Architecture · Art · Built heritag · Commemoration · Cultural Heritage · Garden Palace · Heritage · History · Industrial Heritage · Lost Sydney · Memorialisation · Memorials · Memory · Pageant · Place making · Placemaking · Sense of place · Settler colonialism · Sydney International Exhibition · Uncategorized · Urban growth · Urban history · Victorian

Garden Palace, showing the wonders of the age

Massive fire in Macquarie Street 1882

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

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

The newspaper report stated this apparent

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

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:

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

Governor Loftus said:

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
Attachment to place · Belonging · Biography · Colonial frontier · Colonialism · Community identity · Cultural Heritage · Cultural icon · Family history · Farming · Gothic · Heritage · Historical Research · History · Landscape · Local History · Local Studies · Myths · Placemaking · Sense of place · Settler colonialism · Settler Society · Stereotypes · Storytelling · Uncategorized · Victorian · Women's history · Women's Writing

Rachel, a great yarn of the bush from colonial New South Wales

Preview

Jeff McGill, Rachel. Allen & Unwin 2022, Sydney. ISBN 9781760879983.

Tonight I had the privilege of attending the book launch for local author and raconteur Jeff McGill’s Rachel at Mary Sheil Centre, St Patrick’s College at Campbelltown.

McGill’s Rachel tells the story of Jeff’s great-great-grandmother from the Coonabarabran area of NSW. Rachel Inglis (Kennedy) was known as Rachel of the Warrumbungles.

Cover Jeff McGill’s Rachel (A&U)

McGill’s Rachel had been brewing for about 40 years and it was only in the 2020 lockdown when Jeff’s freelance work dried up that he got mobile on writing the book.

A friend advised him to send a couple of chapters to two publishers. He sent the work to Allen and Unwin and a small publisher in Melbourne. Allen & Unwin got back to him in two days and wanted to know if he had more material, so he sent off chapters 3 & 4. The rest is history.

Jeff often visited Rachel Kennedy’s farm at Box Ridge and listened to local storytellers at Coonamble and Coonabarabran. He is the sort of writer who walks the ground and soaks up the ghosts of the past. He allowed the landscape to talk to him and embedded himself in the spirit of place.

Remarkable woman

Rachel Kennedy was quite a woman and the Mudgee Guardian and North West Reporter wrote an extensive obituary in 1930 on her death. It stated in part:

The late Mrs. Inglis was one who rarely gave a thought to herself, her one object in life being to help others. She was always to be found at the bedside of almost every sick person in the Warrumbungle district, and has been known to have ridden as far as 20 miles in the middle of the night to reach some sufferer, even when far from well herself. Considering that all her grand efforts were done in an age when motor cars were unknown, it stamps this fine old pioneer as one of the world’s best — a race that is fast vanishing from our midst. The deceased lady had reached the great age of 85 years. (MG&NWR, 11 April 1930)

Rachel’s obituary was also published in the Gilgandra Weekly and Castlereagh (10 April 1930).

At the time of Rachel’s death, it was usual for the country press to publish any sort of obituary of a woman unless she was white and from an influential rural family. The country press was a very white-male institution.

The obituary published in the Mudgee press was an acknowledgement that Rachel was a true local identity and bush character well known in the area. A rare feat indeed. The bush was a male-dominated landscape where women remained in the shadows.

Rachel did not fit the stereotypical 19th-century woman. Yet, she did not seek recognition for her community work and never received it in any public fashion.

The local community understood Rachel’s contribution to their lives and when she was buried in the Presbyterian section of the Gulargambone Cemetery, it was

in the presence of one of the largest gatherings, ever seen at the cemetery. The Rev. G. Innes  Ritter, of Coonamble, performed the last sad rites at the graveside. (MG&NWR, 11 April 1930)

Family History

McGill’s Rachel represents the genealogical genre of family history as it should be written. The book shows how such a story can be approached and can generate an appeal to a wide audience. Others who have achieved this goal include Nick Brodie’s Kin, A Real People’s History of Our Nation, Graeme Davison’s Lost Relations, Fortunes of my Family in Australia’s Golden Age and Peter FitzSimons’s A Simpler Time.

Rachel Inglis’s (Kennedy) family and home at Box Ridge near Coonabarabran in NSW c.1890s (Jeff McGill)

It was very common for women from the rural under-class to disappear into the shadows of history without any acknowledgement of their existence. The lives of some of these women are probably best reflected in stories like Henry Lawson’s The Drover’s Wife (1892), a piece of Australian Gothic fiction. Author Samantha Leersen writes:

‘The Drover’s Wife,’ and the fears felt by its protagonist, presents a fictitious account of the real concerns experienced by settler Australians.

‘The Drovers Wife’ by Russell Drysdale (1945) and the author Henry Lawson 1902 (1867-1922) (UoS)

Rachel’s story has many parallels with Lawson’s The Drover’s Wife.

Female Biography

McGill’s Rachel is another addition to the popular genre of female biography which has seen a number of publications about colonial women in recent times. These include Michelle Scott Tucker’s Elizabeth Macarthur: A Life at the Edge of the World, Elizabeth Rushen and Perry McIntyre’s Fair Game, Australia’s First Immigrant Women, Larissa Behrendt’s Finding Eliza Power and Colonial Storytelling, Kate Forsyth and Belinda Murrell’s Searching for Charlotte, The Fascinating Story of Australia’s First Children’s Author, Anne Philp’s Caroline’s Diary, A Woman’s World in Colonial Australia and others.

The cover notes for McGill’s Rachel state:

Rachel Kennedy stood out on a wild frontier dominated by men… her extraordinary and unputdownable pioneering story is told for the first time

‘Just a girl, but when it came to chasing wild horses nobody questioned Rachel Kennedy’s skill in a saddle. What raised the eyebrows was the type of saddle she used: a man’s.

Rachel Kennedy was a colonial folk hero.

She also built rare friendships with Aboriginal people, including a lifelong relationship with her ‘sister’ Mary Jane Cain.

Meticulously researched and written with compelling energy, this is a vivid and at times heartbreaking story of a pioneering woman who left a legacy that went well beyond her lifetime.

Cover Jeff McGill’s Rachel 2022

Emerging from the shadows of history

The book is a ripping yarn about the colonial frontier and the role of women in early New South Wales. Another woman emerges from the shadows of history and we are allowed to understand their true contribution to the settler story of our nation.

Updated 2 June 2022. Originally posted 1 June 2022.

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

‘Face to Face’, a 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 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 has never been far from controversy, and turning points were William Dobell’s prize-winning portrait of fellow artist Joshua Smith in 1943 and, in 1976, Brett Whiteley’s 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 shows 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:

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)

Updated 20 October 2023. Originally posted on 18 April 2021 as ‘a new exhibition at Alan Baker Art Gallery’.

