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

My photo
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.
Showing posts with label foundry. Show all posts
Showing posts with label foundry. Show all posts

Monday 13 July 2020

Meltdown-Oxycutting, William Wallbank and Sons, Auburn

The now derelict 'William Wallbank and Sons' was a foundry on the Parramatta Road, Auburn, built in 1932.
I've been painting the machinery before it is all stripped out and sent to a scrap metal yard.
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW5 Oxycutting, William Wallbank + Sons foundry
2017 oil on canvas 46cm tondo














Some of the ladles and other machinery that couldn't be sold intact were being broken up for scrap by oxycutting. 
During this exciting process, I painted some small and medium circular canvases, known as tondos.
In Art, the circular format of the tondo was often used for religious subjects.
Extreme chiaroscuro was also exploited by artists such as Caravaggio, to heighten the contrast between the gloomy background and the intensely illuminated saints or angels.
The fire in the dim interior gave the scene a mysterious atmosphere, reminding me of the nocturnal paintings of one of my favourite artists, Georges de la Tour.
Figures in his paintings are enveloped in shifting accretions of darkness - hands and features picked out by pooling, smoky light.
 
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW5 Oxycutting, William Wallbank + Sons foundry
2017 oil on canvas 46cm tondo"















Oxycutting is one of the oldest welding processes.
A torch is used to heat the metal to its kindling temperature. When it's cherry red, a stream of oxygen is focused on the heated part and chemically reacts with the ferrous metal, producing more heat and forming molten iron oxide which is then blasted out of the cut.
The melting point of the iron oxide is about half that of the metal being cut, so it will immediately turn to liquid iron oxide and flow away from the cutting zone.
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW5 Oxycutting, William Wallbank + Sons foundry
2017 oil on canvas 46cm tondo"














Starting a cut in the middle of a workpiece is known as piercing.
Once it has started, steel can be cut surprisingly quickly, far faster than if it were completely melted through.
Sometimes remnants of iron oxide remain on the workpiece, forming a hard "slag" which can be removed by tapping or grinding.
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW6 Oxycutting, William Wallbank + Sons foundry
2017 acrylic on paper 56 x 76cm

















The hottest part of the flame is approximately 6,000 °F (3,300 °C) - hot enough to easily melt steel.
But the flame of the cutting torch is not intended to melt the metal, just bring it to its ignition temperature.
The rest of the heat is created by the burning metal itself.
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW5 Oxycutting, William Wallbank + Sons foundry
2017 oil on canvas 46cm tondo"
.
A basic oxy-acetylene rig is faster than a petrol-driven cut-off grinder, as well as lighter, smaller, quieter and not as prone to severe vibration. 
Oxy-acetylene torches can easily cut through ferrous materials as thick as 200 mm. 
However oxy-acetylene has its limitations. It can only efficiently cut low- to medium-carbon steels and wrought iron.
High-carbon steels aren't suitable because the melting point of the slag is closer to the melting point of the parent meta.The slag from the cutting action mixes with the clean melt near the cut, which means the oxygen doesn't reach the clean metal to burn it. With cast iron, graphite between the grains interferes with the cutting action of the torch. Stainless steels can't be cut either with this process, because the material doesn't burn as easily.
Plein air painting of oxycutting machinery in the interior of the disused foundry William Wallbank and Sons, Auburn painted by industrial heritage artist Jane Bennett
AWW7 Oxycutting, William Wallbank + Sons foundry 2
2017 oil on canvas 46cm tondo
Painting this was fascinating, but there was an undercurrent of sadness, as it
marked the point of no return.
The life of the former foundry was at an end, and its vivisection will be the last fires lit inside.

"Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice."

"Fire and Ice" by Robert Frost

Related posts

Rust Bucket

Steady Rest

Scar Tissue

Wrong side of the tracks - Darling Island Bond and Free

All fired up

Eveleigh - Industrial heritage artist at work

Irons in the fire

White Bay Power Station - Inside Out

Power Base - Artist in Residence at the White Bay Power Station

Wednesday 24 June 2020

Blacksmith forging in the Australian Technology Park, Eveleigh Railway Workshops

Today's painting on my isolation deck gallery is of one of the blacksmiths in Bay 1/2 of the Locomotive Workshops, South Eveleigh, Eveleigh Railway Workshops.

