Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

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Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.

Saturday 5 December 2015

Darling House, Millers Point- It's not dear it's darling

Darling House, at 8-12 Trinity Avenue, Millers Point, is an exquisitely restored Georgian-style Old Colonial sandstone building only a stone's throw from the Sydney Harbour Bridge. It's as sweetly pretty as the proverbial chocolate box. But it has a chequered past, & more than its fair share of scandal, conflict & controversy. 
The land upon which Darling House now stands was granted to Susanna Ward by Governor Darling in 1823 and transferred to Susanna Elizabeth Douglas in 1831. The name of the house refers to the original land grant by Governor Darling.
Plein air oil painting of restored 19th century sandstone building in Millers Point painted by Jane Bennett
MP28 'Darling House' 2014 
oil on canvas 51 x 41cm
Available for sale


 

















 
 
 
Previously there had been a sandstone quarry on this site & the convict hand carved sandstone blocks from which the house is built were probably from the original quarry.
 The current sandstone building now standing on the site was built over an earlier structure built in the early 1830s. Darling House retains traces of the foundations, retaining walls, stonework, cobbled paving and part of a brick cavity wall from the original building. The existing sandstone house now known as "Darling House" was built by Joseph Farris in 1842, during a period of financial depression in Sydney. It was a large fashionable house of 8 rooms (when most houses in Millers Point were only 2-4 rooms). With the increasing number of wealthy merchants and wharf owners moving into Millers Point and Dawes Point, it became an affluent enclave, with Argyle and Lower Fort Streets known as 'Quality Row.'
Farris was a well known publican, holding licences for the Whalers Arms Hotel on the corner of Windmill Street & Lower Fort Street, the Young Princess Hotel (now the Hero of Waterloo) and the Shakespeare Hotel. It seems that Farris never lived at Darling House, but leased it out to various middle-class, educated residents, including artists, musicians, teachers and police officers
During the 1860s the ground and first floor Victorian verandas were added, & the first floor windows were converted into French doors. English bald faced buildings give little protection against the sun while the French doors and veranda allowed for greater air circulation through the house during summer. Australian architectural styles were forced to change from traditional English styles to adapt to the vastly different Australian climate. 
Caraher's Stairs, named after Owen Joseph Caraher, a local soap merchant, was built in 1857. These flanked the northern wall of Darling House & gave access up to Princes Street (now the site of the Sydney Harbour Bridge) making a thoroughfare between Millers Point and the CBD. However there were many complaints that it was the haunt of thugs & street gangs, the infamous Rocks 'Push'. During the construction of the Sydney Harbour Bridge, Caraher's Stairs were demolished. There are still small remnants of this lost stairway at the northern boundary of Darling House. A fragment of the original material, part of the original sandstone side wall and coping remain, and a darker colour to the brickwork on the building that was built while the stairway existed shows the outline of the stairway.