1920s · 20th century · Babies · Camden · Camden Park House and Garden · Camden Story · Community identity · Cultural Heritage · Cultural icon · CWA · Dr West · Edwardian · European Exceptionalism · Families · Family history · First World War · Gender · Heritage · Historical consciousness · Historical thinking · History · Infant Welfare · Local History · Local Studies · Macarthur · Memory · Motherhood · Pioneers · Place making · Red Cross · Second World War · Sense of place · Storytelling · Uncategorized · Victorian · Volunteering · Volunteerism · War · War at home · Wartime · Women's history · Women's Writing

Motherhood and nation-building in the early 20th century

Infant mortality and the ideology of motherhood.

In Camden the ideology of motherhood expressed itself in the foundation of the St John’s Mother’s Union in 1900 which saw that mothers were an integral part of women’s service role to the British Empire. (Ministering Angels, p19) and later the Red Cross in 1914 and Camden Country Women’s Association in 1930. (Ministering Angels, 21

In the early 20th century the Red Cross was variously described as the ‘Greatest Mother in the World’, and the ‘Mother of all Nations’  (Ministering Angels, 6)  The CWA were concerned with motherhood and infant mortality and of their main activities in the early 20th century was the foundation of baby health centres across the country.

This First World War poster is a lithograph by American artist Foringer, A. E. (Alonzo Earl) and is titled ‘The greatest mother in the world’ (1917). The poster is showing a monumental Red cross nurse cradling a wounded soldier on a stretcher.

Around the turn of the century a direct link was made between infant welfare, motherhood, patriotism and nationalism. Motherhood and mothering were expressed in terms of patriotism and a national priority. All driven by European exceptionalism, expressed in Australia as the White Australia policy. There was anxiety around falling birth rates, whiteness and the strength of the British Empire.

The story of the Camden District Red Cross 1914-1945 is published by the Camden Historical Society. It tells the story of Red Cross branches at Camden, Menangle, The Oaks, Bringelly, Mount Hunter, Oakdale and the Burragorang Valley.

Motherhood as national building

Sociologist Karen Swift writes that from the around the middle of the 18th century the state became interested in motherhood where ‘the state’s interest in controlling and using female fertility for nation building and economic purposes’.  Biological determinism stated that motherhood was a natural state for women and that is should be a national priority.

Swift writes:

The ‘master narratives’ governing European motherhood in earlier centuries was that of nation building, especially in the colonies. The creation of new nations required a growing, healthy population, with women’s roles focused on producing and rearing soldiers and laborers. Once nation-building efforts became established, mothers were called upon to contribute to the development of a large and prosperous white middle class needed to perpetuate and grow capitalism. For this purpose, white mothers were needed to learn, teach, and demonstrate the moral authority the middle class required to dominate those below in the social, economic, and racial hierarchies. 

https://www.sciencedirect.com/topics/social-sciences/motherhood#:~:text=Motherhood%20as%20Ideology&text=A%20well%2Dknown%20summary%20of,67).

Developing national anxiety around motherhood

The metaphor of the Red Cross as mother and guardian angel was extended in the post-war environment and incorporated a concern for mothers and infants. The terrible losses of the First World War, and declining birth rate made the welfare of mothers and infants a national defence priority. There were calls to repopulate the country (The Maitland Weekly Mercury, 30 November 1918.)   and a developing national anxiety around motherhood. Some of Sydney’s conservative elite had expressed concern about the issue of infant welfare, and set up the Kindergarten Union and Free Kindergartens in the 1890s.  

Sibella Macarthur Onslow in the library at Camden Park House in 1922. Sibella known affectionately ‘Sib’ was a philanthropist, church woman, pastoralist, a woman of independent means and intensely private. She was a member of influential conservative women’s organisations during the Edwardian and Interwar periods including Sydney’s influential Queen’s Club and National Council of Women and the imperial Victoria League. (Camden Images)

Support from the National Council of Women of NSW, of which Sibella Macarthur Onslow of Camden Park was a member, and others who were concerned about the welfare of mothers and infants led to the establishment of day nurseries, supervised playgrounds and other initiatives in inner Sydney in the early 1920s. There were high rates of infant mortality in inner Sydney and social conditions for single mothers with children were less than desirable. There had been the Royal Commission on the Decline of the Birth Rate and the Mortality of Infants in New South Wales in 1904 and the Edwardian period was characterised by a nationalistic concern over the moral decline of the British race. (Ministering Angels, 65-66)

‘Perfect Motherhood is Perfect Patriotism’

‘Perfect Motherhood is Perfect Patriotism’ according to Sydney’s Daily Telegraph in 1926. The article was a part of the publicity associated with a fundraising campaign for the Karitane-Sydney Mothercraft Centre at Coogee operated by the Australian Mothercraft Society. The society had been established in Australia in 1923 modelled on the Royal New Zealand Society for Health of Women and Children, commonly called the Plunket Society, established by New Zealand doctor Sir Truby King in 1907.

King  visited Australian in 1917 on a lecture tour and warned Australia:

You should have a white Australia. But if you find the Eastern nations more moral more noble to make more sacrifices for the continuity of the race, you know the result must be the same as has been the case with the great civilisations of the past. Greece and Rome went down, not through any failure in the valour or courage of their young men, but because of the increase in luxury, the repugnance to rearing families, followed by decadence and sterility and eventually extinction. If the population of Australia do not do their duty to the race there cannot be any resistance to other races coming in and populating this fair land.

(Sydney Morning Herald (NSW : 1842 – 1954), Friday 11 February 1938)

Red Cross Baby Day in Camden

In 1920 the women of the Camden Red Cross were concerned about these issues and donated £14 to the Society for Welfare of Mothers and Babies. The society had been formed in 1918 in Sydney, aimed to teach mothercraft and eventually set up the Tresillian training school at Petersham in 1922.

The women of the Camden Red Cross at their weekly street stall in Argyle Street Camden in the 1920s. The women ran the stall for decades and raised thousands of pounds for local and national charities. (Camden Images)

Red Cross Baby Day became an important part of the district Red Cross child welfare agenda in the post-war years. The Red Cross coordinated the first Baby Week in 1920 in the first week of April and encouraged the formation of local committees.

The Baby Week was supported by Lady Helen Munro Ferguson and had its origins in England with the National Baby Week Council in 1900. Its objects were to foster child welfare by decreasing infant mortality, to promoting the health of mothers, and to encouraging motherhood and maternal nursing(The Braidwood Dispatch and Mining Journal, 27 February 1920)  (Ministering Angels, 66).

