Boulder and oak-tree and stone

A stone-tree for the group home

Today in Amersfoort, a new group home for people with a mild intellectual disability was inaugurated. I've lately been involved (pro deo) in a number of things in the new home, including the stone-tree and the boulder in the garden. Read here↑ an earlier post about the boulder.

The stone-tree was a special project for me, because it led me to undertake several things that I do not normally do. It's a long story, so let's start at the beginning!

The mad squire in 1661

boulder and oak- pulling the Amersfoort boulder, on an old print

Each Amersfoort resident knows the story of the mad squire and the Amersfoort boulder. Or, at least, he/she should know it. In short it goes like this: Squire Everard Meyster makes a walk on the Leusden moors with his study pals, and comes upon a huge boulder, sticking out of the ground. After some speculation about the origin of the boulder the squire is willing to bet that the boulder would be easy to move. He gets 400 Amersfoorters crazy enough that they willingly, and for promises of lots of beer and pretzels start to move the boulder of 7 tons and hoist it on a cart, and under loud cheering bring it into the city. A man lost his legs in the excitement, but that couldn't spoil the fun.

Then the stone was set on display at the Pig's Market. Later, the squire writes a mocking rhyme about the gullible Amersfoorters, and the boulder was buried out of shame. Only in 1903 the boulder was dug up again. Today, the boulder is still visible at the beginning of the Arnhem street. A stone's throw from the group home.

Real Amersfoort boulders

Amersfoorters have been nicknamed Boulder pullers ever since that day’ and the city is also called Boulder Town. So what was a more appropriate name for the future residents than The Boulder Club?

At one of the meetings of the Club every resident has painted their own stone. And these remained lying around in a basket somewhere in the house. A pity though, thought the central committee, and after some discussion an idea came up for a work of art, a tree with these stones as leaves. Boulder and Oak.

Whoever thought up what, I don't know anymore, but in the practical part, it ultimately came down to a collaboration between me and painter Sandra Nanning, who has made a lot of murals, and from trees as well. Sandra was going to paint a large tree in the stairwell, and I would attach the stones to stainless steel tree leaves.

Making tree leaves

I bought a sheet of stainless steel and cut out the shape of the leaves. After that, I made a hole in the middle, and a fold over its length. I tapped the leaf halves around a thick tube to get the leaf effect, and welded an long M8 nut on the rear side. Into that, I welded a threaded wire piece, with which I can fix the leaf into the wall. It is a somewhat cumbersome construction, but now every leaf has a nut into wihich I can screw a stone.

-Click on a picture for the slide show-

Each stone had to be pierced. And there were hard ones among them! Limestones I can drill without the hammer function, but a piece of granite can't be drilled with a hammer drill. It would break in half. So many of these stones I needed to patiently pierce with a diamond bit. 32 in all, so I had enough on my hands there.

A huge tree in the stairwell

boulder and oak-tree and stoneSandra then went to work on the back wall of the stairwell. She painted one big tree, from the ground floor up to the second floor continuously. It also runs out into the two side walls, so it stands with an imposing presence. At the bottom are the names of the initiators of the project, plus the architect and the owners of the property who have put so much work in.

On the first floor is a poem about a tree that was good at letting go. And on the top two floors are the stones of the residents, criss-cross all over, each on their own stainless steel tree leaf.

boulder and oak-tree and stone2

Should it be necessary, they can be screwed out again, and there are still four spots left for future residents.

The Tree in the Wood

The tree in the wood

in autumn let everything loose

He let go of it all and as he stood

he whispered softly:

'Letting go is paramount

boulder and oak, stone and tree3in life, to stand stronger and be sound ’poem on tree

 

 

 

 

Placement of the boulder with the house numbers

boulder and oak- boulder hoistedA week earlier at the same address, I installed the boulder that I recently carved the house numbers in . The boulder was put in the front yard, right next to the entrance. I had transported the nearly 500 kg heavy boulder in the back of my white little van. I could lift it out with an engine hoist I'd brought along in a trailer. After that, it was only a matter of laying planks and planting it into the garden.

boulder and oak-positioning of the boulder2

 

 

boulder and oak- boulder planted

Boulder and Oak

boulder and oak- planting the oak tree

This boulder was not the only thing that was planted; later that week a young oak tree (Quercus Robur) was also planted, in appreciation of the architect and the two developers. Because an oak can live for over 450 years here, we hope that both the group home and the oak will live a long and happy life.