The Farris family leased the property out, until after the outbreak of bubonic plague in 1901, it was resumed by the Sydney Harbour Trust. The Sydney Harbour Trust resumed almost every property in The Rocks, Millers Point & Darling Harbour between 1900 and 1902 to set quarantine measures in place. As many houses, even streets were demolished at this time, Darling House was lucky to survive. However, the area went rapidly down market & upon resumption, the Sydney Harbour Trust converted Darling House into a boarding house. One of the most notorious residents was Rosaleen Norton, the so-called 'Witch of Kings Cross', who lived in Darling House in the early 1900s. She scandalized the society of Sydney when she published her 'satanic' drawings in local tabloids.
 In 1948-49 Darling House was converted into a warehouse, resulting in the demolition of most of the internal walls and outbuildings on the property to allow vehicle access to the back of the house. The house was then leased to various commercial companies. 
The last known commercial tenant of Darling House was Lep Transport who installed a petrol tank and bowser. After they left the property became vacant and increasingly dilapidated.
“The Rocks Cottage Type Hospital” (later Darling House) was the first major project of the newly formed Millers Point Resident Action Group (MPRAG) in 1975. After much community effort a lease was signed with the State for the site in 1983. During that time funds were raised through “raffles and jumble sales of  chocolate wheels, and games of housie.” (Darling House – A Community Achievement – Shirley Fitzgerald 2015 )
By 1993 the Committee had capital funding of $500,000 from the Federal government approved. The State Liberal government promised a matching amount, the City Council promised $20,000 and a matching $20,000 from the community. At that time the State Housing Commission “couldn’t believe the value they got for their $500,000.” (Shirley Fitzgerald)
In 1994 Darling House underwent extensive renovations under the design of heritage architect Howard Tanner, including the construction of a new dwelling on the southern allotment, in order to convert the house into an aged care facility. The conversion into an aged care facility was a community initiative of MPRAG in Partnership with the Rocks Cottage Type Nursing Home Committee. It was a community funded and supported organization from the time of its opening on 4 October 1994 until 2015. In 2014 the State Government decided to sell 293 Government owned houses in Millers Point and Dawes Point to private purchasers. In 2015 the State Government of New South Wales decided that instead of a “peppercorn” rent of $50 p.a. the full market rent would be charged – hundreds of thousands of dollars. This led to the closure of the aged care facility in 2015, just twenty years after it had opened, and its subsequent sale..
Apart from the uncosted community time and effort in 'sweat equity', specific payments of over $200,000 have been noted, as well as about $500,000 for ongoing maintenance.
In February 2016  Darling House property was purchased for $7.7 million from the New South Wales Land and Housing Corporation at public auction by Dr Shane Moran. MPRAG was not reimbursed for their time, effort or money spent. It has been estimated that at least 20% of the value of the property & probably more, was directly attributable to the efforts of MPRAG, so they should have been reimbursed over $1.5 million from the sale. 
But this didn't happen, & the residents were furious at their betrayal by the State Government.
Since its acquisition by Provectus Care in 2016, the property has been refurbished into a boutique luxury retirement home. The extensive restoration has preserved Darling House’s original Georgian features  including original Victorian marble fireplaces, historic lead-light windows and period joinery.
However, Mr John McInerney, Chairman of MPRAG, said that although he wasn't opposed to the new aged care facility he was angered that the New South Wales government "has taken a community facility, cashed it in for $7 million odd dollars and has now made it inaccessible to the bulk of residents around here".
 