The 1920 Red Cross Baby Day in Camden was held on 30 March and the Camden branch had two street stalls, while the Narellan Red Cross had an afternoon tea stall at the Bank of New South Wales.  (Minutes, Camden Red Cross, 9 March 1920 )  

Camden RHS Adeline West with baby Kathleen LHS Adeline’s sister Ethel Jones & baby Edwin 1908 (Camden Images)

The support continued in 1925 when the Camden Red Cross was assisted on the dip stalls by Miss Gardner from Camden Public School and her kindergarten class. The total raised by Camden was £23 and Narellan Red Cross raised £9. Camden News, 1 April 1920) 

The funds were donated to the Camden District Cot at the Royal Alexandra Hospital for Children. In 1925 Camden Red Cross members sought the assistance of the girls from Camden Superior Public School, with the girls helping out on one of the dip stalls. This practice continued until 1940. The Camden Red Cross branch made a regular donation and it generally varied between £20 and £50, with a peak in 1922 of £53. The overall average donation between 1921 and 1939 was £34, while during the Furner presidency the average donation was £37 and Macarthur Onslow’s presidency £32. The Camden Red Cross made a number of donations to nursery movement groups during the 1920s and they included: Nursery Association (1924, £10); Sydney Day Nurseries (1925, £10); Infant Home, Ashfield (1925, £7, and 1926, £10); and the Forest Lodge Day Nursery (1927, £6). (Ministering Angels, 66)

1920s · 1973 New Cities Campbelltown Camden Appin Structure Plan · Aesthetics · Agriculture · Attachment to place · Belonging · British colonialism · Camden · Camden Council · Camden Story · Camden Town Centre · Cobbitty · Colonial Camden · Colonial frontier · Colonialism · Community identity · Cowpastures · Cultural Heritage · Cultural icon · Curtilage · Denbigh · Dharawal · Economy · Edwardian · England · Farming · Frontier violence · Georgian · Gothic · Governor Macquarie · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Interwar · Landscape · Landscape aesthetics · Living History · Local History · Local Studies · Macarthur · Memory · Menangle · Modernism · Place making · Ruralism · Sense of place · Settler colonialism · Storytelling · Town planning · Urban growth · Urban Planning · Victorian

Camden Heritage Conservation Area – an English-style village in the Cowpastures

Heritage conservation

In 2006 Camden Council designated the Camden town centre as a  Heritage Conservation Area, later incorporating it in the 2019 Camden Development Control Plan.

A heritage conservation zone, according to Camden Council, is :

 an area that has historic significance… [and]… in which historical origins and relationships between the various elements create a sense of place that is worth keeping.

The map of the Camden Heritage Conservation Area from the Camden Council Development Control Plan 2019 (CC DCP 2019)

Historical significance

Several writers have offered observations on Camden’s historical significance.

Historian Ken Cable argued in the 2004 Draft Heritage Report prepared by Sydney Architects Tropman and Tropman that: Camden town is a significant landmark in the LGA.  

In 2006 Sydney architect Hector Abrahams stated that Camden was ‘the best-preserved rural town in the entire Cumberland Plain’ (Camden Advertiser, 28 June 2006).

Hector Abrahams -best preserved- Camden Advertiser 2006 Jun28
Architect Hector Abrahams commented that Camden was the best-preserved country town rural town in the Cumberland Plain. Camden Advertiser 28 June 2006.

Historian Alan Atkinson has argued that Camden is ‘a profoundly important place’, while historian Grace Karskins maintains that ‘Camden is an astonishingly intact survival of early colonial Australia’.  

Sense of place

In the early 20th century, poets, artists, and writers waxed lyrical that the town was like ‘a little England’.

Camden Council documents stress the importance of the town’s rural nature for the community’s sense of place and community identity.

Camden Aerial 1940 CIPP
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)

This is quite a diverse range of views.

This blog post will look at the historical elements that have contributed to the town’s sense of place and its historical significance.

While none of these elements is new, this is the first time they have been presented this way.

A private venture of Englishmen James and William Macarthur

The village was a private development of Englishmen James and William Macarthur on the Camden Park Estate family property.

The Macarthur brothers had their private-venture village of Camden approved in 1835, the street plan drawn up (1836) and the first sale of land in 1841. All are within the limits of Camden Park Estate.

The Macarthur brothers had another private venture village at Taralga on Richlands and Menangle on Camden Park Estate.

Camden James Macarthur Belgenny
James Macarthur (Belgenny Farm)

Creation of a little English-style village

The notion of an English-style village on the family estate must have been an enticing possibility for the Macarthur brothers.

In Camden village, James and William Macarthur named streets after themselves and their supporters. They include John Street, Macarthur Road, Elizabeth Street, Edward Street, Broughton Street, Exeter Street, Oxley Street, and Mitchell Street. The Macarthur family funded the construction of St John’s church on the hill and donated the surrounding curtilage.

St Johns Church
St Johns Church Camden around 1900 (Camden Images)

The Macarthur brothers created vistas from the family’s Georgian hilltop Georgian mansion across the Cowpastures countryside to their Gothic-style village church.

The Englishness of the Camden village entranced many visitors and locals, including artists and writers. On a visit in 1927, the Duchess of York claimed that the area was ‘like England.’

Strategic river crossing into the Cowpastures

The village was strategically located at the Nepean River ford, where the first Europeans crossed the river. By the 1820s, the river crossing was the main entry point to the Macarthur brothers’ Camden Park Estate, the largest gentry property in the area.

The village’s situation on the Great South Road reinforced the Macarthur brother’s economic and social authority over the countryside.

The river crossing was one of the two northern entry points to their Camden Park Estate realm, the other at the Menangle.  Menangle later became another private estate village.

The Macarthur village of Camden would secure the northern entry to the family’s Camden Park estate, where the Great South Road entered their property. By 1826 the river ford was the site of the first toll bridge in the area.

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

None of this was new as the river crossing had been the entry into the Cowpastures reserve declared by Governor King in 1803. The site was marked by the police hut in the government reserve at the end of the Cowpasture track from Prospect.

English place names, an act of dispossession

The Camden village was part of the British imperial practice of placing English names on the landscape. The village’s name is English, as is the gentry estate it was located – Camden Park.

English place names were used in the area from 1796 when Governor Hunter named the Cow Pastures Plain site. The Cowpastures were a common grazing land near a village.

Naming is a political act of possession or dispossession and is an active part of settler colonialism.

Camden Signage
The Camden sign on the entry to the town centre at Kirkham Reserve on Camden Valley Way, formerly The Great South Road and Hume Highway. (I Willis)

The Cowpastures was a meeting ground between the  Dharawal, the Dharug and the Gundungurra people. The area was known as ‘Baragil’ (Baragal)’ or Benkennie (dry land).

Indigenous names were generally suppressed by English placenames until recent decades.

Initially, the Wild Cattle of the Cowpastures that escaped from the Sydney colony in 1788 occupied the meadows of the Nepean River floodplain.

