Sea Bell by Holger Lonze, bronze

Bells and the Sea

"The large blanc surface of the handbell offers a challenging space for sculptural expression: clearly defined areas, exciting curvature and compact volume. Their historic connotations and metaphorical connection to medieval sea voyages draw me even closer to bells as sculptural objects."

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Sounding Waves

The recurring motif of the wave and the boat in connection with the bell shape in Holger's sculpture reflect his focus on the sea and on the archæology of Ireland, resulting in the Sea Bell sculpture cycle. He received support from the Arts Council of Northern Ireland in 2008/09 to develop a body of work of more than a dozen decorated bronze bells. Ireland had no tradition of large towerbells, instead handbells were used throughout the middle ages, of which more than seventy were found. Over the centuries many of these bells were safeguarded by families of hereditary keepers, erenaghs, passed down through generations and often used at funerals. Holger currently produces a facsimile replica of a 12th century bell from Donegal. Monks of the early Irish-celtic church kept small handbells and most likely took them on their journeys all over Europe. The tradition of cast bronze horns on the other hand, developed in Ireland in the Bronze Age. They are masterpieces of early metalwork although their casting methods remain speculation. Holger has been working with the experimental archæology group Umha Aois to resolve many of their mysteries.

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Bell Sculpture

The Bells and the Sea

Inspired by his curach voyages and historic literature, Holger combines the medium of handbells and the shape of waves in this workcycle. Bells and sea are historically linked through monks and saints of the early Celtic church travelling all over Europe and as far as Iceland. Handbells were an essential item of dayly routine in the the monasteries, but also can function as a way of communication on sea - like ships bells still do nowadays. The realism of Holger's modelling of the sea on the blanc canvas of the bell lead to the unusual, abstract objects of the Sea Bells. The individual bells of this cycle are modelled with sea texture in various stages of turmoil: from calm patterns to breaking waves.

Other examples of decorated bells in this cycle are more loosely linked to the sea, water and landscape. The Tully Bell, cast in Fermanagh as part of a community workshop in 2008, is decorated with patterns of the formal garden of Tully Castle, a plantation house on the banks of Lough Erne. Its sister bell, the Coolbuck Bell carries an image of a locally found LBA dagger. The Turas Bells, based on the tiny Scattery Island Bell, were modelled during the 200 miles voyage tracing the footsteps of Columcille. Each of the twelve bells depicts a landmark of the different ports of call from Sligo to Rathlin Island.

The bells below are available for sale and are either unique casts or limited to an edition of three. Specifically decorated bells can be commissioned, please contact the artists for enquiries. Holger has made authentic replicas of the Bell of Drumholm (mould taken from the original), the Bangor Bell and the St. Senan's Bell.

You can listen here to a seven minutes long RTÉ Lyric FM Culture File broadcast by Eleanor Flegg (aired 6th September 2011) which describes the process of making a bell:

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Holger Lonze making a Bronze-Age horn
Sea Bell 1, Holger Lönze, bronze, 2008 Samall handbells just cast Samall handbells just cast Samall handbells just cast
Small medieval bells cast by Holger Lonze Decorated Bells based on the Seagoe Bell by Holger Lonze Small handbells    
Wax for a handbell Re-creation of the Tully Point Bell, Fermanagh by Holger Lonze Samall handbells just cast    
Replica of the Medieval Drumholm handbell cast by Holger Lonze Small medieval bells cast by Holger Lonze      
         

the Sea Bells Cycle

A cycle of larger 9in bells with wave patterns is shown in the top row. The middle row shows bells of the Turas Cholmcille voyage (2007) and the larger 12in decorated Bells of Armagh (2008). At the bottom images of other bells.

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Casting Bronze Bells


Sculpting Handbells

Bronze hand bells are made with the lost-wax process. A pattern is produced of a sheet of wax (or now in a plaster mould) and then extensively modelled before being invested in a sand, clay and dung mix. This is also understood to be the most likely method of historic casting, rather than modelling around a pre-fabricated core. Cormac Bourke of the Ulster Museum indicated a fine line on the inside of some medieval bells (Terryhoogan Bell, NMMI) which could indicate wax sheet modelling: the folding process of earlier iron bells being replicated in wax. The bells require approximately 6-10lbs of bell metal (80%Cu, 15-20%Sn, remainder Pb), an amount easily produced in a pit furnace. However the lack of evidence of sufficiently sized crucibles even from medieval times still leaves to speculation how these handbells were actually poured.

The technical aspects of using clay/sand/dung moulds with lost wax are summarised in a downloadable and printable two-page Casting Tips PDF file.

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Holger Lonze making a Bronze-Age horn
         
         
Wax for a handbell Wax for bell coated in ash Bell moulded Casting a handbell Casting a handbell
Casting a handbell Samall handbells just cast Casting a handbell Firing a bell mould  
         

Trying Ancient Methods

Please roll over the thumbs on the right to enlarge images of the process of making bells. Please note that authenticity of these methods is not implied. Methods shown here are Holger's interpretation based on archaeologist's accounts and research of artefacts. Different approaches are used allowing to compare the end results to originals.

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