Plein air oil painting of blacksmith in the Eveleigh Railway Workshops painted by industrial heritage artist Jane Bennett
E93 Blacksmith quenching chisels,
Eveleigh Railway Workshops 2011
oil on canvas 152 x 122cm

This canvas is so large that parts of it are obscured by the railing and roof of my pergola.
However, I did paint it from life - nervously trying to keep my oil paint and turps out of the way of the blacksmiths who were swiftly carrying red-hot metre long metal chisels from the forge and quenching them in a vat of boiling oil!
As you do!

Plein air oil painting of blacksmith in the Eveleigh Railway Workshops painted by industrial heritage artist Jane Bennett
E93 Blacksmith quenching chisels,
Eveleigh Railway Workshops 2011
oil on canvas 152 x 122cm



More recently, Matthew Mewburn of 'Eveleigh Works' has taken over this important and historically significant task.
The posts below include the stages of these paintings as works in progress on the easel, and some photos from several Open Days at the Australian Technology Park, Eveleigh Railway Workshops.

Irons in the fire
Watching the forge fires fade
Playing with fire
Macdonaldtown - A Station without a suburb
Strike while the iron is hot
Eveleigh- Industrial Heritage Artist at Work
 Eveleigh paintings
The village smithy (sydney-eye.blogspot.com)
Time for Safety 
The slow return from the fire 
The fire within 
En plein air with street cred (sydney-eye.blogspot.com)

Saturday 20 May 2017

Steady rest

I've been painting the machinery in the William Wallbank and Sons ex- foundry in Auburn, before it is all stripped out and sent to a scrap metal yard.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress -
AWW8 'Boys toys -Steady rest 1'
oil on steel press plate tondo 16 x 16cm 2017
Available 


























I've been painting a series of still life studies on salvaged "press plates".
These leftover circles of mild steel were found lying on the machine shop floor, and were being gathered up to be thrown away.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
AWW8 'Boys toys -Steady rest 1'
oil on steel press plate tondo 16 x 16cm 2017
Available 

























It was fascinating painting the relics of industry on salvaged objects that were part of the waste product from that industry.
The lustre of the smooth metallic surface shows through every brushstroke, reproducing every sparkle, shine and glimmer of the knobs and finials.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress - AWW11
'Boys toys -Steady rest 2'
oil on steel press plate tondo 16 x 16cm 2017
Available



















Although the William Wallbank foundry dated from 1932, some of the machinery was much older. I found a nameplate on one from "Russia", which meant that it must have dated from before the Soviet era, and probably from before World War I.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
AWW11 'Boys toys -Steady rest 2'
oil on steel press plate tondo 16 x 16cm 2017
Available 

























The steady rest on a lathe, has a frame and 3 adjustable jaws to support a workpiece such as an axle or a shaft while it is being turned, milled or drilled.
It prevents slender, flexible pieces springing back and forth, and also allows deep cuts, drilling, boring, or internal threading.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress on the easel -
AWW10 'Boys toys -Boring machine'
oil on steel press plate tondo 16 x 16cm 2017
Available 



























The over arm with the top jaw can be unfastened and swung out of the way so that pieces can be removed and replaced without needing to adjust the jaws.
There should be 0.001 inch clearance between the jaws and the workpiece.
The bearing surface is usually machined directly on the work.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
AWW10 'Boys toys -Boring machine'
oil on steel press plate tondo 16 x 16cm 2017
Available 

























When the work is too small or awkwardly shaped to machine the bearing surface, a 'cathead' can provide the bearing surface.
The cathead has a bearing that is surfaced, a hole through which the work extends, and adjusting screws to fasten the cathead to the work.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress on the easel -
AWW9 'Boys toys -Control'
oil on steel press plate tondo 16 x 16cm 2017
Available 



















