Painting the Svitzer tug Wonga in Sydney Harbour

The 'Wonga' was built in 1983 and was one of the Svitzer 'pusher' tugs.

Their names started with 'W' - Wilga, Wonga, Woona, Walan, Watagan. I've no idea why they picked that particular letter to christen their tugs. As a 'wonga' is a type of pigeon, not a marine bird, I'm not sure why this name was chosen for a marine vessel.

To me, the trio of names 'Wilga', 'Wonga', 'Woona', had a sort of alliterative poetry, and whenever I painted one of the three, I would be asked if I also had paintings of the other two, to make up the set.

DH236 'The tug 'Wonga' with 'Victorian Reliance''
2007 oil on board 20 x 25cm
SOLD
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This shows the 'Wonga' in action with a cargo ship.

They were once a very common sight in Sydney Harbour, when Sydney Harbour was still a fully working port. As 'Artist in Residence' on the East Darling Harbour Wharves during the first decade of this century, I would see at least one of these tugs everyday. If they weren't accompanying one of the container ships or Ro-ros (roll-on roll-off car vessels) to the East Darling Harbour Wharves, Glebe Island or White Bay, they would be escorting a cruise ship to the Cruise ship terminal at Darling Harbour Wharf 8, or an oil tanker to Gore bay.

DH241 'The 'Wonga' 2011
oil on board 28 x 35cm
Available

This painting shows the 'Wonga' passing Goat Island. It was on its way to a new task, from its then home in East Balmain next to the ferries.

The number of tugs in Sydney Harbour declined with the closure of East Darling Harbour Wharves and its replacement with the controversial Barangaroo development project.

DH194 The 'Wonga' 2008
oil on canvas 20 x 25cm
SOLD
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This earlier painting shows the 'Wonga' passing Balmain.

Now, the 'Wonga' is one of the 2 tugs (the other being the 'Walan') based at Port Pirie which is located 223 kilometres north of Adelaide at the top of Upper Spencer Gulf,

Port Pirie, a small town of 16,000, is still home to the type of heavy industry now removed from Sydney Harbour. The Nyrstar concentrate smelter in Port Pirie is one of the largest smelters in the world.

Related Posts

Painting the tugboats of Sydney Harbour

Marine Art exhibition at Australian Maritime Museum

Boat at Goat

The Shirley Smith is now on the slipway on the western side of Goat Island.

The last few canvases that I have completed at Moore's Wharf have  Goat Island as their main subject.
The eastern side of the Island which faces Moore's Wharf, features the old amenities block, which was once the site of the iconic TV series "Water Rats", and the heritage cottages which once housed the headquarters of the Harbour Master.
The western side of Goat Island still has an operating shipyard, one of the last vestiges of Sydney's rich heritage as a working harbour.
The only hint of this on the eastern side is the barely visible tip of the crane poking out from the treetops.

Starting a small oil sketch of the

"Shirley Smith" on the Goat Island slipway, 

oil on canvas 13 x 18cm

Enquiries about this painting

Several years ago I managed to paint on Goat Island, but it was difficult to arrange access there, and even more importantly, back.

It's a long swim to shore.

I have longed to return to paint on Goat Island, and last week I finally got my wish.
I hitched a ride on the "Mann's Point", courtesy of Sydney Ports Corporation, and painted 2 tiny oil sketches.

Starting a small oil sketch of the

"Shirley Smith" on the Goat Island slipway, 

oil on canvas 13 x 18cm

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I had a great vantage point as I was sitting on a jetty directly opposite.

My first small oil sketch of the "Shirley Smith" on the Goat Island slipway, oil on canvas 13 x 18cm 

Enquiries about this painting

Next time, I must take some larger canvases, as I would like to include the crane.
I might not get the opportunity to return until the end of this week as there have been so many commitments and distractions.
My solo exhibition continues until the end of the month. Once the paintings had been hung, and the official opening was over,  I  had to organize a panel discussion and an artist's talk.

Another view of my small oil sketch of the

"Shirley Smith" on the Goat Island slipway,

oil on canvas 13 x 18cm

Enquiries about this painting

I have left one of my French box easels on Goat Island, to make it easier for me to return with larger canvases.

The people at the shipyard have been wonderful. They are so friendly and easygoing, and have so much passion for the unique maritime heritage of Goat Island.

Starting my second small oil sketch of the

"Shirley Smith" on the Goat Island slipway,

oil on canvas 15 x 31cm

Enquiries about this painting

Painting on the island is an inspiring experience, but the trouble is that if I have left something behind, I have to do without until next time.

It can be awkward to take equipment there, and even more awkward to take it back.
I tried to take the bare minimum of stuff in my trolley luggage, but even so I needed help to lug my easel from the boat to the ramp.