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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A boulder with house numbers


House numbers in a boulder

boulder with house number- rough stone

I recently received a request if it was possible to make a boulder with house numbers. Of course I can! So I went to a garden materials center and bought a heavy boulder of about a meter wide. It could just fit in the back of my little van, because it weighs over 400 kilos. Having a collision would become a problem at that weight. Had it been any heavier, I would have transported it by truck.

I would carve the house numbers 1-3-5 in it, for a group home for young people with a minor intellectual disability. Therefore, I chose a lively font. The boulder consists of red granite, probably a kind of Multicolour Red. But a boulder is not the same quality as found in the natural stone trade. You always need to find out if there aren't any cracks deeper inside.

Polishing

boulder with house number- polished the surface of the numbers

I started polishing the place where the numbers will will come. Once I'll lower the surface of the stone surrounding them, I will end up with raised letters or numbers. If I just carve the house numbers into the stone, then they will become recessed letters/numbers.

The tricky part here is the surface of the stone. It was formed by nature, so it's irregular. If it's wet, then it will be darker and when the weather is dry lighter. That means that in wet weather the polished surface of the figures disappears against the background. In dry weather it's easily readable.

Pasting and carving

boulder with house number- paper figures pasted onto it

The group home has the house numbers 1, 3 and 5. They share one common entrance. The stone will be located at the entrance and so will have all three house numbers. Now the house numbers are still on a sheet of paper behind a window, but because the group home is situated in boulder puller's town Amersfoort, it's a much better idea represent them on a boulder.

boulder with house number- started carving the husinummers

I had printed out the figures at 21 cm tall on paper and pasted them onto the stone. Now I could carve the numbers right through the paper into the stone . After that I just had to bring the surrounding stone down until the numbers protruded almost 2 cm above it. Red granite is quite hard, but it all went pretty easily; the stone had almost no faults.

Lowering the background

Bushhammering chisel for natural stone

When all the contours were carved, the stone in between them had to be lowered still. That's easily done with a bush hammer, a kind of blocky chisel with pyramid-shaped points. This crushes the stone surface, leaving behind a rough skin.

boulder with house number- bushhammered the surface

To finish it closer to the original surface of the stone I then followed with a rotating wire brush and brushed off all sharp bits. After several years of weathering you will notice that the stone has become one a single entity, with its letters clearly contrasting. Now the bush hammered spots are still a bit lighter, but that will, over time, merge into one another seamlessly.

Gilding or not?

boulder with house number- house numbers finished

Unfortunately, it appears that in wet weather everything gets the same color. So was thinking of a solution for this. I thought of painting or gilding. Once the polished surface of the figures is gold plated, even during rain or dusk they will clearly stand out. But we are not yet certain whether that fits in with the informal nature of the group home. I will soon install the boulder and then we'll see whether one day an alteration should be made.

This was a small (pro Deo-) job in between other things. Now I've learnt something new: how to make a boulder with house numbers. It's not a sculpture and letter carving's not something I do very often, but this was certainly just fun to do. I like working in granite, it's a robust material. I'll post pictures of installing it next week.

