Category: History

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Garden Palace, showing the wonders of the age

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Massive fire in Macquarie Street 1882

In 1882, there was a massive fire in Macquarie Street, Sydney. The Sydney Morning Herald reported:

The beautiful building known as the Garden Palace was totally destroyed by fire together with its valuable contents. The conflagration naturally provided an impressive spectacle and was watched with awe by tens of thousands of people who quickly gathered from all parts of the city. (SMH, 18 April 1931)

The Burning of the Garden Palace, seen from the North Shore, [1882] / J.C. Hoyte 1882 (SLNSW)

The newspaper report stated this apparent

calamity was in reality was a blessing in disguise, for it returned am area of open space to the citizens, of which they should never been deprived, and removed a source of danger that must have grown ever more dangerous with the passage of time. (SMH, 18 April 1931)

Litograph, “Burning of the Garden Palace, Sydney”, Gibbs Shallard and Company, Sydney, 1882. Jonathan Jones’s artwork barrangal dyara traces the building’s physical outline with 15,000 ash-white shields. Image credit: Kaldor Public Art Projects/Museum of Applied Arts and Sciences, Sydney

The fire, a tragic event that filled the hearts of many with sorrow, resulted in the significant loss of irreplaceable records, artefacts, and other materials. Among the casualties were the records of the 1881 Census, railway surveys, and the Technological, Industrial and Sanitary Museum, which had been a treasure trove of knowledge since its founding in 1878 by the Australian Museum. This later became the Museum of Applied Arts and Science and the Powerhouse Museum. The fire also claimed the squatting occupation of NSW and around 1000 Aboriginal artefacts, a loss that can never be fully quantified.

Garden Palace ruin after fire 1882 (SRNSW/MoHNSW)

The origin of the fire, a puzzle that has intrigued historians and researchers for years, remains shrouded in mystery. Despite its best efforts, the official inquiry could not definitively determine the cause. Speculation, as diverse as the city itself, ranged from the disgruntled wealthy residents of Macquarie Street to the destruction of convict records containing potentially damaging information. (SLNSW)

Sydney International Exhibition 1879-1880

The Garden Palace was originally commissioned in 1878 by the NSW colonial government to house the Sydney International Exhibition. The exhibition’s aim was to contribute to the progress and development of the colony of NSW. The exhibition benefited Sydney, boosted the economy, and improved services in the city. A steam-powered tram was installed in the city to assist movement around the town centre, and after the exhibition, it was expanded and converted to electric traction in 1905.

Garden Palace Architectural Drawing 1870 (SLNSW)

 According to Shirley Fitzgerald in the Dictionary of Sydney

The fashion for holding exhibitions, where countries could show off their industrial and manufacturing might as well as their agricultural riches and artistic skills, began in 1851 with the London Exhibition. It was housed in the purpose-built Crystal Palace. Exhibitions followed in other European cities and in Philadelphia in the United States. Paris was particularly fond of holding them. Then Sydney, a place not noted for its advanced industrial sector, and very far away from other places that were, decided to have a go. (https://dictionaryofsydney.org/entry/garden_palace)

Royal Agricultural Society

Originally, the Royal Agricultural Society of NSW proposed a small international exhibition with a rural theme in 1877 using the society’s exhibition hall in Prince Alfred Park. As the idea gained momentum, the RAS backed out. In 1878, the colonial government set up the Royal Commission for an International Exhibition in Sydney, headed by politician and philanthropist Sir Patrick Jennings.

Like a large cathedral

Colonial Architect James Barnet designed the Garden Palace building. It was in a commanding position in the Inner Domain, with a ‘beautiful view of the harbour and its shores’ (ISN, 25 October 1882) at the southwestern end of the Royal Botanic Gardens and Domain.

Sydney Garden Palace 1879 (Antique Print Club)

The building was shaped like a crucifix, similar to a large cathedral or London’s Crystal Palace. It was like the later Melbourne Exhibition Centre (b.1879-1880). The Garden Place nave and transept were flanked by expansive aisles, stretched 800 feet from north to south and 500 feet from east to west with towers at each end. The northern tower contained Sydney’s first hydraulic lift.

Plan of exhibitors Garden Palace 1879 (SLNSW)

The nave and transept intersection were crowned by a dome, 100 feet in diameter and 90 feet from the floor, culminating in a lantern that soared 210 feet above the ground. The nave and transept ended in four entrance towers, each standing tall at heights ranging from 120 to 150 feet. The extensive aisles were bathed in natural light from vertical windows, strategically placed to avoid direct sunlight. The basement, too, was illuminated by lofty side windows. The total floor space of this architectural marvel was a staggering 8½ acres. (ISN, 25 October 1882)

View of the Garden Palace from Macquarie Street 1879 (SLNSW)

Beneath the dome was a fountain with a 25-foot statue of Queen Victoria on top. The dome had a 25-foot diameter skylight dotted with ‘golden stairs’. The galvanised iron roof was coloured light blue. The fronts of the galleries had the names of cities and towns on their panels. (ISN, 25 October 1882)

Garden Palace interior Queen Victoria under the dome at the International Exhibition 1879 (PHM/MAAS)

Construction

Construction took eight months to complete, and was opened on 17 September 1879 at a cost of £192,000 by the Governor of the colony of NSW, Lord Augustus Loftus. Work was carried out around the clock under electric lighting imported from England. Construction was completed by experienced builder John Young, who had worked on the Crystal Palace at The Great Exhibition of 1851 in London. The construction job employed around 3000 men and 650 carpenters, using 2.5m bricks, 243 tons of galvanised iron, and 1.4m of timber and glass. (SLNSW)

Garden Palace dome construction 1879 (SLNSW)

Official opening

The opening was attended by the governors of Victoria, South Australia and Tasmania, military and naval officers, foreign dignitaries, and 20,000 members of the general public. (ISN, 25 October 1882)

Garden Palace engraving 1879 Illustrated Australian News October 1879 (SLV)

Commissioner PA Jennings said:

Since the Exhibition of 1851 in London, held under the presidency of the illustrious Prince Contort, whose memory is nowhere more deeply revered than in this colony, universal Expositions, or ‘World’s Fairs have been held in Paris, in Loudon, in Vienna, and in Philadelphia, and the beneficial consequences of those “Festivals of Peace” become more apparent the more their effects are studied. It has remained for this city of Sydney, the metropolis of the parent colony of Australia, to sustain its position by inviting “all the flags of all the world” to range themselves in peaceful concord here to-day. (Sydney Morning Herald, Thursday 18 September 1879)

Mr Jennings then invited the governor to open the Sydney International Exhibition 1879.

