Hidden out of the way in the back streets of Mount Annan is a memorial to Governor Hunter.
This memorial is located in the reserve called Governors Green in Baragil Mews, Mount Annan.
This is another hidden, and largely forgotten, memorial to the Cowpastures in the local area.
There is a bronze statue of Governor Hunter is at the centre of a circular colonnade with artworks celebrating the Cowpastures.
The land developer AV Jennings commissioned Lithgow sculptor and artist Antony Symons (1942-2018) in 1995 to construct the work.
Governor Hunter and the Cow Pastures
The story of the Cowpastures begins in 1787 with the First Fleet and HMS Sirius which collected 4 cows and 2 bulls at the Cape of Good Hope on the way out to New South Wales. After their arrival in the new colony, the stock escapes within 5 months of being landed and disappears.
In 1795 the story of the cattle is told to a convict hunter by an Aboriginal, who then tells an officer and informs Governor Hunter. Hunter sends Henry Hacking, an old seaman, to check out the story. After confirmation Governor John Hunter and Captain Waterhouse, George Bass and David Collins head off from Parramatta, crossing the Nepean River on 17 November 1795. They find good farming land covered with good pasture and lagoons with birds. After climbing a hill (Mt Taurus) they spotted the cattle and named the Cowpastures.
Governor John Hunter marked area on maps ‘Cow Pasture Plains’ in the region of Menangle and elsewhere on maps south of Nepean. The breed was the Cape cattle from the First Fleet and the district was declared out of bounds to all by 1806 the herd had grown to 3,000.
British colonialism and a settler society
Governor Hunter was part of the settler society project and the country’s dispossession of First Nations people. Hunter was a representative of British imperialism and how it implemented its policies on the colonial frontier of New South Wales.
The Cowpastures was a site of frontier violence and the displacement and dispossession of Indigenous land in the early 19th century.
Governor Hunter Statue
Plaques below the Governor Hunter statue
Governor’s Green Heritage Park was presented to the people of Camden by AV Jennings and was officially opened by the Mayor of Camden Councillor FH Brooking on the 6th April 1995 in celebration of the centenary year of the discovery of the herd in 1795 at Cowpastures Camden.
Camden Mayor Frank Brooking
Frank Brooking served as Camden mayor from 1993 to 1997. Mr Brooking was a motor dealer whose business was located on the corner of Cawdor Road and Murray Streets and sold Morris and Volkswagon brands. Frank was a community-minded person who volunteered for the Rural Fire Service, Camden Rotary Club, Camden Show Society, Camden Area Youth Service and other organisations. He died in 2013 aged 74.
Plaque Governor Hunter statue
Governor John Hunter (1737-1821), Governor of New South Wales September 1795 – November 1799.
‘On the evening of my arrival…, I was directed to the place where the herd was feeding,… we ascended a hill, from which we observed an herd…feeding in a beautiful pasture in the valley I was now anxious to ascertain of what breed they were, whether natives… or the descendants of those we had so long lost, but in this attempt we were disappointed by being discovered and attached most furiously by a large and very fierce bull, which rendered it necessary for our own safety, to fire at him. Such as his violence and strength, that six balls were fired through, before any person dared approach him. I was now satisfied that they were the Cape of Good Hope breed…. offspring of these we had lost in 1788, at this time we counted sixty-one in number, young and old. They have chosen a beautiful part of the country to graze in…
Historical Records of Australia, Governor Hunter to the Duke of Portland, 21st December 1795.
Jeff McGill, Rachel. Allen & Unwin 2022, Sydney. ISBN 9781760879983.
Tonight I had the privilege of attending the book launch for local author and raconteur Jeff McGill’s Rachel at Mary Sheil Centre, St Patrick’s College at Campbelltown.
McGill’s Rachel tells the story of Jeff’s great-great-grandmother from the Coonabarabran area of NSW. Rachel Inglis (Kennedy) was known as Rachel of the Warrumbungles.
McGill’s Rachel had been brewing for about 40 years and it was only in the 2020 lockdown when Jeff’s freelance work dried up that he got mobile on writing the book.
A friend advised him to send a couple of chapters to two publishers. He sent the work to Allen and Unwin and a small publisher in Melbourne. Allen & Unwin got back to him in two days and wanted to know if he had more material, so he sent off chapters 3 & 4. The rest is history.
Jeff often visited Rachel Kennedy’s farm at Box Ridge and listened to local storytellers at Coonamble and Coonabarabran. He is the sort of writer who walks the ground and soaks up the ghosts of the past. He allowed the landscape to talk to him and embedded himself in the spirit of place.
The late Mrs. Inglis was one who rarely gave a thought to herself, her one object in life being to help others. She was always to be found at the bedside of almost every sick person in the Warrumbungle district, and has been known to have ridden as far as 20 miles in the middle of the night to reach some sufferer, even when far from well herself. Considering that all her grand efforts were done in an age when motor cars were unknown, it stamps this fine old pioneer as one of the world’s best — a race that is fast vanishing from our midst. The deceased lady had reached the great age of 85 years. (MG&NWR, 11 April 1930)
At the time of Rachel’s death, it was usual for the country press to publish any sort of obituary of a woman unless she was white and from an influential rural family. The country press was a very white-male institution.
The obituary published in the Mudgee press was an acknowledgement that Rachel was a true local identity and bush character well known in the area. A rare feat indeed. The bush was a male-dominated landscape where women remained in the shadows.
Rachel did not fit the stereotypical 19th-century woman. Yet, she did not seek recognition for her community work and never received it in any public fashion.
The local community understood Rachel’s contribution to their lives and when she was buried in the Presbyterian section of the Gulargambone Cemetery, it was
in the presence of one of the largest gatherings, ever seen at the cemetery. The Rev. G. Innes Ritter, of Coonamble, performed the last sad rites at the graveside. (MG&NWR, 11 April 1930)
Rachel Kennedy stood out on a wild frontier dominated by men… her extraordinary and unputdownable pioneering story is told for the first time
‘Just a girl, but when it came to chasing wild horses nobody questioned Rachel Kennedy’s skill in a saddle. What raised the eyebrows was the type of saddle she used: a man’s.