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Saturday 21 November 2015

Hotel Palisade redux


There's just so much history in the walls of the Palisade.
It was the scene of the last drinks for many Anzacs before they left Australia during the First World War, and the 'local' for the engineers and navvies working on the construction of the Sydney Harbour Bridge. Desperate wharfies seeking work at the Hungry Mile during the Great Depression would either drown their sorrows or celebrate their good fortune in finding a day's work, depending on luck. It was the haunt of 'colourful characters', the much loved centre of the Millers Point community and the headquarters of activists during the era of the Green Bans and the Patrick's dispute. 
It stood on the corner of Argyle and Bettington streets in Millers Point like an exclamation point at the end of High street. For many years it was the tallest building in Sydney, and overlooked the wharves of East Darling Harbour which provided most of its clientele. At the time of its building, workers terraces to house the wharfies were being constructed in High Street which was carved into the sandstone escarpment above the Fingerwharves and Bond stores below.
This painting shows one of the landbridges over Hickson Road, and the railings preventing revellers falling into the deep cutting in front of the Palisade. This strange configuration of the landscape makes the quirky, slightly ramshackle style of the Palisade even more startling.

In 2014, when I painted this canvas, there was a small park in front of the Palisade. It was overgrown, but its figtrees were a welcome source of shade in summer. Since the redevelopment of this area, the park is now a wide green lawn with a few saplings which will need a lot of time before they provide shade.Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett

MP7A Hotel Palisade 2014
oil on canvas 36 x 46cm
Available

There had been an earlier, much smaller hotel built on this site in the 1880s but it was pulled down in the frenzy of slum clearances at the beginning of the 20th century.
After the end of the bubonic plague crisis in the first decade of the 20th century, the population in Millers Point increased so much that the Sydney Harbour Trust had to build replacement hotels to cater to the port workers. Henry Deane Walsh was commissioned to build the new Palisade Hotel, one of 4 that were built by the Trust, the others being Dumbarton Castle, the 'Big House' (Moretons in Sussex Street- now the Sussex Hotel) and the Harbour View Hotel.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm

Enquiries about similar paintings
The 5 storey hotel was built in 1915-16, and was one of the last Sydney buildings to be designed in the 'Federation Free' style, with parapets, and sandstone banding decorating the red brick masonry.
From the 1920s the head lease for the hotel was owned by Tooth and Co. who sub let it to various licensees.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm

 Enquiries about similar paintings 

From 1936, when the role of the Sydney Harbour Trust was taken over by the newly formed Maritime Service Board, title to the hotel was issued to the MSB, although Tooths continued to lease it until 1950. At that time the licensee, P. K. Armstrong, obtained the lease.
In February 1987 title passed from the MSB into private ownership, then in 1994, Palisade Properties Pty Ltd obtained title.


Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm 
Before redevelopment, the Palisade loomed abruptly on the hill overlooking the wharves. Many wharfies joked that they didn't need to have built the Harbour Control Tower, just use the roof of the Palisade.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm 
The Barangaroo Headland Park has been terraced up from the shoreline so that the path leads to the Palisade.
There's also now a series of sandstone steps from the edge of High Street leading to nothing in particular that serve as a prelude to the Barangaroo Headland Park further down.


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Thursday 29 October 2015

Sydney Sandstone - Painting the Lands Department building

The Lands Department building 22-33 Bridge Street Sydney, is one of the most outstanding surviving Victorian buildings in Sydney. The building had been used continuously for the purpose which it was designed for - as the administrative head office of Department of Lands.
Unfortunately, this will soon change.
I don't know whether all the original features which makes this building so wonderful will be retained, but I thought that I should attempt to paint it while it is still in its original state.
I managed to set up my easel in Macquarie Place Park, directly opposite the corner of Bridge and Gresham street.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

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James Barnet was the architect mostly responsible for the design of the Lands Department building, although Walter Liberty Vernon and William Edmund Kemp also made contributions.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

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The foundation stone was laid in 1876 by the Minister of Lands and it was completed in 1893. The Renaissance Revival Style facades are of dressed Pyrmont sandstone
The ground, first, and second floors have pilasters and entablatures of the Doric, Ionic and Corinthian orders respectively, each standing on appropriate pedestals.  
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries
A large copper dome, 55' square at the base, but changing to an octagon at the top, rises above the Bridge Street facade.
The clock tower has a copper onion-shaped dome which was allegedly influenced by the shape of the water carafe of Sir Henry Parkes.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

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The best of Classical tradition was fused with the most cutting edge technology for the period. Heating, lighting, ventilation and a system of communication involving speaking through tubes and operating pneumatic bells was incorporated in the design.
Builder John Young introduced one of Sydney’s first reinforced-concrete floor slabs, with concrete vaults to improve fire resistance.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
 2015 oil on canvas 31 x 31cm

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There are 12 niches on each facade, which were all intended to be filled with sculptures of explorers or legislators who made a major contribution to the settlement of the nation.
Although 48 men were nominated by the architect as being suitable subjects, most were rejected and only 23 statues were commissioned, leaving 25 niches unfilled. 
In 2010-11 a new statue of colonial surveyor James Meehan (1774-1826) was created and placed in an empty niche on corner of Loftus/Bent Streets.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

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In my painting the statue of the botanist Sir Joseph Banks is on the left, and the statue of the explorer Sturt on the right.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

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In the late 1980s the building was earmarked by the NSW Governnment as one of the potential sites for conversion into a casino.
To protect the building from unsympathetic development, a Permanent Conservation Order was passed by the NSW Heritage Council. 
However, although it is one of the most beautiful and historic buildings in Australia, it still faces an uncertain future.
Both Sydney’s historic
The hotel will open in 2021 after the government employees finally leave in 2018.