Governor Loftus said:

In the name of New South Wales, the elder colony of the Australian group, the once despised, and – may I not say – the now honoured, I welcome the representatives of the old heroic nations welcome the representatives of the bright daughter-lands of England- I welcome all of human brotherhood, to our newly raised Temple of Industry and Peace in a new world. (Sydney Morning Herald, Thursday 18 September 1879)

The governor then opened the exhibition to the public.

Vase from the French Government to the City of Sydney International Exhibition 1879 (CofSydney)

Fine art annexe

The fine art commissioners at the exhibition were not satisfied that the Garden Palace was a suitable space to hang artworks and convinced the exhibition organisers to build a Fine Arts Annexe. Designed by church designer William Wardell and shaped like a crucifix, the annexe opened two months after the exhibition opened. After the exhibition closed, the colonial government gave the building to the NSW Academy of Art in 1880, and the refurbished building was named the National Art Gallery of NSW and retained that title until 1958. (https://www.artgallery.nsw.gov.au/about-us/history/our-gallery-history/history-of-the-building/the-fine-arts-annexe-1880-84/)

Garden Palace Interior North Nave International Exhibition of 1879 (PHM/MAAS)

The exhibition

The exhibition closed on 20 April 1880 after being open for 185 days and attended by 1,117,536 people, producing a surplus of £41,432. (ISN, 25 October 1882) The remarkable achievement was when the population of NSW was around 650,000.

The cost of admission was 5/-, later dropped to 1/-, and a season pass was £3/3/-. Over 30 countries and colonies, with over 14,000 exhibits, participated in the exhibition. The exhibition provided opportunities for countries to express their national identity and display the latest technology. Exhibits included glass, tapestries, fine porcelain, ethnographic specimens (Aboriginal specimens), and heavy machinery. (SLNSW)

Garden Palace International Exhibition Tasmania 1879 (SRNSW/MoHNSW)

Commemorative sites

Commemorative gates were built on the former site of the Garden Palace in 1889 to commemorate the memory of the Garden Palace.

Garden Palace Gates 1958 (CofSArchives)

In 1979, Sir Roden Cutler unveiled a commemorative plaque on the Garden Palace’s central dome site, celebrating the centenary of the first International Exhibition in Sydney in 1879.

Commemorate plaque International Exhibition Royal Botanic Gardens 1979 (MonAust)

The site of the former Garden Palace is now a rose garden within the Royal Botanic Gardens of Sydney.

Palace Rose Garden Pergola Royal Botanic Garden Sydney 2024 (RBG)

Legacies

  1. Powerhouse Museum, formerly the Museum of Applied Arts and Science, formerly Technological, Industrial and Sanitary Museum (1878)
  2. Art Gallery of New South Wales, formerly National Art Gallery of NSW (1880)
Art Gallery of New South Wales 2022 WikipediaCommons
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Camden, the making and re-making of familiar places

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WEA-RAHS Seminar Series

Understanding Places

History House, 135 Macquarie Street, Sydney

28 October 2009

Camden, the making and re-making of familiar places

Abstract

This presentation examines Sydney’s urban expansion into the local area (in Elderslie, Oran Park, South Camden), which threatens to destroy what is left of Camden’s notion of being a country town. Fact or fiction? Many in the local community desire to retain Camden’s image as a country town. Is this just a dream, or is there some reality to this idea? Many local people talk about retaining Camden’s ‘country town atmosphere’ or ‘keeping Camden country’. The town is described as ‘picturesque’ and having ‘charming cottages’. To others, Camden is a ‘working country town’ or ‘my country town’. These values and ideas are connected to the reality of trying to keep what is left of Camden as a country town. Tourist brochures use these ideas to picture idyllic rural scenes. Land developers have scenes of families frolicking in the meadows with their children. These values and ideas are based on nostalgia. They look back to the early days of Camden, when daily life in the town was uncomplicated, innocent, and genuine, with traditional rural values. When people talked to their neighbours and stopped for a chat in the street, they were based on nostalgia. Nostalgia and yearning for a lost past have been re-created in a ‘country town idyll’ in Camden, NSW today.

Slide Presentation

Adaptive Re-use · Adaptive Reuse · Art · Artists · Artworks · Attachment to place · Belonging · Cascades Female Factory · Collective Memory · Colonialism · Community identity · Convicts · Cultural and Heritage Tourism · Cultural Heritage · Cultural icon · Grief · History · History of Emotion · Hobart · Hope and loss · Local History · Local Studies · Memorial · Memorialisation · Memorials · Memory · Monuments · Place making · Placemaking · Public art · Sense of place · Social History · Stories · Storytelling · Uncategorized · Women's history · Women's stories

Public art in Hobart tells the story of female convicts in Van Diemen’s Land

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Hidden in the shadows

Public art has been used in Hobart to reveal stories of female convicts that have been hidden in the shadows for decades.

The silence of history has been broken, and the layers of history have been peeled back to reveal a story of resilience and agency in the face of misery and hardship.

The logo of the Cascades Female Factory Historic Site in South Hobart (CFFHS)

These stories have been commemorated in two sets of statues, one on the Hobart waterfront and one at the Cascades Female Factory in South Hobart, by Irish sculptor Rowan Gillespie.

Footsteps Towards Freedom (2017)

In 2017, the Footsteps Towards Freedom statues were installed on the Hobart waterfront and unveiled by the President of Ireland, Michael Higgins, and the Governor of Tasmania, Kate Warner.