My 2nd small oil sketch of the "Shirley Smith"

on the Goat Island slipway 

oil on canvas 15 x 31cm

Enquiries about this painting

My return journey to Moore's Wharf was with the apprentice boat repairers,  in a much smaller boat.

They were keen to get home, so it was a fast and bumpy Harbour cruise. 

It was made even more exciting by having to juggle two small wet canvases and make sure that they didn't fall in the water.

Related posts

Barangaroo-where Art, Architecture, History, Politics + Economics meet

Painting the Poolya at Glebe Island

Storm Warning, Goat Island

Lashed to the Mast - Plein air Painting at Moore's Wharf

From the Hungry mile to Barangaroo

Exhibition:Frances Keevil Gallery-Hungry Mile-Barangaroo

Walsh Bay - Paintings of the old Port

Under the Bridge

Starting my painting commission at dawn,
under the Anzac Bridge, looking at Sydney City Marina over to the western side.
'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

The Anzac Bridge has always held a special place in my heart.
Even before I was given the amazing opportunity to paint it from the top, I had painted the progress of the construction of its pylons in the background of many of my Pyrmont paintings during the early-mid 1990s.


'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
Many other people also love this bridge.
Recently I was given a very special commission to paint the Anzac Bridge.

'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
But not from the top this time.
From underneath.
The "Underbelly".

'Under the Bridge 1- early morning'

oil on canvas 76 x 76cm 2012

Sold : Private Collection Sydney
So now I'm painting on the other side of Blackwattle Bay.
Behind me are the dragon boat teams, and beside me are the construction sheds of the people doing maintenance work on the Bridge.
My canvas is 76 x 76cm and has been primed with black acrylic paint to help me gauge the colour values against the glare of the morning sun.

'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
I've started to paint in the pale blue morning sky.
The building in the background is "evolve", part of the Jackson's Landing development, which was built on the site formerly occupied by the 'Caneite' building of the CSR Refinery.
The mysterious 'great balls of Pyrmont' which now adorn the park in front of this building were digesters originally used in the Caneite factory to turn sugar cane waste into masonite and similar building products. They still bear the scars of marine worms and barnacles that they accumulated after rolling off the wharf and spending a few years underwater.
One of the men from Waterways Constructions took a fancy to them and fished them out.
Now they are "works of art".

6.30am 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
The morning sun lights up the Glebe Island silos and the old Glebe Island swing bridge.
At the moment Glebe Island is almost deserted, but soon this will change when they start construction of a new temporary exhibition space while the Darling Harbour space is undergoing refurbishment.

A promising start 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
After 2 hours, the silos and the bow legs of the pylons supporting the Anzac Bridge are starting to take shape. The Anzac Bridge is a beautiful, elegant and supremely functional piece of design, but from certain angles it can sometimes look a bit bandy-legged.
There are several bridges around the world of similar design. I remember walking across a huge version in Rotterdam, and being very surprised when they rang an alarm and people walking across started to scatter to either end. The bridge appeared to 'break' in the middle and a huge container ship moved through the gap in the centre.

At the end of the first session 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
However my first painting session was cut short unexpectedly.
At 8am I got a phone call from the hospital saying that after reviewing some of my mum's blood tests they wanted me to bring her in so that they could operate on her, so I stopped painting and rushed to get her.

Stage 2 Half finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
During the next painting session, I made sure to paint the green and yellow Devine tug berthed at Sydney City Marina, as I knew it would soon move away.

Next week it was on the other side of the old Glebe Island swing Bridge, so I was lucky to catch it.

To the far left is one of the chimneys of the White Bay Power Station, and on the right are some rotting stumps belonging to the old Glebe island swing Bridge.

Stage 3 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
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This painting is nearly finished, but the colour and shadows need a bit of adjusting before I'm happy with it.

Stage 4 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Almost finished.
I was a bit on edge as I had to make sure that I didn't get locked in with all the dragon boats.There are several clubs but nobody seems to know when the last club will leave. My painting site is hidden by the construction area, so I have to keep checking to see if there are any cars left.
There are lots of different clubs. Some of the rowers say that it will close about 2 - 3pm, and some say as early as 11am.
I don't want to be locked in!
I'm working fast!

'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
I needn't have panicked about being locked in.
The construction guys have promised that if I get locked in they will let me out, and there are constant security patrols.
Tuesday to Thursday mornings there is a boat repair course for unemployed people, so I have a bit more access than I thought I would.
I was worried about completing this commission as I thought that my access would be restricted to very early on Saturday mornings.
As my mum has been so ill, I can't predict when I'll get any free time.
A bit of glazing to add colour highlights and some rose pink early morning clouds will complete the painting.

