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.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

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.


Related Posts

 
 

Sunday 2 June 2013

Not the Writers Festival- Exhibition of Pyrmont Paintings by Jane Bennett at 2013 Pyrmont Festival

I exhibited these historic paintings of Pyrmont at the 2013 Pyrmont festival in conjunction with the Frances Keevil Gallery
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival





















The weather couldn't have been better for the 2013 Pyrmont Festival. A couple of the calmest, sunniest autumn days I've ever experienced in Sydney.
This festival is held on the former Water-Police site, where I used to have several studios during the late 1980s - mid 1990s.
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival





















This time the festival in Pirrama Park was for the whole weekend, which gave many more people a chance to see my exhibition.
 I had brought 55 paintings on canvas and board for the exhibition. The largest was the 61 x 183cm canvas of a panorama of "Union Square" and the smallest was a tiny canvas of a strange little sign on top of the former F.L. Barker/Waite and Bull woolstore on the corner of Pyrmont Street and Pyrmont Bridge Road.
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival
contact me



















This year I had written 2 small booklets about my paintings and drawings of Pyrmont. The text was partly based on some of the posts in this blog.
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival
I printed some prototype copies as an experiment, intending to display them at the festival. I partly wanted people to be able to read the text as, even with the help given to me by  my gallerist Frances Keevil I can't always manage to talk to everyone who wants to know something about a particular painting. My other goal was to get some feedback. 
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival

One of these booklets, "Pyrmont - Shadows of the Past" was about my charcoal, ink and gouache drawings of Pyrmont  in a simple, classic black and white format. 
The other booklet "Pyrmont Paintings" displayed the paintings to great advantage on a dark blue background. but unfortunately this choice made the black text almost invisible. The printer service had offered a very limited choice of templates, fonts and colours. I had used them because I had been flat out painting and exhibiting since the beginning of this year and had very little time or energy left to prepare for the Pyrmont Festival. The booklets were an afterthought. I wrote and designed them both in a single day to meet the deadline for a discount printing deal.
In a way, this was good. I have a tendency to perfectionism, and faced with limitless choice and no deadline I can become paralyzed with fear. I thought that I needed to write something, anything at all, however lame, and then improve it.
I wasn't actually intending to sell them at all. I gave copies to the people who bought paintings, or were seriously interested in purchasing. I also gave a couple to the gallery so that we could . I was stunned at the number of people who flatly insisted on paying $10, $12, $15 or even $20 for a booklet! I tried to insist that they were free, as they were just experiments. Apart from a misplaced comma and a couple of oddly proportioned margins the black and white booklet looked very elegant, but the beautiful blue background of the painting book had unfortunately made the writing completely illegible and there were a couple of font discrepancies. Trying to finish the 2nd booklet by the midnight deadline had nearly sent me cross-eyed.
I pointed out the errors, but it didn't seem to faze anyone; they still insisted on paying for them! 
We sold over 50 booklets, and we weren't actually even trying to sell them at all!
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival
contact me



















I only have one of each left now, and I'd better hang on to them as I'd like to have them in front of me when I finally sit down with the gallery's designer and plan a better publication.
So, it's not yet the Writer's Festival, and I'm not an author.
However the reaction has given me a great deal of confidence. People have been nagging me for years to write about my paintings, but now I know that they are serious.
Exhibition of paintings of Pyrmont by Jane Bennett at the 2013 Pyrmont Festival in Pirrama Park
"Decisions, decisions... which one should I buy?"
Exhibition of paintings of Pyrmont by Jane Bennett
at the 2013 Pyrmont Festival






















As well as my unexpected excursion into literature, it was a very interesting and successful event on a number of different levels.
I reconnected with lots of people who once lived or worked in Pyrmont as well as many of the new residents of Jacksons Landing and the apartments on top of Pyrmont Point.
There were several sales and I am now preparing to paint an extremely large and prestigious commission resulting from a contact made on these 2 days.
Paintings of Pyrmont by Jane Bennett in Pirrama Park

Monday 15 April 2013

We like sheep - Waite and Bull Building 137 Pyrmont Street

'All we like sheep have gone astray' was one of the Advent, Christmas and Easter biblical texts to which Handel set his great oratorio Messiah. This chorus in F major is from Part II and the primary source of the libretto is Isaiah 53 :6.
My Granny, who had a beautiful soprano voice and sang in the Philharmonic for many years, would still get the giggles when singing "We like sheep".
She called it the national anthem of New Zealand.
Plein air oil painting of ghost sign on top of old woolstore in Pyrmont painted by industrial heritage artist Jane Bennett i
'Ghost Sign on top of the Waite and Bull Building,
137 Pyrmont Street'
2013 oil on canvas 13 x 18cm
Enquiries


