Adaptive Re-use · Anzac · Aviation · Camden Airfield · Cultural Heritage · Engineering Heritage · England · Heritage · History · Living History · Local History · Local Studies · Memory · Military history · Nationalism · Patriotism · Place making · Second World War · Sense of place · Storytelling · Tourism · Transport · Uncategorized · War · War at home · Wartime

Camden Airfield and the Bellman Hangars

Camden Airfield has a number of historic hangars from the Second World War. They are called Bellman hangars.

They are a British designed transportable hangar that were erected at the airfield. Camden had six Bellman hangars by mid-1942.

A Bellman Hangar at Camden Airfield built in 1941 and used by the RAAF Central Flying School as part of the Empire Air Training Scheme to train aircrew for the European war campaign. These remaining hangars are part the unique aviation archaeology and heritage at the existing Camden Airfield. (I Willis, 2014)

According to John Dunn’s Comeng, A History of Commonwealth Engineering, vol 1 1921-1955 (2006), they were originally designed in 1936 by NS Bellman, a structural engineer with the British Directorate of Works (UK). The hangars were meant to meet the needs of the Royal Air Force (UK) and the Empire Air Training Scheme (UK).

Australia had very close links with United Kingdom at the time as part of the British Empire. The country relied heavily on the UK for its defence needs and Camden airfield played a small part in that story.

The RAAF Central Flying School that was set up at Camden Airfield in 1940 was part of the Empire Air Training Scheme and Bellman hangars were supplied by Waddington’s Pty Ltd. According to Daniel Leahy’s ‘Aerodromes of Democracy, The Archaeology of Empire Air Training Scheme flying schools during World War II’ the training course duration for pilots was 14 weeks, air observers 12 weeks, and air gunners 8 weeks. All courses instructions were conducted at Camden RAAF CFS while based at the airfield.

The tenders for the of the supply of the hangars, according to Dunn, were called in mid-1940 by the Australian Government’s Department of Supply and Development. Overall 283 Bellman hangars were supplied to a variety of sites across Australia and New Guinea. The final cost to the Commonwealth Government for the supply of the hangars was around £1,500 each.

Over 85 per cent of the Bellman hangars in Australia were supplied by Waddingtons (Clyde). Waddingtons got into financial trouble with the Bellman supply contract and under the wartime regulations the Commonwealth Government took a controlling interest in the firm. The government discovered that there were all sorts problems with supplying the hangars, although they were a ‘simple product’. The problems were eventually sorted out and the hangars were all supplied.

RAAF Training Squadron at Camden Airfield with one of the main aircraft used for training at the time a Tiger Moth in 1942. The control tower is shown to the left of the image and the Bellman hangars behind.  (LG Fromm)

Under wartime regulations Waddington’s was a protected industry and supplied a variety of wartime contracts in the engineering field. They included railway wagons, ocean-going lighters, ‘Igloo‘ hangars, pontoons, landing barges, and buses. Waddingtons was completely taken over by the Commonwealth Government in 1946 and renamed Commonwealth Engineering Co Ltd. Interestingly, in the 1920s the principals of Waddingtons ran a business called Smith and Waddington which made ‘custom’ car bodies for imported chassis of Rolls Royce, Hudson, Wolseley and Fiat in a factory on Parramatta Road, Camperdown.

The Bellman hangars were only ever meant to be temporary, and they were supposed to be capable of being erected and dismantled by unskilled labour with simple equipment. Dunn maintains that the Bellman hangars were 95 feet wide (1 feet = 0.304 metres), 122 feet long, 17 feet high, covered an area of 10,000 square feet (1 square foot = 0.092 square metres), consisted of 60 tons of steel, at an average cost of £3,365 (erected), had 80 major components and could accommodate 5 Barracuda aircraft.

Waddingtons supplied Bellman hangars to around 25 airfields and other locations in New South Wales (from Camden to Temora), 15 in Queensland (from Cairns to Kingaroy), 17 in Victoria (including Ascot Vale and Port Melbourne), 4 in South Australia (including Mallala and Mt Gambier), 8 in WA (from Canarvon to Kalgoorlie), 3 in Tasmania (including Western Junction), 1 in the ACT (Kingston), 3 in the Northern Territory (including Gorrie and Wynellie) and Port Moresby in Papua New Guinea.

Initially Bellman hangars were designed in the United Kingdom with canvas panelled doors and canvas under the eaves, although steel-framed and clad doors were introduced after heavy snowfalls at Thornaby Airfield in the winter of 1937. The time taken to erect the UK hangar including levelling the ground, laying door tracks, erecting the steelwork and fitting the original oiled canvas Callender doors, was 500 man hours.

The British Ministry of Defence states that there are over 100 Bellman hangars still in existence in throughout the UK that were built around the Second World War in 2014. They were originally constructed by provide a fast, economical solution to a need for hangars. It is described as being a lightweight structure made from steel lattice frames, to form 14 bays giving an overall length of 53 metres and width of 29 metres.

The Airfields of Britain Conservation Conservation Trust states that Bellman hangars were only one type used in the United Kingdom during the war and between 1938 and 1940 over 400 were built for use. One of their disadvantages was their lack of roof height.

According to some reports there are 14 surviving Bellman hangars at RAAF Base Wagga, at least three at Point Cook (RAAF Williams), one at RAAF Base Fairbairn, Canberra Airport, four at HMAS Albatross, Nowra, a number at Auburn, Bankstown and Camden. For the enthusiast there is an interesting article on Bellman hangars on Wikepedia.

Updated 14 August 2021. Originally posted 15 July 2014.

Aesthetics · Art · Attachment to place · Belonging · Camden Art Group · Camden Public School · Camden Story · Campbelltown · Campbelltown Art Centre · Community identity · Cultural Heritage · Heritage · Landscape · Landscape aesthetics · Living History · Local History · Memory · Place making · Public art · Sense of place · Tourism · Uncategorized

Camden realism and storytelling

A local school of art tells a story

Camden realism is a style of art that has appeared in the Macarthur region in recent decades and tells the story of the local area. It was recently on display at the Campbelltown Arts Centre, where the gallery mounted an exhibition displaying the works of Nola Tegel, Patricia Johnson and others.

Artist Marion Boddy-Evans describes a school of art as

a group of artists who follow the same style, share the same teachers, or have the same aims. They are typically linked to a single location.

Local artists Nola Tegel and Patricia Johnson follow a representational style of work pioneered in the local area from the 1970s by artist Alan Baker. Tegel and Johnson were some of Baker’s students who, joined by others, and have created an impressive and vital body of local artwork.

The followers of Camden realism conduct a form of storytelling through their representational style of artwork that documents the ever-changing landscape of the Macarthur region and its cultural heritage.

Campbelltown Arts Centre

Camden realism is regularly exhibited at the Campbelltown Arts Centre and the annual Camden Art Prize.

In 2020 Tegel was commissioned by the Campbelltown Arts Centre to

develop a series of paintings that capture glimpses of Campbelltown’s history amongst an ever-changing landscape.

Then & Now Catalogue

The Campbelltown Arts Centre mounted these works in an exhibition called ‘Then and Now‘, which ran from March to May 2021.

The Campbelltown Arts Centre was established in 2005 and boasts that it is a regional creative hub.  The gallery encourages local artists to take risks using various techniques from new to traditional, including Baker’s representational style of realism.

The Tegel commission

The brief for the Tegel commission stated that she

‘develop a series of paintings that capture glimpses of Campbelltown’s history amongst an ever-changing landscape’.

Storytelling is the essence of Tegel’s artwork, and the exhibition catalogue states her body of artwork has documented

‘the built environment and landscape of the Campbelltown CBD ahead of imminent growth and continuous change’.

Storytelling is an essential element of the creative process, and artist Courtney Jordon argues that:

Storytelling often comes naturally to artists. Sometimes the story starts on a single canvas or sheet of paper and doesn’t end until a gallery full of paintings, a suite of drawings, a set of illustrations, a series of comic strips or an entire graphic novel.
Certain subject matters compel an artist to revisit them again and again, building on a concept or pushing it in different directions. The narrative can be a visible part of the artwork in the form of a written story. But oftentimes, it acts as an invisible framework that guides an artist through the creative process.