Rachel Kennedy was a colonial folk hero.
She also built rare friendships with Aboriginal people, including a lifelong relationship with her ‘sister’ Mary Jane Cain.
Meticulously researched and written with compelling energy, this is a vivid and at times heartbreaking story of a pioneering woman who left a legacy that went well beyond her lifetime.
Emerging from the shadows of history
The book is a ripping yarn about the colonial frontier and the role of women in early New South Wales. Another woman emerges from the shadows of history and we are allowed to understand their true contribution to the settler story of our nation.
Updated 2 June 2022. Originally posted 1 June 2022.
The story of the construction of the history of the Camden area. There are many versions and they are all correct. They all put their own spin on the way they want to tell the Camden story. Some good, some indifferent, some just plain awful.
(Facebook, 23 November 2015)
Tourist history of Camden
The official story of the township as told to tourists is shared in the brochure for a historic walk around the Camden town centre published by Camden Council. It is reflective of the pioneer legend that has pervaded the Camden story and the legitimising narrative that is part of the nation-building story of a settler society. In many ways, it hides as much as it reveals. It states:
The historic town of Camden, less than an hours drive south-west of Sydney, is the cultural heart of a region that enjoys a unique place in our nation’s history.
The earliest developments of the Australian wool, wheat and wine industries are associated with the town following the original land grant from Lord Camden to John Macarthur in 1805.
The town is home to a large number of heritage listed attractions that reflect its strong links with the history of colonial settlement in Australia. Camden is rich in rural heritage with live stock sale yards, vineyards, Equestrian Park and dairy facilities.
The township reveals in its built heritage an interesting and varied range of architectural styles that reflect the town’s evolution from the earliest days of European settlement through to the modern era.
The walking tour brochure portrays Camden’s rich historical and cultural legacy and affords a valuable opportunity to both visitors and the local community to experience the town’s unique character and charm and appreciate some of its history first hand.
(Camden Heritage Walking Tour Brochure)
A similar heritage walking brochure exists for the Narellan area, which tells the story of European settlement of a planned government village that pre-dates Camden. Here there is also silence on many aspects of the past that are yet to be revealed to readers.
This short historiography is one of the few that has been attempted to illustrate the construction of the history of a rural community. One that has been recently published is included in the history of the gold-mining community of Linton in Victoria (2015). The author, Jill Wheeler, examines the broad range of influences that shaped the writing of that community’s history.
This paper should be read in conjunction with the Camden Bibliography, which is a list of published and other sources on the Camden District. It was my first attempt at compiling an authoritative list of sources on the local area and it has been pleasing to note that a host of researchers have found it to be a useful start.
This construction of the story of Camden history can be divided into a number of identifiable stages. Each stage reflects the values and attitudes of those who created the writing of the period, and the social and cultural filters that shaped their version of the story.
The Cowpastures frontier
From the beginning of European settlement in Australia curiosity drew those with an interest in wider issues to the local area. The first expeditionaries were naval and military officers who were trained to observe the landform and surroundings and record the detail in their logs and diaries. While providing a detailed account of their journeys they also recorded their observations and contact with Indigenous people. They recorded their observations of a managed landscape that was regularly burnt by the local Indigenous people. Prominent amongst these were Englishmen Watkin Tench (1790), Governor John Hunter (1795), David Collins (1795), George Bass (1796) and Lachlan Macquarie (1810, 1815, 1820), and Frenchmen Francis Louis Barrallier (1802) and Louis Antoine de Bougainville (1826).
Then there are the letters of settlers like John Hawdon of Elderslie in the 1820s who wrote back to England of his experiences in the Cowpastures and dealing with ‘the government men’. [convicts]
Amongst other writings, there are the reminiscences of Barron Field (1825), Thomas Mitchell (1836) and William Pridden (1843), while there are the journals of colonial women such as those of Annabella Boswell (1848).
Naming landform features gave the new arrivals a legitimacy of possession. For example on Governor King’s excursion to the area, he named the locality the Cowpastures because of the escaped cattle.
Villages and beyond
The earliest records of settlement in the Cowpastures describe the conditions in the villages that were scattered across the area – Cawdor, Cobbitty, Elderslie, Narellan and then later Camden (1840).
The earliest accounts of Camden village, its planning, its establishment and development are carried in the Sydney newspapers – particularly The Sydney Morning Herald. During the 1840s the Camden Clerk of Petty Sessions Charles Tompson was a regular correspondent to the newspaper.
Even by the 1880s the changing nature of the Camden village and the district prompted nostalgia for the pioneering days of the early colonial period. The Camden Times and Camden News printed reminiscences of the town and district of JB Martin in the early 1880s and 1890s and RH Antill in the late 1890s, Richard Todd (1895 and 1896) as well as the stories from Obed West in the 1884 and 1885 in The Sydney Morning Herald. These stressed the progress and development of the town. Martin, the Camden Clerk of Petty Sessions for a period, made the point in his 1883 (Camden Times) reminiscences that the history of several English counties had been written by local history associations and he felt that a similar venture was worthwhile in the Camden district.
Further reminiscences were Thomas Herbert (1909) in the Town and Country Journal and Samuel Hassall’s (1902) In Old Australia and there are the unpublished reminiscences of Camden businessman Samuel Thompson (1905).
The Boer War, then the First and later the Second World Wars provide a period of reflection for local folk who are away soldiering in foreign lands. They are amongst the first to write about the Camden District as home in nostalgic terms from far away places where they are under traumatic conditions.
These letters were published in the Camden News and during the Second World War the Camden Advertiser. Some have found their way into recent publications particularly on the centenary of the First World War.
An important theme in the Camden story is the development of a Camden aesthetic based on romantic notions surrounding the colonial properties of the landed gentry and the landscapes that were created by the Cowpasture patriarchs.
This first appeared in Andrew Garran’s highly successful Picturesque Atlas of Australasia (1886) and portrayed an idyllic English village at Camden surrounded by an ordered farming landscape. The engraving was accompanied by GB Barton’s account of the exploits of John Macarthur and the foundation of the colonial wool industry. This was a narrative that evolved into local and national mythology and was further advanced by Sibella Macarthur Onslow’s Some Early Records of The Macarthurs of Camden (1914), a collection of family papers.
