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The Camden Library Museum, conservation through adaptative reuse

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Many layers of history

The Camden Library Museum is an important building in the Camden Heritage Conservation Area, located at 40 John Street, with a complex story. This short post will attempt to peel back the layers of the history of the building complex.

The building is an amalgam of two historic buildings that have been added to, renovated, and altered by a host of occupants, including the Camden Council, the Camden Library, the Camden Fire Brigade, the Camden Museum, and the Camden Red Cross.

The Camden Library Museum Complex at 40 John Street which has integrated the Camden Museum, Camden Library and former Fire Station (CC, 2008)

If the walls could talk, they would tell many stories about events and people who have used the building for nearly 160 years.

In 2006, building renovations integrated the museum, library, and former fire station buildings into the current galleria with a glass roof, following the principles of conservation through adaptation or adaptative reuse.

The Galleria with glass roof in the Library Museum building with the former Fire Station on LHS and the former School of Arts on RHS (I Willis 2024)

Conservation through adaptative reuse

Conservation through adaptation is part of the Burra Charter, the most important document that guides the principles of conservation of heritage places in Australia. It was originally adopted in 1979 as the Australia ICOMOS Charter for the Conservation of Places of Cultural Significance.

Under the Charter, a place’s cultural significance is measured by a set of values that include aesthetic, historic, scientific, social, and spiritual significance for past, present, or future generations.  The Library Museum building incorporates all these values in varying degrees of significance.

The conservation through adaptation for the Library Museum building means that the building has retained its use and been conserved in a way that retains its cultural significance as a place of importance in the Camden town centre.

The former School of Arts

The oldest part of the building complex is the former School of Arts on the southern side of the current building.

The School of Arts was constructed in 1866 on an allotment with a John Street frontage. The building had a two-storey frontage designed by HP Reeves, the Church of England schoolmaster and later Camden mayor, in an Italianate Pallandian style. The brick building was constructed by local firm McBeath and Furner. (Downing, et al., 3)

James Macarthur opened the School of Arts in 1866, and the town’s residents enjoyed a public holiday. The School of Arts consisted of a reading room for a library on the ground floor of the two-storey front and a meeting room upstairs. The single-storey hall at the rear of the building could accommodate around 250 people and held functions that had much larger crowds. The Camden Library and staff currently use this area.

Camden School of Arts, designed by HP Reeves, shows the two-storey Italianate Palladian frontage, with the brick hall at the rear c1880s (CIPP)

In 1900, Sydney architect JE Kemp designed a two-storey extension to the rear of the School of Arts building on the eastern side.

This image from the 1880s shows the Temperance Hall and the prominent two-story Italianate Palladian frontage of the School of Arts (CIPP)

In 1924, the council appointed a full-time town clerk, who moved into the upstairs part of the extension. The Camden Museum now occupies this space.

The eastern end of the Library Museum building faces Larkin Place with the 1900 two-storey extension on the LHS (in a slightly duller brick tone) and the 1998 two-storey extension on the RHS. (I Willis 2024)

Camden Council takes control

The council took control of the School of Arts in 1930 and held council meetings in the rear of the building. The two-storey extensions were used to accommodate the council clerk, who had occupied the rear of the School of Arts, where council meetings were held.

The Camden Town Hall, formerly the School of Arts hall, accommodated the Red Cross sewing circle during the Second World War.

This is the blue plaque on the front of the library museum building that was allocated by the NSW Heritage Office in 2022 to commemorate the activities of the Red Cross Sewing Circles in WW1 & WW2. (I Willis 2023)

Council amalgamations took place across NSW in 1948, and C Riding of Nepean Shire Council was absorbed into the enlarged Camden Municipal Council. The council needed more space, and renovations commenced on the Camden Town Hall, formerly the School of Arts hall. The stage and hall disappeared and became the new offices of the mayor and council staff.

The former School of Arts occupied by Camden Municipal Council in the 1940s (CIPP)

The 75th anniversary of the Camden Municipal Council was celebrated in 1963 by removing the two-storey original School of Arts frontage.  This was replaced with a mid-century modernist single-storey front designed in a colonial Georgian style by Parramatta architects Leslie J Buckland and Druce. The newly renovated building, which accommodated council staff, was opened in 1964 by the NSW Deputy Premier and Minister for Local Government PD Hills.

