Veghel 2: Forty enamelled panels

Unique project in Veghel-2

Forty enamelled panels

As I mentioned in the previous post about our work on the Lambertus Church in Veghel last time, for this project we also filled ten niches with enamelled panels. It is especially these panels that were a challenge for us. It's unique in the Netherlands that this method was used at this time and we have had to reinvent the wheel for many aspects of this technology, because to my knowledge this hasn't been done before.

These ten panel parts were subdivided into four pieces each, and as such, from top to bottom:

  • a triangular spandrel with a plant motif and a heraldic rose.
  • a scene from the life of Jesus
  • a narrow text strip
  • a bottom panel with a geometric pattern of circles and intersecting lines

Everything in natural stone

Finials for the arches at the church of Veghel

roofs of the arcatures

The entire facade has been reconstructed in new stone, delivered by Slotboom Steenhouwers BV from Winterswijk. They took care of the bluestone plinth and all the pieces of yellow Jaumont limestone, on which we designed the ornaments (see the previous post). They also supplied the stone for the enamelled panels: French Volvic basalt lava. We received it neatly cut to size in sheets of 5 cms thick. Basalt lava is an magmatic rock, that is, it once flowed liquid from a volcano. This type comes from around the village of Volvic in the French Auvergne region, near Clermont-Ferrand, where the whole cathedral was built out of this stone.

completed crocets in Volvic basaltic lava, wet by rain

Volvic basalt lava is also beautiful when wet

Perhaps you'll know of the black hexagonal blocks that are used everywhere in the Dutch dikes: that's basalt too. The material is virtually indestructible but also almost impossible to carve. Rock hard stuff.

Fortunately, basalt lava is a lot easier to carve, because it is completely porous from tens of thousands of tiny gas bubbles that came along with the lava flow at the time. It's also less black, and especially Volvic is quite even gray. Yet it also has its own color schemes, which are especially visible when the material is wet: from anthracite to dark brown and even purple brown. We've worked in it before, such as last year when we made a batch of large crockets for the Dom Church in Utrecht. Other varieties are Mendiger and Mayener basalt lava from Germany, which are much darker and above all much coarser and harder.

Sample panels

To see how the carving and enamelling would go, Jelle and I first made two test pieces for these enamelled panels: a panel with a part of Jesus on it, plus a piece of text. We carved out the image and the letters and sent them to the French enameller for a test piece. However, the first result was not quite to my liking. My own work had to be sharper and the enamel work could also be better. After a lot of consultation about what our goal was, we then started with the first triangular panels at the top, the so-called spandrels (a spandrel is an area at the top between the lines of a pointed arch).


I had already noticed during my research at home that there were three motifs in these panels: the middle spandrel had an ivy motif which I named 'C'’ and the other four had alternately a kind of thistle- and a leaf motif (‘A’ and 'B'). These were placed nicely mirrored on the right facade, (A-B-C-B-A) but left was an irregular rhythm (A-B-C-A-B). I decided to keep the reflection the same on both facades, so that there was a clear regularity.

I'd sharpened and enlarged the old photos of the two facades again and had everything printed out to full size, so we didn't have to enlarge this by hand. I had also reconstructed the curves of the spandrels and the trefoils at home, in this case with Sketchup. Because I don't know AutoCad, but with Sketchup it worked fine. We could use these prints to transfer the image onto the stone.

Nico carving a finial

Jelle had made the first spandrel, but there was so much work to do we thought we wouldn't get it all done in time. Fortunately Nico came in January to make these spandrels, so that Jelle could continue with the first capitals. When it started snowing in February, we were able to get a first impression of the result in basalt lava.


Jelle working on the first capitals, February 2021

The texts

I had also been staring at the texts for a while and I had scoured the internet for an Old Dutch font that closely approximated the old letters.. I knew it would never quite work out because the letters were originally just a hodgepodge of hand-cut letters in stucco, with modern fantasy capitals and gothic-looking lowercase letters.

part of the reconstruction by Britt Nelemans

part of the reconstruction by Britt Nelemans

The spacing varied greatly and also there were two different versions of the S. Of the Dutch letter combination ij there was a version with dots on the i and the j and one without, which could sometimes even be found together in one sentence. The lower case a was replaced by a small capital A. But I was hoping I could match the text in Photoshop with the super-blurred old photos, on which I could only discover some smudges and stains. Maybe the whitespace could reveal how the words were originally placed. That worked, but it only gave an idea of ​​how it should be. The real letters were to be hand drawn.