The legend of John Macarthur gained further momentum in the 1930s on the centenary of John Macarthur’s death in 1934 when Australia was in search of national heroes. He was the subject of stories in the Journal of the Royal Australian Historical Society (1929) and biographies. His image appeared on a series of postage stamps and later on the new decimal currency in the 1960s. His character was the subject of a novel (1941) and a new Federal electorate of Macarthur (1949) was named after him. In 1960 the Camden community held a four-day celebration of the legend of the John Macarthur and the 150th anniversary of wool production in Australia called the Festival of the Golden Fleece (22-30 October).
The early 20th century also witnessed a shift in history writing identified by Graeme Davison from ‘pioneer’ to ‘patriarchal’ history writing and the development of the Camden aesthetic was part of that agenda.
There was William Hardy Wilson’s The Cow Pasture Road (1920) and Ure Smith’s watercolours and etchings in his Old Colonial By Ways (1928). Whimsical descriptions of Camden’s Englishness were published in Eldrid Dyer’s ‘Camden, The Charm of an Old Town’ (1926) and articles in The Sydney Morning Herald like ‘The Beauty of Age’ (1934).
The Royal Australian Historical Society published articles on the Camden District in its journal. The first appeared in 1928 on the Cowpastures, Cawdor and Cobbitty, which were followed by the Burragorang Valley (1934), Camden (1935), Narellan (1936), and the Cowpastures again in 1939.
Newcastle based journalist JJ Moloney, a former Menangle resident, published his reminiscences of Early Menangle in 1929. In Camden two local journalists, George Sidman and Arthur Gibson, each separately marked the golden jubilee of the foundation of the Municipality of Camden (1889). Sidman, the owner of the Camden News, published the memoirs of J. B. Martin in a series of newspaper columns. While Gibson, owner of the Camden Advertiser, commissioned James Jervis from the Royal Australian Historical Society to write The Story of Camden.
The end of the Second World War created an air of confidence in the Camden District, which by this stage was prospering from the wealth created by the Burragorang Valley coalfields. In 1948 the newly formed Rotary Club and Camden Community Centre commissioned the University of Sydney to conduct a sociological survey of the town to provide a foundation for ‘future development’. This was followed up in 1952 by an American sociologist from the University of Kansas City, ML ‘Jack’ Mason and his wife Elizabeth ‘Beth’. They surveyed the town and established that there was a five-tier social structure, which had its origins in the colonial period and the Cowpasture patriarchs. Both studies were suppressed from public gaze by vested interests until recent times.
Memorials of loss
As historians Graeme Davison and Gail Griffiths have noted the loss of local icons and ‘loved places’ creates a deep sense of insecurity and a desire by some for the ‘good old days’. The grieving process was triggered in the Camden District community from the loss of Burragorang Valley after the state government decided to build a dam in the 1930s. In the early 1960s, the New South Wales Government closed the Campbelltown to Camden rail link as part of a state-wide rationalisation process.
There were five seminal events during this period, firstly, in 1957 the number of teachers from the newly established Camden High School formed the Camden Historical Society and held lectures, conducted field trips and outings.
Secondly, there was the erection of civic monuments celebrating the Burragorang Valley. The first monument, erected in 1962, was the Camden Rotary mural at the southern entrance to the town. The mural has designs celebrating Indigenous culture as well as the area’s farming and mining heritage. The stone for the wall came from the St Paulinos Catholic Church in ‘the Valley’.
Thirdly, a wagon wheel was erected by the Camden Historical Society outside the council chambers in 1977 to celebrate the teamsters who brought silver ore from Yerranderie through ‘the Valley’ to the Camden railhead. A heavy horse-drawn farm wagon was located outside the council chambers in 1978 to memorialise farmer workers and the horse. Each of these monuments recalled the values of the frontier; tenacity, stoicism, ruggedness, individualism, adaptability and Britishness. An 1899 water trough was added to these civic monuments in 1979 celebrating the town’s modernity when the town was connected to reticulated water; a sign of progress and development.
In 1970 the Camden Historical Society opened a folk museum in a room in the old council chambers encouraged by the Royal Australian Historical Society. The museum used simple displays of local ephemera, artefacts and other collectables supplemented with rudimentary signage to tell the Camden story.
The memorials of loss across the district extended to the numerous war memorials scattered throughout the Camden District that mourned the loss of men who never came home after the Great War. These monuments were added after the Second World War and in recent times with the centenary of the First World War, and have shaped and re-shaped the Camden story in ways that are still hard to identify. Their meaning is a statement of collective memory that is expressed in April and November every year by local communities.
Elsewhere in the district, The Oaks Historical Society was formed in 1979. It has contributed much material to the storytelling of the western part of the Camden District, particularly the Burragorang Valley and the silver mining fields of Yerranderie.
The rural-urban fringe and other threats
The role of loss in the Camden story acquired new meaning after 1973 when there was an identifiable shift in the interpretation and representation of ruralness in Camden. The release in 1973 of The New Cities of Campbelltown Camden Appin Structure Plan as part of the 1968 Sydney Regional Outline Plan triggered a wave of invaders from the city. Urban planners envisaged three regional centres on Sydney’s outskirts at Camden, Campbelltown and Appin with the ambitious idea of stopping the city’s urban sprawl.
These events strengthened the role of the Camden aesthetic. There was the re-making of place centred on the decline of the country town of Camden as the hub of a thriving rural economy to an idealised country town, a country town of the imagination.
Romantic representations of Camden’s rurality, especially St John’s church, became an important part of the contemporary consciousness. They found their way into official council policy and have been used in literature, publications, tourist and business promotions, websites, artwork, music, museum displays and a host of other places. In 1999 Camden Council’s strategic plan Camden 2025 adopted the language and imagery of Camden’s rurality when it outlined ‘the traditional qualities of a rural lifestyle’, ‘the historic nature’ of the area and the ‘unique rural landscapes and vistas’ in a country town atmosphere.