Stage 2 Half finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
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But even though it was so close to being finished, there were a few twists before it was finally complete.
The weather has been variable - sometimes very windy and a couple of wild storms.
One morning I turned up and it was so cloudy that I almost decided to head back home again.
I'm glad I didn't, although I couldn't paint for long before it started raining.
I always take a couple of spare canvases just in case, and luckily I had one the same size as the one for the commission.
The sun crept out from behind the clouds every now and then - playing across the bridge pylons and the last vestiges of the working harbour beneath.
The colours changed the mood so much that I had to start another painting rather than add to the one that I was half way through.

Stage 3 Nearly finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries
Exactly the same time of day as the earlier painting , but the stormy conditions give such a different mood, and a complete change of palette.
One of my favourite paintings is "The Tempest" by Giorgione. I love the sense of foreboding he has created by such simple means - a few clouds, shadows and highlights, and the resulting painting has a mysterious poetry that defies analysis.

'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries
At first I was worried that I wouldn't have enough time to complete my commission - and now I have 2 canvases!
I don't know which canvas my client will choose.
I've emailed both and she's said that I've made it difficult for her - she loves both of them! This is her birthday present to herself, and very important to her, so I wanted her to be very happy with the result.

The big decision is tomorrow.

Update

She finally decided on the early morning painting.

Enquiries about similar paintings

Related posts

Artist in Residence at the Sydney Heritage Fleet 

Artist in Residence at the Sydney Heritage Fleet Part 2

Follow the Fleet

Blowing in the Wind

Slipping Away

 Changing Pyrmont - guest post by Jane Bennett

Pyrmont paintings past & present - My exhibition in the Maritime Museum

Artist in Residence at the Sydney Heritage Fleet- Part 5 ' Follow the Fleet'

My first attempt to paint the entire Rozelle contingent of the Sydney Heritage Fleet ended in disaster when my canvas stretcher snapped in two.
I was better prepared for my second attempt, with a bigger easel, stronger canvas stretcher, more ballast and longer cable ties.
Armed with a canvas stretched on the strongest and heaviest stretcher frame I could buy, this time I took my "studio" easel. It might be called a studio easel but I can manage to stuff it in the back of the car and use it for plein air painting.
I brought the longest cable ties that I could find to tie the canvas to the easel, and the easel to my trolley luggage, which I am using as an anchor.
The canvas stretcher weighs about 10 kilos; my large easel weighs at least 15 kilos and the trolley luggage with all its contents of extra paint, brushes, palettes, turps, painting medium, sketchbooks, lunch, thermos of water, folding table, first aid kit, spare clothes, hat and boots weighs in at a good 25 kilos. I also took the French box easel, just in case. It took 4 trips to lug this stuff the 200 metres from the car to my painting site, and 5 to lug it back, as a wet canvas has to be handled on its own.
If all of that starts to be blown around in the wind and into the water it really is time to wimp out and go home.
I'll never need to join a gym or a bootcamp. Who knows, large scale plein air painting could become the latest fitness craze!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

It isn't immediately apparent which bits belong to which vessels.
I tried hard to take a photo showing both the painting and all the ships in the same frame to show some of the difficulties.
Apart from the distance making details hard to see, there is a narrow window of opportunity to do any painting. I have to choose a day that has no more than the gentlest breeze, and has enough sun to throw some light on my subject. Even then, there are only a few hours of painting time between when the early morning haze lifts, and when the afternoon sun starts to dazzle my eyes.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Photography doesn't really work, as a telephoto lens flattens and distorts the relationships between the vessels and the colours are highly misleading. There is such a mad jigsaw puzzle of funnels, prows, awnings and lifeboats all jumbled together. Bits that belong to one vessel can easily be mistaken as belonging to another .
For understanding the close up details, I find it better to visit the Rozelle shipyard and run my canvas past the gauntlet of all the volunteers who have devoted their lives to rescuing these ships. If I've made any truly embarrassing mistakes I can rely on them to correct me. Loudly, often and in great detail!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

In the centre of my painting, the 'Bronzewing' and 'Currawong', tugs recently acquired by the Sydney Heritage Fleet, are face to face like two old friends having a chinwag.
Crammed behind them, the funnel of the a coal-fired steam tug 'Waratah' juts out at a jaunty angle. 'Waratah' was built at Cockatoo Island in 1902.
After a lot of untangling. the steam tug 'Lady Hopetoun' appears shadowed in the background of the dilapidated hulk of the 100 year old ferry 'Kanangra'. The 'Kanangra' is another link with Cockatoo Island. I remember catching her in the morning when I was painting on Cockatoo island in the early 1980s. I think she was retired by about 1985.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Beyond the 'Kanangra' are the runts of the litter, the 1908 motor launch 'Protex', the 1943 motor launch 'Harmon' and the 1955 motor launch 'Berrima'.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

To the right of the canvas is the graceful 1903 "gentleman's schooner", 'Boomerang', which I have just finished painting on the slipway at Noakes.