Letters In Steen

I soon realized that this was a time-consuming part and that Jelle and I simply couldn't do everything ourselves. Jelle had carved the test piece for this long before, based on a computer font, but the final text would be manual work. But Jelle was already busy carving twelve capitals and had his hands full with it. That's why I was happy to outsource this part to Britt Nelemans, who has her studio Letters in Steen in Utrecht. Britt specializes in carving text in stone and was therefore the perfect person to reconstruct and carve the old lettering. She did that with all due care and feeling, even though this type of stone is not very suitable for the really fine lines of those Gothic letters. It got tense for a while when she broke her wrist… but everything was delivered on time for transport to the enameller!

The bottom panels

Arcatures Lambertus Church

old condition on photo before 1960

The ten enamelled panels at the bottom were a next big job. Because those had to be very clean lines, we thought we would be smart and outsource this work to have it sandblasted. I had first looked at the bottom panels extensively using drawing programs. I manged to make a reconstruction of them, which has been converted into a CAD drawing by Slotboom's designer.

my reconstruction in Sketchup

That drawing was then used as a starting point for the computer plotter that would cut out the sandblasting rubber. The motif consists of a series of perpendicular lines in an oblique pattern, with a circle motif with petals at the intersections of the lines. Alternately, the circles have an open and a closed heart.

So this was eventually sandblasted into the stone by Bas Mulder from Slotboom Steenhouwers, but it did have quite a few hickups.

the first enamel layer has been applied

The blasting foil did not stick well on this coarse stone, and because at first I had said that it needed to be up to 7 mm deep it was also very difficult to get the desired result. I don't know how he did it, but in the end he succeeded.

Ten scenes from the life of Jesus

Jelle is working on The Descent into Hell

Now it was already quite a task to reconstruct all the other parts, but doable. We saved the hardest for last, so that we now had a good grasp of the material and design. From four of these panels with the big scenes (nearly 110 x 90 cms) there were some clear pictures. Jelle and I were able to copy these photos into the stone without much alteration. But the other six were a lot less sharp and a few were so indistinct that even after magnifying all that remained was just a few blurry spots .. The solution was of course drawing them anew. We first printed them all a few times on A4 format and drew the desired lines on it, and repeated this so many times that we began to know the scene and the lines, in a combination of interpreting and tracing.

Once by our drawing practice we had arrived at a good reconstruction, we started on the full size drawings. We were able to transfer these onto the basalt lava plates and then carve them into the stone. The surfaces were all deepened and the lines, just like with hand-carved letters, were carved into the stone in a V-shape. In this way we hoped to approximate the effect of the stucco and also to provide the enameller with a clear indication of the lines.

But in this gray stone it's hard to imagine what it should look like. Only with hard light from the side could a glimpse be caught and would the lines become clear. We were hoping it would be a lot clearer in enamel.


After everything was ready and approved, we strapped them onto a few pallets and all parts were sent off to France for enamelling. We ourselves continued to carve the ornamental parts of the Lambertus Church and making the two limestone statues of St. Peter and Paul.


Meanwhile, in the studio in the Auvergne, they worked hard to get everything ready on time and every line was painted with care.. After the primer, the cream-colored base color follows, then the orange-red color of the backgrounds, and finally the brown color of the lines, each time with a round in the oven at 960 degrees Celsius. The enamel melts at this temperature, and the stone can also crack if the tensions are too great, so professional knowledge and great care is a first requirement. Normally enamelled panels are 2 or 3 cms thick, but because of their application and the transport, we went for a thickness of 5 cms, which resulted in an extra level of difficulty.

The completed panels

In September, the new enamelled panels arrived at the stonemasonry in Winterswijk. There they were first displayed on the floor for a final check, before they were installed. The panels were anchored to the church with stainless steel anchors in the wall behind and then grouted all around. If you zoom in well on the photo, then you can see that I had given all forty panels the number of the construction drawing and also their own serial number from 1-10 for our own use and for the installers from Slotboom Stonemasons. Because crayon will burn off at 960 degrees in the enamel oven, I carved the numbers into the sides.