There was also the influence of the national bicentennial celebrations in 1988 and the publication in the same year of Alan Atkinson’s Camden, Farm and Village Life in Early New South Wales (1988) which examined the early decades of the township. The dust jacket used a romantic watercolour (1850s) attributed to Emily Macarthur which looks ‘across Camden Park to the north-west, with St John’s Church and the distant Blue Mountains closing the view’, with the Nepean River flowing across the vista, similar to the 1886 Garran engraving.
This period also the emergence of the local histories of the area written by keen amateurs with the most notable example being John Wrigley, who has put together several publications the first published in 1980 called A History of Camden. The Camden Historical Society started a small journal in 2001 called Camden History, which the society continues to successfully publish specialist local histories for a local audience.
The 21st century saw the evolution in the Camden story to a new generation of writers, most notable amongst them was this author. My work started with a local wartime study of a women’s voluntary organisation and has extended across a range of local themes including the rural-urban fringe, urban history, place, identity, philanthropy, the wartime homefront and local government. Most recently I have told the Camden story in a publication of a pictorial history of the district.
In 1883 the Double Bay outlet of Ferguson’s Australian Nurseries at Camden was described in the Sydney press as a ‘well-ordered establishment…covering three acres…laid out in a most systematic manner’. (Illustrated Sydney News, 14 April 1883, page 3)
The Double Bay nursery was one part of the Ferguson horticultural enterprise, which started in the 1850s at Camden. Sales encouraged opening a second nursery at Campbelltown, later moved to Double Bay. The 20th century brought more changes and eventually new owners.
Ferguson’s nursery and William Macarthur’s Camden Park nursery were part of a British imperial horticultural network that satisfied the Victorians’ insatiable demand for plants. The industry was driven by plant hunting expeditions and a Victorian fetish for orchids, ferns, palms and other new plants.
The burgeoning colonial nursery industry in the Cowpastures was an integral part of British imperialism and the settler-colonial project. The Enlightenment notions of progress and development were good for business and re-enforced the dispossession and displacement of Dharawal people from their country.
Nurseryman Francis Ferguson
The Camden nursery was established in 1857 by Englishman Francis Ferguson on a 50-acre site fronting the Nepean River. Francis originally came out to New South Wales as an assisted immigrant in 1849 on the John Bright after working at Chatsworth Estate in Derbyshire and other English estates. Initially, he worked for Sir Thomas Mitchell, laying out his estate at Parkhall (later Nepean Towers, St Mary’s Towers) at Douglas Park. (Morris and Britton 2000)
Historian Alan Atkinson describes Ferguson as ‘a man of education, some capital and mercurial habits’. (Atkinson, 1988)
Ferguson was head gardener at Camden Park Estate for William Macarthur (later Sir William) from 1849-1856 and could be styled as a Macarthur protege. (Reeve 2017) The Camden Park website maintains that William Macarthur ran one of the most important nurseries in 19th century New South Wales. According to visiting English nurseryman John Gould (JG) Veitch Macarthur was well known in Europe. Veitch Nurseries were reportedly the largest family-run plant nurseries in 19th century Europe.
Ferguson remained indebted to the patronage of William Macarthur (Morris and Britton 2000) and his experience at Camden Park and acted on Macarthur’s behalf when he was not in Australia. (WCL 2021)
In 1864 a 25-year-old JG Veitch (Financial Times, 27 September 2014), led a plant hunting expedition to the ‘South Seas’ and delivered several Wardian cases to Australian colonial contacts. While in New South Wales, he visited William Macarthur’s Camden Park nursery and Fergusons Australian Nursery, which impressed him. For a time Ferguson acted as an agent for James Veitch and Sons nurseries. (Morris and Britton 2000; McMaugh 2005)
Fruit trees, camellias and roses
Francis Ferguson opened the Camden nursery sometime in 1857 (Nixon 1991; Little 1977; Farmer and Settler, 8 July 1937, 15 July 1937) and it became the centre of a growing horticultural enterprise that extended well beyond the area.
The Ferguson nursery was located on the left bank of the Nepean River at the Macquarie Grove river crossing on the northern boundary of Camden Park estate. The nursery site had an east-west alignment with a 600-metre river frontage along its northern boundary ending at Matahil Creek to the east, with the Ferguson homestead on the rise to the southwest.
The homestead had ‘a fine view’ of the Camden township to the northeast with the spire of St John’s Church and allowed a ‘glimpse of Camden Park house in the distance’ to the southeast. (Sydney Mail and New South Wales Advertiser, 10 January 1880, page 68)
According to Alan Atkinson, the Australian Nursery specialised in ‘trees “peculiarly adapted to the requirements of Australia”, together will shrubs and native seeds’. (Atkinson, 1988)
According to an 1880 Sydney press report, the nursery was about eight acres in extent with ‘a long avenue’ terminating at a ‘large gate’ below the house ‘making a very nice carriage drive’. There were ‘very well laid out walks’ throughout the nursery, surrounded by ‘gigantic pines, araucarias, and poplars’. (Sydney Mail and New South Wales Advertiser, 10 January 1880, page 68)
Reports indicate that in 1879 Fergusons sold over 60,000 fruit trees and 5,000 camellias (Sydney Mail and New South Wales Advertiser, 10 January 1880, page 68). The nursery plant stock consisted of over 6000 camellias, 100,000 hawthorn seedlings. (Ferguson 1871)
In 1871 issued a series of five trade catalogues that listed plant stock for sale. The catalogues were:
New and Rare Plants
Hardy Trees, Shrubs and Conifers
Fruit Trees, with directions for forming the orchard.