Australia once rode on the sheep's back.
This sheep hasn't exactly gone astray, but it looks a bit perturbed.
It is a surreal adornment to an otherwise solemn warehouse conversion on the corner of Pyrmont Street and the Pyrmont Bridge road.
Nobody seems to notice it except me.
The drivers and pedestrians are too busy negotiating the chaotic intersection to be able to look up.
This building at 137 Pyrmont street, originally called the FL Barker Woolstore, was designed by Arthur Blacket and completed in 1884.
Although the building was built for F.L. Barker and Co. it was actually owned by Sydney businessman John Taylor. A sign on the other side still reads "John Taylor 1893".
From 1895 until 1923 it was leased to wool brokers Hill Clark and Co., then from 1923 until 1951 the Store was a wool store owned and operated by Wool Brokers William Haughton and Company.
From 1951 until 1973 it was owned by the commercial printers Waite and Bull, and it has been commonly known as the Waite and Bull Building ever since. In 1973 the building was bought by Stocks and Holdings Pty Ltd.
In the early 1990s it was extensively refurbished by the architects Allan Jack and Cottier. It was then the headquarters of the City-West Development Corporation, who kick-started the redevelopment of Pyrmont. I remember visiting them to beg permission to be allowed to paint in areas that were being demolished.
City-West Development Corporation later morphed into the Sydney Harbour Foreshore Authority, who now reigns over an empire of the bits of Sydney Harbour not controlled by the Barangaroo Delivery Authority, Sydney Ports Corporation (now privatized) or the Sydney Harbour Federation Trust .
In comparison to other buildings of the time, Blacket's wool store had a simple elegance and dignity showing the influence of the architecture of the Chicago School. The manifesto of their leading architect Louis Sullivan had been 'form follows function' which meant using ornament sparingly and only if it is an integral part of the building's form.
The contrast between the sober dignity of the rest of the building and the sign makes the sheep swinging in a sling an even more startling image.
It was obviously considered to be very important, but I don't know whether this was part of Blacket's vision, or added by a later occupant. Most of Pyrmont's industrial heritage has been obliterated, but if you look carefully you can still find quirky and charming remnants of its industrial past.

In conjunction with the Frances Keevil Gallery, I'll have an exhibition of my Pyrmont paintings at the 2013 Pyrmont Festival at Pirrama Park.
This time my display will be extended to 2 days - Saturday 18th May and Sunday 19th May from 11am - 5pm.

FRANCES KEEVIL GALLERY,
  mob: 0411 821550
info@franceskeevilgallery.com.au

For more information see My Pyrmont page in this blog

Related posts

Looking over the overlooked-Urban decay in Pyrmont
To the Point
Wrong side of the tracks - Darling Island Bond and Free
Pyrmont Paintings past and present
Paintings of Pink pubs - Painting the Jolly Frog Part 2

Monday 4 March 2013

Macdonaldtown - A Station without a suburb

I was asked by the National Trust After Hours Committee if I could help with a heritage walk "Macdonaldtown Meander" on Sunday 3rd March.
This was quite a challenge.
I have painted Macdonaldtown's majestic neighbour,the Eveleigh Railway Workshops many times,but Macdonaldtown itself had never appeared as an obvious source of inspiration.
But I was intrigued and decided to explore. I'm glad that I did. Often I can concentrate on more obviously spectacular vistas, and miss the subtle charms of smaller details, such as the exquisite series of classical heads as vignettes between each terrace in a row close to the start of Wilson Street.
Macdonaldtown's streets were full of delightful surprises.
This charming decorative corbel is carved into the classically inspired head of a lady.  It separates a row of five 3 storey terraces at the western end of Wilson street. Some of them have been tastefully gentrified in harmonious neutral shades, while their neighbours sport shabby yet garish liquorice all-sorts colours. 
The hot pink terrace on the right reminds me of the time in 1986 when  a couple of local lads decided to beautify Macdonaldtown Station by painting it pink. All of it. Tables, chairs walls and even a pot plant were glued down and painted pink in an "overall effort to enhance the station". No conviction was recorded and the State Rail Authority's claim for damages was rejected by the Magistrate. I had hoped that the hot pink terrace had been occupied by these 2 intrepid painters, but they actually lived in Enfield at the time.
plein air oil painting of urban landscape by artist Jane Bennett
 'The Lady of the house' 
Row of terraces in Wilson street
2012 oil on canvas 18 x 13cm
Available
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Macdonaldtown, despite its freshly renovated railway station, is not actually a bona fide suburb.
It's a "locality". More of a state of mind, really. The slightly shabbier sister, always being dominated by her more prominent Newtown, St Peters, Enmore, Erskineville and Redfern.The hinterland ; with most of the local landmarks residing slightly outside her nebulous borders -the exciting King Street shopping strip; the funky CarriageWorks; the chimneys of the St Peters Brickworks; the Eveleigh Railway Workshops.
Macdonaldtown remains the almost invisible space in-between.
While painting in Macdonaldtown, I found most of her inhabitants actually denied living there. They lived in "Newtown", "South Newtown", "near Eveleigh", "west of CarriageWorks", "Hollis Park", "North Erskineville", even the marvellously convoluted "south of Wilson Street West". This could be influenced by the vagaries of  real estate prices rather than dislike of the name Macdonaldtown.
Macdonaldtown mostly consisted of terrace houses of the cheapest possible construction,generally 4 metres (13 ft) wide "two-up two-down" with a rear kitchen.They usually had adjoining walls only one brick thick and a continuous shared roofspace. Hundreds of these  formerly humble dwellings still remain and are rapidly being gentrified. 19th century property developers would build a row terminating in a house of 1 1/2 width at the corner of the street, to be used as a commercial premises, or "Corner Store".