Tegel is a storyteller and she has created a narrative that fulfilled the commission brief with empathy and vision. This was based on her understanding of the area’s sense of place and community identity as a growing community on Sydney’s urban fringe. The exhibition catalogue states that

Tegel’s accomplished documentation of Campbelltown captures the artists’ attachment to familiar outlooks and awe of the growing community.

‘Then and Now’, Exhibition catalogue

The catalogue cover of the Nola Tegel Exhibition Then & Now at the Campbelltown Arts Centre in 2021 (I Willis)

The essence of Tegel’s artwork is storytelling as she gives a visual palette to the aspirations and expectations of the local community of local’s and new arrivals by capturing the meaning and essence of place on the canvas.  

Sydney’s urban fringe is a zone of transition where hope and loss,  and dreams and memories are shaped and re-shaped by a shifting sea of urbanisation.  Tegel has produced a body of work that tells the story of  subtle nuances across the landscape that are only understood by those who have experienced them.  She reminds us all that the border between the rural and the urban fringe is a constantly shifting feast.

Campbelltown is a landscape of change as it has been since the area was proclaimed by Governor Macquarie in 1820. Initially, as a settler society dispossessing the Dharawal of their country, and in the 20th century, urban dwellers dispossessing Europeans of their bucolic countryside.

Tegel has witnessed these challenges through her interpretation of the area’s cultural landscapes in an evocative fashion, and in the process, captured Campbelltown’s sense of place.

Visitors at the Exhibition Then & Now for Macarthur artist Nola Tegel at the Campbelltown Arts Centre in 2021 (I Willis)

The notes in the exhibition catalogue argue that Tegel has drawn here artistic influences from various sources. Amongst these have been working with artist Barbara Romalis and being a foundational member of artist Alan Baker’s art classes at Camden.

Camden realism and Alan Baker

Baker created what might be called the Camden Realist School of art. He was a follower of the Realist tradition and shunned sentimentalism, modernist abstract and avant-garde styles.

Baker’s influence on Tegel is evident in the ‘Then and Now’ exhibition collection, where it is represented by her ability to capture Campbelltown’s sense of place without sentimentalism or abstraction.

In the 1970s Baker encouraged a realist style amongst students at his Camden Public School art classes, which included Nola Tegel,  Patricia Johnston, Olive McAleer, Rizwana Ahmad, and Shirley Rorke.

Baker encouraged a Plein Air painting style,  a tradition that

 goes back to the French Impressionists in the mid-19th century by introducing paints in tubes. Before this, artists made their own paints by grinding and mixing dry pigments powder with linseed oils. 

In Australia the school of Heidelberg School of artists regularly painted landscapes en plein air, and sought to depict daily life from the 1890s.

Tegel displayed her deft skills as a practitioner of this style in her 2019 Maitland Regional Art Gallery exhibition called ‘In the Light of the Day’. Her artworks were described as coming

 from a long standing tradition of painting en plein air, artwork created ‘in the moment’, painted and worked on in situ.  

mrag.org.au/whats-on/nola-tegel-in-the-light-of-the-day/(opens in a new tab)

In 2018 Tegel documented the historic colonial Victorian homestead Maryland at Bringelly     when she was privately commissioned ‘to create 60 paintings.’ These paintings have told the story of one of the Cowpastures most important colonial mansions and farms built between 1820 and 1850. (Then & Now Catalogue)

Patricia Johnston

Another member of the Camden Realist school is Camden-based artist Patricia Johnston.

Johnston is the ‘2021 Focus Artist’ at the Campbelltown Arts Centre for the ‘Friends Annual and Focus Exhibition’.

Another prodigy of Alan Baker and a fan of the plein air tradition Johnston says that Baker

Revealed the challenge of capturing changing light conditions in open-air painting. The immediacy of this technique and the ability to analyse complex visual scenes established a groundwork that has greatly influenced my painting. The environment became by studio.

Friends Annual & Focus Exhibition Catalogue 2021

A collage of paintings by artist Patricia Johnson on display at the Campbelltown Arts Centre as the ‘2021 Focus Artist’ in the ‘Friends Annual and Focus Exhibition’. (I Willis)

Realism on display

Camden realism’s outstanding body of work is a collection of Alan Baker’s paintings, sketches, and other works at the Alan Baker Art Gallery Macaria in John Street Camden. The gallery presents the Alan Baker Collection, which is

a colourful portrayal of an artist’s life in 21st Century Australia.

Alan Baker Art Gallery Flyer

The flyer for the ‘Face to Face’ Exhibition at the Alan Baker Art Gallery Macaria Camden with artist Alan Baker’s self-portrait on the cover. The exhibition is running during 2021. (Alan Baker Art Gallery)

Camden realism is encouraged every year in the Camden Art Prize, which was established in 1975. The acquisitive art prize has a host of categories attracting a mix of artist styles, including traditional representational works.

Smaller exhibitions of Camden realism add to body of work. In 2019 local artists Patricia Johnson, Nola Tegel, Bob Gurney, and Roger Percy mounted an exhibition at Camden Library called ‘Living Waters of Macarthur’. The body of artworks told a variety of stories of the local area in a visual form and captured the essence of place for viewers of local landscapes.

Art as storytelling

The body of work that has grown around Camden realism illustrates the ability of art to tell a story about place. The art style encourages a sense of emotional attachment to a locality by telling stories about the landscapes that surround the community.

Camden realism offers a visual interpretation of storytelling of Macarthur landscapes and the communities within it. This body of work documents the changes that have taken place across the local area from pre-European times to the present, illustrating that all these landscapes are transitional.

Perhaps leaving the last word to artist Courtney Jordon, who says:

Even if they are not aware of it, visual artists often develop some sort of narrative in their work..

Camden realism is a school of art that documents the local area in a different form of storytelling.

Architecture · Attachment to place · Camden · Communications · Cowpastures · Cultural Heritage · Cultural icon · Economy · Elderslie · Floods · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Landscape · Living History · Local History · Local Studies · Macarthur · Memorials · Memory · Modernism · Monuments · Nepean River · Place making · Sense of place · Storytelling · Tourism · Transport · Travel · Urban growth · Urban Planning · urban sprawl · Urbanism · Utilities

Macarthur Bridge

The Macarthur Bridge across the Nepean River

The Macarthur Bridge across the Nepean River is one of the most important pieces of economic and social infrastructure in the Macarthur area on Sydney’s south-western rural-urban fringe. The bridge can also be regarded as one of the most items of engineering heritage in the Camden Local Government Area. The bridge provides a high-level flood free crossing of the Nepean River which can isolate the township of Camden when the numerous low-level bridges in the area are flooded. The low-level bridges are the Cowpasture Bridge (Camden), the Cobbitty Bridge and the Menangle Bridge.

Macarthur Bridge View from Nepean River Floodplain 2015 IWillis
Macarthur Bridge View from Nepean River floodplain upstream from the Camden township in New South Wales (IWillis 2015)

History and Description

The Macarthur Bridge is named after one of the Camden district’s first land grantees John Macarthur and their pastoral holding of Camden Park, which the family still occupy. There are many descendants of the Macarthur family in the Camden district.

The naming of the bridge also co-incided with the establishment of the Macarthur Growth Centre at Campbelltown  by the Askin Liberal Government in 1973 and support from the new Whitlam Federal Government for the Macarthur Growth Region. These were originally part of the 1968 Sydney Region Outline Plan from which the 1973 New Cities Structure Plan for Campbeltown, Camden and Appin appeared.

These were exciting plans that were developed at the time with the provision of extensive infrastructure across the new growth centre. Some of the infrastructure eventuated and many parts did not. The New Cities Plan turned into a developers dream and hastened Sydney’s urban sprawl into the southern reaches of the Cumberland Plan. The Macarthur Region is one of those legacies.

The New Cities Plan 1973[1]
The New Cities Structure Plan 1973 completed by the NSW State Planning Authority of the Askin Government.

The Macarthur bridge guaranteed flood free access from the Burragorang Coalfields to the Main Southern Railway at Glenlee for American shipping magnate Daniel Ludwig’s Clutha Development Corporation.