The proposal was first mooted in 2015 when Hobart Lord Mayor Sue Hickey, the Speaker of the House of Assembly Elise Archer and the Governor of Tasmania met to discuss the project.

Irish sculptor Rowan Gillespie was commissioned to undertake the art installations. Dublin-based Gillespie is from a global community of bronze-casting sculptors and works from a foundry in County Clare in Ireland. He is one of the few who works on site-specific art installations and uses the lost wax casting process to portray human emotions where a metal sculpture is cast from an original.

Footsteps Towards Freedom art installation at Macquarie Wharf No 1 on the Hobart waterfront (I Willis 2024)

The four statues that make up Footsteps Towards Freedom are located on Macquarie Wharf No. 1, where the convict women were taken off the ships.

The women were then walked up Macquarie Street to the Female Factory to await assignment or to be kept there if they were considered unassignable.

The Monuments Australia website states that Footsteps Towards Freedom is:

 From 1803 to 1853, almost 13,000 convict women together with 2,000 children arrived in Van Diemen’s Land.

https://monumentaustralia.org.au/themes/landscape/settlement/display/112076-footsteps-towards-freedom

<pic 4 statues on Macquarie wharf Hobart>

The President of Ireland Michael Higgins said at the opening of the art installation:

These sculptures, let us remind ourselves, also make common cause with the suffering of migrants in our times. They should remind us that the trauma of displacement and forced exile are not experiences confined to our past, but are the lived experience of millions around the world today, including many who now call Australia home.

https://fromtheshadows.org.au

From the Shadows (2021)

Following on from the success of the Footsteps of Freedom project, the Governor of Tasmania, Kate Warner, launched the From the Shadows project at a reception at Government House in 2019.

In 2021, the Governor of Tasmania, Kate Warner, unveiled the first of two statues, one of a pregnant convict outside the Cascades Female Factory and the other in the factory yard.

The statues were designed and constructed by Irish sculptor Rowan Gillespie.

From the Shadows art installation at the Cascades Female Factory in South Hobart. This statue of a pregnant female convict, completed by Irish sculptor Rowan Gillespie, is located outside the grounds of the factory. (I Willis 2024)

The Governor of Tasmania Kate Warner said at the opening of the first statue in 2021

The narrative of the pregnant convict woman highlights that there is much more to a convict life than a crime, a trial and sentence. The statue of the pregnant convict woman is evocative and challenging, and is designed to make those viewing her ask: who is she? why is she here? what became of her baby?

https://www.govhouse.tas.gov.au/sites/default/files/documents/2022-03/from_the_shadows_2021_.pdf
Statue of a female convict in the yard of the Cascades Female Factory that is part of the art installation From the Shadows by Irish sculptor Rowan Gillespie. (I Willis 2024)

Cascades Female Factory

The Cascades Female Factory was one of a number of sites of reform and retribution of the British penal system in Van Diemen’s Land, where women could be hidden from their English masters.

Cascades Female Factory in South Hobart (CFFHS)

Women of Irish, Scottish and Welsh descent and working-class English women from the northern counties.

If the factory walls could speak, they would tell harrowing tales of depravity, immorality and corruption. Decadence, sinfulness, perversion, degenerate, evil and wickedness for the upright church-going middle-class of colonial Hobart.

The female factory was opened at the Cascades from 1828 to 1856 at a time when women had few legal rights. The story of the female factory is one of women’s agency, resilience and perseverance in the face of incredible adversity and hardship. Hundreds of descendants in Tasmania point to these stories.

Now rebuilt with a new interpretative information centre, the female factory allows these stories to be told. Women’s stories and experiences at the female factory have been re-interpreted. Stories of trauma, queerness, loss and dispossession of children, and loss of identity.

One of the yards at the Cascades Female Factory in South Hobart (I Willis 2024)

The very fact of the isolation and desolation of the female factory did, in its own way, lead to enough remnants of the factory remaining on its original site to be able to resurrect the stories and experiences of the women experiences and stories.

Careful interpretation of the old and its remnants have produced a hauntingly real experience for visitors at a site of hardship and trauma for many women inmates.  

 The Cascades Female Factory website states that the

Cascades Female Factory Historic Site bears witness to the displacement, oppression and control of women in Tasmania. We honour their pain and loss, their courage and perseverance. 

 https://femalefactory.org.au/audioguide/
Cascades Female Factory in South Hobart in the late 19th century (CFFHS)

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Camden modern, the mid-century Camden cottage

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Mid-century modernism

Across the Camden district, many houses were built between the Second World War and the early 1970s.

The period is usually called mid-century modern, mid-century modernist or just mid-century. 

A mid-century brick ranch-style cottage in River Road Elderslie (I Willis 2024)

In Australia, the postwar period was a period with a housing shortage. The Homes to Love website states

While the 1950s was a time of great productivity and a time that saw a boom in the building industry, the war years had taken their toll resulting in a shortage of building materials, skills and equipment. This resulted in many people building smaller, more basic homes, often taking on the work themselves. (Homes to Love)

https://www.homestolove.com.au/1950s-houses-australia-21734

Rachel Griffiths writes in the Architectural Digest that

Influenced by the optimism of the post-World War II boom and by the exploration of a range of materials, including steel, concrete, and newly available insulated glass.

Architectural Digest

Scholars attribute the design style to American architects like Frank Lloyd Wright and designers like Ludwig Mies van der Rohe and LeCorbusier.

The term was coined in 1983 by Cara Greenberg for the title of her book Mid-Century Modern: Furniture of the 1950s (Random House)

Mid-century housing styles

Until 1952, timber houses were restricted to 111.48 m² (12 squares) and brick houses to 116.13 m². Lending institutions were very conservative, only advancing about 50% of the property value. (Lumby, p32)

Mid-century modernism influenced houses in the post-war suburbs of Australia’s large cities. Architects of the mid-century period include Harry Seidler, Hugh Buhrich (Sydney), David Chancellor and William Patrick, Robin Boyd, Sevitt & Petitt (Melbourne), Roy Grounds (Canberra), Robin Spencer (Brisbane) and others. 

