows)

Good tip on toning down the lime sulfur Kevin. I've experimented with acylic paints in a similar way but the results were not as good as this.

TimR

Thanks Marinko, Hans, Bob and all the others for the nice comments.

Thanks Kev for the picture of Simon's tree, lovely tree, I saw him at the Noelanders Trophy 2009, impressive tree. Indeed , the color of the dead wood is more natural. If a remember it well, there was another tree from him at the exhibiton which was also from a very good level.

Hans, I think the transition you drawned in the virtual is better than it is now.



Henk