This was particularly important given the defeat of the Askin Liberal Governments support for a proposal by Clutha for a rail link between the Burragorang Coalfields and the Illawarra coastline. The Askin government passed special enabling legislation and the issue turned into one of the first environmental disputes in the Sydney basin in the early 1970s.

The Construction of the Macarthur Bridge (RMS 1973, 71/2 mins)

The high level Macarthur Bridge allowed the diversion of coal trucks from the Burragorang Valley coalfields  away from Camden’s main street passing across the low-level Cowpasture Bridge from 1973. Coal trucks then travelled along Druitt Lane and over the Macarthur Bridge to the Glenlee Washery at Spring Farm.

The flooding by the Nepean River of the road access to the township of Camden at the low-level Cowpasture Bridge has been a perennial problem since the town’s foundation in 1840.

Cowpasture Nepean River Road Rail Bridge 1900 Postcard Camden Images
Cowpasture Nepean River Road Rail Bridge 1900 (Postcard Camden Images)

In 2002 the NSW Minister for Transport replied to a question from Dr Elizabeth Kernohan, Member for Camden, about the bridge. The Minister stated

I am advised that Macarthur Bridge was built in the early 1970’s on the basis that most of the long distance traffic would use the F5. I am advised that the primary function of the Macarthur Bridge was for use as a flood relief route. It was built parallel to the Cowpasture Bridge at Camden to take the full traffic load when the Cowpasture Bridge is impassable.

I am advised by the Roads and Traffic Authority (RTA) that the bridge referred to was not specifically designed to be widened at a later date. (NSW Parliament, 8 May 2002)

Specifications

The Macarthur Bridge has a 26-span, 3380 feet (approximately 1.12 km) long concrete structure that carries the Camden Bypass across the Nepean River and its flood plain. The bridge was built between 1971 and 1973, originally to carry Hume Highway traffic, on a flood-free alignment around Camden.

The Camden Bypass

The Camden Bypass is the former Hume Highway alignment between the localities of Cross Roads and Camden. It is marked as State Route 89. The proper route is from Cross Roads, skirting Camden via the Camden Bypass and ending at Remembrance Drive, another part of the former Hume Highway near Camden South.

The  Camden Bypass was in turn bypassed in December 1980 when the section of what was then called the South Western Freeway (route F5) from Campbelltown to Yerrinbool was opened. It has grown in importance as a major arterial road linking the Hume Motorway, WestLink M7 and M5 South Western Motorway interchange at Prestons, near Liverpool, with Camden.

Macarthur Bridge Approaches 2015 1Willis
The Macarthur Bridge northern approaches from the Camden Bypass  (1Willis, 2015)

Open to traffic and construction details  

The official plaque on the bridge states:

Macarthur Bridge.

The bridge was designed by the staff of the Department of Main Roads and is the longest structure built by the Department since its inception in 1925. Length (Overall) 3380 feet comprising 26 spans each of 130 feet long. Width between kerbs 30 feet with one footway 5 feet wide. Piled foundations (max 90 feet deep) were constructed by the Department’s Bridge construction organisation. Piers and superstructure by contact by John Holland (Constructions) Pty Ltd. Total cost of bridge £2,600,000.

RJS Thomas Commissioner for Main Roads

AF Schmids Assistant Commissioner for Main Roads

GV Fawkner Engineer-in-Chief

FC Cook Engineer (Bridges)

Department of Main Roads, New South Wales

Open to traffic on 26 March 1973

Memories

Facebook 30 June 2021

Annette DingleI remember the day it opened, the school ( Camden south) walked to it . I lived in the street under it ( it was a dead end back then ) we use to play in the “tunnels “ under the bridge. You could only go so far before there was no air . Fun times

Read more

State Route 89 on Ozroads Website Click here

State Route 12 on Paul Rands Website Click here

Updated 30 June 2021. Originally posted 6 January 2020

Aesthetics · Agricultural heritage · Agriculture · Attachment to place · Camden · Camden Airfield · Camden Show · Churches · Cobbitty · Colonial Camden · Colonialism · Community identity · Cultural Heritage · Cumberland Plain · Farming · Floods · Heritage · History · Living History · Local History · Local Studies · Macarthur Park · Onslow Park · Place making · Railway · Sense of place · Storytelling · Tourism

Camden, the best preserved country town on the Cumberland Plain

A country town on Sydney’s fringe

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).

Comment by architect Hector Abrahams that Camden was the best preserved country town rural town in 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.

Vista of St Johns Church from Macarthur Park in 1910. Postcard. (Camden Images)

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 Heritage Walk (Camden Council)

A free booklet can be obtained from Oxley Cottage (c1890), the Camden Visitor Information Centre, which is located on Camden Valley Way on the northern approaches to Camden. Oxley Cottage is a farmer’s cottage built on land that was granted to John Oxley in 1816.

St Johns Church at the top of John Street overlooking the village of Camden around 1895 C Kerry (Camden Images)

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.

Stuckey Bros Building Bakers Argyle Street Camden c1941 (I Willis 2012)
Stuckey Bros Building Bakers Argyle Street Camden c1941 (I Willis 2012)

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.

Camden Library Museum in John Street Camden 2016 (I Willis)

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.

A 1915 view of Commercial Banking Co building at corner of Argyle and John Street Camden
A 1915 view of Commercial Banking Co building at corner of Argyle and John Street Camden (Camden Images)

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.

Local people still do their shopping as they have done for years and stop for a chat with friends and neighbours. At the end of Argyle Street the visitor can stroll around Camden Showground (1886). A country style show is held here every year in March and the visitor can take in local handicrafts in the show hall (1894) or watch the grand parade in the main arena.

The 2019 Camden Show provided an immersive experience for participants and observers alike in a host of farming activities. The authentic sights, sounds and smells of the show ring and surrounds enlightened and entertained in a feast for the senses. (I Willis, 2019)

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.

Pansy Nepean River Bridge 1900 Postcard Camden Images
Pansy Nepean River Bridge 1900 Postcard (Camden Images)

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.

Camden Airfield 1930s Camden Images
Camden Airfield 1930s (Camden Images)

The visitor can then relive the days when RAAF airmen (32 Squadron, 1943) flew out of the base chasing Japanese submarines on the South Coast, or when the RAF (1944) occupied the still existing hangers and runways flying transport missions to the South Pacific.

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.

View along Cobbitty Road in 1928
View along Cobbitty Road in 1928 (Camden Images)

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.

Front Cover of Ian Willis's Pictorial History of Camden and District (Kingsclear, 2015)
Front Cover of Ian Willis’s Pictorial History of Camden and District (Kingsclear, 2015)
The last day of the Camden Campbelltown train running in 1963. Keen fans watching the train climb Kenny Hill at Campbelltown. (ARHS)
Rear Cover Ian Willis’s Pictorial History of Camden & District. The last day of the Camden Campbelltown train running in 1963. Keen fans watching the train climb Kenny Hill at Campbelltown. (ARHS)

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.

Adaptive Re-use · Architecture · Art · Camden · Camden Story · Community identity · Cultural Heritage · Cultural icon · Entertainment · Gothic · Heritage · History · History of a house · House history · Leisure · Lifestyle · Living History · Local History · Local Studies · Macarthur · Place making · Public art · Sense of place · Storytelling · Tourism · Victorian

New exhibition at Alan Baker Art Gallery

FACE to FACE

Live Sittings

1936 – 1972

On a recent evening in Camden there was the launch of a new exhibition at the Alan Baker Art Gallery in the heritage listed building Macaria in John Street.

The exhibition, FACE to FACE: Live Sittings 1936 – 1972, celebrates Alan Baker’s achievement of entering the Archibald prize 26 times with 35 artworks between 1936 and 1972. Despite his persistence he never won a prize.

The cover of the FACE to FACE Live Sittings 1936-1972 Exhibition programme at the Alan Baker Art Gallery held in Macaria, John Street, Camden. (ABAG)

The exhibition programme states that Alan Baker was studying at JS Watkins Art School alongside future Archibald winners Henry Hanke in 1934 with his Self Portrait, William Pidgeon who won in 1958, 1961 and 1968, and his brother Normand Baker in 1937 with his Self Portrait.

