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 industrial heritage. Show all posts
Showing posts with label industrial heritage. Show all posts

Friday 3 July 2020

The empty mask- Edwin Davey and Sons Flour Mill, Pyrmont

Built in 1896, the Edwin Davey and Sons Flour Mill was the last and one of the longest operating flour mills operating in inner Sydney.
The main building was a 4 storey brick flour mill in the utilitarian Federation Free Classical architectural style, with rectangular window openings and a corrugated iron roof behind a plain parapet.
The north facade had a large triangular pediment bearing the business name "Edwin Davey and Sons". On the western side, an extension built out to the cliff line. There was a rail siding from the old Metropolitan Goods Line on the northern side, below the escarpment with some remaining wheat elevation gear and corrugated iron clad extensions at the back of the mill.
By the time of these paintings from the early 2000s, the interior had long been gutted of any machinery and there are obvious horizontal bands of bracing girdling the exterior facade and keeping its last few bricks from falling onto the cars below.
Plein air oil painting of the exterior facade of the ruin of the Edwin Davey and Sons Flour Mill, Pyrmont by industrial heritage artist Jane Bennett
P263A 'Edwin Davey Flour Mill'
2012 oil on board 26 x 38cm
Available

Until the 1860s the Ultimo end of the Pyrmont peninsula was still an undeveloped grazing property owned by Surgeon John Harris and his heirs.
In 1895, 10 lots of Block 42 of the Harris Estate was bought by Freeman and Sons, producers of a large range of household goods, who built a flour mill on the site.
In 1900 Edwin Davey, who already owned mills in South Australia, bought the Ultimo Roller Mills, to produce flour for export, as freight costs from Sydney were better than in Adelaide.
Plein air oil painting of the demolition of the Fielder Gillespie Flour Mills, Pyrmont by industrial heritage artist Jane Bennett
P100 Demolition of the Fielder Gillespie Flour Mills 2
1992 oil on paper 75 x 100cm
Available

The Ultimo Mill went into production in 1901 under the name Chanticleer Flour and operated until 1992, when it became part of Weston Milling Ltd. As the Ultimo mill was small and old fashioned, it was closed, gutted and sold for development.
By coincidence, about the same time, over the opposite side of Pyrmont Peninsula, Fielder Gillespie Flour Mills, next to the Pyrmont Power Station, was also being demolished. After a few weeks the Fielder Gillespie site was completely cleared and remained empty space until eventual redevelopment as a Woolworths and various other shops and offices. By contrast, the ghostly skeleton of the Edwin Davey and Sons building haunted the western edge of Pyrmont for a generation.

Plein air oil painting of the interior of the ruin of the Edwin Davey and Sons Flour Mill, Pyrmont by industrial heritage artist Jane Bennett
P263 'Edwin Davey Flour Mill'
2012 oil on paper 13 x 23cm
Available

By 2001 the building had been reduced to a wafer thin shell of bricks propped up in front of a weedy wasteland.
My painting above shows the interior of the facade, criss-crossed with bracing and scribbled over with cryptic graffiti.
The empty mask formerly known as the Edwin Davey and Sons flour mill was for almost 30 years a landmark for anyone driving to or from Pyrmont over the Anzac Bridge.It was demolished and replaced by an apartment block, with a small shed cantilevered on the western facade.
It lights up at night in a token gesture to the former building's existence.

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Wednesday 1 July 2020

The wheels on the bus go round and round - Painting the London Bus at the Sydney Bus Museum

Today's painting on the deck gallery is another canvas painted at the Bus Museum in September 2017.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
























The London bus is having its wheels checked.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
On the easel at Sydney Bus Museum
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
























After World War II, London Transport bought over 6,000 double deckers, all built to a standardized design, mostly the AEC Regent III RT type, similar to the pre-war AEC buses.
The first prototype, known as the AEC Routemaster, was completed in September 1954 and the last one was delivered in 1968.
The first Routemasters entered service with London Transport in February 1956 and the last withdrawn from regular service in December 2005, although one heritage route still operates in central London. The Routemaster outlasted several of its replacements in London, and even survived the privatization of the London Transport bus operators .
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7A  Study for London Bus,
Sydney Bus Museum
2019 oil on canvas 23 x 13cm
Available
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
In front of my patient model
at Sydney Bus Mu
seum



























The Routemaster had a pioneering design using lightweight aluminium and techniques developed in aircraft production during World War II. It also introduced innovative design features such as independent front suspension, power steering, a fully automatic gearbox and power-hydraulic braking, for the first time ever on a bus. Drivers found the Routemaster surprisingly light and nimble compared with earlier designs.
One of their main advantages was that the body could be lifted off the chassis during overhaul.The London fleet contained more bodies than chassis, as overhauling the body took longer than the chassis. A bus could go in for overhaul in the morning, and come out that afternoon with a different body.
In 2006, the Routemaster was voted one of Britain's top 10 design icons which included Concorde, Mini, London tube map, World Wide Web and the K2 telephone box.

Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7A  Study for London Bus,
Sydney Bus Museum
2019 oil on canvas 23 x 13cm

This was my first much smaller study of the London bus
The Museum's bus, AEC RT - 3708, was registered NLE-815, and started life in May 1953 with a 'green' Weymann 8545 body, the most common type.
I don't know what it is about the colour, but I can't imagine a London bus in any other colour than red. Must make it go faster!
It had 3 overhauls during its London Transport career - in 1956, 1961, and it didn't get fitted with the iconic 'red' body until its final overhaul in 1965.
It ended its days at Southall garage, then was sold in March 1977, imported to Australia in 1984 and purchased by the Museum in 1989.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm

All information is courtesy of the experts of the Sydney Bus Museum

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Friday 26 June 2020

Royal Edward Victualling Yards (REVY), Darling Island, Pyrmont

Today's painting on the deck shows a small panorama of Sydney Harbour with a cargo ship berthed at the East Darling Harbour Wharves in the background. The strange looking building in the centre surrounded by piles of timber is the REVY C building on Darling Island. I painted it in the early 1990s from Ways Terrace.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett







 
 
 
P8'REVY C from Ways Terrace'
1992 oil on canvas 31 x 61cm
On Darling Island, nothing is now left of the timber and shipbuilding yards. Today the water’s edge bristles with new apartment blocks gazing over sheltered waters. Yet beneath the silvery surface lies a hidden history.
The Royal Edward Victualling Yard, ( REVY A,B & C), was built between 1890 and 1911, by the revered Government architect Walter Liberty Vernon in the Federation Free style.
They were some of the last working buildings on the Pyrmont waterfront and had rivettingly odd architecture. Revy A and B  consisted of a 5 storey and a 6 storey pair of large red brick warehouses set at right angles to each other and linked by a square central  water reservoir tower. They were built in a flamboyant neo-Gothic style which reminded me irresistibly of the Bargello in Florence.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett

 
 
 
 
 
 
 
 
 
 
P8'REVY C from Ways Terrace'
1992 oil on canvas 31 x 61cm
Revy C is a narrow, skinny, rather ungainly eight-storey, red brick Federation Warehouse, and still the tallest structure on Darling Island.  It had a rusticated ashlar bluestone ground floor, and a riveted truss jib crane facing Jones Bay Wharf. Its 4 large lift towers on the roof always reminded me of the crenellations on top of medieval castles.
Early fire fighting relied on steam pumped water pressure which could only reach up to a maximum of 2 storeys. So the set of external steel fire stairs at either end were a very practical solution to this problem, even though I used to curse them for being a perspective nightmare to paint.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett


 







 
P12B REVY 3 from Jones Bay Wharf with 'Nederburg'
1990 oil on canvas 25 x 51 cm
SOLD
Enquiries about other paintings of Darling Island

Revy's original purpose became obsolete due to the increasing size of cargo ships and the introduction of container shipping.
The painting above shows the 'Nederburg' one of the last cargo ships docking at the Pier 19/20/21 (now known as Jones Bay Wharf) opposite Revy C.
During the 1980s REVY C was remodelled for the Defence Science and Technology Organization.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett














P12 REVY from Jones Bay Road
1990 oil on paper 25.5 x 31 cm

Available for sale
This small oil study shows the timber yard on the other side to the previous painting.
In 1994, REVY A and B were renovated for Naval Support Command , and I was commissioned to paint 3 huge paintings for their foyer.
They could be seen from Jones Bay Road until 2005 when Channel 7 moved in. Now these paintings are on Spectacle Island, where unfortunately they can't be seen by the public.
REVY C was vacant from 2005 until its recent redevelopment for apartments.
 
Related Posts 
 
 
 

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)

Friday 19 June 2020

Sydney Bus Museum - painting Daimler doubledecker

Today's painting on the deck gallery is a portrait of MTT Daimler CGV6 112 at the Sydney Bus Museum in Leichhardt. It has been under restoration to operating condition since 2016.

Oil painting of doubledecker bus in the Sydney Bus Museum by industrial heritage artist Jane Bennett

BUS11 Restoration of Daimler doubledecker

2017 oil on canvas 61 x 31cm














It's had a rough life.

It was one of 15 Daimler doubledecker chassis ordered for use in Sydney. However they were rejected because their 4.95m chassis didn't meet the required specifications of 5,33m. 
Then they were sold to the Metropolitan Transport Service, Adelaide. The 54 seat bodies were then built in Granville, and driven overland to Adelaide.

Oil painting of doubledecker bus in the Sydney Bus Museum by industrial heritage artist Jane Bennett

BUS11 Restoration of Daimler doubledecker

2017 oil on canvas 61 x 31cm




After being in service in Adelaide until 1960, no 112 was sold to a cattle station in the Coober Pedy area of South Australia.