Mid-century brick cottage with low-pitch roof in Luker Street Elderslie (I Willis 2024)

Features of the mid-century modern houses

The Australian Homes to Love website states

 Open-plan living was really embraced during the 1950s to encourage easy flow of people and conversation. Homes were often well-oriented and featured expansive windows, low-pitched gable roofs with corrugated iron or steel decking, vertical weatherboards, light coloured brick or cement sheet exterior walls. Minimalist design was embraced for its clean sleek lines and pastel, Scandinavian, and modern colour schemes utilised.

https://www.homestolove.com.au/1950s-houses-australia-21734

Mid-century modern is a period in the mid-20th century in which design that was characterised by

Sleek, cool, clean, sophisticated, functional, colourful, mod, and curvy—those are apt words to describe the mid-century modern design. This term encompasses the trends that influenced architecture and interior design in prosperous, post-war America.(Dengarden)

https://dengarden.com/interior-design/A-Pocket-Guide-to-Mid-Century-Modern-Style
Mid-century brick flats in Purcell Street Elderslie (I Willis 2024)

The mid-century Camden cottage

There are several recognisable residential housing styles in the Camden area across this period. These range from postwar fibro cottages of the 1940s (Edward Street) to the triple-fronted brick veneer cottages (Camden South) of the 1970s, and those in-between like 1950-1960s ranch style houses (Hennings House, Elderslie)

Many houses were a type of simple and low-cost housing to cope with material shortages and demand from buyers,especially in the post-war years. 

What does the mid-century Camden cottage represent?

The mid-century Camden cottage represents a number of changes in the Camden ocal area.

The most important influence in this period was the growth of the town and district from the economic boom generated by the Burragorang coalfields. Mining production increased progressively across this period and created many jobs.

Former Camden mayor Bruce Ferguson made the point at a conference in the Hunter Valley in 1977 that in 1949, a share farming family made around £1/15/- a week, while a miner was making £10 per week, a multiple of six times. (Ferguson)

In 1960, there were 150 mine workers in the Camden and Elderslie area. (Sankey, p29) By 1971, this had increased by 1800 people were employed in the mines, washeries, and the maintenance and administration of coal. (Sankey, p18) In contrast, dairy farmers fell from 109 in 1950 to 90 in 1974. (Sankey, p6A)

Camden’s population grew from 3934 in 1947 to 6377 in 1961, 8661 in 1966, and 11,155 in 1971. (Sankey, p10) A new high school opened in Camden in 1956.

Former Camden High School John Street Camden was established in 1956 (Peter Mylrea/Camden Images 2004)

The mining boom contributed to the end of the Camden the country town based on agricultural services. This challenged community identity and sense of place and contributed to the creation of Camden’s ‘country town idyll’ as Sydney’s urban fringe approached the town and heralded the end of modernism in the local area.

There was a shift from the designation of country town to the metropolitan urban fringe when the 1976-1977 NSW Local Government Grants Commission changed the classification of the Camden LGA from ‘non-metropolitan’ to ‘metropolitan’. (Sankey, p40)

The end of the mid-century period in the Camden area is is book-ended by the release of the 1973 New Cities of Campbelltown, Camden, Appin Structure Plan by the State Planning Authority of New South Wales.  

Examples of the mid-century Camden cottage

The Hennings House, built in 1960 on Macarthur Road, was part of the subdivision of the Bruchhauser vineyards of the Elderslie area. It was an excellent example of a house chosen by a local businessman from a pattern book supplied by a local builder. The house was ranch-style, of which there are a number in the Elderslie area with open-plan rooms to the interior. The house was demolished in 2011.

The Hennings House, built in 1960, was located at 64-66 Macarthur Road Elderslie. It was demolished in 2011. (I Willis, 2011)

  • 110 Lodges Road, Elderslie.

This house is a similar design to the Hennings House and has been approved for demolition.

A mid-century timber ranch-style cottage at 110 Lodges Road Elderslie has been approved for demolition. (CRE 2022)

  • Triple and double-fronted cottage

There are many examples of these styles of homes in the local area, particularly south of the town centre, Elderslie and Narellan.

A mid-century triple-fronted brick cottage in Harrington Street Elderslie (I Willis, 2024)

Jacqui Thompson writes on Domain that triple-fronted houses were

are simple buildings that feature a double or triple staggered façade, with a bedroom at the front that steps back to a lounge room and/or the front door. Brick veneer replaced double brick construction, and mass-produced building materials such as glass and cement tiles were embraced. There are wrought iron railings and fencing painted white and wire mesh screens on doors. There can be interconnecting rooms, lower ceilings, and cheaper materials, e.g., melamine benchtops, linoleum and rubber floors and mass-produced sheet materials on walls.  

https://www.domain.com.au/advice/post-war-double-and-triple-fronted-homes-in-australia/

  • Low-pitched roof style

There are a number of mid-century cottages in the Elderslie and Camden area with low-pitched roof styles. They are a mixture of brick and timber construction. In Elderslie, they were built for the coal mining company executives and were more expensive than other stripped-back designs. This design was influenced by West Coast USA styles of the mid-century period.

A mid-century cottage with a low-pitched roof on Sunset Ave. There are a number of cottages of this style in the Elderslie area. (I Willis 2024)

  • Cottage with gable

There are cottages that have a gable design.

A mid-century gabled cottage in River Road Elderslie (I Willis 2024)

The fibro cottage was seen as a modern and affordable housing style. There are many examples in the local area south of the Camden town centre, Elderslie and Narellan, that were built in the postwar years.

Mid-century fibro cottages in Purcell Street Elderslie (I Willis 2024)

References

Robyn Sankey, Camden and the Coal Industry. MA(Hons) Thesis, University of Sydney, 1984.