The programme provides a timeline of Baker’s paintings with images that illustrate his works.

The Sydney.com website states

  the exhibition will feature Baker’s first 1936 Archibald Prize entry painted at the age of 22, a self-portrait study painting by Normand Baker for his 1937 winning Archibald Prize entry, and Baker’s 1951 portrait of Australian Filmmaker Charles Chauvel (courtesy of the Royal Geographical Society of Queensland).

The FACE to FACE Live Sittings 1936-1972 exhibition runs from April to September 2021.

The feature wall in the entry of the Alan Baker Art Gallery in Macaria, John Street Camden for the FACE to FACE Live Sittings 1936 -1972. The image was taken on the opening night of the exhibition on 17 April 2021. (I Willis)

The Archibald

The Archibald Prize is one of the pre-eminent portraiture prizes in Australia held yearly at the Art Gallery of New South Wales. First awarded in 1921 this prestigious art prize is a sought after award by artists generating publicity and public exposure. Traditionally portraitists were mostly restricted to public or private commissions.

The Art Gallery of NSW states that:

 The Archibald Prize is awarded annually to the best portrait, ‘preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australasia’.

The Archibald has never been far from controversy and turning points have been William Dobell’s prize-winning portrait of fellow artist Joshua Smith in 1943 and in 1976, Brett Whiteley winning  painting Self portrait in the studio.

Macaria, the gallery building

The Alan Baker Gallery website outlines a short history of the Macaria building.

An exterior view of Macaria showing the Gothic influence in the roof line and window detail. The verandah was an addition to this style of building in the Australian colonies. (I Willis, 2018)

The website states:

Macaria was originally built in 1859-1860 as a school house by Henry Thompson, the building has since been used for many things; including a private home; the Camden Grammar School; the residence and rooms of doctors and dentists including popular local physician Dr Francis West. In 1965 Macaria was purchased by Camden Council and used as Camden Library and later, offices for the Mayor, Town Clark and staff.

Macaria is a fine example of an early Victorian Gentleman’s Townhouse. Designed and built in the Picturesque Gothic, Renaissance Revival style, Macaria features gabled windows, high chimneys, stone trims and a wooden porch. Sympathetically renovated and restored in 2017, the historical features including the oregon timber flooring, Australian cedar architraves and mahogany skirting boards have been retained.

https://www.camden.nsw.gov.au/community/alan-baker-art-gallery-at-macaria/

FACE to FACE Exhibition at Alan Baker Art Gallery

 37 John Street, Macaria, Camden, NSW, 2570. Australia

(02) 4645 5191

alanbakerartgallery@camden.nsw.gov.au

http://www.alanbakerartgallery.com.au

Entry is free.

Macaria is a substantial Victorian gentleman’s townhouse and residence from the mid-Victorian period that was influenced by the Picturesque movement and Gothic styling. The building is now the home of the Alan Baker Art Gallery. (I Willis, 2017)

Art · Cultural Heritage · Cultural icon · Education · Entertainment · Families · Festivals · Heritage · History · Landscape · Leisure · Lifestyle · Living History · Local History · Local Studies · Macarthur · Mount Annan · Place making · Sense of place · Storytelling · The Australian Botanic Gardens Mount Annan · Tourism · Uncategorized

Crazy Colourful Koalas on the Prowl

Hello Koalas Sculpture Trail

Prowling crazy colourful koalas are on the loose in the Australian Botanic Gardens in Mount Annan and other notable spots in Campbelltown.

The cute one-metre-high fibreglass sculptures, called Hello Koalas, are loose across the garden landscape. They are a sight to behold after being a  hit at the Royal Botanic Gardens in Sydney in 2019.

The artworks are part of the Hello Koalas Sculpture Trail, jointly hosted by The Australian Botanic Garden (ABG), Mount Annan and Campbelltown City Council. Running from April 1 to April 30, the art installation is on loan from the Port Macquarie area.   

This is Wollemia The Vital Scientist by artist Lisa Burrell for the 2021 Hello Koala Sculpture Trail at The Australian Botanic Gardens Mount Annan. Wollemia will make sure that the Garden scientists are growing new Wollemi trees for the future. (I Willis)

Engaging public art installation

On a visit to the ABG this week, I watched how the sculptures touched the hearts of everyone who walked past them.

The Hello Koalas seemed to immediately grab the attention of everyone who walked past them, from the very young to the very young at heart. The koala characters appeared to melt the coldest heart with their bright colours and crazy artwork.

 There is an element of surprise to the sculptures, and there is an immediately identifiable joy in people’s reactions. Young and old pose for selfies and family pics with the koala characters.

Families sought out the elusive koala characters across the ABG after picking up the free trail map.  The kids were making sure that they found all of the 22 koalas in the garden.

The cover of the 2021 Hello Koala Sculpture Trail at The Australian Botanic Garden Mount Annan. Inside the brochure was a map with all of the 16 Hello Koalas scattered across the garden with the location. (I Willis)

According to the trail map, families can be helped in the koala hunt by downloading the ‘Agents of Discovery’ by using the ABG QR code and then seeking out the koala characters.

A public art trail

The outdoor art installation trail is strategically placed across the garden landscape to ensure an exciting and wonderful experience of these ‘living sculptures’.

Each of the Hello Koalas has a name and is themed around culture, heritage and environmental issues. There is Captain Koala, Bushby, Flying Fire, Topiary and a host of others.

The trail map provides a host of information about the Hello Koalas location, their names, and the artist who created them.

The ABG art installation was ‘conceived and created in Port Macquarie by Arts and Health Australia’, which aims ‘to promote and develop the application of creativity and the arts for health and quality of life’.

This is Scoop the busy news reporter who spreads the word about the importance of looking after native animals. He is part of the Hello Koalas at the ABG Mount Annan 2021. Scoop is by artist Rebekah Brown. (I Willis)

Project director Margaret Meagher described the Hello Koalas as Wildlife Warriors and said, ‘The project aims to spread the message that we must care for our koalas and all native fauna and flora’.

Toads and Koalas

The individual Hello Koalas were designed and hand-painted by artists from Port Macquarie, Taree, Kempsey and Coffs Harbour. They are part of a larger public art installation [IW1] in the Port Macquarie area, where 77 Hello Koalas are located across the region. They recently featured in Port Macquarie’s  Summer 2021 Hello Koalas Sculpture Trail, and later on, this year will be part of the  5th Annual Hello Koalas Festival between 25-26 September.

Director Margaret Meagher was inspired to create the Hello Koalas by an animal trail that was part of the 2010 Hull arts festival in England. The trail celebrated the life and times of local poet Philip Larkin and his poem Toads. Festival organisers created the Larkin with Toads sculpture trail. After initial scepticism, the toads have been a huge hit winning tourist awards, gaining national press coverage and increased local tourism.

The Port Macquarie Hello Koalas Public Sculpture Trail was launched in 2014 at the Emerald Downs Golf Course and has experienced continued success.

Public art engages people

The Hello Koalas Sculpture Trail is just one type of public art.

Public art installations are a vital part of a vibrant community and add to its cultural, aesthetic and economic vitality. Public art promotes

‘a sense of identity, belonging, attachment, welcoming and openness, and strengthen community identification to place. [It creates] a tangible sense of place and destination’.

Director Margaret Meagher argues that public art fosters cultural tourism and community cultural development.  

Public art is an opportunity to showcase artist talent differently and generate broader community interest. This type of art installation can ferment interest in issues and engage the media, the public and the creative sector. Public art appeals to the imagination of adults and children and can bring the community together.

Successful public art encourages public engagement with art and can create a sense of ownership within the community. There can be increased visitation increase tourism that brings money into the area. It can contribute to placemaking, shaping community identity and a sense of belonging.  

Not a balmy idea

The Hello Koalas Sculpture Trail, at first glance, may be considered a balmy idea. In reality, it is a clever idea that on initial observations seems to have engaged people’s interest and imagination and created a unique art experience.