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Finials and side crockets, for Eusebius and Dom Church

finials in Muschelkalk for St. Eusebius's ChurchFinials for St. Eusebius's Church

We are working on the completion of three projects: the first half of St. Eusebius's Church in Arnhem (the Netherlands) is almost finished, the last pieces of St. John's cathedral are completed, and the last crockets for the South Chapel of the Utrecht cathedral are packed and ready for shipping as well. The finials in the above picture are destined for the south side of St. Eusebius's Church. These are fairly simple crockets in French Massangis-limestone, with a post-war era design, but they will contour well with their clean lines. There are only a few of those, and it's indent work: damaged finials and crockets are cut out from the surrounding stone and a new one is inserted at that spot. Tuesday 19 February, I was on the scaffolding at the church to carve another few of these crockets on site. Always fun, such a visit to the scaffolds.

My own pieces were not yet inserted into the church walls, on the corbel of "The Night’ that I carved recently, but it was still completely enclosed between the scaffolding planks. Stides heads in Muschelkalk, however, were clearly visible, a joy for the eye.

Jelle and I started the morning there with measuring the next batch of 7 flying buttress figurines. Unfortunately many of them were seriously damaged. I hope they do not need too much work before they can serve as a model for their copies!

Tuffstone side crockets for the Utrecht cathedral

old side crockets ready for transport- a beaten-up collection

The last side crockets for the Utrecht Cathedral are now ready for transport as well here. It was a fun project: 29 side crockets in tuffstone for the South Chapel, on the side of the inner courtyard, the Pandhof. We divided this work between the three of us, Stide and I carved about 6 each, and Serge made the rest.

With my chainsaw I separated the old side crockets from their heavy background parts, so they can be put into storage. But I must say that these old blocks will quickly erode once they're on pallets at ground level. Apparently they can certainly get soaked atop the church, but they'll also dry up again very fast. Here on the ground they'll stay wet for much longer and the old pieces also suffer a lot more from frost.

Scaffolding visit on Valentine's Day

We're hoping to carve a lot more for this church, sometime in the future. So we've recently already been back again to see the first blocks in place, and on Valentine's Day we were able to look down on a boisterous Utrecht in bright sunshine. The terraces were full due to the unprecedented warm February sunshine, and with an elated feeling we were looking out over Utrecht and the Domtoren across the street. So, bring on that church!

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Sculpture 'The Night’ for St. Eusebius Church Tower


Last phase of the tower

Work on the tower of St. Eusebius's Church is nearing completion. Actually, the sculptres of The Day and The Night are the last two pieces that the builders are urgently waiting for. So I think a deep sigh of relief must have come from the scaffolds of the church when I completed The Night this week. For the tower, and part of the church, need to be free of scaffolding when a commemoration of the Battle of Arnhem is held this autumn, looking back to, 75 years ago. But this sculpture was not the only thing that still needed to be done. I've been carving away for St. John's Cathedral in Den Bosch, for the the Utrecht cathedral, again for Saint John's Cathedral, and the flying buttress figurines for St. Eusebius' Church itself should be ready in time as well.

Day and Night

This corner sculpture is located at about 15 meters up and was originally carved in tuff by Eduard van Kuilenburg. She's part of a pair: there is a guy with a rooster, breaking his shackles and brandishing a mop (or should it represent a flaming torch?), and yes, this woman with a nest of owls too. The Day and The Night. This lascivious young lady is sitting with the left hand in her hair, on one knee, with a stick in her right hand. The purpose of the stick is not clear to me, or perhaps it should represent an extinguished candle. The owls represent nightlife, the rooster and the broken shackles stand for dawn. I suppose he's about to extinguish the torch and is not going to mop the floor, because he 's not carrying a bucket.

Presawing

This relief is the biggest block from this church we received in the yard in recent years: almost 1 cubic metre. Due to time constraints we decided to use the copying saw, but the block was so large that it couldn't even turn around on the turntable of the machine. I had to literally cut a number of corners to make it fit. These were however just those corners that ultimately will be embedded inside the masonry, so you won't see anything of it later on. This presawing is saving me days of measuring work, by enabling me to start carving by eye from quite early on. Plus it saves me a lot of rough carving and sawing with an angle grinder, freeing me from a lot of the hard work. I glued two stainless steel threaded rods M16 into the top of the new block, onto which I can screw a eye bolt for lifting, making the block easy to move. It may come in handy on the scaffolds later on as well for the restoration masons.