Bruce Ferguson, ‘The Coal Mining Industry in Camden’. Paper presented at Coal and A Country Town Seminar, Singleton, 1977 published in proceedings, JE Collins (ed), Singleton Shire Council.

Roy Lumby, ‘Modern Movement Architecture In NSW’, in The Modern Movement In New South Wales A Thematic Study And Survey Of Places. HeriCon Consulting (eds), NSW and the Office of Environment and Heritage, Sydney, 2013.

Jacqui Thompson, ‘Post-war double and triple fronted homes in Australia’. Domain, 15 June 2025. Online @ https://www.domain.com.au/advice/post-war-double-and-triple-fronted-homes-in-australia/

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Public art, Camden Civic Centre

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Camden Art Prize winners

In the garden at the front of the Camden Civic Centre, there are two sculptures many people have forgotten about. The artists won prizes at the annual Camden Art Prize held at the Camden Civic Centre.

The Camden Art Prize is an important local festival which has been running since 1974. The inaugural prize was initiated under the direction of Camden Municipal Art Festival Committee Chairman, Mayor Bruce Ferguson. The acquisitive award was established with the aim of creating the Camden Municipal Art Collection. (Catalogue, 44th Camden Art Prize 2019)

‘Crossroads’ by Diego Latella (1977)

Diego Latella is a painter, sculptor, teacher and printmaker who studied in Sydney, New York and Italy. He arrived in Australia from Italy in 1955 and held his first solo exhibition in 1973. He has won several awards in Australia and overseas for his art, including the Camden Art Prize in 1977 for his sculpture ‘Crossroads’. (https://www.aasd.com.au/artist/15269-diego-latella/)

The sculpture ‘Crossroad’ by Diego Latella won the 1977 Camden Art Prize. The artwork is installed in the front garden at the Camden Civic Centre (I Willis, 2023)

‘Space’ by Irene Carroll (1994)

Irene Carroll is a painter, sculptor, photographer and printmaker from Farmborough Heights on the NSW South Coast, and works in a variety of mediums, including mediums wood, metal, concrete, bronze, mosaics, and silk. Born in Holland, she studied in Australia.

Carroll states in her biography:

My work evolves from the materials available and the space and time I am in. It pays homage to the struggle to find identity. I develop and explore, creating unity, harmony and balance in the materials I work with. I rarely plan, working instinctively allowing the materials to guide the final result.

https://sculptorssociety.com/sculptors/irene-carroll/

Carroll’s work ‘Space’ won the 20th Camden Art Prize in 1994.

The sculpture ‘Space’ by Irene Carroll won the 1994 Camden Art Prize. The artwork is installed in the front garden at the Camden Civic Centre (I Willis, 2023)

Updated 23 December 2023. Originally posted on 22 December 2023.

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Camden Teamsters Memorial, when the horse was king on the Yerranderie Road

camdenhistorynotes

Tribute to mining and industrial heritage

If you wander along the John Street heritage precinct, you will come across a quaint monument with a large wagon wheel reminding you of when the horse was king on the Yerranderie Road.  

The Camden Teamster’s Memorial is on John Street, Camden. The memorial is between Macaria, a Victorian gentleman’s townhouse, and Tiffins Cottage, an early Victorian cottage. (I Willis 2023)

Before, motorised transport teams of between 13 and 16 horses pulled wagons along the Yerranderie Road that were no more than a goat track in places, up and down steep inclines, through bushfires, floods and droughts.

The Teamsters Memorial, an item of public art, is a tribute to the memory of these horses, the men who worked with them, and the district’s industrial and mining heritage. 

Australian Town & Country Journal 30 August 1911

What was a teamster?

These hard-bitten characters could handle a team of up to 16 horses pulling a wagon loaded with up to 15 tons of ore.

Wikipedia defines a teamster as someone who drives a team, usually of oxen, horses, or mules, pulling a wagon in Australia, sometimes called a bullocky. In 1912, the term carrier was used to describe the teamster.

These men, and they were only men, were skilled horsemen with a tough, dangerous job. Teamsters were out in all weather, working dawn to dusk, and some died on the job.

Photograph from The Australasian Journal (Melbourne) published 1 October 1932.

The Camden teamsters carried ore from the Yerranderie Myall gold & silver fields to the Camden railhead between 1900 and 1925.

At its height, Yerranderie had a population of around 3000 people, with 16 mines extracting silver and lesser amounts of gold and lead. Between 1900 and 1926, over £2 million of silver was extracted from the Yerranderie fields.

Royalty on the Yerranderie Road

In the early days of mining operations, the teamsters were at the height of their reign. They were the royalty of the district and commanded their authority over the mine owners at Yerranderie. Without their services to cart ore from Yerranderie to the Camden railhead, mining operations at Yerranderie stopped.

The teamster would load his wagon at Yerranderie, unload at the top of the Bluff (at Nattai) and go back for another load. On his return to the Bluff, he would reload the remainder and head to the Camden railhead. This process would take about five days.

One of the information boards on the side of the memorial (I Willis 2023)

The horse teams

The horse teams would be between 13 and 16 horses carting a flat-top wagon with a load of 13 to 16 tons of ore.

In 1908, there were 54 horse teams on the Yerranderie Road carting to the Camden railhead.

Bennetts of St Marys NSW built a common flat-top wagon type used by the teamsters.

The going rate for carting ore was £2/ton. (1908) The rate varied little across the years the Yerranderie fields were operational.

The high cost of cartage meant that only the highest grade ore could be sent for refining at Sulphide Corporation at Cockle Creek on Lake Macquarie via the Camden railhead.

Lower-grade ore remained at the Yerranderie mines as waste. Partial treatment of the ore was tried with varying success.

One of the information boards on the side of the memorial (I Willis, 2023)

There was a serious attempt by the mine owners to bypass the stranglehold of the teamsters from 1906. The mine owners tried to have the state government build a light tramway to the top of the Bluff and, at one stage, from Thirlmere to Yerranderie (1910). The NSW Government was never really interested in any of these proposals.