My half finished plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

All of these are dwarfed by the bulk of the 1927 steamship "John Oxley", currently being restored to its former glory.

My half finished plein air painting of the

"White Bay Power Station from Blackwattle Bay"

2012 oil on canvas 41 x 51cm

Available

By 1pm the changes in the direction of the light had made it difficult to see any useful details on the ships.
It was still about an hour before the wind would change, so I started painting a small canvas of the silhouette of the White Bay Power Station.
I have frequently painted this beautifully brutal building, from the inside as well as the outside. However I have rarely painted it from Blackwattle Bay, so I'm making up for this oversight.
The wind whipped up about 2pm, so both canvases are going well, but still unfinished. Till next time.

Related posts

Artist in Residence at the Sydney Heritage Fleet Part 1
Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'
Slipping away
Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'
'From the Hungry Mile to Barangaroo'
"Lashed to the Mast" - Plein Air painting as extreme sport
Painting the 'Poolya' at Glebe Island
Jane Bennett paints the 'Lady Hopetoun'
Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)
Boat at Goat (janebennettartist.blogspot.com)

Painting the Tugboats of Sydney Harbour - the 'Wilga', 'Wonga' 'Woona' and 'Watagan'

Looking for suitable subject matter to paint for the Xmas exhibition at the Frances Keevil Gallery, I couldn't resist the tugs.

Now that there are fewer large ships coming in to Sydney Harbour, they are harder to spot.

'The 'Woona' passing Goat Island'
2011 oil on board 28 x 35cm

Enquiries about similar paintings

The best opportunities are when they escort the tankers in and out of Gore Cove, and when the cruise ships come in to Barangaroo. Peak cruise ship season is from October to the end of February, so this means a bumper crop of tugboat paintings.

'The 'Wonga' 2011 oil on board 28 x 35cm
Enquiries about similar paintings

My studio at Moore's Wharf, opposite Walsh Bay Wharves on the right and Barangaroo to the left, offers good vantage points for tug spotting.

As well as painting from the wharf at ground level when the weather permits, I have studio space on the top floor in the 'loft', which gives me a 'bird's eye view'.

'The 'Wilga' 2011 oil on board 28 x 35cm
Enquiries about similar paintings

In this set of paintings, I have varied the viewpoint and the background - the paintings of the 'Wilga' and the 'Wonga' feature the tugs alone against the sea and are painted from the top floor of Moore's Wharf; the 'Woona' (which has recently been repainted in its new livery of Naples yellow and navy - it used to be white with a black hull) is painted in late afternoon against the spectacular backdrop of Goat Island; and the 'Watagan', one of the smaller tugs, is shown dwarfed by the giant white cruise ship it is escorting.

'The 'Watagan' with the 'Pacific Dawn' 2011
oil on board 28 x 35cm

Enquiries about similar paintings 

And a tugboat in action - 'Watagan' bringing the 'Pacific Dawn' into Barangaroo's temporary cruise ship terminal.

Sydney's new cruise ship terminal will be built at White Bay, as soon as the old White Bay Transit Shed has been demolished.

In the meantime, there are a motley collection of vessels berthed there for me to paint.  

Starting my painting of  
'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

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All the previous paintings are of Svitzer tugs and painted from around Moore's Wharf.

This is the odd one out in the series, as it was painted at White Bay, and was tied up rather than out on the water. I thought that it would be a good contrast.

I fell in love with the pale blue tug PB Endeavour, one of the Pacific Basin Tugs.

I was admiring it when it has been berthed at White Bay Berth 5, next to the 'Bob Barker - Sea Shepherd'.

The PB Endeavour was launched just over a year ago, and was a bargain at $9 million or so ! I wish! But as it falls a little bit outside my budget, I'll have to settle for painting it.

'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

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'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

'The 'PB Endeavour' at White Bay 
2011 oil on board 28 x 35cm
Painted en plein air at White Bay Wharf, Berth 5
Sold

Enquiries about similar paintings

I'll display this set of little tugboat paintings in the Xmas show at Frances Keevil Gallery, opening on Saturday 10th December 2011

Related posts

The White Shed at White Bay

"May close without warning" Solo Exhibition,Frances Keevil Gallery

May close without warning Part 2"All that is solid melts into air"

Sea no evil? Painting 'Sea Shepherd' at White Bay

Slipping awayArtist in Residence: Sydney Heritage Fleet Part 2 'Lady Hopetoun'Painting the 'Poolya' at Glebe Island

Boat at Goat