The ABG Hello Koalas brochure states:

Effectively, each Hello Koalas sculpture provides a blank canvas to convey evocative messages that celebrate the existence of native plants and animals and raise public awareness, across generations, of the importance of caring and preserving our natural world.

Royal Botanic Gardens chief executive Denise Ora is quoted as saying, ‘When we did this exhibition in Sydney in 2019, it was a huge success. There’s a really fun aspect and a real educational aspect’.

Camden Narellan Advertiser 7 April 2021

More public art in the Macarthur area

1. Camden Pioneer Mural, Camden

2. The Cowpastures Cows, Perich Park, Oran Park

3. Campbelltown Arts Centre

4. The Boys, Emerald Hills Shopping Centre

5.  Sculpture Park, Western Sydney University, Campbelltown.

6. Art Installation, Oran Park Library, Oran Park.

7. Forecourt, Narellan Library, Narellan

8. Food Plaza Forecourt, Narellan Town Centre.

Aesthetics · Art · Attachment to place · Belonging · Cultural Heritage · Education · Family history · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Landscape · Landscape aesthetics · Legends · Living History · Local History · Local Studies · Memory · Myths · Place making · Sense of place · Stereotypes · Storytelling · Streetscapes · Tourism · Uncategorized

Take a stroll through the past

Take a stroll down any street in Australia and raise your eyes and the past will reveal itself before your very eyes.

You are wandering through living history. The past is all around you. Street names, street layout, the width of the street, the location of buildings and more.

An aerial view of Camden township in 1940 taken by a plane that took off at Camden airfield. St John’s Church is at the centre of the image (Camden Images)

The landscape of our cities and towns, and the countryside all owe their origins to the past.

The landscape will speak to you, but you must be prepared to listen.

Take time to let the landscape reveal itself. Just stand and soak up the past around you.

Cannot see it? Cannot feel it?

You need to look beyond the surface.

Like a painting will tell a story if you peel back the layers, so the landscape will do the same.

The opening of the Mount Hunter Soldier’s War Memorial opposite the public school took place on Saturday 24 September 1921. The official unveiling ceremony was carried out by Brigadier-General GM Macarthur Onslow. Afternoon tea was provided by ‘the ladies’ at 1/- with all money going to the memorial fund. (Camden News, 15 September 1921, 22 September 1921. Image Roy Dowle Collection)

The landscape will speak to you. It will reveal itself. 

Ask a question. Seek the answer.

The position of the tree. The type of street trees. Their size and species.

The bend in the road. The width of the street. The location of the street.

The position of the house. The colour of the house. The building materials.

Why is the street where it is? Why does it have that name?

Who walked along the street before you. Who grew up in the street? What were their childhood memories?

Ghosts of the past.

Some would say spirits of the past.

An information sign at the beginning of the walkway explain the interesting aspects of the life of Miss Llewella Davies. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 IW)

The past will speak to you if you let it in.

What was it like before there was a street?

The street is constantly changing. There are different people all the time. What clothes did people wear in the 1890s, 1920s, 1930s?

You walk along the street and into a shop. When was it built? Who owned it? What did it sell? How was it set up?

Stand at the entrance door – unchanged in 50 years – image what it was like in the past.

Just like a movie flashback.

Who moved through the landscape 1000 years ago? What was there?

Let you imagination run wild.

The walkway has a number of historic sites and relics from the Davies farm. Here are the Shoesmith Cattle yards.. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 IW)

Let the past wash over you. The past is all around you. Let it speak to you.

The brick wall that has been there for 100 years. Who built it? Where did they live? What did they eat? What else did they build? What was the weather? Was it a sunny day like today?

Walk around the corner and you come to a monumental wall at the entry to a town. Who put it there? What does it mean?

The past is hiding in plain sight. It is in front of us all the time.

Sometimes the past is lodged in our memories and sometimes it is locked up in a photograph.

Sometimes the memories flood back as a special event or family gathering or a casual conversation.

The past is layered. It was not static. It was constantly changing.

Camden Cowpastures Bridge 1842 Thomas Woore R.N. of Harrington Park CIPP

The past is not dead. It is alive and well all around us. You just need to take it in and ‘smell the roses’.

The stories of the past are like a gate into another world. Let your imagination run wild. Like a movie flash back – like a photograph from 100 years ago – or a greying newspaper under the lino  or stuffed in a wall cavity.

Like revealing layers of paint on a wall. They are layers of the past. Layers of history. Each layer has a story to tell. A past to reveal. Someone put the paint on the wall. Who were they? What did they do? Where did they go?

The Layers of history are like a mask. You want to take off the mask to reveal the face. You want the real person to reveal themselves. Sometimes the mask stays on.

The mask hides a mystery. What is it? What does it tell us? The mast of the past will reveal all eventually, maybe, sometime?

A couple relaxing on the Mount Pleasant Colliery railway at Stuart Park, North Wollongong in the early 1900’s (Royal Australian Historical Society) (Lost Wollongong Facebook page 3 July 2016) The Royal Australian Historical Society caption says: ‘Photographer Aileen Ryan Lynch taking a photograph of M. Carey at Stuart Park Wollongong 1919’ (J Scott)

Sometimes other words are used to express the layers of history – progress – hope – nostalgia – loss – change – continuity.

The past has brought us to the present. The past is embedded in the present.

Take a moment. Think about what is around you. Take in the past in front of you. Hiding in plain sight.

The past is all around us and has created the present. The present would not exist without the past. We need to understand the past to understand the present.

The past is all around us and has created the present. The present would not exist without the past. We need to understand the past to understand the present.

A glass plate negative from the Roy Dowle Collection at The Oaks Historical Society. (TOHS)
Aesthetics · Agricultural heritage · Art · Attachment to place · Belonging · British colonialism · Camden · Camden Hospital · Coal mining · Colonial Camden · Community identity · Cultural Heritage · Cultural icon · Dairying · Dharawal · Farming · Heritage · Historical consciousness · Historical thinking · History · Living History · Local History · Local Studies · Macarthur · Memorials · Modernism · Monuments · Pioneers · Place making · Public art · Sense of place · Settler colonialism · Stereotypes · Storytelling · Tourism

Public art and a mural

Mural art and the Camden pioneer mural

Camden Pioneer Mural with the Camden Hospital wishing well, and associated landscaping and gardens. (I Willis, 2020)

 

One of the most important pieces of public art In the Macarthur region is the Camden Pioneer Mural. The mural is located on the corner of the Old Hume Highway and Menangle Road, adjacent to Camden Hospital. Thousands of people pass-by the mural and few know its story.

Public art is an important part of a vibrant community and adds to its cultural, aesthetic and economic vitality. Public art promotes

‘a sense of identity, belonging, attachment, welcoming and openness, and strengthen community identification to place. [It creates] a tangible sense of place and destination’.

The pioneer mural does all these and more. The mural makes a public statement about Camden and the stories that created the community we all live in today.

Murals according to Stephen Yarrow of the Pocket Oz Sydney  

 reflect the social fabric of communities past and present – visual representations of their dreams and aspirations, social change, the cultural protests of an era, of emerging cultures and disappearing ones.

Public murals have recently gone through a revival in Australia and have turned into tourist attractions. Murals have become an important part of the urban landscape of many cities including Melbourne, Brisbane, Sydney, Launceston and other cities around the world. Mural art in the bush has been used to promote regional tourism with the development of the Australian Silo Art Trail.

The Camden pioneer mural is visual representation of the dreams and aspirations of its creators.

The creators

The mural was originally the idea of the town elders from the Camden Rotary Club.  The club was formed in halcyon days of the post-war period (1947) when the club members were driven by a desire for community development and progress.  Part of that vision was for a tourist attraction on the town’s Hume Highway approaches, combined with a wishing well that would benefit the hospital.  (Clowes, 1970, 2012)

Camden Pioneer Mural with the ceramic artwork completed by Byram Mansell in 1962 (I Willis, 2020)

 

The next incarnation of the vision was a mural with a ram with a ‘golden fleece’ to ‘commemorate the development of the wool industry by the Macarthurs’.  The credit for this idea has been given to foundation Rotary president Ern Britton, a local pharmacist. (Clowes 1970, 2012)   

Club members were influenced by the mythology around the exploits of colonial identity and pastoralist John Macarthur of Camden Park and the centenary of his death in 1934. Macarthur was a convenient figure in the search for national pioneering heroes. The ‘golden fleece’ was a Greek legend about the adventures of a young man who returned with the prize, and the prize Macarthur possessed were merino sheep.