In 1904, the idea of using camels to cart ore was floated. The idea did not last long.

The authority of the teamsters started to wane in the pre-war years, and there were moves to unionise and fix cartage rates by the Australian Carrier’s Union (1913)

Others plying the Yerranderie Road

The Yerranderie teamsters were not the only ones plying the Yerranderie Road.

There was a daily mail coach that ran between Camden and Yerranderie. The passenger fare was  12/6 one-way from Yerranderie to Camden (1908), which had come down from a height of 30 shillings.

Camden News, 9 November 1911

Bullock teams occasionally appeared on the Yerranderie Road, carting cedar logs extracted from the Kowmung area of the Blue Mountains (1911).

Bullock team on the Yerranderie Road coming up The Bluff carrying bales of wool (Facebook)

A local ecology

The teamsters and the horse teams supported a local ecology of farmers growing hay, blacksmiths at The Oaks and Camden, breeding horses, wheelwrights, wagon makers, and many others.

The memorial

The memorial has a rear wagon wheel, a front axle and two hubs. These are mounted on a steel frame set in a concrete base. The wheels are timber construction with a steel rim. There are three metal information boards.

Construction was completed by Eric Henderson of Ungarie, formerly a teamster who worked for Cook & Co.

The memorial was opened in 1977 by 95-year-old Mrs Jean McCubbin, the widow of a former teamster.

The opening of the Teamster’s Memorial in 1977. (Camden News 24 April 1977)

The memorial plaque commemorating the opening in 1977 (I Willis 2023)

The memorial was restored in 1995 and 2003.

Wheelwright Neil Johnston working on the wagon wheel from the memorial in the 2003 restoration project. (CHS)

The mythology of the horse team

The memorial is a wonderful, evocative reminder of times in the district when the horse was king.

A Bennett wagon is on display at the blacksmith shop at the Wollondilly Heritage Centre.

There is a certain degree of mythology around the teamster, best exemplified by The Australian Teamsters Hall of Fame in Queensland.

Driving teams are still practised today, and there are driving competitions at Barellan, horse teams at the Royal Easter Show, on ABCTV, and occasionally at Belgenny Farm.

A teamster and horse team on the ascent out of Burragorang Valley on the Yerranderie Road. The horse team is pulling a loaded flat-top wagon with silver ore. At the rear of the horse team is a passenger coach. (early 20th century, WHC&M)

Updated 29 December 2023. Originally posted on 21 December 2023 as ‘Camden Teamsters Memorial, when the horse was king on the Yerranderie Road’.

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Celebrate Camden 93, a spring festival

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30th anniversary

This year, 2023, is the 30th anniversary of the Celebrate Camden 93 spring festival organised by the Camden Chamber of Commerce.

Camden has held successful spring festivals for many years, but few remember this one.

Camden’s spring festivals have adopted a variety of names over the years.

In 1993, the event sponsor, the Camden Chamber of Commerce, branded the festival as Celebrate Camden 93, to be held on September 18-19.

Chamber vice-president Vicki Sutherland was the brainchild of the 1993 event and was backed by the Camden Main Street Committee and Camden Council.

According to the Camden Chamber of Commerce, the festival aimed to promote Camden as a viable tourist and shopping destination. (Macarthur Advertiser, 22 September 1993)

Event organiser Vicki Sutherland said, ‘The town had to stand up and be counted before it became obsolete. The recession and the fact that most Sydneysiders think Camden was out bush have contributed to business shrivelling away.’

‘We’re a great area to visit for the weekend and we’re a great area to go and shop,’ she says. (Sunday Telegraph, 6 June 1993)

Chamber president Mart Rampe said, ‘I am confident the festival would ‘portray the real feeling of Camden and turn into annual event’.

Event organisers hoped that it matched Campbelltown’s annual Fisher’s Ghost Festival.

Celebrate Camden 93 street parade at the corner of John & Argyle Streets (V Sutherland, 1993)

The organising committee printed t-shirts, decorated the main street, and organised publicity in local newspapers and 2WS to broadcast the event. (Macarthur Advertiser 9 June 1993)

Event publicity came in various modes. Organisers successfully got a double-page spread in the Sydney Sunday press in June with the header PUTTING A TOWN BACK ON THE MAP. (Sunday Telegraph, 6 June 1993)

Suzanne Houwelling, writing in the Sunday Telegraph, went hyperbolic and maintained that ‘Camden is about to become the village that roared. And it’s prepared to go to extraordinary lengths to achieve that’. (Sunday Telegraph, 6 June 1993)

Speculation of cancellation

There was trouble for the event looming in August with a lack of sponsorship. Some were concerned that the festival would be cancelled. (Macarthur Advertiser, 16 August 1993)

When these concerns were aired in the local press, sponsors picked up, and Camden Mayor Frank Brooking declared the festival would go ahead.

Organiser Vicki Sutherland said, ‘It was a shame some of the local businesses had not seen the value of marketing through Celebrate Camden’. (Macarthur Advertiser, 16 August 1993)

There were to be various events on the main street over the two-day festival, including a street parade on Saturday morning at 9am. Followed by festivities continuously over the next 36 hours, with more than 50 events scheduled. (Macarthur Advertiser, 22 September 1993)

The most popular events were a midnight wedding ceremony, a fireworks display, a hot rod and Pontiac display, a family BBQ and jazz bands. (Macarthur Advertiser, 22 September 1993)

Great success

So, how did things go?

Event organiser, Vicki Sutherland claimed in the local press that the event was an ‘astronomical success’ with over ‘100,000 flocking’ to the event. (Macarthur Advertiser, 22 September 1993)

‘We are hopeful that it’ll set the foundations for many more in the future’, she said.

‘It’s early days yet, but the feedback I’ve been getting from businesses so far is great’. (Macarthur Advertiser, 22 September 1993)

Street parade for the Celebrate Camden 93 celebrations (V Sutherland, 1993)

Former Chamber president Wanda Sharpe said, ‘It was a great success with a great atmosphere but a few bugs to iron out’.