This is the mid-century modernist single-storey front designed in a colonial Georgian style by Parramatta architects Leslie J Buckland and Druce for the 1964 council office redevelopment of the former School of Arts. (I Willis 2024)

In 1973, the NSW Government released the New Cities Campbelltown, Camden, and Appin Structure Plan for the area. Camden Council felt the former School of Arts did not meet the council’s future needs with the area’s planned growth. Sydney architects Edwards Madigan Torzella, and Brigg designed a new large open-plan office administration building on the opposite side of John Street at the rear of the Macaria building. It was opened by the NSW Deputy Premier Sir Charles Cutler in 1974. Camden Council moved out of the 1974 office building to a new office complex at Oran Park in 2016.

Between 1974 and 1982, when the library re-occupied the space, it was let to commercial tenants, including doctors’ rooms.

The former Temperance Hall

On the northern side of the current building is the former Temperance Hall, built in 1867 for the meetings of the Camden Star of the South Division of the Sons of Temperance, later called the Total Abstinence Benefits Society.

This image shows a parade outside the Camden Total Abstinence Benefit Society Hall on John Street in 1903 (Camden Images)

Camden Fire Station

The NSW Fire Brigade purchased the former Temperance Hall in 1916, undertook renovations and added the current brick frontage to create the Camden Fire Station. (Camden News, 25 January 1917) The Camden Fire Brigade relocated to the John Street premises from Hill Street. (Mylrea)

The new fire station was opened on 24 January 1917 at 5 pm. when Mr. E.H. Farrer, President of the Fire Board, and three board members officially opened the new station. (Camden News, 25 January 1917)

Camden Fire Station in 1995 showing the 1917 brick frontage. While the date is shown as 1916, the fire station was opened in 1917. (John Kooyman/CIPP)

The Camden Fire Brigade occupied the site until 1993, when it moved to larger premises at Elderslie.

Camden Fire Station 1993 (CIPP)

Camden Museum

With the help of Camden Rotary, the Camden Historical Society opened a local museum in the former council offices in the old two-storey extension at the rear of the former School of Arts off Larkin Place in 1970.

In 1998, a new two-storey extension was added to the museum on the northern side of the building. Building renovations commenced in 2006, and the museum, library, and former fire station buildings were integrated around the current Galleria.

The front of the Camden Museum with the photographer standing in the galleria. (CIPP 2021)

Camden Library

Library services were part of the former School of Arts and were expanded in 1900 into the two-storey extensions. Miss Freestone was appointed part-time librarian in 1935 and made full-time in 1942.

The library moved out of the former School of Arts building in 1967 and moved into the Macaria building across John Street. In 1963, Camden Municipal Council adopted the Library Act 1939 (NSW), which provided free public library services in the area.

The library moved back into the former School of Arts building in 1982 and expanded into the former council offices that were part of the original School of Arts hall and reading room.

The new 1964 modernist brick frontage and front doors of the Camden Municipal Council offices, now the library. (I Willis 2022)

References

Pauline Downing, Peter Hayward, Peter Mylrea, Cathey Shepherd, and Robert Wheeler, Camden School of Arts 1850s to 1930s, Camden Historical Society, 2016.

Peter Mylrea, ‘Camden Fire Brigade’. Camden History, September 2009, vol 2, no 8, pp. 313-324.

The exposed mid-19th century ceiling of the former School of Arts in the current library space (I Willis 2024)

Updated on 1 February 2024. Originally posted on 30 January 2024 as ‘The Library Museum building, conservation through adaptation’.

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Camden modern, the mid-century Camden cottage

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Mid-century modernism

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

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

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

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

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

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

Rachel Griffiths writes in the Architectural Digest that

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

Architectural Digest

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

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

Mid-century housing styles

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

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

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

Features of the mid-century modern houses

The Australian Homes to Love website states

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

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

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

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

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

The mid-century Camden cottage

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

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

What does the mid-century Camden cottage represent?

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

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

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

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

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

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

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

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

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

Examples of the mid-century Camden cottage

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

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

  • 110 Lodges Road, Elderslie.

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

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

  • Triple and double-fronted cottage

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

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

Jacqui Thompson writes on Domain that triple-fronted houses were

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

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

  • Low-pitched roof style

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

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

  • Cottage with gable

There are cottages that have a gable design.

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

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

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

References

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

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

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

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

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An embroidered silk postcard for Millie at Christmas 1916

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A postcard from Frederick for sister Millie

During the First World War, local soldier Frederick Kelloway sent his sister, Millie, an embroidered silk postcard to celebrate Christmas and New Year at home in 1916.