Little feet

The block of new Muschelkalk limestone of over 1800 kilos was provided by the Stonemasonry Firm, who also carved the profiles on it. Unfortunately, the stonemason in question was somewhat preactieve, which caused that I was short on material for the lady's toes. Added to that was that the original sculpture was a lady with a unique anatomy. Her knee was pointing straight forward, but her left foot was targeted towards the viewers at home. So I made a virtue of necessity and right away took the opportunity to give her left foot a somewhat more logical position. The right foot also missed a lot of stone, but I was still able to carve it nicely by putting it more back and in a bit flatter position. If you don't place the original right next to it, it will not stand out at all. It was an interesting challenge and I'm really pleased with how it turned out (See the slideshow below for pictures).

Nest of owls, finish

Near her right shoulder is an owl mother with her nest with two young. The chicks look endearing, with their surprised look.

I finished the entire sculpture with a wide tooth chisel, and then smoothened the body of the young lady with a coarse grater, leaving the chisel marks still barely visible, for a lively effect. Her hair and the owl's feathers I accented with the tooth chisel.

Sculpture The Night by Eduard Kuilsburg- new copy in Muschelkalk limestoneSculpture The Night by Eduard Kuilsburg- new copy in Muschelkalk limestone

Headless chicken

The sculpture of The Day was in a lot worse condition than The Night. The rooster and the man were both missing their heads , and the hand with the torch had disappeared as well. So I first needed to reconstruct those parts before I could start presawing. I modeled the neck and head of the rooster with plasticine and the hand was remade pretty quickly too. The tricky part was the position of the original hand, because in the only picture I had, the fingers were in an almost impossible position. But the head was more of a challenge. because this young man had quite a big head. I had glued a piece of hard PIR-foam onto his shoulders and from there I started looking for the right size, position and shape of the head.
I tried to see my progress by comparing my pictures with the original image. In the end Stide decided he would carve this one, so he has has been the one to make the finishing touches to the remodelling. See the gallery below for an impression.

Gallery -click on a thumbnail for the entire picture-

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Ornaments for Utrecht's Domkerk and St John's Cathedral 2

Finial

As you may perhaps remember: I last year I carved ornaments a few times and even made some stonemasonry work for St. John's Cathedral in 's-Hertogenbosch.

The blog posts can be found under the following headings: Stonemasonry work and ornaments for St. John's Cathedral, Finally another update! and Ornamental work for the Utrecht Dom Church and St. John's.

I recently got a new batch of ornamental work in the yard again, including another identical finial block for the same buttress finial of St. John's Cathedral. The first block I carved in its entirety myself, including the stonemasonry parts. The second block was precarved by stonemason Mike Slotboom from Slotboom Steenhouwers in Winterswijk and the ornamental work was done by my colleague Serge. The third block was carved by three young stonemasons from Slotboom Stonemasons, who have all done their terrific best, and I carved the ornaments again: the crockets.

pallet with ornamental work in the yard of the sculptor's workshop

Together with my colleagues

sculotor's workshop with many projectsFor larger projects, I work with my colleagues Stide Vos and Serge van Druten. We were all trained as restoration sculptors at our former employer's Beeldhouwerij Mooy in Amersfoort. There, we worked together for about 15 years, so we know each other really well and get along famously.

Self-employed in the sculptor's workshop

We've continued all three as independent restoration sculptors, but keep in contact regularly, because it is such an incredibly small world. For this branch, the carving of ornaments and statues in new stone for mainly churches and castles, there are now still three restoration sculptors working fulltime. To my knowledge. It has always been a small group and that's never been a lot larger; there are times when all the work seems to come all at once and times when we really do not have enough work to keep all of us going. That's why we do other work as well, such as autonomous sculptures, reliefs, bronze statues, house signs, repairs, burial monuments, work for other sculptors and much more.