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Monday 26 October 2015

In the Shadows- Painting the Justice and Police Museum

The Sydney Open will be held next Sunday. For just one day a year, the secrets of Sydney’s most treasured and architecturally significant buildings are revealed to the public.
So, in the spirit of this event, I decided to paint one of Sydney's most beautiful sandstone buildings.
Although it was difficult, bordering on the impossible,I managed to set up an easel and paint 'en plein air' right in the heart of the CBD.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 
The Justice and Police Museum is one of the city's most overlooked heritage gems. It is hidden away on the quiet leafy corner of Phillip and Albert Streets, a stone's throw from Circular Quay.
It was a tight squeeze for the bendy bus!
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 
It incorporates the old Water Police Court (1856), designed by Edmund Blacket; the Water Police Station (1858), attributed to Alexander Dawson and the Police Court (1886), designed by James Barnet. 
The complex had remained in use as a police station as late as 1985, when the area was a busy legal hub.
Today the museum tells the story of the seamy side of Sydney’s past.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 

























The golden sandstone, graceful columns and dappled shade give a deceptive impression. 
Behind the elegant facade lurk dingy 1890s holding cells, offices, charge room and courts. A century of underworld Sydney is contained inside.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 



















The guilty, the innocent and the unknown. 
Mug shots of bushrangers, sly groggers, drifters, razor gangs and "colourful racing identities" rub shoulders with cops and judges.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 

























So very Sydney.

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Saturday 26 September 2015

Sign of the Palisade

The Hotel Palisade was closed in 2008, just after the World Youth day celebrations and spent seven years in hibernation.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP7 Sign of the Palisade 2014
acrylic on canvas 10 x 10cm
Available for sale
During its long sleep, many locals worried that the Palisade would never reopen, and would end up as apartments like so many other historic buildings, but it reopened in 2015, appropriately just in time for its 100th birthday.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP39 'Sign of the Palisade' 
2014 oil on canvas 31 x 31cm
Available for sale
The renovations added a rooftop cocktail bar boasting sweeping 360 degree views of the Harbour, Millers Point and Barangaroo, as well as a new main bar and boutique accommodation.
I'm not a personal fan of the blocky design of the new roof, which to me spoilt the line of the original roof-top design, but at least it's not too obtrusive from ground level.
I'm so used to seeing it from a bird's eye view from the top floor of the Harbour Control Tower, which has been my studio for well over a decade.
Although a waterfront pub, it wasn't the pub of choice for the smarter wharfies - at least not since 1972 when the Harbour Control Tower was built, anyway, for the good reason that being directly opposite the Harbour Tower, the HarbourMaster had an excellent view of the comings and goings of any stevedores that might have clocked off early for a long liquid lunch. Moreton's (aka 'The Big House') where Sussex Street becomes Hickson Road, was overshadowed by the escarpment below High Street, and there was an entrance to the Lord Nelson in Kent street that also wasn't able to be overlooked. The entrance of the Hero of Waterloo in Lower Fort Street also wasn't visible to any sticky beaks in the eye in the sky.
The Hotel Palisade is now a seven-storey masonry building banded with strips of sandstone. There is a basement, five storeys of rooms and the new roof-top enclosed bar and terrace.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP39 'Sign of the Palisade' 
2014 oil on canvas 31 x 31cm
This small canvas, painted 'en plein air' just before the re-opening, features the iconic name plate which is attached to the parapet. I'm fascinated by the way that the "is" of the Palisade sign is enclosed inside a sandstone vignette, while the rest of the word is painted on the brick facade.