The front of the embroidered silk postcard that Frederick Kelloway sent his sister Millie in 1916. (KCordina 2023)

Millie’s great-granddaughter Kellee writes on Facebook that

Frederick was overseas serving his country in WWI. Sadly, by the time Millie received the Christmas wishes, Frederick had died in battle on 29th November 1916.

https://www.facebook.com/profile.php?id=100086479871666

In the early 20th century, postcards were a cheap and easy way for people to keep in touch with each other, and this especially applied in the First World War.

History of postcards

The postcard was an integral part of the global postal system.  

The Philatelic Team at Australia Post states that the first postcard appeared in Austria.

The world’s first postcard is recognised as being issued 150 years ago, by Austria in 1869. This was a simple, blank, light-brown card (8.5cm x 12cm), with an area for a message, the address and an officially imprinted stamp on the other side, which was half the cost of a normal letter.

An economics professor from Vienna had written an article in the newspaper suggesting that there must be a simpler, cheaper and more practical way to send a short message than a letter, and the Austrian postal authority answered his call.

https://australiapostcollectables.com.au/articles/150-years-of-the-postcard

The first Australian postcard was issued by postal authorities in New South Wales in 1875. Postcards had been approved by postal authorities in Great Britain in 1870 and the United States in 1873.

Australia Post states that the first postcards were Post Office monopolies and that private postcard makers had to submit blank cards to postal authorities to have a stamp image printed on the card.

Unstamped pictorial postcards from private makers were not allowed to be sold in Australia until 1895 when they were approved for use in Victoria. An adhesive stamp was placed on the card, and it had to ‘measure not less than l inch x 3 inches nor more than 5 ¼ x 3 ¼ inches’.

The first pictorial postcard was introduced in Tasmania in 1894 and by the New South Wales Post Office in 1898. It had scenes on the back and space for a short message. At the time, Post Office regulations stated that only the address could be on the front of the postcard.

Postage rates were 1d within Australia and 1½d overseas with a New South Wales stamp. The postcard trade boomed in Australia, especially between 1900 and 1910, after which the letter rate dropped to 1d in 1911.

 Postcards were a much easier way to contact someone than writing a letter, and they became souvenirs. Postcard collecting became popular.

Frederick Kelloway’s embroidered silk postcard

 Frederick Kelloway’s card is an embroidered silk postcard that was part of a thriving trade in France during the First World War.  

The Australian War Memorial has a collection of over 1000 woven, printed and embroidered silk postcards. The themes covered include

Australian Themes, woven and printed silk postcards, general greetings, greetings to relatives, silk postcards embroidered Wife / Darling or Mother, Sister, birthday greetings, Christmas and New Year, units and camps, flags, France and Belgium.

https://www.awm.gov.au/collection/RC00688

The first embroidered silk postcards were made for the Paris Exposition in 1900, and their manufacture peaked during the First World War.

By 1915, France had a thriving cottage industry of outworkers, and around 10 million postcards were made by 1919.

The embroidery was done by French women, often at home, on a strip of silk mesh with around 25 to a strip. These were then sent to factories for cutting and mounting on postcards.

The Imperial War Museum states:

The embroidered postcards were very popular with British soldiers who often sent them home. They were sold in thin paper envelopes but were seldom sent through the post in them.  They were too fragile and, more particularly, they represented quite an investment – they were not cheap souvenirs.  Usually, they were mailed with letters.

https://www.iwm.org.uk/history/embroidered-silk-postcards

Frederick Kelloway’s embroidered silk postcard does not have a stamp or address on the reverse of the card and would probably have been sent with a letter.

The back of the embroidered silk postcard that Frederick sent his sister Millie in 1916. There is no postage stamp or address on the postcard. Pointing to its cost and value to Frederick. The back of the card reads: ‘To my dear sister, From Fred. Wishing you a merry Xmas & a happy New Year.’ The mark at the bottom of the postcard is ‘Fabrication Francaise’, which means Made in France. On the bottom right-hand corner is the mark Modèle Déposé, which means Registered Design in French. (KCordina, 2023)

Frederick’s postcard to Millie has pansies and a four-leaf clover. The Australian War Memorial states that these have a particular meaning.

