• Two stolen facade reliefs: a head and a spoonbill

    My comeback on this blog!

    I've recently had many different projects in progress and have just not gotten round to post any messages about them on this blog. But, fortunately we still have the pictures, as the businessman said when he saw his million dollar yacht sinking. This project has been an interesting challenge in between all the ornamental work. The job on hand was about two facade reliefs of a spoonbill and buddha head from Haarlem.

    The original stone ornaments came from the façade of the Lutheran Orphan's and Old Men's Home, which was built in 1906. After the demolition of this home, the stones were reused in the garden wall of the Vitae Vesper Elderly Nursing Home that in 2015 was demolished again itself. An apartment building was constructed on this site and the reliefs remained behind, discarded and orphaned. The Lutheran Church Council wanted to provide these ornaments a final resting place in their garden wall between Frans Loenenhofje and the Lutheran Church in Haarlem.

    A stolen spoonbill, pelican and buddha head

    -click on the photo for the article-

    The seven facade reliefs were removed from the original garden wall and kept separate. But three of those reliefs, of a pelican, a spoonbill and a Buddha head,  were stolen from the construction site. Fortunately, the pelican was found again three days later. Apparently there is a market for stolen ornaments.

    Stylized

    The carvings are quite stylized and I thought for a minute that they were made in the Art Deco-style. But Art Deco only started from the 1920s, so although around 1906 there was already a stylization going on, it was not yet Art Deco.

    The emphasis must have been on their decorative function, because I can't imagine what relation a heron and a Buddha head should have to a Lutheran orphanage. Or an Old Men's Home, for that matter. As the article mentions they were carved around 1905 by sculptor Tjipke Visser from Bergen, North-Holland. He made seven of those, a Buddha head, a head of a native American woman, two feline heads, an ibex, and a pelican and spoonbill. The spoonbill and the pelican are placed on opposite sides of an existing memorial in the garden wall of the Lutheran Church. The other reliefs got a place further down the wall.

    We currently have a lot of work in progress at the same time. I just couldn't get it all finished on time alone, so I was glad Jelle took on the carving of the head (read his blog post about this here ↑) while I was sculpting a blue statue from sodalite in the meantime. Some time later I had time to tackle the carving of the spoonbill. We both followed the same procedure, so my approach below was the same for Jelle's sandstone head. I had ordered two blocks of Bentheimer sandstone to the right size, so we could get started right away.

    Modeling and copying

    Two new reliefs ready on the pallet

    I had thought about carving this spoonbill straight out of the block, but that is not the best way to address it if the customer wants an exact copy. I had received a lot of pictures of the old reliefs via email, along with a number of measurements that were carried out on the counterparts that were preserved. This proved essential in the reconstruction: from these measurements and the pictures I was able to model a similar looking spoonbill in clay. Fortunately, there were pictures from three sides, from when the bird was still in its last garden wall. Once the clay model was to my satisfaction, I could start carving a copy in stone. Small details like feathers in the wings I had left out for the time being.

    I traced the contours of the spoonbill onto a piece of cardboard, so I could transfer them onto the stone. After I'd carved away the stone outside the contours, I could transcribe the other sizes quite simply with a compass. In such a case, I usually put the two pieces tightly together. That way, I can transfer most of the width measurements one by one, without adjusting my compass. I've once made a video and a blog post about that. Once most measurements were in place and the rough shapes were carved, only the finish carving of the spoonbill needed to be done. The method of working from a clay model first is called the Indirect Carving Method. Read more about this method in this blog post.

    Gallery

    The facade reliefs can be seen in the garden of the Lutheran Church, Witte Herenstraat 22 in Haarlem.

  • 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.

    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!

    Read an earlier post about the boulder here.

    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 oflots 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.

    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 total, so I had enough on my hands there.

    A huge tree in the stairwell

    boulder and oak-tree and stone

    Sandra 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.

    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 in life, to stand stronger and be sound

    boulder and oak-tree and stone2
    poem on tree
    boulder and oak, stone and tree3

     

     

     

     

    Placement of the boulder with the house numbers

    A week earlier I have here too placed the boulder that I recently provided with house numbers. 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- boulder hoisted
    boulder and oak-positioning of the boulder2
    boulder and oak- planting the oak tree

    Boulder and Oak

    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.

    Update 3 June 2023: painted

    Because the boulder was rather in the bushes and was difficult to visible in the dark and in rain, I just painted the numbers for a while. So, here goes.

    Kei with gold paint

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