Bulbs and Tubers. (Ferguson 1871)
The ‘Catalogue of New and Rare Plants’ listed over 950 individual plants and was a mixture of native plants from the Australian continent and exotics from worldwide. The catalogue listed a substantial selection of popular flowering plants, including roses, camellias, azaleas, pelargoniums and chrysanthemums, fuchsias, carnations, and dahlias. Utilitarian plants included ‘trees for avenues’ and ‘hawthorn for hedges’. Under the heading of ‘trees and shrubs’, details listed the plants’ ‘scientific name’, ‘native country’, ‘height in feet’, and price. (Ferguson 1871)
The Ferguson catalogue provided practical advice for the colonial gardener and a plant description. For example, ‘Araucaria Bidwilli – The Queensland Bunya Bunya, forming magnificent trees as single specimens’. Camellias were a favourite but hard to grow in the colonial climate, and details were provided on how to look after them. The hawthorn was a ‘favourite English Hedge Plant [and] thrives remarkably well in all parts of Australia, forming, undoubtedly, the best defensive hedge’. (Ferguson 1871)
Ferguson’s also offered advice on new and rare plants in the press. In 1876 the nursery published advice on the ‘rare’ Jacaranda mimosifolia described as ‘a singularly beautiful and rare flowering tree’. The report stated, ‘the Jacaranda mimosifolia is perfectly hardy in all but the very coldest districts of New South Wales, Queensland, and Victoria.’ (Australasian (Melb), 6 May 1876)
Ferguson’s sold extensively across the colonial garden market in New South Wales, Victoria, Queensland and New Zealand, supported by 14 agents in locations ranging from Auckland to Wellington and Wanganui in New Zealand’s North Island and to Dunedin in the South Island. In Queensland, agents were listed at Warwick and Darling Downs, while those in New South Wales ranged from Bega to Mudgee and out to the Liverpool Plains. Ferguson claimed that there was an increasing demand for ‘Australian Timber Trees’ in Northern India, California, Southern Europe, and New Zealand. (Ferguson 1871)
Condamine Street, Campbelltown
By the late 1860s, increasing demand and the distance from the Campbelltown railway station encouraged Ferguson to establish a nursery outlet at Campbelltown. (Ferguson 1871)
The Camden nursery was nine miles from Campbelltown Railway Station, and it took Mr H Ferguson in a buggy with a ‘fine stepper’ and an hour to get there. (Sydney Mail and New South Wales Advertiser, 10 January 1880, page 68)
The firm opened the Campbelltown nursery in 1869 in Condamine Street, close to the convict-built water supply reservoir. (Reeve 2017) It was stocked with 50,000 ‘well-grown healthy plants’ to supply growing demand from ‘up-country and adjacent Colonies’. (Ferguson 1871)
From 1874 the Campbelltown outlet was managed by Francis John (FJ) Ferguson, Francis’s son, who had returned from five years with English firm Veitch Nurseries at Chelsea and the firm now traded as Francis Ferguson and Son. (Reeve 2017)
Double Bay Nursery
Manning Road and New South Head Road, Double Bay
The business continued to prosper, and FJ Ferguson moved the Campbelltown outlet closer to Sydney. A site was chosen at Double Bay on a former market garden in 1876 and opened in 1878. (WCL 2021) (Reeve 2017)
The Double Bay Nursery site had ‘a large frontage’ on New South Head Road with ‘rich deep alluvial’ soil in a low lying area that drained into Double Bay. (Illustrated Sydney News, 14 April 1883)
By 1887 the nursery had two propagating glasshouses with impatiens and lasiandras, a bush house that accommodated a mixture of pot plants including camellias, bouvardias, magnolias, conifers and tree ferns. (Sydney Mail and New South Wales Advertiser, 6 August 1887, page 278)
In 1885 the nursery opened a shopfront in Sydney’s Royal Arcade, which ran between George Street and Pitt Street and had been designed by Thomas Rowe in 1881. The nursery shop was successfully managed by Herbert Ferguson and specialised in plants, seeds and cut flowers. (Sydney Mail and New South Wales Advertiser, 6 August 1887, page 278)
The Ferguson’s also ran a small nursery near Ashfield railway station to supply the Royal Arcade shop with cut flowers. (Sydney Mail and New South Wales Advertiser 6 August 1887, page 278)
The 20th century beckons
The beginning of the 20th century brought more changes for the Ferguson nursery business, and by the late 1960s, new owners.
Atkinson, Alan (1988). Camden, Farm and Village Live in Early New South Wales. OUP, Melbourne.
Ferguson, F. (1871). Catalogue of new and rare plants, hardy trees, shrubs, conifers &c. Camden NSW, Ferguson’s Australian Nurseries. (NLA)
Little, S. (1977), Correspondence to CHS 19 February, MSS, Camden Museum Archives
McMaugh, Judy (2005). Living Horticulture, The lives of men and women in the New South Wales Nursery Industry. Nursery and Garden Industry NSW & ACT, Sydney
Morris, C. and G. Britton (2000). Colonial landscapes of the Cumberland Plain and Camden, NSW: A survey of selected pre – 1860 cultural landscapes from Wollondilly to Hawkesbury LGAs. Sydney NSW, National Trust of Australia (NSW). 1 & 2.
Nixon, RE (1991). Camden Rose Festival. Typescript, Camden Museum Archives.
Reeve, T. M. (2017). “‘Rawson’, Condamine Street, Campbelltown, a private residence, formerly known as ‘Marlesford’.” Grist Mills 30(2): 25-32.
As you wander around the administration-library-shopping precinct at Oran Park, there is a sense of anticipation that you are being watched. If you look around, several bronze bovine statues are guarding the site. They are a representation of the Cowpastures Wild Cattle of the 1790s.
The bronze herd of horned cattle consists of six adult beasts and one calf wandering in a line across the manicured parkland landscape. The bovine art connoisseur can engage with the animals and walk among them to immerse themselves in a recreated moment from the past – a form of living history.
The bronze cattle dramatically contrasts with the striking contemporary architecture of the council building across the road. Opening in 2016, the cantilevered glass-boxed and concrete Camden Council administration building was designed by Sydney architects GroupGSA.
This bovine-style art installation is the second memorial to the Cowpastures, the fourth location of European settlement in the New South Wales colony. The artwork is found in Perich Park, named after the family that endowed the community with the open space.
The story of the Cowpastures is told on the storyboard located adjacent to the artwork. It states:
The Wild Cattle of the Cowpastures
There are several versions of this story. There seems to be a consensus that two bulls (one bull calf) and five cows were purchased at the Cape of Good Hope and landed at Sydney Cove with the First Fleet in January 1788. The cattle were black and the mature bull was of the Afikander [sic – Afrikander] breed.