The Cowpastures became a contested site on the colonial frontier.

Dispossession in the English meadows of the Cowpastures

The foundation of the Macarthur private village venture was part of the British colonial settler project.

The first Europeans were driven by Britain’s imperial ambitions and the settler-colonial project and could see the economic possibilities of the countryside.

Under the aims of the colonial settler project, as outlined by Patrick Wolfe and later LeFevre, the new Europeans sought to replace the original population of the colonised territory with a new group of settlers.

Hunter’s naming of the Cowpastures was the first act of expropriation. Further dispossession occurred with the government reserve, and later Governor Macquarie created the government village of Cawdor in the centre of the Cowpastures.

Art Governor Macquarie SLNSW
Governor Macquarie (SLNSW)

The Europeans seized territory by grant and purchase, imposed more English place names in the countryside, and created a landscape that mirrored England’s familiarity.

The colonial settlers brought Enlightenment notions of progress in their search for a utopia.

Cowpasture patriarchs

The Macarthur private venture village was located in a landscape of self-style English gentry, and their estates were interspersed with several small villages.

The gentry estates and their homestead and farm complex were English-style village communities. One of the earliest was Denbigh (1818).

denbigh-2015-iwillis
Denbigh Homestead Open Day (2015 IWillis)

The oligarch-in-chief was Camden Park’s John Macarthur.

The Europeans used forced labour to impose English scientific farming methods on the country.

The Cowpasture colonial elite created a bunyip aristocracy and styled themselves on the English gentry.

On the left bank of the Nepean River were the gentry estates of Camden Park along with Brownlow Hill. On the right bank were the gentry properties of Macquarie Grove, Elderslie, Kirkham and Denbigh and several smallholders.

The ideal society for the colonial gentry included village communities. To foster their view of the world, the Europeans created the small village of Cobbitty around the Hassall family’s private Heber Chapel.

The village of Stonequarry was growing at the southern limits of the Cowpastures at the creek crossing on the Great South Road.  The village was located on Antil’s Jarvisfield and was later renamed Picton in the 1840s.

The picturesque Cowpastures countryside greeted the newly arrived Englishmen John Hawdon from County Durham. In 1828 Hawdon became the first person to put in writing that the Cowpastures area reminded him of the English countryside when he wrote a letter home.

The progress and development of the country town

The Enlightenment view of progress influenced James and William Macarthur’s vision for Camden village. They sought to create an ideal village community of yeoman farmers and sponsored self-improvement community organisations, including the School of Arts.

Camden School of Arts PReeves c1800s CIPP
Camden School of Arts PReeves c1800s (Camden Images)

Within the Macarthur fiefdom, former estate workers became townsmen, took up civic duties and ran successful businesses.

The village of Camden prospered and became a thriving market town and the economic hub of a growing district.

The architectural styles of the town centre shine a light on the progress and development of the Macarthur village. The architectural forms include  Georgian, Victorian, Edwardian, Interwar modern, Mid-20th century modern, and Post-modern.

The town centre serves a host of functions for the community that are indicated by the types of land use in a country town. These include commercial, government, open space, industrial, transport, residential, religious, and agricultural.

The country town idyll and the appearance of heritage

Since the 1973 New Cities Structure Plan for Appin, Campbelltown and Camden, there has been increased interest in the cultural heritage of the town centre. This is the first appearance of the influence of post-modernism in the Camden story.

The New Cities Plan 1973[1]
The New Cities Structure Plan Campbelltown Camden Appin (1973, SPA NSW Governbment)

John Wrigley conducted the first heritage study of the Camden town centre in 1985 for the Camden Historical Society.

Urban growth and the loss of rural countryside have encouraged a nostalgic desire for the past. This process led to the evolution of Camden, the country town idyll.

The heritage of the town centre is what the community values from the past that exists in the present. It comprises tangible and intangible heritage, as well as multi-layered and multi-dimensional. The town centre story is a timeline with many side shoots or a tree with the main stem and branches.

Camden time traveller and the town centre

The living history of the town centre is evident at every turn, and a visitor can be a time-traveller into the past.

A view along Argyle Street is a view into the past with the integrity of the built heritage still intact from over 100 years ago.

The traveller can participate in the area’s living history ‘simply by being present’.

One of these sites is the commanding view from the hilltop at St John’s church. Here the traveller can view the Cowpasture countryside that nestles the Camden town centre within its grasp.

Cover  Pictorial History Camden District Ian Willis 2015
Front Cover of Ian Willis’s Pictorial History of Camden and District (Kingsclear, 2015)

The Camden community has a strong sense of itself and community identity based on the continuity of the Camden story and the changes that have occurred within it.

The Camden Heritage Conservation Area has a high value of historical significance. The factors that contribute to this significance clearly show how its historical origins, and the relationships between the elements, have created a sense of place that is worth keeping.

Updated 19 June 2023. Originally posted on 6 May 2020 as ‘Hope, heritage and a sense of place – an English village in the Cowpastures’

Anzac · Attachment to place · Belonging · Camden · Camden Museum · Community Health · Community identity · Convalescent Home · Convalescent hospital · Cultural Heritage · Cultural icon · Edwardian · First World War · Gender · Heritage · Historical consciousness · Historical Research · History · Interwar · Lifestyle · Living History · Local History · Local Studies · Macarthur · Memory · Menangle Army Camp · Modernism · Moveable Heritage · Myths · Narellan Military Camp · Newspapers · Nursing · Philanthropy · Place making · Red Cross · Ruralism · Second World War · Sense of place · Stereotypes · Storytelling · Trust · Victorian · Volunteering · War · War at home · Women's diaries · Women's history · Women's Writing

Crisis relief in wartime and the peace

Book Review

Ministering Angels, the Camden District Red Cross, 1914-1945.

Author Ian Willis

Publisher: Camden Historical Society

ISBN 978-0-9803039-6-4

Ministering Angels  ‘is an example of innovative and groundbreaking work in local history, and succeeds in demonstrating a new way of linking detailed local studies to larger themes in Australian history’.  Dr Emma Grahame (Editor, Australian Feminism: A Companion, OUP, 1998. Editor, Dictionary of Sydney http://www.dictionaryofsydney.org, 2007-2012)

Ministering Angels, the Camden District Red Cross, 1914-1945 Ian Willis Camden Historical Society Inc ISBN 978-0-9803039-6-4
Book Cover for Ministering Angels (2014)

 

Ministering Angels is a peer-review publication that tells the story of conservative country women doing their patriotic duty in an outpost of the British Empire. From 1914 Camden district women joined local Red Cross branches and their affiliates in the towns and villages around the colonial estate of the Macarthur family at Camden Park.

They sewed, knitted and cooked for God, King and Country throughout the First and Second World Wars, and during the years in-between. They ran stalls and raffles, and received considerable community support through cash donations from individuals and community organisations for Red Cross activities.