Five times sad

Here we see successively five sad and five joyful moments from the life of Jesus. It starts on the left, with the Dedication in the temple, where Joseph and Mary are told by a scribe that their child is facing a great but hard life.

On plate 2 Joseph and Mary flee to Egypt with their child Jesus, because King Herod has decreed all the little boys under 2 years old in Bethlehem are to be killed. He doesn't want competition from a new 'king of the Jews'.

In the third scene we see how Joseph and Mary return to Jerusalem after three days of searching, where they find the twelve-year-old Jesus in consultation with the scribes. At that time he already shows his great wisdom.

Mary's fourth sorrow is the Descent from the cross. Mary sits with the dead Jesus on her lap, and Mary Magdalene and John kneel beside her.

In the fifth image, the body of Jesus is placed in the tomb.

Five times joy

To the right of the church are the more joyful moments from Jesus’ life. This group must be read from the outside in, just like the left panels, in this case from right to left. So on panel 10 we see how the three wise or kings from the East offer their gifts to the child in which they recognize a great soul.

On panel 9, the second from the right, Jesus is baptized in the Jordan by John the Baptist. John stands in a robe of camel hair (itchy) and an angel descends to the left, while the holy spirit descends like a dove from above.

On the center panel, number 8, we see how Jesus undergoes a transfiguration on Mount Tabor and how Elijah appears on the left and Moses on the right. The sculptor makes the three seemingly float in the air above a convex mountain top.

On plate 7, the fourth from the right, Jesus descends to hell and frees Adam and Eve from original sin. The devil at his feet is trampled and the dungeon door is wide open. There is room for columns and capitals in hell.

On the last plate, number 6, we see the resurrection of Jesus depicted. Two Roman soldiers turn away in terror and blindness as Jesus beams and rises from the tomb with a staff.

Design from another time

If you take the original photos, you do notice that the new reliefs radiate less of the dreamy atmosphere that the old work had. This is mainly because it concerns a fundamentally different process. Matt stucco simply produces a different surface than glossy enamel, and where it was possible to show something of gray tones in the stucco version, with the current version it's either black, or white. The image has been converted to a line drawing. Another cause is the color scheme: the old work had yellowed a little more over the years, making the current cream (the photos show the panels much whiter than they actually are) a bit harder. After all, a lot of sharpness has been lost in the old work over the years, and also the old photos are pretty blurry, so that the new work must come across very sharp. It will probably take some getting used to for the Veghel people, but for me it's a chance to retell the stories from Jesus’ life, seeing those through the eyes of another time as well. Panta Rhei, as the Greeks already said: Everything Flows, everything changes.

to the first post about this project- is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well:

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Year review of 2020

Strangest year ever

flying buttresses with the ApostlesYear review of 2020? Well that was quite the year I guess! The strangest year that I've experienced until now out of the almost 58, but certainly not a bad year. There were many challenges and throughout everything I've grown personally. We sculptors have probably had it much easier than most other people. We enjoyed working outside, have been sitting in the lovely sun, had plenty of space and because we do our own thing, we have actually not noticed much of the measures, except when we had to do some shopping or wanted to go to a museum.


The old flying buttress statue The Hope made of tuff stone

The old sculpture of Spes, Hope

So what do you do when all the nicer things disappear one by one? Work work work. That was one of the most striking things this year. We've had whole wagonloads of stone go through our hands, and there were lots of nice carving jobs among them. As in previous years, we have been working on St. Eusebius's Church, and we've now arrived at flying buttress statue no. 80 at the moment. We only have another 3 to go, because the last 13 sculptures will not be replaced. There will a new work of art instead. I believe that we will also have to do a little bit of work for that. On my blog you can read about the flying buttress statues that I carved myself last year: the Flute Player, Apostle St. Andrew, the Accordionist, St. James the Lesser, St. James the Greater, Temperantia and Caritas from the arc of the Seven Virtues, and Goat nibbling on a crocket. I also carved a copy of the statue Spes, Hope, but we were so busy that I forgot to take pictures of it!

face of JamesI did report about our work in an article with a video tour (as a studio visit could not take place due to corona) and in an overview of the last three flying buttresses that were completed: the Seven Sins, the Musicians and Six Apostles. Sometime in October I started working on a double-headed eagle for arch no. 17/18. You can recognize it in the background of some photos, but that project is temporarily halted because other things demanded priority. Likewise, Stide will be carving a lady with a cross (Fides of the Seven Virtues) and Jelle still needs to carve a man with a watering can who's watering a crocket, from arch no. 20.