Typical images used were the swallow, the pansy (which was a very popular image in silk cards. Its popular meaning at the time was ‘you occupy my thoughts’), roses (love) and forget me nots (meaning true love, memories). Horseshoes and four-leaf clovers were also popular as symbols of good luck and remembrance.

https://www.awm.gov.au/collection/C2829356

The Australia Post Philatelic Team state

Pretty pastel-coloured flowers featured prominently – a stark contrast to the harsh conditions faced on the Western Front, as did butterflies, birthday or sentimental greetings and the flags of allied countries.

https://australiapostcollectables.com.au/articles/150-years-of-the-postcard
This embroidered silk postcard has a large pink rose with a smaller pink rosebud in the design’s bottom right-hand corner. (AWM, 2023)

The Australian soldiers were away from home and often thought of their families, including those from Camden NSW.

Killed in action in 1916

Tragically, Frederick Kelloway was killed in action in 1916 and never made it back home to Camden.

Frederick Kelloway was killed in action in 1916. His obituary is on Camden Remembers (2023)

These are the First World War Memorial Gates at Macarthur Park. This image is from a glass plate negative taken by Roy Dowle in 1920. Frederick Kelloway’s name is listed on the gates along with other Camden soldiers and nurses from the First World War. (Camden Images)

Updated 24 April 2024. Originally posted on 29 December 2023 as ‘An embroidered silk postcard for Millie at Christmas 1916’.

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Embroided handkerchief, memories of home at Christmas on the frontline in 1916

camdenhistorynotes

Embroidered silk handkerchief

At the Liverpool Regional Museum, there are poignant memories of home for an Australian soldier on the frontline at Christmas in 1916.

Christmas during wartime is a period of hope and memories of home. This embroidered silk handkerchief is full of meaning and memories for an Australian soldier.

An embroidered silk handkerchief sent to an Australian soldier on the frontline in 1916 at Christmas (Liverpool Regional Museum)

Embroidered souvenirs during wartime were popular with the troops, and they were light and easily folded and posted from home.

The troops could easily carry these momentoes in their kit bag as they moved around the front. 

The embroidered silk handkerchief was a personal item from a loved one who had taken the time and effort to hand-sew the design on the material.

The curator at the Liverpool Regional Museum has written:

In the heat of the First World War, many continued to find comfort in the small holidays that dotted the year. The highlight was Christmas, which held high prominence throughout Australia from the 1910s.

As war waged throughout the world, Christmas brought sorrow for those separated from loved ones fighting in far-off lands. As a result, embroidered cards and fabrics were frequently purchased by soldiers. As souvenirs to send home, they were a powerful message to loved ones as a reminder during these times apart. These elaborate gifts were handmade, often featuring traditional or patriotic symbols, generally adorned with the flags of the countries fighting the war.

This handkerchief belonging to the Ashcroft Family is one of these souvenir gifts. Made from white silk, it is hand embroidered with a Christmas Tree. The bauble decorations illustrate the flags of the Triple Entente, the allied powers of World War One, which then included Great Britain, France and Russia.

https://mylibrary.liverpool.nsw.gov.au/My-Library/liverpool-regional-museum
An embroidered silk handkerchief sent to an Australian soldier on the frontline at Christmas 1916 (Liverpool Regional Museum)

From the Ashcroft Collection at the Liverpool Regional Museum.

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Public art, Camden Civic Centre

camdenhistorynotes

Camden Art Prize winners

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

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

‘Crossroads’ by Diego Latella (1977)

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

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

‘Space’ by Irene Carroll (1994)

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

Carroll states in her biography:

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

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

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

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

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

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

camdenhistorynotes

Tribute to mining and industrial heritage

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

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

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

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

Australian Town & Country Journal 30 August 1911

What was a teamster?

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

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

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

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

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

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

Royalty on the Yerranderie Road

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

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

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

The horse teams

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

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

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

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

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

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

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

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

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

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

Others plying the Yerranderie Road

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

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

Camden News, 9 November 1911

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

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

A local ecology

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

The memorial

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

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

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

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

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

The memorial was restored in 1995 and 2003.

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

The mythology of the horse team

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

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

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

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

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

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

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Camden Material and Colour Guide, a heritage building guide

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Camden Material and Colour Guide

In 2023, Camden Council published the Camden Material and Colour Guide.

The guide was the initiative of the Camden Council Heritage Advisory Committee.

The aim of the guide

The Material and Colour Guide aims to provide a handy guide for owners of heritage buildings with practical tips on working with specific materials and colour schemes traditionally used in the local area. (CC, Press release, 21 August 2023)

Specifically, the guide advises heritage property owners on colours and materials for specific residential housing styles, particularly in the Camden Heritage Conservation Area. (CC, Press release, 21 August 2023)

The guide is welcome

It is pleasing to see the council publish the guide after I first raised this issue in 2017 when I wrote a blog post that Camden needed a residential style guide.