Jelle starting on a flying buttress figurine

Recently, Jelle Steendam has come to work in the beeldhouwerij to help alleviate the pressure and increase his knowledge at the same time. So that makes four in the Netherlands. There are of course many other sculptors in stone and I also know a few other restoration sculptors, but I rarely encounter these within my own genre.

Dom Cathedral in Utrecht

overview West Facade of South Chapel of Dom church Utrecht

Wherever the numbers are the side crockets are to be replaced

At this time we're mainly working together on sculptural- and ornamental work for the Utrecht Cathedral and the Eusebius Church in Arnhem. Serge and Stide in particular have made many tuffstone side crockets for the Dom cathedral already, but in between all of the other work I also managed to carve a few flowers in tuff myself. On the right is a picture of the three Gothic pointed arch facades, with a triangular frame above it. Along that frame, 12 crocket flowers are mounted, and with two and a half façade that makes 30 crocket flowers in all. One doesn't count, so we'll need to make 29. This is just a fraction of what you can find on this beautiful church.

Gallery -click on the thumbnail for the whole picture-

Snow

It was cold in the sculptor's workshop, but it's beautiful, and we can dress to the occasion. As long as we can warm up again during breaks we'll be fine.

 

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Year review of 2018

Year review of 2018

It seemed nice to sum up this year of sculpting in some words and pictures. Not in chronological order, because my work sometimes jumps from one thing to another, for often suddenly urgent commissions come in between. I like it that way too, I love things being a bit unpredictable! But only when there's not too much pressure on things.

Finishing flying buttresses 4, 5, 6 and 7

Gallery -click on a photo to see it larger-

Last year I spent a long time making flying buttress figurines for the north side of St. Eusebius's Church in Arnhem. Early January that job was nearly done; I only had to make a Monk, a Bear, a man calling Noah, a Monkey and a Ark with animals to round it off. It was the last series of the four flying buttresses themed around Noah's Ark.

Calamities and Repairs

Amid heavy snowfall and storms, work went on as usual. I accounted for a severe frost period and just continued sawing. A part of the barn didn't feel the same way about it, and collapsed under the weight of a thick layer of wet snow. A few weeks later I narrowly escaped from a disaster, when in a torrential storm a sheet of asbestos was blown from the roof and landed right next to my finished flying buttress sculptures.

Part of my repair work consists of patching up damaged statues. For instance I had to repair a Faun with a Pan Flute and a statue of Thomas Aquinas in my shop this year.

Injury and recovery

Something I've not reported on this blog is that I've been incapacitated for quite some time by injuries earlier this year. I hear you think it would surely have come about because of my job. I do have quite the productivity and it is rather physical work. And at times there can be some pressure to finish it all in time. But it wasn't anything like that. First it was an accident when I cut open my thumb deep on a party tent that threatened to blow away. Just three stitches and two weeks later I was back at work again.

But it was not long before I was back home for some weeks. This time I had overstrained both my arms during removals (at temperatures around minus eight degrees Celsius). At least I now know how to recover from two tennis elbow quickly: not with all kinds of therapies, but by massaging the muscles in your forearm deeply for several times a day. This way, you'll relieve the tension from of the muscle and it will no longer pull so hard on your funny bone, let's put it this way. Learned on YouTube and experimentally tested myself.

Own work: Pan in porphyry

block of porphyry for plaster image of Pan

plaster sculpture of Pan with block of porphyry

After all these flying buttress figurines, I started enthusiastically on my own project: a Pan in porphyry. I had presawn it on my machine and had just begun carving it, but in spite of all the good intentions, I had to put it aside because of other urent projects.

Ornamental works: Aachen, Utrecht, Den Bosch

For all kinds of ornaments had arrived in the yard, which were to be made first. So this year I made finials and crockets for Aachen Cathedral, for the Cathedral of Utrecht, again for the Utrecht Dom, and for St John's Cathedral in Den Bosch. Some of them in collaboration with my colleagues. There was stonemasonry work to do. Even a newspaper article was written about it and a video was made.