 

Using the themes of soldier and civilian welfare, patriotism, duty, sacrifice, motherhood, class and religion, the narrative explores how the placed-based nature of the Red Cross branch network provided an opportunity for the organisation to harness parochialism and localism for national patriotic purposes.

The work shows how a local study links the Camden district Red Cross with the broader issues within Australian history and debates involving local history, philanthropy, feminism, conservatism, religion and other areas, while at the same time illustrating the multi-layered nature of the issues that shape global, national and regional history that can impact rural volunteering.

 

The book delves into the story of how Camden’s Edwardian women, the Macarthur Onslows and others of their ilk, provided leadership at a local, state and national level and created ground-breaking opportunities that empowered women to exercise their agency by undertaking patriotic activities for the first time.

In their wake Camden women created the most important voluntary organisation in district history, a small part of the narrative of the Australian Red Cross, arguably the country’s most important not-for-profit organisation. Their stories were the essence of place, and the success of the district branches meant that over time homefront volunteering became synonymous with the Red Cross.

 

Ministering Angels is a local Red Cross study of volunteering in war and peace that provides a small window into the national and transnational perspectives of one of the world’s most important humanitarian organisations.

Read the book here (free)

For more information contact the publisher:

secretary@camdenhistory.org.au

Secretary, Camden Historical Society Inc. PO Box 566, 40 John St, Camden NSW 2570

Adaptive Re-use · Aesthetics · Architecture · Attachment to place · Belonging · Business · Camden · Camden Council · Camden District · Camden Heritage Conservation Area · Camden Regional Economic Taskforce · Camden Story · Camden Town Centre · Colonial Camden · Community identity · Cultural Heritage · Cultural icon · Edwardian · Fashion · Festivals · Film · Film Making · Gender · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Interwar · Jacaranda · Job creation · Lifestyle · Living History · Local History · Local Studies · Media History · Memory · Modernism · Place making · Placemaking · Ruralism · Sense of place · Storytelling · Streetscapes · Tourism · Travel · Victorian

Making short films to promote the 2019 Camden Jacarada festival

Shooting the history breeze for local tourism

On a balmy late spring afternoon in central Camden, a group of local people were conducting a photoshoot.

The late afternoon provided a deep, even light that was ideal for the whole venture. None were professional filmmakers. But that did not stop anyone.

The filming dodged pedestrians and was occasionally drowned out by local buses.

Camden & Laura Jane & Debbie photoshoot epicure store History Videos CRET 2019[1] lowres
Storyteller Laura Jane ad-libing for a short tourist promo for Tiffin Cottage.  Camera operator Debbie is issuing instructions and generally supervising the rest of the crew. Tiffin Cottage was occupied by auctioneer Captain Larkin, who conducted stock sales at the saleyards, which were formerly in the Larkin Place carpark (I Willis)

Historic John Street precinct

The project centred around the historic John Street precinct.

The film venture involved storytelling, great yarns, interesting characters, old buildings and lots of making do.

The location provided a rich collection of old buildings that speak about the past for those who want to listen. History enthusiasts can immerse themselves in the past in the present by walking the ground – the same streets as local identities and characters have done for decades.

Camden & Laura Jane photoshoot police station History Videos CRET 2019[1]lowres
Camera operator Debbie filmed LJ walking across the verandah of the former Camden Police Station. The station was the centre of a large police district stretching from the Burragorang Valley to the Nepean River at Menangle and south to include Picton. It is currently vacant. (I Willis)

Filmmaker Rachel Perkins (2019) has stated

Storytelling touches something within us. It touches the soul.

Filmmakers and storytellers

The key storyteller was Laura Jane Aulsebrook, who has been described as Camden’s own Miss Honey (for the uninitiated from Matilda) and her happy ways. All dressed up in purple for the occasion.

The key camera operator, director and chief of production was Debbie Roberts (EO of CRET), ably assisted by her roadie husband, Peter.

History material was provided from the Camden Heritage Walking Brochure and chief history boffin UOW historian Dr Ian Willis, ably assisted by his PA Marilyn.

This motley group wandered around a number of Camden’s old buildings. Laura Jane acted as a storyteller for the 1-2 minutes of historic grabs. LJ was full of passion in her ad-lib performances. Ian listened for any gaffs – which were few and far between.

Camden & Laura Jane photoshoot library History Videos CRET 2019 (2)[1] lowres
Roadie Peter is reviewing the position of the shoot, and PA Marilyn is offering advice. The location is out the front of the former 1866 School of Arts, now the Camden Museum Library complex. The building is also the home of the Camden Museum, Camden Area Family History Society and a shop front for Camden Council (I Willis)

Debbie followed Laura Jane around with her handheld – tripod-held – iPhone camera. If she was lucky, a bus didn’t drown LJ’s monologue. The roadies held all the bits and pieces – then reviewed the take and ably provided all sorts of advice – most it wisely ignored by the camera operator and storyteller.

The most challenging story was that of Henry Thompson’s Macaria from the 1870s, the ghosts and Henry’s 16 children. This is next door to the 1840s Sarah Tiffin’s cottage, one of the oldest buildings in the local area and a one-time lockup.

Camden & Laura Jane photoshoot epicure store History Videos CRET 2019[1] lowres
The 1940s Tiffin Cottage is now the Epicure Store, selling local produce and cheeses. The cottage was the home of Captain Larkin in the early 20th century. Larkin was an auctioneer at the saleyards, which were located in Larkin Place until the late 1940s when they were moved to their current site. (I Willis)

The Cawdor courthouse moved into Camden in 1841, much to the chagrin of Picton and Campbelltown, which missed out. Next door to the courthouse is the 1878 police barracks, which was always a site of plenty of action where miscreants were locked up in the cells to cool off.

The 1916 fire station, which was really opened in 1917, was an improvement from the pigsty in Hill Street. Next door is the modern library, once the centre of learning and speeches in the town, the 1866 Camden School of Arts set up by James Macarthur.

Our storyteller and camera operator filmed a street walk outside the 1936 Bank of New South Wales building and its neighbour, the 1937 banking chamber for the Rural Bank – interwar masterpieces.

This was followed by a chit-chat about the long-running Camden Show out the front of the lovely 1937 architect-designed brick frontage to the 1890s Camden Rifles drill hall, now the show pavilion.

Camden festivals

This intrepid troupe were making short film clips as a promo for local tourists and a local spring festival – the Camden Jacaranda Festival.

The aim of the 2019 Camden Jacaranda Festival was to

camdenjacarandafestival.org/jacaranda-festival/
Camden CBC Bank 2019 Jacarandas IW lowres
The Jacaranda Festival is held in late November 2019 as a spring festival to celebrate the town and its community. This image is of the 1878 Commercial Banking Company at the corner of John Street and Argyle Street Camden. The Jacaranda tree is in the front yard, providing a colourful presentation of the Victorian banking chamber. (I Willis)

The Jacaranda festival is just one of many that have been held in the local area.