When it isn't possible to hold the work in the chuck, one end can be supported by the headstock centre and the other by the steady rest.
A leather strap or rawhide thong is used to tie the work to the driveplate and to prevent it from moving off the headstock centre.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress on the easel -
AWW9 'Boys toys -Control'
oil on steel press plate tondo
16 x 16cm 2017
Available 




















After the locking screws on the adjustable jaws are tightened, the bearing surface needs lubrication with heavy oil before turning on the lathe.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
Work in progress on the easel -
AWW9 'Boys toys -Control'
oil on steel press plate tondo
16 x 16cm 2017
Available 




















The bearing surface and adjustable jaws always need a heavy oil film between them, as when the workpiece heats up it will expand, closing the distance between it and the jaws.

Plein air oil painting of machinery in abandoned William and Wallbank and Sons Foundry by industrial heritage artist Jane Bennett
AWW9 'Boys toys -Control' 2017
oil on steel press plate tondo 16 x 16cm
Available


Related posts

Power Base - Artist in Residence at the White Bay Power Station

 

Tuesday 2 August 2016

Rust bucket

The now derelict 'William Wallbank and Sons' was a foundry on the Parramatta Road, Auburn, dating from 1932.
One of their specialties had been making the components for brick making machines.
plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW1 'Watching the forge fires fade 1
 'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 56 x 76cm
Available




















In 2008 I exhibited a series of paintings that I had created of old brickworks at Eastwood, St Peters and Brookvale at the Museum of Sydney during the book launch of "The Brickmasters"  , a comprehensive history of brickmaking in Australia by Ron Ringer.
Several of my paintings of Brickworks at Brookvale. Eastwood and St Peters were included in this book. At the launch I met Frank Wallbank, who invited me to paint in the foundry, but unfortunately I delayed taking up his offer.
A friend alerted me to the foundry's closure and I was able to contact the new owner and arrange access to paint. I am kicking myself for not getting there while it was still working, but better late than never!
plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )

2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available
 In a foundry, metal is melted into liquid in a furnace.
To cast the metal into shapes, the molten liquid is then poured into a mould in the shape of the desired part.
Simple designs can be made in a single piece or solid pattern.
More complex designs are made in two parts, known as a split pattern, which has a top section, or "cope", and a bottom section, called a "drag".
Patterns can be made from wax, wood, plastic, or metal.

plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )

2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available


















Traditionally, moulds were poured by hand, using ladles. It must have been horrifically dangerous.
I was told that all the foundry workers were supposed to wear a special sort of protective covering over their boots, similar to old-fashioned "spats" to stop the molten metal droplets burning their skin, but these were unpopular as the metal would still find a way to trickle down the gap and into their boots. Instead of protecting, the boot covering seemed to cause even more damage.
plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )

2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available




















Now modern foundries use robots or automatic pouring machines to pour the molten metal.
As the metal cools it solidifies and then the mould (known as a 'casting') is removed.
plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )

2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available



My canvas of this set of 3 abandoned ladles was recently runner-up in the 2016 Auburn Art Prize, held in the Peacock Gallery opposite the Botanical Gardens.
The central ladle has a capacity of 7 tons, and is flanked by a "three tonner" on the left, and a "four tonner" on the right.

plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW3 'Watching the forge fires fade  3-
'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 51 x 71cm
Available


















All of these ladles would date from at least 70 years ago.
They could even date from the earliest years of the foundry, as they are all rivetted, so they must date from a time before welding had replaced rivetting. 
Only the largest ladles were fitted with brakes to help modulate the flow of pouring the molten metal.

plein air oil painting of ladles at abandoned foundry "William Wallbank & Sons" in Auburn by industrial heritage artist Jane Bennett
AWW4 'Rust Bucket' 7 ton ladle,
William Wallbank + Sons foundry 
2017 oil on canvas 122 x 91cm
PRIVATE COLLECTION : SYDNEY























I'm only able to gain access to paint in my strange new "studio" when the gates are opened to remove machinery, and I need to ring up on the night before.
Sometimes potential new owners come to inspect the premises, but they rarely stay for long.