The ‘golden fleece’ was seared into the national psyche by Tom Roberts painting The Golden Fleece (1894), the foundation of the petrol brand in 1913 and Arthur Streeton’s painting Land of the Golden Fleece (1926).  

The Camden mural project gained momentum after  the success of the 1960 Camden festival, ‘The Festival of the Golden Fleece’,  celebrating the 150th anniversary of wool production in Australia.

By 1962 the project concept had evolved to a merino sheep and a coal mine, after the Rotary presidencies of Burragorang Valley coal-baron brothers Ern and Alan Clinton (1959-1961)  (Clowes, 2012)

The plaque on the mural wall commemorating the official opening in 1962 (I Willis, 2020)

 

The artist

Club secretary John Smailes moved the project along and found ceramic mural artist WA Byram Mansell. (Clowes, 2012)

Mansell was a well-known artist and designer, held exhibitions of his work in Australia and overseas and did commissioned mural works for businesses, local council and government departments. (ADB) He adopted what the Sydney Morning Herald art critic called a form realism that a synthesis of traditional European styles and ‘the symbolic ritual and philosophy of the Australian Aboriginal’. Mansell’s work was part of what has been called ‘Aboriginalia’ in the mid-20th century ‘which largely consisted of commodities made by nonindigenous artists, craftspeople and designers who appropriated from Aboriginal visual culture’.  (Fisher, 2014)

Mural themes

The scope of the mural project had now expanded and included a number of themes: the local Aboriginal tribe; local blackbirds – magpies; First Fleet arriving from England; merino sheep brought by the Macarthur family establishing Australia’s first wool industry; grapes for a wine making industry; dairy farming and fruit growing; and development of the coal industry. (Clowes, 2012)

Mansell created a concept drawing using these historic themes. (Clowes, 2012) The club accepted Mansell’s concept drawings and he was commissioned to complete the mural, creating the ceramic tiles and firing them at his studio. (Clowes, 2012)

The mural concept seems to have been an evolving feast, with Mansell refusing to supply the Rotary Club with his interpretation of his artwork. (Clowes, 1970)

The plaque with the inscription from the official programme of the opening in 1962. (I Willis, 2020)

 

The artist and the meaning of the mural

 To understand the meaning what the artist intended with the design this researcher has had to go directly to Mansell’s own words at the 1962 dedication ceremony.

 Mr Mansell said,

‘I was happy to execute the work for Camden and Australia. We are a great land, but we do not always remember the early pioneers. But when I commenced this work there came to me some influence and I think this was the influence of the pioneers.

Mr Mansell said,

‘The stone gardens at the base is the symbol of the hardships of the pioneers and the flowers set in the crannies denote their success.’

‘The line around the mural, represents the sea which surrounds Australia.

‘To the fore is Capt Cook’s ship Endeavour and the wheel in the symbol of advancement. The Coat-of-Arms of the Macarthur-Onslows, pioneered sheep, corn, wheat, etc are all depicted as are the sheep which were first brought to this colony and Camden by John Macarthur.

‘Aboriginals hunting kangaroos are all depicted and so on right through to the discovery of coal which has been to us the ‘flame of industry’. Incorporated in the central panel is the Camden Coat-of-Arms, and the Rotary insignia of the wheel highlights the panel on the left.

‘Colours from the earth have been used to produce the unusual colouring of the mural.  (Camden News, 20 June 1962)

Further interpretation

According to Monuments Australia the mural ‘commemorates  the European pioneers of Camden’ and the Australian Museums and Galleries Online database described the three panels:

There is a decorative border of blue and yellow tiles creating a grape vine pattern. The border helps define the triptych. The three panels depict the early history of Camden. The large central panel shows a rural setting with sheep and a gum tree in the top section. Below is a sailing ship with the southern cross marked on the sky above. Beside is a cart wheel and a wheat farm. There are three crests included on this panel, the centre is the Camden coat of arms bearing the date 1795, on the proper right is a crest with a ram’s head and the date 1797, and on the proper left is a crest with a bunch of grapes and the date 1805. The proper right panel of the triptych, in the top section depicts an Aboriginal hunting scene. Below this is an image miner’s and sheafs of wheat. The proper left panel depicts an ornate crest in the in the top section with various rural industries shown below. (AMOL, 2001)

Specifications

The mural has three panels is described as a ‘triptych’ constructed from glazed ceramic tiles (150mm square). The tiles were attached to wall of sandstone blocks supported by two side columns. The monument is 9.6 metres wide and 3 metres high and around 500mm deep. There is a paved area in front of the mural 3×12 metres, associated landscaping works and a wishing well. (AMOL, 2001; Clowes, 1970)

The official programme from the opening and dedication of the mural in 1962. (Camden Museum)

Tourists visit mural

Tourists would stop in front of the mural and have their picture taken as they travel along the Hume Highway.

The pioneer mural was a local tourist attraction and visitors stopped and had their picture taken in front of the artwork. Here Mary Tinlin, of Kurri Kurri, is standing in front of the mural and fountain. Mrs Tinlin is standing on the side of the Hume Highway that passed through Camden township. The prominent building at the rear on the right is the nurses quarters. Immediately behind the mural wall is Camden District Hospital before the construction of Hodge building in 1971. (George & Jeannie Tinlin, A Kodachrome slide, 1964))
Aesthetics · Agriculture · Attachment to place · Australia · Australian Historic Themes · Belonging · Camden · Camden Town Farm · Colonial Camden · Community identity · Cowpastures · Cultural Heritage · Cultural icon · Dairying · Dharawal · Economy · Education · Farming · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Landscape · Landscape aesthetics · Leisure · Lifestyle · Living History · Local History · Local Studies · Macarthur · Nepean River · Place making · Recreation · Ruralism · Sense of place · Settler colonialism · Storytelling · Tourism

A walk in the meadows of the past

Walkway at the Camden Town Farm

I was recently walking across the Nepean River floodplain past meadows of swaying waist-high grass on a local walkway that brought to mind the 1805 description of the Cowpastures by Governor King. Atkinson writes

The first Europeans looked about with pleasure at the luxuriant grass that covered both the flats and the low hills. The flats seemed best for cattle…the trees were sparse.

The trees were certainly sparse on my walk, yet the cattle in the adjacent paddock proved the fulfillment of the observations of the early Europeans.

Black cattle graze on the waist-high grass just as the wild cattle of the Cowpastures did over 200 years ago. Camden Town Farm Miss Llewella Davies Pioneers Walkway 2020 (I Willis)

The cattle I saw were polled hornless black cattle which were markedly different from the horned-South African cattle which made the Nepean River floodplain their home in 1788 after they escaped from Bennelong Point in Sydney Town. They became the wild cattle of the Cowpastures.

The beauty of the landscape hints at the management skills of the original inhabitants the area -the Dharawal – who understood this country well.

This is the landscape that characterises the recently opened Miss Lewella Davies Memorial Walkway which weaves its way across the Nepean River flats on the western side of Camden’s township historic town centre.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Pond fog 2020 IW lowres
The aesthetics of the Nepean River floodplain caught the attention of the early Europeans in a landscape managed by the local Dharawal people for hundreds of years. Camden Town Farm Miss Llewella Davies Pioneers Walkway Pond (2020 I Willis)

Layers of meaning within the landscape

Walking the ground is an important way for a historian to empathise the subtleties of the landscape and the layers of meaning that are buried within it.

The walkway is located in the original Cowpastures named Governor Hunter in 1796, which was then declared a government reserve in 1803 by Governor King. Just like an English reserved King banned any unauthorised entry south of the Nepean River to stop poaching of the wild cattle. Just like the ‘keep out’ signs in the cattle paddocks today.