English village sports days

The festival draws on a rich history of community festivals in the local area going back to the 1800s. The heritage of festivals is drawn from the English tradition of the village fair that came with the European settlers.

The origins of these festivals, according to Peter Hampson Ditchfield’s Old English Sports (2007), lie in ancient Saxon customs, particularly in Devonshire and Sussex, associated with ‘wassailing’ (carousing and health-drinking) to ensure the thriving of orchard trees (mainly apples) and exchanging presents.

On New Year’s Day, village youths undertook indoor and outdoor sports to keep out the cold by ‘wholesome exercise and recreative games’. Sports included bat-and-ball, wrestling, skittles, blind-man’s-bluff, hunt the slipper, sword dancing and mumming (play-acting).

Festivals, fetes and fairs encourage lots of visitors to the local area as tourists.

Tourism, cultural heritage and history

What is the connection between local history, cultural heritage and tourism?

Quite a lot.

Tourism Australia says

More than this, Arts New South Wales says

The Australia Council says of arts tourism:

Camden & Laura Jane photoshoot show hall pavilion History Videos CRET 2019 (2)[1] lowres
Debbie and Laura Jane out the front of the 1936 brick extensions to the 1890s drill hall. Designed by Sydney architect Aaron Bolot, the frontage is the same design as the adjacent commemorative gates. LJ was telling the story of the Camden Show, which has been going on for over 130 years. (I Willis)

Tourism can create jobs, drive economic growth and encourage local development.

Updated 17 January 2024. Originally posted on 17 November 2019 as ‘Shooting the history breeze for local tourism’

1920s · Adaptive Re-use · Aesthetics · Architecture · Attachment to place · Belonging · Business · Camden · Colonial Camden · Colonialism · Community identity · Cultural Heritage · Cultural icon · Economy · Edwardian · Elderslie · Fashion · First World War · Heritage · Historical consciousness · Historical Research · History · Interwar · Lifestyle · Living History · Local History · Local Studies · Macarthur · Memory · Modernism · Myths · Narellan · Place making · Ruralism · Sense of place · Storytelling · Streetscapes · Tourism · Urban growth · Urban Planning · Urbanism · Victorian · War

The Camden cottage

Camden Edwardian cottages

It is with interest that I see that a local Camden real estate agent has used the term ‘Camden cottage’ on a sale poster for 21 Hill Street.

This is the first time I have seen the term ‘Camden cottage’ used in a commercial space before and it is an interesting development. The sign actually state ‘Classic Camden Cottage’.

Camden 21 Hill St Front IWillis 2019 lowres
Camden 21 Hill Street. The first time that I have seen the use of the term the ‘Camden Cottage’ used in a commercial space in the local area. This is a simple Edwardian style cottage that was a typical building style of the early 20th century in local area. (I Willis)

 

Maybe this is a recognition for the first time of a building style that was quite common in the local area in the early 20th century.

Camden 21 Hill St Front WideView I Willis 2019 lowres
Camden 21 Hill Street. The use of the term ‘Camden cottage’ on the advertising sign is an important acknowledgement of this style of residential cottage in the local area. (I Willis)

 

The cottage is a simple timber Edwardian style cottage that can be found across the Macarthur region. It was a cut-back version of more sophisticated buildings styles that were evident in the wealthier suburbs of Sydney and Melbourne. The typical Queenslander Federation cottage is a sophisticated version of the same style of house.

Queensland House style Wikimedia 2005 JBrew lowres2
Queenslander Housing Style with wide verandah. This is an elegant version of the Edwardian style of housing typical of the early 20th century in the Brisbane area. (Wikimedia, 2005, JBrew)

 

There are examples of this style in most of villages and hamlets across the local area and many isolated ones on local farms.

The name Edwardian is loosely attached to cottages and buildings erected during the reign of Edward VII from 1901 to 1910. This period covers the time after the Federation of the Commonwealth of Australia in 1901 when the six self-governing colonies combined under a new constitution. They kept their own legislatures and combined to form a new nation.

The housing style was evidence of the new found confidence of the birth of a new nation that borrowed overseas trends and adopted them to suit local conditions. These style of houses were a statement of the individualism and the national character.

The Edwardian style of housing also includes a broad range of styles including Queen Anne, Federation, Arts and Crafts and Early Bungalow. These styles often tend to be asymmetrical with a projecting from gable, can be highly decorated with detailed work to gables, windows and verandahs. Edwardian style cottages often fit between 1900 and 1920, although the style extends beyond this period influencing the Interwar style housing.

Typical Edwardian colour schemes range from apricot walls, gables and barge boards, with white lattice panelling, red roofing and green coloured windows, steps, stumps, ant caps.

A number of Camden Edwardian cottages have a projecting from room with a decorated gable. A number of been restored while others have been demolished.

Edwardian country cottages are not unique to the Camden area. Toowoomba has a host of these type of homes and published the local council publishes extensive guides explaining the style of housing and what is required for their sympathetic restoration in the online publication The Toowoomba House (2000).

Examples of Edwardian style cottages, including in and around Camden, were an Australian version of English Edwardian houses. Houses were plainer in detail, some with lead lighting in the front windows. Australian architecture was a response to the landscape and climate and the building style tells us about the time and the people who built them, how they lived and other aspects of Camden’s cultural heritage.

Camden Melrose 69 John St FCWhiteman CIPP
Camden, Melrose Cottage, 69 John Street. It was owned by FC Whiteman owner of the general store in the early 20th century. Now demolished. (Camden Images)

 

In the most March 2014 edition of Camden History Joy Riley recalls the Edwardian cottages in John Street. She stated:

‘I lived at 66 John Street for the first 40 years of my life before moving to Elderslie with my husband Bruce Riley. The two rooms of 66 John Street were built by the first John Peat, Camden builder, to come to Camden. In the 1960s I had some carpet put down in my bedroom, the floor boards were so hard, as they only used tacks in those days to hold carpet, the carpet just kept curling up.’ She says, ‘The back of the house was built by my grandfather, William Dunk. They lived next door at 64 John Street. He also built the Methodist Church at Orangeville or Werombi.

 

A number of Camden Edwardian style timber cottages have a projecting room at the front of the cottage with a decorated gable, adjacent to a front verandah, with a hipped roof line.

This housing style is often characterised by a chimney that was a flue for a kitchen fuel stove and chip copper in an adjacent laundry. In some houses plaster cornices were  common, sometimes there were ceiling roses, skirting and architraves. A number of been restored while unfortunately many others have been demolished.