Shortly after the arrival of the First Fleet the two bulls and five cows could not be found and it was not until seven years later in 1795 that a convict reported sighting a herd of cattle in the bush.
Governor Hunter dispatched Henry Hacking to report on the cattle. Hunter resolved to inspect them himself and in November 1795 with a party of mainly Naval officers he found a herd of sixty-one cattle near the Nepean River near what is now known as Menangle.
Governor Hunter named the area The Cowpastures Plains. He wrote ‘They have chosen a beautiful part of the country to graze in…and they may become…a very great advantage resource to this Colony’. They were rather wild and inferior but bred rapidly.
By 1801 the herd had increased naturally to an estimated five or six hundred head. In 1811 they were estimated to be in their thousands.
The bronze cattle here have been kindly donated to the Community by the Perich Family.
The bronzed-bovines in Perich Park on Central Ave were installed in 2016 to coincide with the opening of the new council building.
The Perich Park art installation is preceded by an earlier artwork that depicted more bovines just up the street. The other animal sculptures were a set of concrete cows that were represented wandering around in a small reserve opposite the Oran Park development sales office in Peter Brock Drive.
The reserve is located between Peter Brock Drive and Moffat Street, and this batch-of-bovines were installed around 2010. The reserve and open space is not designated parkland, and signage indicates that it is destined for housing development.
The use of public art is one approach to placemaking that is employed by urban planners and designers, architects, and others. The authorities responsible for creating the Oran Park community and the new suburbs within it have used public art for placemaking.
What is placemaking?
Placemaking is a multi-faceted approach to the planning, design and management of public spaces. Placemaking capitalizes on a local community’s assets, inspiration, and potential, with the intention of creating public spaces that promote people’s health, happiness, and well-being.
integrates arts, culture, and design activities into efforts that strengthen communities. Creative placemaking requires partnership across sectors, deeply engages the community, involves artists, designers and culture bearers, and helps to advance local economic, physical, and/or social change, ultimately laying the groundwork for systems change.
Storytelling promotes the concept of place and the process of placemaking. One of those stories is the Cowpastures and the Wild Cattle history from the days of colonial New South Wales.
Understanding the past through storytelling contributes to the construction of community identity and builds resilience in new communities. The cultural heritage of an area is the traditions, ceremonies, stories, events and personalities of a place. There are also dark and hidden stories of the Cowpastures that need telling, such as the frontier violence of the Appin Massacre.
The Cowpasture art installation uses a living history approach to tell the story of the European occupation of the local area that is part of the history of colonialism and the settler society project in New South Wales.
Public art as wayfinding, placemaking, memorial and urban development
The story of the Cowpastures is represented in public art across the Macarthur region and one example is found along the Harrington Park Lake walkway.
A pleasant stroll around the lakeside path will bring the walker to a wooded section and where there is an art installation with cows hiding under the trees.
The public artwork is a mixture of elements that combine wayfinding, placemaking, memorialisation and urban development in a new suburb.
The artwork installation called Cowpastures was created by artist Jane Cavanough of Artlandish Art and Design in 2001. The signage states ‘The cows represent the history of cattle grazing in this region, formerly known as “The Cowpastures”.
Artist Jane Cavanough writes that she ‘produces site-specific public art that is a union of both classic and contemporary design, interactive, low maintenance with long-lasting beauty. She states that her ‘strength is creating artworks that have a strong relationship to the site’. (Cavanough 2020)
Cavanough has achieved her aim with Cowpastures on the Lakeside walk where walkers have been able to engage with the artwork and ponder what the real cows might have looked like over 200 years ago. The artwork has weathered well over the last 20 years and still carries the story that was created by the artist.
The considerations in Cavanough’s Cowpastures parallels the aims of public art in the Northern Beaches LGA. Important considerations for the community and the council along the Northern Beaches Coast Walk were eight principles:
Respect and acknowledge Aboriginal cultural heritage
Celebrate and conserve significant natural and cultural values
Connect places and people along the coast
Foster artistic and cultural expression and encourage creative collaboration
Enrich places through high quality art and design
Interpret the history and significance of the coast
Value artistic and cultural diversity and be inclusive
Public Art refers to a range of artwork and art-based activities that interface with the public, including property in private ownership that has publicly accessible space and the public domain. Public Art can include sculpture, place-making elements, wall embellishments, art integrated into the design of buildings, artist-designed seating and fencing, paving work, lighting elements and other creative possibilities. Public Art can serve both an aesthetic and functional purpose.
The public domain means public places and/or open spaces that are situated within, vested in or managed by Council, including parks, beaches, bushland, outdoor recreation facilities, streets, laneways, pathways and foreshore promenades and public buildings, facilities or enclosed structures, owned and managed by Council which are physically accessible to the general public. (Council 2019)
To assist Harrington Park Lakeside walkers engage with Cavanough’s Cowpastures artwork there is information signage that provides an interpretation of the installation. It states:
In 1788 a herd of 4 long horn cattle and 2 bulls escaped from the Government Farm at Rosehill. [sic] They were found seven years later in 1795 as a herd of 40 in a rich expanse of grassland. Later that same year Governor Hunter surveyed this region and appropriately named it “Cowpastures”. Harrington Park with [sic] the Cowpastures region.
The pastoral industry in Camden began when Governor King granted John Macarthur 2000 acres, which became known as Camden. Further land grants were handed out across the region, including Harrington Park in 1815 to Captain William Douglas Campbell.
The Davies family purchased Harrington Park from the Campbells in 1833. The Rudd family owned the property from 1902/3 to 1944 when it was sold to the Fairfax family.
It operated as a dairy in the 1920s-1930s and then, in 1946, under the Fairfax family’s ownership, it was operated as a poll hereford [sic] stud, nursery and dairy.
Harrington Park-Taylor Woodrow-Fairfax
The storyboard has a supplementary map of Harrington Park property in the Cowpastures.
