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.
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Showing posts with label tools. Show all posts

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.