Carinya Cottage
Carinya Cottage, Stewart Street, Narellan. c.1890. Since demolished. (Camden Historical Society)

 

Some Camden Edwardian homes had walls of red brickwork, sometimes with painted render in part. While there are many examples in the local area of timber houses with square-edged or bull-nosed weatherboards. Sunshades over windows supported by timber brackets are also common across the local area.

Ben Linden at Narellan is an outstanding example of the Edwardian cottages across the local area.

Ben Linden Narellan J Kooyman 1997 (Camden Images)
Ben Linden, 311 Camden Valley Way, (Old Hume Highway, Great South Road) Narellan J Kooyman 1997 (Camden Images)

 

Yamba at Kirkham is another fine example of this style.

Yamba cottage
Yamba Cottage, 181 Camden Valley Way, (Old Hume Highway/Great South Road) Kirkham c. 1913 (Camden Images)

 

Camden has quite a number of Edwardian cottages in the town area, on surrounding farms and in local district villages. They are typical of the early twentieth century landscape in the local district.

 

Aesthetics · Art · Attachment to place · Australia · Belonging · Camden · Camden Airfield · Camden Park House and Garden · Community identity · Cultural Heritage · Cultural icon · Denbigh · England · Entertainment · Farming · Fashion · Festivals · Gothic · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Interwar · Landscape aesthetics · Leisure · Lifestyle · Living History · Local History · Local Studies · Macarthur · Memorials · Memory · Modernism · Monuments · Moveable Heritage · Movies · Myths · Place making · Public art · Re-enactments · Ruralism · Sense of place · Stereotypes · Streetscapes · Sydney · Sydney's rural-urban fringe · Technology · Theatre · Tourism · Travel · TV Series Shows · Victorian · Volunteerism · War

Movie making Camden style

Smilie Gets A Gun Movie Cover
Smilie Gets A Gun Movie Cover

Moviemakers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.

From the 1920s the area has been used by a series of filmmakers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables.  This did not go unnoticed in the film industry.

Camden Park Publicity

One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and racehorse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an aeroplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.

Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was released in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based on Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).

Camden Airfield 1930s Camden Images
Camden Airfield 1930s Camden Images

The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directed by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which was painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive-In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.

The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with the co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison-gas and escapes to Australia rather than divulges the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.

Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year-old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson.  Many old-time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and the United States.

In 1999 Camden airfield was used as a set for the television documentary  The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.

In 2009 scenes from X-Men Origins: Wolverine was filmed at Camden and near Brownlow Hill.

In 2010 filmmaker Sandra Pyres of Why Documentaries produced several short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.

In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill, a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently, Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.

Camelot House early 1900s Camden Images
Camelot House early 1900s Camden Images

The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.

Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has several powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates.  The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.

The 55-room fairytale-like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on the air. In the end, Foxtel television produced a third series with the original caste which screened in 2015.

Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010.  Part of the show is power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.

Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park were used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.

Edwina Macarthur Stanham writes that Camden Park has been the filming location for several movies, advertisements and fashion shoots since the 1950s.   They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film was written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century, there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.

In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”.  In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.

In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.

The Daughter Movie Set Camden Park 2014 E Stanham
The Daughter Movie Set Camden Park 2014 E Stanham

In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.

In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse-drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlooking the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cupcakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room sitting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.

 

In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene, the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman, the reason the Camden area was used was that it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern-day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.

 

 

In August 2018 the colonial Cowpastures homestead of Denbigh at Cobbitty was the set for popular Australian drama series Doctor Doctor. The series is about the Knight family farm and the show star is Roger Corser who plays doctor Hugh Knight. He said, ‘

The homestead is a real star of the show. The front yard, the dam and barn brewery on the property are major sets – I don’t know what we would do without them.

The show follows the high-flying heart surgeon and is up to season three. Filming lasted three months and the cast checked out the possibilities of the Camden town centre. Actor Ryan Johnson said that Denbigh ‘made the show’.

Denbigh homestead was originally built by Charles Hook in 1818 and extended by Thomas and Samuel Hassell in the 1820s.

denbigh-2015-iwillis
Denbigh Homestead Open Day 2015 has been used as a film set in 2018 for the TV series Doctor Doctor (I Willis)

 

In late 2018 the TV series Home and Away has been using the haunted house at Narellan known as Studley Park as a set for the program. The storyline followed three young characters going into the haunted house and staying overnight. They go into a tunnel and a young female becomes trapped. Tension rises and the local knock-about character comes to their rescue and he is a hero.  The use of the set by the TV series producers was noted by Macarthur locals on Facebook.

Studley Park at Night spooky 2017 CNA
Spooky Studley Park House is claimed to be one of the most haunted locations in the Macarthur region. The TV series Home & Away on 3 & 4 October 2018 certainly added to those stories by using the house as a set location. (CN Advert)

Studley Park has recently been written up in the Camden-Narellan Advertiser (4 August 2017) as one of the eight most haunted places in the Macarthur region. Journalist Ashleigh Tullis writes;

Studley Park House, Camden 

This impressive house was originally built by grazier William Payne in 1889. The death of two children has earned the house its haunted reputation.

In 1909, 14-year-old Ray Blackstone drowned in a dam near the residence. His body is believed to have been kept at the house until it was buried.

The son of acclaimed business man Arthur Adolphus Gregory died at the house in 1939 from appendicitis. His body was kept in the theatrette.

 

denbigh-2015-iwillis
Denbigh Homestead Open Day 2015 IWillis

In 2019 movie-making in the area continues with the 4th series of Doctor Doctor. Wikipedia states of the plotline:

Doctor Doctor (also known outside of Australasia as The Heart Guy[1]) is an Australian television drama that premiered on the Nine Network on 14 September 2016.[2] It follows the story of Hugh Knight, a rising heart surgeon who is gifted, charming and infallible. He is a hedonist who, due to his sheer talent, believes he can live outside the rules.

Camden was used as one location along with the historic colonial property of Denbigh. Mediaweek stated in 2016 (Sept 9):

The regional setting for the series has proven to be a benefit for narrative and practical production reasons. While all of the hospital scenes were filmed in a hospital in the Sydney inner-city suburb of Rozelle, exterior shooting took place in Mudgee, with filming of Knight’s home was shot in Camden. In addition to $100,000 worth of support from the Regional Filming Fund, the regional setting delivers a unique authenticity to the series that it would otherwise lack.

 

Sometimes the local area is used a set for an advertising campaign by a fashion label or some other business. The owners of Camden Park House posted on Facebook in August 2019 that the house and garden were used as a set by the Country Road fashion brand.