<info board pic>
Hidden in the past
Cavanaugh’s Cowpastures tells the story of the site and reveals the layers of the past to the viewer. Yet there is more to the story hidden in the shadows. Some of these hidden stories are hinted at while others are still to be revealed. One example is the violence of the colonial frontier in the Cowpastures as the settler society project unfolded and Europeans took up territory from the Indigenous Dharawal. (Karskens 2015)
At Harrington Park lakeside Cavanough has taken part in placemaking, wayfinding, memorialisation and urban development with her creation of Cowpastures. She has engaged in telling the cultural heritage and contributed to the construction of place and community identity in a new suburb, directed visitors to discover the stories of Cowpastures from the past in an aesthetic landscape setting, and celebrated the history of the site and the Europeans who farmed the land.
The information plaque, with the wrong date, has an explanation of the Cowpastures story by the artist and reads:
This mural commemorates the early history of our land and pristine waterways, from the Dreamtime beginnings, to the 1895 [sic] discovery of the escaped First Fleet wild cattle in this area. These cattle were later destroyed to make way for the pioneering of the district, the introduction of dairy and beef breeds that formed the basis of a wealthy agricultural industry. The spirit of our early setters lives on through the recording of visual history in this beautiful valley.
By Gifted/Talented History Students from Picton, Camden South, and Mawarra Schools.
M Armstrong, E Bristow, T Clipsham, H Eriksson, S Esposito, L Greco, M Gordon, L Harley, L Mulley, K Parker, P Reynolds, E Savage, C Wotton, N Young.
Bronze Sculptor Joan Brown 2012
Terry O’Toole reports that after representations to Wollondilly Shire Council, the date error on the plaque above was corrected in February 2022. A new plaque has been placed in position, replacing the old one in the photograph above. (Terry O’Toole. Facebook Messenger, 7 March 2022)
Sculptor Joan Brown
Sculptor Joan Brown is a fifth-generation member of a ‘local pioneer family’ growing up on her family property of Abbotsford at Picton. She was surrounded by ‘grazing and dairying properties in the valleys of the Razorback Range’.
Joan is ‘passionate about the preservation of the ethos and heritage of the local area’ and has developed an understanding of the local landscape. She has used local landscapes, historic sites and heritage buildings as subjects of her artworks. (Brown 2021)
Joan was part of the community that initiated the Picton Bicentennial Village Square, where the mural is located, and the restoration of St Mark’s Church and Pioneer Cemetery. (Brown 2021)
Joan has an ongoing passion for the ‘preservation and heritage of the local area’, including the ‘unique heritage village’ of Picton. (Brown 2021)
The Picton Cowpastures Memorial is one part of the public art scene of the Macarthur region. Other public art installations across the area include:
The Picton Cowpastures Memorial is a metaphor for the settler society and represents the past. The artwork depicts four-horned cows of the Cowpastures Wild Cattle grazing on the steep country around the Razorback Range.
The depiction of the Wild Cattle on Dharawal country hints at the arrival of the colonial frontier in the Cowpastures, the fourth locality of European occupation in the New South Wales colony.(Willis 2018) The horned cattle represent the possession of territory by the Europeans and their settler-colonial project.
The landscape illustrated by the mural is devoid of vegetation, hinting at the environmental desolation caused by European occupation and the dispossession of the Dharawal people. The dead tree depicted in the mural landscape is a sad reminder of European exploitation of the natural resources of the Cowpastures and threats to Cumberland Plain Woodland and other ecological types across the Macarthur region.
The story the mural tells is full of meaning with many layers that can be peeled back to reveal many hidden corners in the narrative of the local area. The stark outline of a dead tree might be regarded as a metaphor for the frontier violence of the early colonial period and symbolic of the Appin Massacre, which took place in the Cowpastures in 1816. (Karskens 2015)
The cultural heritage of the local area makes the historic town of Camden, according to Sydney architect Hector Abrahams, the best preserved country town on the Cumberland Plain (Camden Advertiser, 28 June 2006).
The town was established in 1840 on the Macarthur family estate of Camden Park Estate in the Cowpastures on the banks of the Nepean River.
The township provides a glimpse of life from times gone past with the charm and character with its Victorian style built heritage and early 20th century cottages and commercial buildings.
The visitor can experience Camden’s historic charm by walking around the town’s heritage precinct by following the Camden Heritage Walk.
Camden’s heritage precinct is dominated by the church on the hill, St John’s Church (1840) and the adjacent rectory (1859). Across the road is Macarthur Park (1905), arguably one of the best Victorian-style urban parks in the Sydney area. In the neighbouring streets there are a number of charming Federation and Californian bungalows.
A walk along John Street will reveal the single storey police barracks (1878) and court house (1857), the Italianate style of Macaria (c1842) and the Commercial Bank (1878). Or the visitor can view Bransby’s Cottage (1842) in Mitchell Street, the oldest surviving Georgian cottage in Camden. A short stroll will take the visitor to the Camden Museum, which is managed by the Camden Historical Society. The museum is located in John Street in the recently redeveloped Camden Library and Museum Complex.
The visitor can take in Camden’s rural past when they enter the northern approaches of the town along Camden Valley Way. They will pass the old Dairy Farmer’s Milk Depot (1926) where the farmers delivered their milk cans by horse and cart and chatted about rural doings.
The saleyards (1867) are still next door and the rural supplies stores are indicative that Camden is still ‘a working country town’. As the visitor proceeds along Argyle Street, Camden’s main street, apart from the busy hum of traffic, people and outdoor cafes, the casual observer would see little difference from 70 years ago.
The picturesque rural landscapes that surround Camden were once part of the large estates of the landed gentry and their grand houses. A number of these privately owned houses are still dotted throughout the local area. Some examples are Camden Park (1835), Brownlow Hill (1828), Denbigh (1822), Oran Park (c1850), Camelot (1888), Studley Park (c1870s), Wivenhoe (c1837) and Kirkham Stables (1816). The rural vistas are enhanced by the Nepean River floodplain that surrounds the town and provides the visitor with a sense of the town’s farming heritage.
The floodplain also reveals to the railway enthusiast the remnants of railway embankments that once carried the little tank engine on the tramway (1882-1963) between Camden and Campbelltown. The locomotive, affectionately known as Pansy, carried a mixture of freight and passengers. It stopped at a number of stations, which included Camden, Elderslie, Kirkham, Graham’s Hill and Narellan. The stationmaster’s house can still be found in Elizabeth Street in Camden, and now operates as a restaurant.