Family Crests and griffins

Then there were two sandstone family crests which I made in between other stuff, one with an edge and one without edge, and I have been modelling away on a set of mirrored griffins. I hope to finish them next year.

Jelle, Jeffrey and Roel

Annual Review 2018

Wise Virgin with a Dove, copied by Jelle

With so much work it was not surprising that I could not keep up with it all by myself. Hence my collaboration with my colleagues and Serge and Stide. Even then, we were not able to finish it all in time. Also, I had long thought about someone to pass the craft on to, someone who wanted to become a restoration sculptor. But how do you get someone who fits the bill? Fortunately Jelle came to visit. Exactly at the right time. He has now been working with me for more than six months, to the satisfaction of both of us and doing excellent work!

Annual Review 2018

Jeffrey helps presawing

Then this summer I've had help from Jeffrey a few times, who came to help out with presawing on the machine, while at the same time my nephew Roel came by to begin to learn carving letters in stone.

Annual Review 2018

Roel learning to carve letters

 

More flying buttress figurines

After the first set of 26 flying buttress figurines from the north side of the Eusebius Church, we now had to make the 27 from the Southside. But fortunately from flying buttress no. 32 I had already made seven angels in the beginning, plus a girl from buttress no. 36, and Stide had done one as well. Still we've been quite busy with the other 18, and we've not yet finished. Fortunately Jelle has now made a number of them as well. Anyway, on this blog you can read about Blind Man, Woman with Clubfoot, Wise Maiden with Cross, Foolish Maiden with Oil Can and the Supreme Commander In Chief.

Corbels for the Tower

Since in March 2019 the Eusebius Church tower is scheduled to be completed, those sculptures had absolute priority. I've presawn some of the corbels and carved a set of them for the North- and south side of the tower, such as a Woman with Tulips, a Man with Bird, a Man with Ears of Corn, a Woman with two Doves, a Cat with Wings and a Bird beast. Sawing work was mostly done on the corbels from the west side of the tower (12 heads and 5 large corbels), but those were all carved by Stide. Time to once again visit to the scaffolds of the church…

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Ornamental work for the Utrecht Dom Church and St. John's

A suspended ornament for a canopy of St. John's

Ornamental work in Udelfanger sandstone: suspended ornament for a canopy from St. John's Cathedral

I'll still need to adjust the profiled parts later

It was an interesting last week of the year. I first went to St. John's Cathedral in Den Bosch, where I needed to carve some ornamental parts. It was a ‘suspended ornament’ from a canopy. The old one had weathered down and I was asked to make a new one. But the scaffolders above my head were already busy breaking down the scaffolds, so after taking some measurements I went back to Achterveld again with the workpiece to finish it there. I had actually already done this ornament long before that, but when I got there the first time, I noticed that the flowers I had carved on it so nicely were bigger than on the ornaments around it. So, I've taken it back again, carved the new basic shape in the workshop, then went back again to Den Bosch, and made a start with carving the leaf motif there, then back to Achterveld, and finished it there.. Now I'll still have to install it on site. Sometimes things are bad, and sometimes they're worse. Like this time.

Visitors

Ⓒ Thijs Rooimans for De Telegraaf

Wednesday we would get a studio visit from an eight persons strong committee, in connection to the ornamental work for the Utrecht Dom Cathedral. But we had only just received the stone from which we had to make them. So we immediately started the carving work. We'll be carving 29 side crockets in tuff for a restoration of three facades of the Southern Chapel. This is near the courtyard, the Pandhof. This quadrangle by the way is a very magical place, a must when visiting the inner city of Utrecht. Serge had modeled two maquettes, and Stide and I had each carved an example. The comittee examined the design and details of the original fragments and of the copies. Of course the carved and molded specimens were as required, even though mine was still not quite finished.