-click on a photo for the corresponding article-

flying buttress figurine of Flutist 1

Flute Player

side view Saint Andrew

St. Andrew

new flying buttress figurine accordionist


copy of flying buttress statue of James the Lesser in Muschelkalk limestone

James the Lesser

copy of sculpture of Apostle James the Greater

James the Greater

flying buttress statue Temperantia for the Eusebiuskerk in Arnhem



Flying buttress figurine Goat nibbling on a crocket completed 1


three flying buttresses


Sculptors Jan and Koen van Velzen rowingIt was an uncomfortable year in another sense too: there were departures. My father and my brother-in-law both died of cancer, but both of them had lived towards the end in such a grand way that we could all find peace with their departure. Especially in my father's case, there was nothing but gratitude. Normally I would go to India again in November, but I haven't had much vacation this year. My beloved Swami Gopala Krishna also left his body this year and even if we could have gone to South India, then everything would have been different anyway.

In August I posted an article about my father's life that I actually wrote in the week of his death, but at the time I didn't have any pictures yet. I discovered that I could have written five more articles about his life, but this blog is not the right place for that. There will be an article about what I learned from him as a sculptor. On 31 October I I installed his sculpture "Surrender’ in the cemetery where he is buried, in Onderdijk.

I am currently working on making his tombstone in dolomite; it will be a lotus flower in relief and some waves. I first had an elaborate design with a graceful lady, but the family opted for a simpler design, and that will work out very nice as well. I hope to get it all installed before 19 January. But it Annual Review 2020doesn't all go as fast as 30 years ago anymore and I noticed that I also need my time to rest physically after a week of hard work. I had made the part with the waves quite deep at first, but it turned out too restless. After I had made everything 8 cm thinner it looked more like the way I had imagined it. At the moment I'm carving the Lotus flower.

Annual Review 2020

Pope and lantern

A number of projects always overlap the year's end, and this year those were Pope Leo and the granite Japanese Lantern for Clingendaal. There are three articles about the Pope Leo statue on this blog: the outline sawing, the first rough carving work and its completion. This statue of Pope Leo the Great is a copy that I carved in Udelfanger sandstone, for St. John's Cathedral in Den Bosch. I was asked to assemble this new sculpture out of two separate parts, which was quite a difficult job, but in the end I managed just fine. It's actually great when a tough challenge succeeds so well. Because this went so well, my colleague Serge asked me if I could repeat this trick for him on a similar one, an angel for the same cathedral. Only this one wasn't so easy: the first block had a big crack. As a result, I have been able to gain a lot of experience in assembling blocks of Udelfanger sandstone.

The lantern for Clingendael park at Wassenaar I carved out of granite, and in terribly wet weather I installed it in the mud in the park. Nevertheless, it is now completely embedded in the beautiful park, hopefully to be admired again next year.


In the summer we finally had a bit of a quieter time. Time to move on with the large mirrored griffins. I put the foam model aside and Jelle and I worked together to make clay models of the shield and the body of the griffins. We then encased it in plaster casts and cast it in plaster again. Next will be the carving in Obernkirchener sandstone, for which the large blocks have already arrived. It was quite a large and difficult project, from which we learned a lot.

Read more in the extensive report on this project↑.

frame for griffin

griffin shield in clay 3

modeling of the shield

blocks of sandstone for a mirrored griffin blocks of sandstone for a mirrored griffin

A green lady

Annual Review 2020 seated woman dolomite

One of the commisions that I haven't published on this blog before, is that last summer for another sculptor I carved a sculpture in Anröchter Grünstein (dolomite) out of a large block of stone. Below is a video of splitting the block, that I could almost reach through with my chainsaw. In the picture, the whole sculpture still needed to be polished to a shine.

Ornamental work for the Latin School

ornaments in Baumberger stone for the Latin School in NijmegenAn accident never comes alone, but so it is with workload as well, it seems. Just at the point that I got the feeling that it was becoming an awful lot of work all at once, the urgent project for the Latin School in Nijmegen came in between. But we made it, and in time! All of it was blocks of Baumberger stone with ornaments on three sides, in the style of the Dutch renaissance.

