Superintendent Todd Rosquist took some pointers from sculptor Carl Cline and created his own work, this giant mushroom, located between the pro shop and the clubhouse.

Disease is the fierce archenemy all golf course managers face. One of the most devastating losses from disease is that of a majestic tree. Years of time and many dollars are invested to cultivate these great beauties, yet disease and Mother Nature can take them away very quickly. After many agonizing years, I've finally found some consolation.

I began my career in golf course maintenance at age 16 as a shop mechanic. I've been the golf course superintendent at Lost Nation Golf Club in Dixon, Ill., for the past 19 years. I've always taken a lot of pride in the course and my position, and I was always looking for ways that I could improve the course's appearance while also giving the golfers the best greens, tees and fairways for their money.

Disease diagnosis
In 1982 I noticed the beautiful oaks were starting to die around the back edge of the woods along the 17th green, causing a real eyesore. When I looked deep in the woods, I could see that whatever was killing these oak trees had been active for some time. I contacted a few tree professionals who were sure the culprit was oak wilt. Analysis of samples sent to the University of Illinois confirmed the diagnosis. Depending on tree size, the estimated cost of treating the infected trees with Alamo fungicide was $1,000 to $1,500 per tree, far more than my budget allowed.

To add to our trouble, the majority of the disease was in trees located on property neighboring the course. The owners of the property didn't want to do anything about it. Yet, under stressed conditions, the disease would spread to the trees on the course. The course is 80 percent Jasper Mason sand base, causing continual stress from lack of moisture. Oak wilt can be spread many ways: a woodpecker or boring insect, root contact of an infected to an uninfected tree or falling leaves from an infected tree.

One way to alleviate the spread of the disease from root grafting was trenching. This process involved using a trenching machine to dig a 5-foot-deep, 4-inch-wide trench between infected and uninfected trees. All roots that were dug up had to be burned.

In the winter of 1999-2000, the first sculptures at Lost Nation began to take shape. This beaver overlooking the 18th green was one of the original works, but 10 new pieces were added this past winter.

For the next six to seven years, we had to cut down and burn all the oaks that died. It made me sick inside to lose so many trees each year. Lost Nation's logo is an oak leaf, and in a few years I imagined people would wonder why there was an oak leaf on the logo yet no oak trees on the property.

In 1988 the course suffered a drought, causing us to lose an even greater number of trees. I couldn't stand it anymore. I asked for a quote on fungicide and proposed to the owner that we had to do something. He, too, was disturbed by the loss of so many trees. He decided we would try to save the oaks that were strategically important to high-quality golf. We treated 15 trees at a cost of approximately $16,000. The treatment would preserve them for three to four years, but we would have to continue treatments every three to four years for the rest of the trees' lifespans. Of the 15 trees we've treated, 14 have survived. We have also battled needle blight in the pines, Dutch elm disease and storm damage.

Minimizing the loss
About the same time I was working through our tree problems, I was having some tee signs made at a local woodworking shop. The very talented shop owner mentioned he was starting to do tree sculptures. I asked him to stop by and take a look at some of our trees. He came out twice and took some logs he wanted to practice on. The next thing I knew, he moved to Missouri. I then checked with another local sculptor. He was very interested in carving, but he wanted $2,500 per sculpture. For less than that I could treat the infected trees and save them.

It seemed all I could do was continue to cut down the infected trees and replace them with much smaller softwood trees. Replacement oaks were not planted because we still had active oak wilt disease. Planting 6- to 10-foot pines and maples didn't come close to replacing the loss of the majestic 50- to 60-year-old oaks. In October 1999, we hired a tree service company to remove 67 trees from the property. I could hardly stand to watch.

Scenic tour, marketing tools
Finally, in 1999, the owners found a sculptor for the right price. Carl Cline was a plasterer by trade, but his growing passion and hobby was tree carving. Cline agreed to come out in the winter and work on two trees to see what he could do and whether we liked his work.

I couldn't believe what Cline accomplished in only three hours of working on a lightning-damaged pine tree near the clubhouse. He had roughed out three owls perching on the tree. We were all very impressed. Cline was given the OK to keep going. He sawed away for the next four months on weekends and good-weather days.

By spring 2000 he had completed 11 sculptures, each uniquely nested in its natural setting. On the drive from the entrance to the pro shop, a quail sits to the left between the No. 7 green and No. 8 tee. Farther to the north between the No. 7 and No. 8 fairways sits a nest with baby eagles. As you continue up the drive, you come across a golf bag in the rough on No. 10, and on the other side of the road is a golf ball on a tee. Behind the clubhouse, a couple of oversized mushrooms appear to have popped up. After teeing off, you see a tree with three owls and another with an eagle perched, ready to attack. A wizard sits around the bend on the 17th fairway. On the 18th fairway lurks a heron, and looming in the rough is a bear. Overlooking the 18th green is a beaver busy gnawing away at the tree, while on the other side of the green an Indian keeps watch to ensure everyone is counting each putt.

Instead of chopping down diseased trees, Lost Nation Golf Club hired a sculptor to bring new life to the dying wood, including this golf bag carved from an oak on the No. 10 rough.

Our patrons have shown a lot of interest in the sculptures and have passed on numerous compliments. Many times this season golfers have asked to have their pictures taken next to one of the sculptures. Our course is adjacent to a large residential development. Many of the homeowners have requested Cline's name and number. He has also posted business cards on the club bulletin board, and they didn't last long.

I know the sculptures don't replace the beauty of what was there for so many years, but they do help ease the pain of the loss of such a wonderful piece of nature. I feel like we're not completely losing a tree, but transforming it into a work of natural art. The reactions of our patrons have been so great, we're now changing our advertising message to include our sculptures.

Quite a few golfers come here from the Chicago suburbs because the cost of a round here is less expensive and our convenient location near Interstate 88 makes getting to Lost Nation comparable to driving across the city. We hope customers' comments on the playability of the course, easy access, cost savings and now stories of the sculptures will help to draw even more players.

Last winter we added 10 more sculptures. Watching Cline has inspired me as well -- I carved the mushrooms between the pro shop and clubhouse myself. Cline showed me some basic skills, and I just gave it a whirl. I'm a little prejudiced, but I'm pretty happy with how they turned out. I think I'll try a cactus next.

Todd Rosquist is superintendent at Lost Nation Golf Club in Dixon, Ill., and a 13-year GCSAA member.