According to Peter Mylrea, the area of the town farm was purchased by colonial pioneer John Macarthur after the government Cowpasture Reserve was closed and sold off in 1825. It is easy to see why John Macarthur wanted this part of the country for his farming outpost of Camden Park, centred at Elizabeth Farm at Parramatta.

Although this does not excuse European invaders displacing and dispossessing the Indigenous Dharawal people from their country.  Englishman and colonial identity John Oxley and John Macarthur were part of the colonial settler society which, according to LeFevre, sought to replace the original population of the colonized territory with a new society of settlers.

Today all this country is part of the Camden Town Farm, which includes the walkway.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Nepean River Rest Stop 2020 IW lowres
A rest stop on the walkway adjacent to the Nepean River. Camden Town Farm Miss Llewella Davies Pioneers Walkway Nepean River (2020 IW)

Llewella Davies – a colourful local character

Llewella Davies was a larger than life colourful Camden character and a truly notable Camden identity. On her death in 2000 her estate bequeathed 55 acres of her family’s dairy farm fronting Exeter Street to the Camden Council. Llewella wanted the site was to be used as a functional model farm for educational purposes or passive recreational use.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Information Sign 2020 IW lowres
An information sign at the beginning of the walkway explains the interesting aspects of the life of Miss Llewella Davies. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The Davies dairy farm

The Davies family purchased their farm of 130 acres in 1908. They appeared not to have farmed the land and leased 20 acres on the corner of Exeter and Macquarie Grove Road to Camden Chinese market gardener Tong Hing and others for dairying.

Llewella was the youngest of two children to Evan and Mary Davies. She lived all her life in the family house called Nant Gwylan on Exeter Street, opposite the farm. Her father died in 1945, and Llewella inherited the house and farm on her mother’s death in 1960.

The house Nant Gwylan was surrounded by Camden High School which was established in 1956 on a sporting reserve. Llewella steadfastly refused to sell-out to the Department of Education for an extension to the high school despite being approached on several occasions.

Llewella, who never married, was born in 1901 and educated at Sydney Church of England Girls’ Grammar School (SCEGGS) in Darlinghurst. The school educated young women in a progressive liberal curriculum that included the classics, scientific subjects as well as female accomplishments.

Llewella undertook paid work at the Camden News office for many years and volunteered for numerous community organisations including the Red Cross, and the Camden Historical Society. In 1981 she was awarded the Order of Australia medal (OAM) for community service.

The Camden Town Farm

In 2007 Camden Council appointed a Community Management Committee to examine the options for the farm site that Llewella Davies had gifted to the Camden community. The 2007 Camden Town Farm Masterplan outlined the vision for the farm:

The farm will be developed and maintained primarily for agricultural, tourism and educational purposes. It was to be operated and managed in a sustainable manner that retains its unique character and encourages and facilitates community access, participation and visitation.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Shoesmith Yards 2020 IW lowres
The walkway has several historic sites and relics from the Davies farm. Here are the Shoesmith Cattle yards… Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The masterplan stated the farm was ‘ideally place to integrate itself with the broader township’ and the existing Camden RSL Community Memorial Walkway that had been established in 2006.

It is against this background that the Camden Town Farm management committee moved forward with the development of a walkway in 2016.

The Miss Llewella Davies Pioneers Walkway

The walkway was constructed jointly by Camden Council and the Town Farm Management Committee through the New South Wales Government’s Metropolitan Greenspace Program. The program is administered by the Office of Strategic Lands with funding for the program comes from the Sydney Region Development Fund and aims to improve the regional open space in Sydney and the Central Coast. It has been running since 1990.

Camden Mayor Theresa Fedeli opened the walkway on 17th August 2019 to an enthusiastic crowd of locals. The walkway is approximately 2.4 kilometres and it has been estimated that by January 2020 around 1000 people per week are using it.

Invite for Miss Llewella Davies Walkway 2019Aug17

The walkway is part of Camden’s Living History where visitors and locals can see, experience and understand what a farm looks like, what it smells like and its size and extent. Located on Sydney’s urban fringe it is a constant reminder of the Indigenous Dharawal people and the area’s farming heritage of grazing, cropping, and dairying

If the walker is patient and perceptive the path reveals the layers of the past, some of which have been silenced for many years.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Walkers 2020 IW lowres
Some enthusiastic walkers on the path getting in some exercise on the 2.4 km long track. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

Miss Llewella Davies Pioneers Walkway Highlights   (on map)

  1. Chinese wishing wells
  2. Seismic monitoring station
  3. Views of Nepean River
  4. Views to Macquarie House
  5. Shoesmith livestock yard.
  6. Heritage precinct
Camden Town Farm Miss Llewella Davies Pioneers Walkway Seismic Instruments 2020 IW lowres
The seismic station is adjacent to the walkway path on the Nepean River floodplain. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

 Additional highlights

  1. Nepean River floodplain
  2. Dam
  3. Camden Community Garden
  4. Camden Fresh Produce Markets
  5. Worker’s cottage
  6. Onslow Park and Camden Showground
  7. Bicentennial Equestrian Park
  8. Camden Town Centre Heritage Conservation Area
  9. Camden RSL Community Memorial Walkway
Camden Town Farm Miss Llewella Davies Pioneers Walkway Warning Do Not Sign 2020 IW lowres
There are information signs at the beginning and the end of the walkway. This one highlights the warnings and the things that walkers and visitors are not allowed to do. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The value of the walkway

  1. Tourism
  2. Education
  3. Memorial
  4. Commemoration
  5. Fitness and wellbeing
  6. Ecological
  7. Sustainability
  8. Working farm
  9. Living history
  10. Community events and functions
  11. Commercial business – farmers markets
  12. Aesthetics and moral imperative
  13. Storytelling
  14. Community wellness
  15. Food security
Camden Town Farm Walkway Signage No Dogs2 2020 lowres

Australian Historic Themes

The Miss Llewella Davies Pioneers Walkway fits the Australian Historic Themes on several levels and the themes are:

  1. Tracing the natural evolution of Australia,
  2. Peopling Australia
  3. Developing local, regional and national economies
  4. Building settlements, towns, and cities
  5. Working
  6. Educating
  7. Governing
  8. Developing Australia’s cultural life
  9. Marking the phases of life

Updated on 17 April 2021; Originally posted on 14 April 2020

Adaptive Re-use · Architecture · Attachment to place · Australia · Belonging · British colonialism · Camden · Camden Historical Society · Colonial Camden · Colonial frontier · Colonialism · Community identity · Convicts · Cultural Heritage · Cultural icon · Elderslie · England · Farming · Georgian · Governor Macquarie · Heritage · Historical consciousness · History · History of a house · House history · Landscape · Living History · Local History · Local Studies · Macarthur · Memorials · Memory · Myths · Place making · Sense of place · Settler colonialism · Storytelling · Tourism · Travel

Oxley’s anchor away for 34 years

The mystery of the John Oxley memorial anchor.

As visitors approach the Camden town centre along Camden Valley Way at Elderslie they pass Curry Reserve which has a quaint late 19th-Century workman’s cottage and next to it a ship’s anchor. What is not readily known is that the anchor disappeared for 34 years. What happened? How did it become lost for 34 years? How did it end up in a park on Camden Valley Way?

The cottage is known as John Oxley Cottage and is the home of the local tourist information office The anchor is a memorial which was gifted to the Camden community from British naval authorities on the anniversary of the death of noted Englishman and New South Wales colonial identity John Oxley. So who was John Oxley and why is there a memorial anchor?

Portrait John Oxley 1783-1828 SLNSW
A portrait of Englishman and New South Wales colonial identity John Oxley 1783-1828 (SLNSW)

 

This tale could also be viewed as a celebration of European invaders displacing and dispossessing the Indigenous Dharawal people from their country.  Englishman and colonial identity John Oxley was part of the colonial settler society which, according to LeFevre, sought to replace the original population of the colonized territory with a new society of settlers.

Whichever view of the world you want to take this tale is an example of how the past hides many things, sometimes in plain view. This story is one of those hidden mysteries from the past and is also part of the patina of the broader Camden story.

