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.

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!

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.

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.

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.

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.

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.

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.

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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.

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".

 

Related posts 

 

Tie a yellow ribbon 

 

No place like home 

 

Stairway to nowhere 

 

Another one bites the dust 

 

There goes the neighbourhood 

 

Banners, Millers Point 

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.

U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm
Enquiries

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.

U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm
Enquiries

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.  

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.

U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm
Enquiries

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.

U235'Statues of Explorers', Lands Department
 2015 oil on canvas 31 x 31cm
Enquiries

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.

U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm
Enquiries

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.

U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm
Enquiries

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.

Sydney sandstones to become luxury hotel

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In the shadows - Painting the Justice and Police Museum

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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 painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 

Enquiries

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 painting of the "Justice and Police Museum"

2015 oil on canvas 13 x 18cm

 

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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 painting of the "Justice and Police Museum"

2015 oil on canvas 13 x 18cm

 

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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 painting of the "Justice and Police Museum"

2015 oil on canvas 13 x 18cm

 

Enquiries 

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 painting of the "Justice and Police Museum"

2015 oil on canvas 13 x 18cm

 

Enquiries 

So very Sydney.

Related Posts

Sydney Sandstone - Painting the Lands Department Building