For the aviation buffs a visit to the Camden Airfield (1924) is a must. It still retains its wartime character and layout. As you enter the airfield view the privately owned Hassall Cottage (1815) and Macquarie Grove House (1812) and think of the RAAF sentry on guard duty checking the passes of returning airmen on a cold July night.
There are also a number of historic villages in the Camden area. Amongst them is the quaint rural village of Cobbitty where the visitor can find Reverand Thomas Hassall’s Heber Chapel (1815), St Paul’s Church (1840) and rectory (1870). Narellan (1827), which is now a vibrant commercial and industrial centre, has the heritage precinct surrounding the St Thomas Church (1884) and school house (1839). The buildings are now used for weddings and receptions.
There is also the Burton’s Arms Hotel (c1840) now operating as a real estate agency and the Queen’s Arms Hotel (c1840), which is now the Narellan Hotel. A visit to Cawdor will reveal a real country church that has been functioning continuously for over for over 100 years, the Cawdor Uniting Church (c1880). Cawdor is the oldest village in the Camden area.
Updated 24 May 2021. Originally posted on Camden History Notes 18 December 2016. This post was originally published on Heritage Tourism as ‘Camden: the best preserved country town on the Cumberland Plain’ in 2010.
Carpentry was an essential craft in all communities and has been practised for centuries. In the Camden area, the traditional trade of carpentry as it was practised had a variety of forms. Traditional trades were part of the process of settler colonialism on the colonial frontier in the Cowpastures.
In pre-settlement times, the first form of bush carpentry was practised by the Aborigines. They stripped bark from trees and used it for shelters that kept them from the natural elements and made weapons.
At the time of European settlement, many on the frontier had no formal trades skills and learnt bush carpentry from watching the Aboriginal people or experimenting themselves. The bush carpenter was a practical make-do pioneer who innovated with naturally occurring products from their local environment. They practised sustainability in a period when it was a necessity for their very survival and relied on their ingenuity, adaptability and wit.
Some of the bush carpenter’s spirit and tradition arrived with the early European settlers and owed some of its origins to the English tradition of green woodworking. This traditional practice dates back to the Middle Ages and is linked with coppicing, a traditional form of woodland management. The craftsmen led a solitary existence in the woods and made a host of items from unseasoned green timber, including furniture, tools, fencing, kitchenware and other things.
The early settlers who built these basic shelters did so without the manufactured products of the Industrial Revolution. Either through cost or just a make-do attitude, they built rudimentary vernacular buildings that lasted for decades. In later times settlers’ structures were improved with the introduction of galvanised iron after the 1820s.
There were many examples of huts and farm sheds being erected in other parts of the Camden district, remote from major centres, like the Burragorang Valley. Post-and-rail fencing and a host of other structures put a defining character on the rural landscape. There is still evidence of bush carpentry in and around Camden.
The bush carpenter’s tool kit usually did not have specialised tools and would have included saws, axes, adze, chisels, augers, hammers, wedges, spade, and other items. Their kit was meant to cope with all the contingencies of the rural frontier that were typical of the remote parts of the Camden district.
The formal trade of carpentry and joinery has a long history going back centuries centred on the guilds. Guilds appeared in England in the Middle Ages, and according to the website London Lives 1690-1800, their purpose was to
defend the interests of the trade, regulate the quality of workmanship and the training of new members, and provide support and welfare for their members.
In London, they were established by charter and regulated by the City authorities. Guilds in London had considerable political power and were one of the largest charitable institutions in the City. Carpenters were organised in the Carpenter’s Company, one of 12 powerful London guilds. Guilds were a mixture of apprentices, journeymen and master craftsmen, with no women.
In the colony of New South Wales, carpenters were formally trained artisans have examples of their work in colonial mansions of the grand estates and the many local towns and villages across the Camden district. These artisans used milled timber and other manufactured products of the Industrial Revolution that were readily available and that their clients could afford.
Camden’s carpenters were a mixture of journeymen and master craftsmen, who had served their apprenticeship in Camden and elsewhere. John Wrigley’s Historic Buildings of Camden (1983) lists 38 carpenters/builders who worked in Camden between the 1840s and 1980s.
The pre-WW2 tradesmen used hand tools and traditional construction methods, which is evident in any of the town’s older buildings and cottages. Take particular notice when you walk around central Camden of the fine quality of artistry that has stood the test of time from some of these traditional tradesmen.
The hand tools used by the Camden carpenter changed little in centuries of development and refinement. The tool kit of the mid-1800s would have included hammers, chisels, planes, irons, clamps, saws, mallet, pincers, augers and a host of other tools. It would be very recognisable by a 21st-century tradesman. Master carpenter, Fred Lawton’s tool kit, is on display at the Camden museum (TDR 19/12/11)
Hand tools were utilitarian, and some had decorated handles and stocks, particularly those from Germany and British makers. By the early 19th century, many hand tools were being manufactured in centres like Sheffield, UK, and these would have appeared in the Camden area. Carpenters traditionally supplied their own tools and would mark on their hand tools to clearly identify them. Many of the hand tools became highly specialised, especially for use by cabinet-makers, joiners and wood-turning.
The Camden carpenters listed in the 1904 New South Wales Post Office Directory were JP Bensley, John Franklin, Joseph Packenham and Thomas Thornton, while at Camden Park, there was Harry ‘Herb’ English. According to Herb’s nephew Len English, Herb English was one of a number of generations of the English family who were carpenters in the early years of the 20th century in the Camden area. It was a family tradition for the sons to be apprenticed in the trade to their father and work at Camden Park. This practice followed the training principles of English carpentry guilds under a system of patrimony.
Len English’s grandfather, William John English,e was apprenticed to his father, James, and worked at Camden Park between the 1890s and 1930s. William lived in Luker Street, Elderslie, where he built his house and had his workshop, where Len recalls playing as a lad. William’s son, Jack Edward English, was apprenticed to his father (William) in the family tradition, also worked at Camden Park and later in Camden and Elderslie during the 1930s and 1940s. During this period, Jack and his brother, Sidney, both worked with local Camden builders Mark Jenson and Mel Peat (TDR19/12/11).