Finials and side crockets, for the Utrecht Dom Tower

detailing new finials for Utrecht's Dom TowerThis year we also got a lot of ornament work done for the Dom Tower. Big, bigger, biggest was the motto. A very large finial of 80 cm wide kept Jelle and me each busy for over three weeks, and then pallets full of large crockets and tailpieces were dropped off, for the upper eaves of the stair tower, at about 90 to 100 meters up.

Annual Review 2020 large crocket for Dom Tower in portland stoneThere are a total of seven of these window frames, each with about ten of these large crockets, so no worries about enough work for the time being. And that's only a small part of the ornamental work on the Dom Tower in Utrecht. An article about this project will follow.

St. Lambert's Church, Veghel

year review 2020 St. PaulThere is one project that I haven't actually shared so far, but that I've already done a lot of work for in the past year. Two neo-Gothic façade claddings will be reconstructed next year at the Lambertus Church in Veghel. Among other things, there will be ten reliefs with scenes from the life of Jesus, two statues of saints and all kinds of ornaments, capitals and pinnacles on it. Jelle and I have already modeled a number of maquettes and carved several capitals for this, made test pieces and I have been staring for hours at vague old photos to see what it might have looked like. For St. Paul I already made a small model in plastiline, that I am going to enlarge in foam. The stone has already been sitting in the yard for a while. Jelle and I are going to do this together, and Jelle will take on St. Peter. There will certainly be a new blog article about this next year.

Small tasks

polishing the lingam

the sanding and 'sweetening’ of the lingam

Fortunately, there was still time for all kinds of small work in between, this year. And so I've been singing Shivabhajans while carving a Shivalingam in black Swedish granite, I've carved two small family crests in a granite headstone, I was asked to repair the Little Drummer with a new drumstick at St. John's Cathedral and I carved a pine cone for an eighteenth-century garden vase and was able to find a few more spare hours to continue working on my red porphyry statue of Pan with the pan flute. I also did a small part of the work on the ornaments of the South Portal of St. Eusebius's Church, but because of the work load, colleague Serge took the lion's share of that part. Finally, in Badhoevedorp, Jelle and I have been working on the repair and reinstalment of the figurines of the Four Seasons.

-click on a photo for the corresponding article-

fine sanding the Shivalingam

coats of arms in black granite completed

Granite coats of arms

repairing the drumstick of the Little Drummer Boy on the flying buttresses of St. John's Cathedral in Den Bosch

Flying buttress figurine Saint John

restoration garden vase lid

Pine cone for a garden vase

Annual Review 2020 garden statue Pan with pan flute- WIP


ornaments south portal Eusebius Church, in Baumberger stone

South Portal

figurine Spring Four Seasons reinstalled


Four fishes (dolphins) for a hotel

Then there were the four fish propped up for a façade of a hotel in Amsterdam, that were seriously damaged in a fire. These kinds of ornaments are usually called dolphins however, although today we have a different perception about these creatures. These fish usually sit mouth down and tail up, sometimes spewing water from their mouths.


I am now carving a copy of this in new sandstone; an very elaborate piece of high quality. This is quite a difficult thing for me too, which needs to be exactly similar because its brother is just a few meters away. By coping it point by point I'll gradually arrive at an accurate copy. The chisel traces are still clearly visible on the original, so I'll have to emulate that in the copy. I'll write a full article on this project later on as well.


It all got a bit tight under the shelter with all the half-finished projects and the sawing machine and pallets with finished work. So there is a big change going on: the roof, that I installed in 2017 together with my son Joram, gets an extension of 4 metres, and the concrete slabs on which it will sit have already been installed too. The old concrete floor was so uneven that it was almost impossible to drive on with a pallet jack. The new truss is already made, now the waiting is for the roof plates and the extension of the hoistway.

Stelcon slabs have been laid

Heavier equipment

air hammer FK 702.5I also bought a new compressor this year, with an air dryer, because in wet and cold weather it was getting harder to work with air tools and whenever it was freezing, the air hammers and pressure regulators would immediately freeze up. And a nice heavy new air hammer, with a little more kabam in it. I am all set for the new year. Bring it on!