plein air oil painting of urban landscape by artist Jane Bennett
'Someone to watch over me' 
2012 oil on canvas 20 x 25cm

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So this lion watching over a shabby shop on Erskineville Road opposite the Erskineville Hotel came as quite a surprise. This is the sort of rooftop sculpture that I would expect on a castle or mansion, rather than in the middle of a tatty row of terraces. It hints at a sort of delusion of grandeur.
 Only 1 person in the pub opposite had ever noticed it peering down at them!


plein air oil painting of urban landscape by artist Jane Bennett
'Derelict 'Edward Brooks'
factory in Wilson street  2012
oil on board 22 x 28cm

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Another architectural surprise.
The terraces at the northern and eastern end (closer to the University and the city) are as a rule far more prestigious than the workers cottages to the west and south, especially the row in Georgina Street and Warren Ball Avenue next to Hollis Park.
However, next to the very upmarket Hollis Park area, is the very large and very derelict 'Edward Brooks' factory, crumbling into Wilson Street. The winch above the window hints at its industrial past.

plein air oil painting of urban landscape by artist Jane Bennett
 'Edward Brooks building, Wilson Street'
2013 oil on canvas  46 x 92cm
Available
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This larger painting shows the steps up to the lovely park next door, and how the old factory contrasts with the freshly renovated terrace next door.
 The former 'Edward Brooks building' was known locally, rightly or wrongly as the 'Hat Factory'. By the size of the winch hats (and presumably heads) were a lot bigger back in the good old days!
 None of the locals have so far been able to tell me very much about its history. One man from the Erskineville Hotel, whose dad used to live 3 doors down, said that it was a foundry, which seems possible, although records show the "IronWorks" as being a block further west down the road at no. 150 Wilson Street.
His dad, like so many of the former residents of Macdonaldtown's workers terraces, was an employee of the Eveleigh Railway Workshops.Built in 1878, the Eveleigh Railway yards housed the Government Railway Stores and Workshops, and the Locomotive Engineer’s Department from 1901. Production declined in the 1970s and ceased in 1988. The site lay mostly disused til 1996 when the northern (Darlington) end was developed for a communications and science research facility known as the Australian Technology Park.  In 2002 the central part of the north-eastern site became the too cool for school Carriageworks performance space. The forecourt hosts weekly farmers' markets and monthly craft markets. 

plein air oil painting of urban landscape by artist Jane Bennett
 'Pediment with wheat sheaf-
old Henninges bakery in Wilson street -
now 'Original Finish'
2012 oil on canvas 20 x 20cm
Enquiries about these paintings :

The wheat sheaf on the pediment, reveals the original use of 'Original Finish' as a bakery.
The former Newtown Bread Factory, on the corner of Wilson and Watkin Streets, was run by Henry Henninges in the 19th century.The lane behind the factory still bears Henninges' name.
The building has been very sympathetically and respectfully restored, with small cracks and weathering bearing witness to its previous history,which is appropriate considering that its current occupier, 'Original Finish' specializes in antiques.
Henry Henninges Bakery in 1983

 The former 'Edward Brooks building had been occupied by squatters since about 2001.
The building had last changed hands (for a derisively small amount of money) in 1981. The owner apparently only lives a few blocks down the road, but allowed the property to rot, in a similar fashion to the Terminus Hotel and the Darling Island Bond and Free Store of Pyrmont. Landbanking played as an extreme sport.
Nature abhors a vacuum, so a variety of squatters and local community groups had apparently moved in.
They were forcibly evicted in a very heavy handed fashion by the riot squad on Thursday 31st July 2014.
The once-shunned building has now been bought for $1.7 million at a hotly contested auction and will now apparently be renovated rather than demolished.