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Wednesday 24 June 2015

Illuminated manuscripts and stained glass windows- Painting the Dunlop - Slazenger factory Part 2

The graffiti inside the abandoned Dunlop - Slazenger factory reminded me of something, but I couldn't quite remember what it was.
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop-Slazenger factory
Soda panorama' 2015
oil on canvas 91 x 183cm
 

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The walls are rich in texture, vibrant in colour and elaborate in detail.
They are possibly full of hidden meanings, incomprehensible to the uninitiated, or it could be just random doodling.

plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop-Slazenger factory
Soda panorama' 2015
oil on canvas 91 x 183cm
 

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The calligraphy is cursive and the chunky letters are interlocked like links in a chain, making the words hard to read yet hypnotic to look at.

plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop - Slazenger factory -
'Soda' panorama'  2015 
oil on canvas 91 x 183cm
 

Enquiries
There is a "horror vacui" - blank space isn't tolerated and won't last long.
Images are scattered throughout the factory, but the text dominates and has become imagery in its own right.

plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop - Slazenger factory -
'Soda' panorama'  2015 
oil on canvas 91 x 183cm
 

Enquiries
The letters are outlined in black, often with highlights of white or red on the ascenders (the parts of letters such as "h" "b" or "d" that extend above the line)  or descenders (the parts of letters such as "g" "q" or "j" that extend below the line).
Occasionally backgrounds of gold or silver add a bit more bling and some are even adorned with star bursts.
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop - Slazenger factory -
'Soda' panorama'  2015 
oil on canvas 91 x 183cm
John Paul, the demolisher who had given me the heads up about the site, finally nailed it.
The Book of Kells, he said. (John Paul is Irish!)
To be sure, to be sure!
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
 Detail of 'Abandoned Dunlop - Slazenger factory -
'Soda' panorama'  2015 
oil on canvas 91 x 183cm
 

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This is a close up of my painting of the graffiti on left hand wall, and you can see that John Paul really had a point.
In another context, I could easily imagine one of the letters as a historiated initial in a medieval illuminated manuscript.
A historiated initial is an enlarged letter at the beginning of a text, which contains a picture.
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
Detail of 'Abandoned Dunlop - Slazenger factory -
'Soda' panorama'  2015 
oil on canvas 91 x 183cm
 

Enquiries
This is a closeup detail of my painting of the graffiti in one of the small rooms to the left hand side.
This font is dramatically serif (there is a large difference between thick and thin lines) and is extravagantly embellished with finials( tapered or curved ends), swashes (extended  decorative flourishes)and lachrymals (teardrop shapes).
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
 Detail of 'Abandoned Dunlop - Slazenger factory
'Soda' panorama'  2015  oil on canvas 91 x 183cm
 

Enquiries 
Many different hands have been at work here, overlapping and adding marginalia, drolleries and the odd obscenity.
 "Soda" has been written in a more "slab serif" style, where there is less difference between thick and thin lines.
This tag stands out from its neighbours due to its cleaner font as well as its striking silver, black and pink colour scheme.
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
 Detail of windows in 'Abandoned Dunlop - Slazenger factory
- 'Soda' panorama'  2015 
oil on canvas 91 x 183cm
 

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And what could go better with illuminated manuscripts, than stained glass windows?
These windows are very stained indeed.
The graffiti is probably much older than on the walls, as they would have only been accessible when the building still had a roof, which was at least a couple of years ago.
There is no lead separating the colours, however, being a factory, the windows were made from glass strengthened by an internal diamond grid of wiremesh. Breaks in the glass add spiderweb patterns.
plein air painting of graffiti in the abandoned Dunlop-Slazenger factory by industrial heritage artist Jane Bennett
'Abandoned Dunlop - Slazenger factory -
 'Soda' panorama'   2015 
oil on canvas 91 x 183cm                                       
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At sunset the window colours are reflected on the ground in a series of rainbows, an effect I last experienced visiting Chartres cathedral.

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