In 1990 it was recovered for preservation - and driven over 1,000 miles back to Sydney!

It might have been too small, but it's tough!

Oil painting of doubledecker bus in the Sydney Bus Museum by industrial heritage artist Jane Bennett

BUS11 Restoration of Daimler doubledecker

2017 oil on canvas 61 x 31cm

I painted this on site in the Bus Museum at Leichhardt, and some of the volunteers are in the background.

Oil painting of doubledecker bus in the Sydney Bus Museum by industrial heritage artist Jane Bennett

BUS11 Restoration of Daimler doubledecker

2017 oil on canvas 61 x 31cm

  











Oil painting of doubledecker bus in the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS11 Restoration of Daimler doubledecker
2017 oil on canvas 61 x 31cm


See more of my bus paintings























Thursday 18 June 2020

No 'glamping' on Cockatoo Island

This is a painting of the Utility crane in front of Sutherland Dock, Cockatoo Island.
Plein air painting of industrial heritage, crane at Sutherland Dock Cockatoo Island painted by industrial artist Jane Bennett
CK36'Cockatoo Island- Crane, Sutherland Dock and the escarpment'
2006 oil on canvas 75 x 100cm
Enquiries

For the last decade, the public has been allowed to visit the island, but when I painted this in 2006, it was still off limits.
The Sydney Harbour Federation Trust was frantically fixing up the infrastructure to be able to open it to tourists. I would travel by barge at the crack of dawn from Mort's Dock with the other workmen.
Plein air painting of industrial heritage, crane at Sutherland Dock Cockatoo Island painted by industrial artist Jane Bennett
CK36'Cockatoo Island- Crane, Sutherland Dock and the escarpment'
2006 oil on canvas 75x100cm
Enquiries

In the afternoon, I had to make sure I didn't miss the last barge back to the mainland, or I'd have to spend the night there.
Now there is 'glamping', but back then there were no facilities at all! No tents, no shelter - I occasionally spent the odd night in a tunnel, which was creepy. There wasn't even drinkable water & we all got terribly sick until we learnt to bring our own water!
Plein air painting of industrial heritage, crane at Sutherland Dock Cockatoo Island painted by industrial artist Jane Bennett
CK36'Cockatoo Island- Crane, Sutherland Dock and the escarpment'
2006 oil on canvas 75 x 100cm
Enquiries

20 years before, I had painted on the island, near the end of its life as a working shipyard.

Related Posts


Thursday 2 May 2019

Selfie at South Eveleigh (Watching the forge fires fade)

I don't usually paint self portraits, but this is the exception.
I've been asked to exhibit in "Selfie", an exhibition of self portraits by artists who don't normally specialize in portraiture.
I have painted myself in front of the largest surviving forge remaining in Australia, the Eveleigh Locomotive Workshop
"Selfie" is on display from 11th - 26th May at 1047 Gallery, 1047 Botany Road Mascot.
Opening Saturday 11th may 2-5pm, closing drinks 26th May 2-4pm.
 Open Saturday & Sunday 11 am - 4pm
0401 037 359     ten-forty-seven@mail.com

Invitation to "Selfie" Exhibition at 1047 Gallery, 1047 Botany Road Mascot
Invitation to "Selfie" Exhibition at 1047 Gallery
















 

self portrait with blacksmith forging at Eveleigh Works, South Eveleigh by industrial Heritage artist Jane Bennett
 E158 'Watching the forge fires fade'
 2019 acrylic on canvas 31 x 61cm
 










Available for sale
From 1886 until the 1980s, the Blacksmith’s Workshop produced equipment and parts for manufacturing and maintaining steam locomotives.
The modern blacksmiths of Eveleigh Works still use traditional machinery in homage to this bygone era of steam trains and handmade tools.
However, despite their much-loved status as icons of industrial heritage, the blacksmiths face an uncertain fate as a Woolworths will be built next door. 
In the maelstrom of inner city gentrification, blacksmiths are anachronisms; living fossils from the 19th century.
Much like plein air painters, I suppose.
The deep shadows and dramatic lighting of the forge evoke the evocative, melancholy poetry of nocturnal scenes painted by my heroes Caravaggio, Joseph Wright of Derby and Georges de la Tour. Their nocturnes are ‘memento mori’ paintings contemplating  transience and mortality. The flickering flame will soon be extinguished. 
My canvas is cloaked in darkness, yet a flash of intense illumination throws eerie green highlights across my face. Behind me the blacksmith darts gracefully backwards and forwards in his dangerous dance with fire.
My face looms in the foreground towards the viewer, lost in thought. My gaze doesn’t meet the viewer directly, but peers intently at something just out of sight. Am I looking back in nostalgia to the past, or staring warily at an unknown future?