The bugs apparently were ‘the presence of a few hoons and under-age drinkers on the streets on Saturday night’. (Macarthur Advertiser, 22 September 1993)

Celebrate Camden 94

In 1994, Chamber of Commerce president Mart Rampe said that Celebrate Camden 94 was to proceed on the weekend of 17-18 September.

‘A number of changes have been made, the main one being that all activities will cease at midnight and recommence again at 9am Sunday’. (The Camden Crier, 31 August 1994)

Artwork for publicity for Celebrate Camden 94 (V Sutherland, 1994)

Celebrate Camden 94 was planned to have street stalls, community events, a craft exhibition, a broadcast of community radio, and a street parade on Saturday at 1pm. (The Camden Crier, 24 August 1994)

Sponsorship problems

Sponsorship for Celebrate Camden 94 proved to be a problem.

Mr Rampe said, ‘I am quite disappointed at the response from some of the businesses in Camden. Whilst our financial support looks like equalling that of last year, it disturbs me that much of the support is coming predominantly from the same people that contributed last year. The support that the event is receiving is coming from less than 10% of the business community which I consider to be far too low. It also means that there are a number of businesses out there who are prepared to ‘freeload’ on the efforts of others. This is an attitude I find difficult to comprehend’. (The Camden Crier, 31 August 1994)

Planning proceeded.

The local Camden press had an eight-page lift-out in the Macarthur Advertiser and a four-page lift-out in The Camden Crier. (Macarthur Advertiser, 14 September 1994; The Camden Crier, 14 September 1994)

The Advertiser centre-page spread listed 38 events across the weekend, including the street parade on Saturday afternoon led by an elephant called ‘Betty’ from Bullen’s Animal World at Wallacia. Over 45 sponsors were mentioned in the lift-out. (Macarthur Advertiser, 14 September 1994)

Success or failure?

Event organiser Vicki Sutherland wrote in her report on Celebrate Camden 94 that the ‘event has been hailed as a success by many and a failure by a few’. She reported that the crowd showed ‘an enormous drop in attendance by our locals’ and had a ‘poor response from many local business houses’. Sponsorship was supported by 96 local businesses that comprised 36% of the budget. The biggest expense was advertising, which took up 45% of the budget. She maintained that the street parade was ‘the biggest attraction’, there were 52 street stalls and the John Street stage ‘was once again a great centre of entertainment’. Unlike 1993, there were few problems in the Camden Town Centre after midnight, and vandalism was down on the previous year. Sutherland ended the report with a question: ‘Will there be a Celebrate Camden 1995’. (Vicki Sutherland, Co-ordinators Report 1994, Celebrate Camden Committee)

The question was answered in 1995 when the Celebrate Camden Festival faded out and was replaced by the Cowpastures Bicentennial celebrations.

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Narellan Heritage Walking Tour

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Narellan Heritage Walking Tour

In 2010, local photographers Kylie and Peter Lyons put together a walking tour of the Narellan area.

The Lyons operated The Old St Thomas Chapel as a venue for weddings, christenings and other family events.

Narellan was one of the original five villages that pre-date the foundation of the township of Camden in 1840 in The Cowpastures.

The Narellan Heritage Walking Tour is an interesting and informative way to observe and learn about the history and heritage of this Cowpastures village.

What follows is the original walking tour of Narellan with historic notes of Narellan’s built heritage.

Narellan Built Heritage

Heritage Walking Tour

  1. The Old St Thomas Chapel Hall
  2. The Old St Thomas Chapel
  3. Camden Country Milk Depot
  4. Cake Biz
  5. Narellan Hotel
  6. Ben Linden
  7. Former Burton Arms Inn
  8. Narellan Public School
  9. Narellan Anglican Cemetery

Other Narellan Built Heritage

  1. Camelot
  2. Kirkham Stables
  3. Wivenhoe
  4. Denbigh
  5. Orielton
  6. Harrington Park Homestead
  7. Stuggletown
  8. Sharman’s Slab Cottage

What now?

Get out and about and have a look at the wonderful and exciting history of the Narellan area that dates from the earliest days of European settlement.

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Billie Holiday on stage at the Belvoir Street Theatre

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Review: Lady Day at Emerson’s Bar and Grill by Lanie Robertson. Musical Arrangements by Danny Holgate. Belvoir St Theatre, 14 September – 15 October 2023.

Theatre performance with heart

I recently attended a theatre performance with a strong humanitarian message at the Belvoir Street Theatre in Surry Hills. The show was a combination of cabaret and drama, highlighting many historic social issues and challenges of the early 20th century that still resonate today.

The show portrayed the life and times of African-American jazz singer Billie Holiday in a performance called ‘Lady Day at Emerson’s Bar and Grill’. Originally performed in New York Off-Broadway Vineyard Theatre in 1986 at a venue renowned for staging provocative, cutting-edge new plays and musicals. This version of Lady Day is a co-production between the Melbourne Theatre Company and the State Theatre Company of South Australia.

Cover of the programme for Lady Day at the Emerson Bar & Grill at the Belvoir Street Theatre (BST 2023)

The premise of the production

The premise of the production is that it is set in a south Philadelphia bar at about midnight in March 1959 and is the last performance before Holiday died. This adaptation of Lanie Robertson’s Lady Day is directed by Mitchell Butel, starring Jamaican-born Zahra Newman as Holiday, supported by a marvellous three-piece jazz band consisting of piano, bass and drums.

The staging moves away from a typical biopic and encapsulates many aspects of Holiday’s life in one evening, Butel told ABC Artworks and is not a normal cabaret show. The show does not stray away from the challenges that Holiday faced in her lifetime. These social issues and changes have contemporary resonance, including sexual assault, drug addiction, alcoholism, and racism.

Zahra Newman told ABC ArtsWorks that she wanted to honour the life of Holiday. To achieve this, she and her voice coach, Geraldine Cook, sought out the few primary sources of Billie Holiday. In one of those sources, Holiday states that the name Lady Day was given to her by her sax player, Lester Young.  