(This annual report only tells you what I myself have been up to this year. But I've cooperated a lot with Jelle Steendam, Stide Vos and Serge van Druten, with whom I share the larger projects. I work a lot with Jelle in particular; he has found a permanent place under the shelter. So have a look at his website!as well ↑) is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well:

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Sculpture 'Surrender’ installed

Surrender, a symbolic moment

Installing sculpture SurrenderA few days before All Souls' Day 2020 I went to my place of birth for a special moment. I was about to install my father's sculpture 'Surrender’ in the cemetery behind the church.

My father, Jan van Velzen, had made this sculpture in 2011 when he, was nearly 80 years old. It represents a young woman releasing a butterfly, rising into the air. It depicts the release of a soul on its onward path to the light. At the time, he provided the following explanation about this sculpture:

The thought 'Surrender’ sculpted, represents the inner attitude of surrender to God's plan for us.

The feminine aspect is present in every person as tender beauty, the kneeling posture as dedication to the Creator of all.

The butterfly is a more often used symbol of the Soul, and signifies Transformation.

As surrender is greater than letting go, so true beauty often is fragile silence.

Jan van Velzen, 22 February 2011, Onderdijk

In the right place

Installing sculpture SurrenderActually, there was a whole process before this sculpture ended up here. My father actually intended this as a figurine for the children's graves in this cemetery, but that fell through. After his death, I made a proposal to my mother and brothers and sisters for a funerary monument, but we couldn't figure that out at first, as tastes differ, after all. Then the idea arose to place this statue on his grave, but we soon came to the conclusion that such a grave did not suit his modest nature. It would however be a good idea to donate it to the parish, and that was what happened.


stone arrived for plinth of SurrenderI ordered a column of Anröchter Grünstein (dolomite) for this figurine. My mother felt it had to be placed high up in order to enhance its movement, and I can only say that she was right. I spent half a day doing all the preparations: sanding, drilling holes, removing its old base, drilling and tapping holes in the bronze, gluing pins, making a drilling template, collecting stuff and more. The pedestal stands on two thick stainless steel pins and the statue is also anchored in that way.

To polish or not to polish, that is the question?

This dolomite, or rather Anröchter Grünstein, is quite greyish at first when you sand or polish it. But the longer it sits outside, the more it turns into a beautiful light greenish tint. You can polish it of course, as you can see from my sculpture 'Ferns’, but in this case I just sanded it down to grain 200, so that the soft structure comes into its own, and not predominates over the sculpture itself with a sleek dark green shine.

Quite a weight

Installing sculpture SurrenderThis plinth weighs approximately 250 kilos, but with a little skill and the right equipment you can move it around just like the ancient Egyptians did. Leverage and rollers. Fortunately I had help from the Stroet brothers who also took a flat cart with them, so within half an hour it was all up and done.

The sculpture sits in the center of a green lawn, which itself is also more than a meter above the surroundings. The field is intended as an extra space for any graves. With the plinth of 1 metres 60 in addition, the statue protrudes high above its surroundings and thus the column strengthens the intention of the sculpture and the movement of the woman: releasing the butterfly, the soul that continues on its new voyage of discovery. The sculpture therefore contrasts well with the sky and the dike behind it.

Installing sculpture SurrenderIt was also a special moment for me, because a lot of things came together that day. The statue of my father has such a strong symbolic function for the soul journey and it was almost All Souls' Day and All Saints' Day. It also felt strongly as if the sculpture had been made for that place and the day was perfect: nice weather, not subdued and still, but something of a joyous realization that it is not over after this, just the next step in our journey. Surrender doesn't have to be tough! It's great how everything can come together.

More about his life

Sculptors Jan and Koen van Velzen rowingA while ago I shared a first article about my father's life. I could write five more, I noticed later. But actually that doesn't fit in with the blog and there is so much material that it would become an ever bigger project. That is why we are now in the process of working out and printing his memoirs, in which we hope to include a lot of photos of himself and his work. On this blog I will dedicate one more article to what I learned from him as a sculptor. Meanwhile, I have also started working on his tombstone, because we finally agreed on what it should look like. More on that later.


Below you will find a photo series of the installing of the pedestal and the sculpture 'Surrender'. My mother really didn't want to be in the picture, but as she was doing the donation, she has earned that place as far as I'm concerned. Thanks to Gerda Schutte for most of the photos. is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well:

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