In the newspaper

After I'd finished it, I uploaded a picture on Instagram right away, and for good measure, one on Twitter as well. Apparently I had put the right hashtags next to it, for less than an hour later I got a call from a reporter who wanted to write an article in the Utrecht edition of De Telegraaf. At the end of the day the photographer came, and made that beautiful photo above. Click on the picture to the right to read the article. Pity is that it was written so that it looks like the others are employed by me, and they're not. Stide, Serge and I are all independent sculptors who work together. Even new addition Jelle is self-employed. Now that I'm getting more publicity, it doesn't make me everyone else's boss automatically!

On the radio

Later on, we were called by RTV Utrecht. They also wanted to make an item on the radio. Fortunately Stide can talk easily, so I was very happy that he wanted to take that part. He told something about the background of gothic ornamental work and our role in this restoration.

On TV

RTV Utrecht also wanted to shoot something for their TV channel, so today a cameraman came, who shot a few hours of material for what ultimately ended up as half a minute of TV material. View here here on their site: ↑

For us it is amazing that something that we've been doing more than 25 years suddenly is getting so much attention. But that's probably because the cathedral and especially the Utrecht Dom tower is right at the heart of their 'Stadsie' (town). Otherwise I can't explain it. It is also of course a compelling picture, of these dusty men working outside and making beautiful things in the cold, but obviously no world news.

ornamental work for Domkerk Utrecht

Ⓒ Steef Bouwman

Explaining yet again

I found it remarkable that at first for several journalists it wasn't really clear how this restoration process takes place. These of course are things which we never think about anymore! But eventually we could make it clear to them that first the restoration architect makes a plan, then the contractor takes out the parts to be replaced, next, the stonemason precarves the blocks and makes all of the profiled parts, and lastly we come in and finally make the ornamental parts in the places where the stonemason left a block. Then the new block goes to the cathedral, the contractor puts it back in again and points it all neatly. "So these ornaments are really used!?’ But of course, they are being copied and actually used to replace the old parts in their original location: three gothic arches on the Pandhof side of the cathedral. Smack in the centre of Utrecht.

Beeldhouwerijblog.nl is the blog of Koen van Velzen, sculptor in stone and bronze. Look up my website as well: beeldhouwerijvanvelzen.nl

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Flying buttress figurine: A Wise Maiden

flying buttress statue Wise Maiden

After the 26 flying buttress scupltures from the north side of St. Eusebius's Church I (along with team member Jelle) started carving the 27 sculptures from the South Side. The themes of these four flying buttresses are the Trumpeting angels (that I carved in September 2016 already), the Wise Maidens, the Foolish Maidens and the represent the Beatitudes. So the trumpet angels have already been completed, as are two of the Wise Maidens, the Beatitudes are almost done, on the top block to which the Supreme Commander In Chief is after, so we only have a few of these girls to go. This sculpture was a …Read the whole article…

Finally another update!

Storm before the silence

After my last post on this blog, it has remained silent for far too long here. But not because I haven't done anything! On the contrary, it's been way too busy to report it all.

Gallery -click on a photo to see it larger-

So I've been working on the carving of another coat-of-arms in Bentheimer sandstone. The design was almost the same as the previous one, but this one would would be suspended from a wall. Therefore, it was carried out lighter, without an edge to the relief and with a thinner base of 3 cms thick.

Flying Buttress Figurines

Then I went back to work on …Read the whole article…

A sandstone coat of arms with deep relief

sandstone coat of arms by sculptor Koen van Velzen

Stone crest

A Bentheimer sandstone coat of arms. Dimensions of the relief 40 x 50 x 18 cms, of which the relief part is carved 10 cms deep. Clearly can be seen that this stone is a natural product, as evidenced by the light brown traces of an iron deposit. This does otherwise not harm the preservation of the stone. This coats of arms relief stone is placed on the inside of a solid garden wall with cappings. …Read the whole article…