Billie Holiday, a musical genius

In the show, Newman pays tribute to the influences on Holiday’s life and amongst them were Holiday’s love of Bessie Smith and Louis Armstrong. Holiday was a skilled performer and one of the few African-American singers who toured with an all-white band across the American South. According to Frank Sinatra, Billie Holiday was a musical genius who influenced every major singer of her generation, particularly himself.  

Zahra Newman sings the blues

Singing a range of Billie Holiday’s classics, Newman’s voice filled the room, and the blues have never sounded sweeter. Newman’s powerful rendition of Holiday’s 1930s tune ‘Strange Fruit’ came straight from the heart. Holiday originally recorded the song in 1939, with the lyrics drawn from a poem published in 1937 by teacher and songwriter Abel Meeropol called ‘Bitter Fruit’. The protest song deplores lynchings, mainly African Americans, which reached a peak in the Southern American States at the turn of the 20th century. The lyrics compare the lynchings to fruit hanging on a tree. The 1939 recording by Commodore sold over a million copies and was adopted by the civil rights movement as its anthem in the mid-20th century.

Billie Holiday sings the blues protest song ‘Strange Fruit’ originally recorded in 1939 (The Kennedy Centre 2023)

The show ended with the audience in raptures. Newman and the band received an enthusiastic standing ovation for a magical performance – a great evening’s entertainment for all, closing with a strong humanitarian message.

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Voluntary labour worth thousands of dollars to the Camden Museum

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What is the value of volunteering at the Camden Museum?

According to the latest research, the value of unpaid voluntary labour to the Camden Museum is worth around $580,000 a year.

Volunteers working on projects in the research room at the Camden Museum (I Willis, 2018)

Across an ordinary week, volunteers contribute around 240 hours of unpaid voluntary work to the Camden Museum.

In November 2021, the Australian Bureau of Statistics valued an hour of voluntary labour at A$46.62. (Funding Centre 2023)

Of course, the hourly rate greatly increases when the Camden Historical Society hires professional labour. So, the rate of $46.62 is probably an undervaluation. Specialist museum consultants can charge $1000 per day and more.

Volunteer survey at the museum

In 2018, Camden Historical Society President Dr Ian Willis conducted a brief survey of volunteers at the Camden Museum.

He was interested in the range of volunteer duties and the number of unpaid hours worked.

The frontage of the Camden Museum Library complex at 40 John Street Camden (HCNSW, 2023)

He found that Camden Museum volunteers and members of the Camden Historical Society, which manages the museum, do a host of unpaid activities.

The activities include: front welcome desk; tours; general administration; research; data entry; social media; writing; filing; committee work; travel; cataloguing; and other sundry duties.

This unpaid labour is essential to keep the museum open and the collection and archives in good condition.

Volunteering is an essential part of the wider society and is generally undervalued by government, businesses and volunteers themselves.

The most obvious unpaid labour is staffing the front desk to welcome visitors to the museum. The museum is open from 11am to 4pm on Thursday to Sunday.

Other unpaid voluntary work takes place behind the scenes, away from the public gaze.

Writing an article for the Back Page of The District Reporter, around 800 words, can take between 15 to 25 hours.

The Back Then page in The District Reporter. (TDR, 23 April 2023)

Value of volunteering calculator

The Centre for Volunteering has created a value of volunteering calculator.

When the Camden Historical Society’s weekly 240 hours were entered into the calculator, the annualised value calculated was A$590,304. This gives an hourly rate of A$47.41, assuming that most of the volunteers were between the ages of 55 and 64.

The Centre for Voluntary states:

This useful tool is fully compliant for organisations reporting the fair value of volunteering under the Australian Accounting Standard (AASB1058) Income of Not-for-Profit Entities.

The replacement cost of a volunteer is calculated using the average hourly part-time wage of a person of their age in their state of residence, plus 15% employer on-costs (inclusive of superannuation, payroll tax and administration expenses).

https://www.volunteering.com.au/resources-tools/cost-of-volunteering-calculator/

In-kind contributions

Valuing volunteers for in-kind contributions can be challenging to figure out $ values for volunteer hours.

This figure is often required for grant applications.

Camden Museum volunteers lead a school group around the displays (Camden Museum 2018)

Value of volunteering to the Australian economy

Up-to-date research on what volunteering is worth to the Australian economy is either out-of-date or difficult to find.

One report from Flinders University in 2014 stated that volunteering was worth A$290 billion to Australia’s economic and social well-being, including the value of lives saved and emotional well-being.

According to Volunteering Australia, there are about 6 million volunteers.

The impact of Covid-19 has seen a decline in overall volunteering across the country.

According to the latest research in 2022 (UoS):

The ANU Centre for Social Research and Methods (CSRM) estimated a drop from 36% in 2019 to 26.7% in April 2022 in the proportion of adults who had volunteered formally over the 12 months prior to the time of survey.

https://www.sydney.edu.au/content/dam/corporate/documents/brain-and-mind-centre/mental-wealth/mwi_the-decline-in-volunteering_final_clean-(181122).pdf
The Camden Museum and the Camden Family History rooms at the Camden Museum Library complex (CAFHS 2019)

Benefits of volunteering

There are a host of benefits to volunteering.

According to Health Direct, volunteering can:

  • give you a sense of achievement and purpose.
  • help you feel part of a community.
  • help you feel better about yourself by improving your self-esteem and confidence.
  • help you share your talents, learn new skills and create a better work-life balance.
  • help combat stress, loneliness, social isolation and depression.
  • help you meet new people, which can help you feel more connected and valued.

https://www.healthdirect.gov.au/benefits-of-volunteering

Legacy

The museum and the historical society are completely run by unpaid voluntary labour.

The Camden Museum would be forced to close without the generous contribution of the unpaid volunteers.

References

Funding Centre 2023, ‘Assigning value to your volunteer labour’. Funding Centre, https://explore.fundingcentre.com.au/help-sheets/valuing-volunteer-labour