Elderslie John Oxley Cottage Anchor and Cottage 2020 IW lowres
A view of the John Oxley Memorial Anchor, the sculpture silhouette of John Oxley and John Oxley Cottage and the Camden Visitor Information Centre found in Curry Reserve at 46 Camden Valley Way, Elderslie in 2020 (I Willis)

 

John Oxley Memorial Anchor

Next to the anchor in Curry Reserve is the Oxley memorial plaque  which states:

 

In Memorium

Lieutenant John Oxley RN

1783-1829

Pioneer, Explorer and Surveyor General of New South Wales.

This Navel Anchor marks the site of the home and original grant of 1812 to John Oxley RN.

 

Elderslie John Oxley Cottage Plaque Anchor 2020 IW lowres
The plaque was attached to the John Oxley Memorial Anchor in 1963 and originally located in Kirkham Lane, Kirkham.  The 1963 site was located on the original 1812 Kirkham land grant to Oxley adjacent to the Kirkham Stables. In 2020 the plaque located on the plinth attached to the Oxley Memorial Anchor in Curry Reserve Elderslie. (I Willis, 2020)

 

The anchor was relocated to Curry Reserve in Elderslie in 2015 by Camden Council from a privately-owned site in Kirkham Lane adjacent to the Kirkham Stables. The council press release stated that the purpose of the move was to provide

greater access for the community and visitors to enjoy this special piece of the past.

Mayor Symkowiak said:

The anchor represents an important part of our history and [the council] is pleased that the community can now enjoy it in one of Camden’s most popular parks.

We are pleased to work with Camden Historical Society in its relocation to Curry Reserve. The society will provide in-kind support through the provision of a story board depicting the history of the anchor.

 

The anchor had originally been located in Kirkham Lane adjacent to Kirkham Stables in 1963. According to The Australian Surveyor, there had been an official ceremony where a descendant of John Oxley, Mollie Oxley, of Cremorne Point, NSW unveiled the plaque.  The report states that there were around 20 direct descendants of John Oxley present at the ceremony organised by the Camden Historical Society.

British naval authorities had originally handed over the anchor to the Camden community in 1929. So what had happened between 1929 and 1963?

The answer to this mystery is explained in the 60th-anniversary address given by the 2017 Camden Historical Society president Dr Ian Willis.  He stated that shortly after the society was founded in 1957 Camden Council was lobbied to do something with the anchor that

[had] languished in the council yard all but forgotten.

In 1929 the British Admiralty had presented the anchor to the Camden community to commemorate the centenary of the death of Englishman and New South Wales colonial identity John Oxley.

The British Admiralty actually had presented three commemorative anchors to Australia to serve as memorials. The Sydney Morning Herald reported:

One anchor, from the destroyer Tenacious, is to be sent to Wellington, where Oxley heard of the victory at Waterloo. A second anchor, from the minesweeper Ford, will to Harrington, to mark the spot where Oxley crossed the Manning River. The third anchor is from the destroyer Tomahawk, and will go to Kirkham, near Camden, where the explorer died.

The HMS Tomahawk was one of sixty-seven “S” class destroyers built for the Royal Navy as the Great War was ending. The ship was built in 1918 and reduced to the naval reserve list in 1923.

HMS Tomahawk
HMS Tomahawk 1920-1923 (RN)

 

John Oxley, the man.

The Australian Surveyor noted that Oxley came to New South Wales on the HMS Buffalo in 1802 as a midshipman, returned in England in 1807, gained his lieutenancy and came back to New South Wales in 1809. Oxley returned to England in 1810 and was then appointed as New South Wales Surveyor-General in 1812 and returned to the colony.

Oxley was born in Kirkham Abbey in Yorkshire England and enlisted in the Royal Navy in 1802 aged 16 years old.

Presentation The Cowpastures 2017Oct3

 

John Oxley was allocated the grants of Kirkham in 1812 (later Camelot) and Elderslie in the Cowpastures district.  He had several convicts assigned to him who worked at the property of Kirkham.

As Surveyor-General Oxley led several expeditions into the New South Wales interior and he was also active in the public affairs of the colony.

John Oxley Reserve

The sculpture of Oxley’s profile had been originally erected in John Oxley Reserve in Macquarie Grove Road at Kirkham in 2012 after lobbying by the Camden Historical Society. The metal cut-out silhouette was commissioned by Camden Council at the instigation of Robert Wheeler of the society. The sculpture commemorated the bi-centennial anniversary of Oxley’s appointment as surveyor-general to the New South Wales colony.

Mayor Greg Warren said:

John Oxley was a major part of Camden’s history. The signage and silhoutte will be a continual reminder of [his] significant contribution to the Camden area. (Camden Narellan Advertiser 20 June 2012)

 

John Oxley Cottage

The John Oxley Cottage is only remaining building from a row of workman’s cottages built in the 1890s along what was the Great South Road, later the Hume Highway (1928) and now the Camden Valley Way.

 

Elderslie John Oxley Cottage 2020 IW lowres
A view of John Oxley Cottage which is the home of the Camden Visitors Information Centre at 46 Camden Valley Way Elderslie. The late 19th-century Victorian workman’s cottage in what is now located in Curry Reserve. The site is part of the original 1812 Elderslie land grant to John Oxley. The silhouette was moved to this location from John Oxley Reserve on Macquarie Grove Road at Kirkham. (I Willis, 2020)

 

The Visitor Information Centre was opened in 1989 after the cottage, and its surrounding curtilage was purchased by Camden Council in 1988 and added to Curry Reserve. The cottage was originally owned by the Curry family and had been occupied until the late 1970s, then became derelict.

The four-room cottage had a shingle roof that was later covered in corrugated iron. There were several outbuildings including a bathroom and toilet, alongside a well.

Curry Reserve is named after early settler Patrick Curry who was the Camden waterman in the 1840s. He delivered water he drew from the Nepean River to townsfolk for 2/- a load that he transported in a wooden barrel on a horse-drawn cart.

John Oxley is remembered in lots of places

There is Oxley Street in the Camden Town Centre which was named after Oxley at the foundation of the Camden township in 1840.

An obelisk has been erected by the residents of Redcliffe that commemorates the landing of Surveyor-General Lieutenant John Oxley. In 1823, John Oxley, on instructions from Governor Brisbane, was sent to find a suitable place for a northern convict outpost.

There are more monuments to the 1824 landing of John Oxley and his discovery of freshwater at North Quay and Milton in the Brisbane area.

An anchor commemorates the route taken by John Oxley in his exploration of New South Wales in 1818 and marks the spot where Oxley crossed the Peel River in 1818 outside  Tamworth.  In 2017 the anchor was targeted as a symbol of settler colonialism and the European invasion of the lands of the Wiradjuri people. The anchor was obtained from the Australian Commonwealth Naval Department and came off the British survey ship HMS Sealark.

A monument,  the anchor from the HMS Ford from British naval authorities, was erected at Harrington NSW in honor of explorer John Oxley who explored the area from Bathurst to Port Macquarie. Oxley and his 15 men crossed the Manning River on 22 October 1818 having stayed here from 19 October in the lands of the Biripi people.

There is John Oxley Park in Wellington NSW on the Macquarie River on the land of the Wiradjuri people. Wellington was named by the explorer John Oxley who, according to the popular story, unable to cross the Lachlan River because of dense reeds, climbed Mount Arthur in 1817 and named the entire landscape below him Wellington Valley, after the Duke of Wellington who, only two years earlier, had defeated Napoleon at Waterloo.

Wellington Oxley Historical Museum once the Bank of New South Wales 1883 (WHS)
The Oxley Historical Museum located in Wellington NSW. The museum is housed in the former 1883 Bank of New South Wales. The site of the town was named after the Englishman the Duke of Wellington by John Oxley on one of his expeditions to the interior of New South Wales. The town is located on the land of the Wiradjuri people. (OHM)

 

The Oxley Historical Museum is housed in the old Bank of New South Wales, on the corner of Warne and Percy Streets, in a glorious 1883 Victorian-era two-story brick building designed by architect J. J. Hilly. Wellington’s Oxley anchor memorial is today found in the grounds of the Wellington Public School.

Updated 4 July 2020; original posted 27 March 2020