Camden Park House Country Road Photoshoot 2019
Country Road fashion shoot at Camden Park House. Have a peek at Camden Park House at the Country Road page and visit us on 21/22 Sept on our annual Open Weekend. (Camden Park House)

 

In late 2019 the local press reported that streaming service Stan’s drama The Common was partially filmed in Camden. The spokesperson for Stan said

While no specific details about plotlines or particular actors were given away, the spokesman said the production was filming on August 7 at the Narellan Jets Football Club and Grounds, Narellan Sports Hub.

 

In 2020 the movie release of Peter Rabbit 2 highlights part of our local area. Press reports state that the production team were impressed with the local area for Peter Rabbit and they came back for the sequel. Visual effects supervisor Will Reichelt said that the Macarthur region resembled an ‘English country vista’.

Wollondilly Advertiser 2020Mar13 Movie Peter Rabbit 2
Onset: Domnhall Gleeson and Rose Byrne (picture here filming a different scene) were on set in Brownlow Hill for the production of Peter Rabbit 2. Picture: Sony Pictures Australia/Wollondilly Advertiser 2020Mar13

 

Updated 21 April 2020

 

Aesthetics · Architecture · Art · Attachment to place · Belonging · Camden · Camden Museum · Camden Park House and Garden · Camden Show · Churches · Colonial Camden · Colonialism · Community identity · Cowpastures · Cultural Heritage · Cultural icon · Edwardian · England · Gothic · Heritage · Historical consciousness · Historical Research · Historical thinking · History · Interwar · Lifestyle · Living History · Local History · Local Studies · Macarthur · Memory · Modernism · Myths · Nepean River · Place making · Ruralism · Sense of place · Settler colonialism · Sydney's rural-urban fringe · Tourism · Victorian · War

The Camden Story: living history on our doorstep

Experience living history in the local area

There is the opportunity to experience real living history on your own doorstep.

Living history is all around you. You just need to take a deep breath, pause for a moment and listen to the history around you speak to you.

camden st johns vista from mac pk 1910 postcard camden images
Vista of St John’s Church from Macarthur Park in 1910. Postcard. You can still view this vista near the showground from the town’s fringe. (Camden Images)

Camden living history

In the town centre of Camden, the historic precinct’s buildings and ambience speak to you if you pause and listen.

They are all part of the Camden story.

The Camden living history reveals the intricacies of telling the Camden story.

The Camden town centre and its multi-layered history are evident in the many different building styles as you walk along the main street.

If walls could talk, they would tell an exciting story that would immerse you in the past and present. They would provide a gripping account of the central characters in the stories.

Camden CHS 231 Macaria c. 1890
The Camden Grammar School was located in Macaria in the 1890s.  Macaria is open to the public and is the home of the Alan Baker Art Gallery located at 37 John Street, Camden. (Camden Images)

Living history is storytelling

Living history allows participants to read the layers of history of an area.

Living history is like peeling off layers of paint from a wall when viewers peel back the layers of history of a site, building or place. Each layer has a special meaning – a special presence.

Lived experience leads to storytelling which is genuine and authentic.

Storytelling creates the meaning of the past and the characters of the past in the present. It allows the past to speak to the present. Storytelling and stories are at the essence of place.

The living history movement

Living historian Scott Magelssen maintains that living history museums ‘engage strategies in their performance of the past’, claiming to be ‘real history by virtue of their attention to detail’.   (pp. xii-xv)

One of the early influencers of the living history movement in North America was Henry Ford who established his indoor and outdoor living museum experience in the Detroit suburb of Dearborn in Michigan, USA.  Henry Ford said of his museum.

I am collecting the history of our people as written into things their hands made and used…. When we are through, we shall have reproduced American life as lived, and that, I think, is the best way of preserving at least a part of our history and tradition…

camden st_johns_church02
St John’s Anglican Church Camden 2018. You can visit the historic St John’s church and precinct in central Camden. The church was built in the 1840s and funded by the Macarthur family. (I Willis)

The Camden story

The Camden story is the tale of the local area.

Camden storytellers peel back the layers of the history of the town and district and reveal the tales of local identities, larrikins, characters, rascals, ruffians and ratbags.

There are several layers to the Camden story, and they are

  • Pre-European period of the Indigenous Dharawal people when they called the area Benkennie
  • The Cowpastures were named by Governor Hunter in 1795, and the establishment of the Cowpastures Government Reserve. Under European control, the Indigenous Dharawal people were dispossessed and displaced from their country. The Macarthur family’s Camden Park Estate started with the 1805 grant to John Macarthur.
  • The Camden township was established as a private venture of the Macarthur family in 1840. The streets were named after its founders – Macarthur, Elizabeth, John, and Edward.
  • The English-style Camden town centre has evolved and is represented by several historical architectural styles since 1840 – Victorian, Edwardian, Inter-war, and Mid-20th century. The town was the hub of the Camden District between 1840 and 1970s
  • The Macarthur region (1970s +), named after the famous local Macarthur family, grew as part of   Sydney’s rural-urban fringe. It is made up of Camden, Campbelltown and Wollondilly Local Government Areas.
Camden Show Bullock Team 2018 MWillis
The bullock team walking up John Street for the 2018 Camden Show. Bullock teams were once a common sight in the Camden area before the days of motorised transport. The teamster monument in John Street celebrates theie role in the history of the district. Visit the Camden Show. (M Willis)

Immerse your imagination in the past at the Camden Museum through living history.

The Camden museum tells the Camden story through displays of artefacts, objects, memorabilia and other ephemera by using a living history approach.

The displays tell a story of an earlier period and allows visitors to immerse themselves in the past in the present.

Map Camden District 1939[2]
Map of the Camden district in 1939 showing the extent of the area with Camden in the east. The silver mining centre of Yerranderie is in the west. (I Willis, 1996)

Walking the past through living history

Visitors to Camden can walk through the town centre and imagine another time. A time past that can be recalled through living history.

A self-guided walking tour lets visitors explore the living history of the Camden town centre. There is a pdf brochure here. 

Check out Camden’s main street with its Victorian, Edwardian and interwar ambience and charm. See where the locals met on sale day at the Camden saleyards or the annual country festival at the Camden show.

Camden Show 2018 promo
The Camden Show is an annual celebration of things rural in the township of Camden for over 100 years. The show is held each year in the Onslow Park precinct. (Camden Show)

The Heritage Tourism website boasts that Camden – The best preserved country town on the Cumberland Plain NSW.

The mysteries of the cute little locomotive that used to run between Camden and  Campbelltown via Currans Hill, Narellan, Elderslie, Kirkham and Graham’s Hill are also explored in a post called  The glory of steam, Pansy, the Camden tram.

Maybe you would like to revisit the farming glory days of the 1800s at one of Australia’s most important living history farms at Belgenny Farm.

Camden Belgenny Farm 2018 sign
The signage at the entrance to the Belgenny Farm complex at Camden NSW. Visitors are welcome.  (I Willis, 2018)