On the launch of the guide, I wrote complementing the council on their initiative, stating:

The guide provides valuable information that is reliable and relevant to specific architectural periods and domestic housing styles. I commend the council on its interest in assisting local property owners in retaining and enhancing the town and LGA’s historic fabric and built heritage. The guide assists in building community identity and the area’s sense of place. Both assist the local tourist industry and job creation.

(Letter to Mayor, 29 June 2023)

Camden Mayor Ashleigh Cagney said,

‘I know from conversations with homeowners that when someone owns a heritage building in the Camden area, they are incredibly passionate about preserving its character.’

‘I hope the Camden Material and Colour Guide makes it a little bit simpler for those people to be able to identify what kinds of works would best suit their properties, allowing them to retain their charm.’

(CC, Press release, 21 August 2023)

Kerime Danis, Director at City Plan Heritage, ICOMOS Advisory Committee, and Past President of Australia ICOMOS, posted that she was ‘proud to share’ the guide on Linkedin. Her post attracted Likes from various heritage and industry professionals across Australia, including architects, planners, archaeologists, project managers, historians, heritage conservationists and academics.

Camden Council commissioned City Plan Heritage to prepare the guide.

Camden Material and Colour Guide

The guide is a full-colour 42-page A4 landscape easily downloaded pdf file.

The guide is divided into different housing styles, and within each style, there is a style description and colour schemes for building exterior, interior and landscaping.

In addition, there are paint tips, a colour matrix and a material guide for brick, render, floor and paving, metal, roofing, stone and timber, and windows.

There is specific advice for property owners in the Argyle and John Streets heritage precincts.

There is also an illustrated guide to architectural terms.

Each page has clear, concise explanatory text supported by colour plates drawn from the local area.

Camden housing styles

The guide has identified eight Camden housing styles:

  1. Victorian Filigree c.1840-1890
  2. Federation Queen Anne c.1890-1915
  3. Federation Weatherboard c.1890-1915
  4. Federation Arts and Crafts c.1890-1915
  5. Federation Bungalow c.1890-1915
  6. California Bungalow c.1915-1940
  7. Interwar Art Deco c.1915-1940
  8. Interwar Weatherboard c.1915-1940

Any future revision to the guide Camden Council should consider including,

  • Mid-Century Moderne 1940-1960.
  • Late Twentieth Century c. 1960 – c. 2000
  • Twenty–First Century c. 2000 – present.

I have written

The housing style of a particular location in the Camden or Narellan area gives the place a definite character and charm. It makes a place special and gives it a sense of its identity (Inter-war period along Menangle Road). The housing style will give the place its special qualities. The houses reflect the times in which they were built.

The housing style may be complemented by a garden and landscaping that reflects the tastes and lifestyles of the occupants of the building. Even gardens go through fashion trends (English-style gardens or native gardens).

https://camdenhistorynotes.com/2017/02/11/camden-needs-a-residential-heritage-style-guide/

Residential housing styles partly determine community identity and a sense of place.

The Camden Cottage

I have written about a generic Camden housing style on this blog a number of times. I have called the style the Camden Cottage.

The housing style incorporates blog posts on the Federation Weatherboard Cottage, the Edwardian Cottage and the Camden Fibro Cottage.

These residential housing styles add to the Camden story and the layers of history within the narrative.

Other heritage guides

Camden Council is not alone in providing this type of advice. Toowoomba Regional Council provides similar advice, as do a number of heritage authorities across the country, including New South Wales and Victoria.

The Guide and the Camden Heritage Conservation Area

The council has done a good job commissioning the Camden Material and Colour Guide.

Local property owners within the Camden Heritage Conservation Area should do themselves a favour and use it to their advantage.

The Camden Heritage Conservation Area is responsible for many tourist day-trippers who visit the Camden Town Centre.

Cultural and heritage tourism, of which architectural styles are part, generates many jobs within the Camden LGA.

The Camden Material and Colour Guide contributes to the conservation and preservation of tangible built heritage and intangible heritage within the Camden town area.

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Celebrate Camden 93, a spring festival

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30th anniversary

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Speculation of cancellation

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

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

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

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

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

Great success

So, how did things go?

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

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

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

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

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

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

Celebrate Camden 94

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

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

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

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

Sponsorship problems

Sponsorship for Celebrate Camden 94 proved to be a problem.

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

Planning proceeded.

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

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

Success or failure?

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

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

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Memorial plaque to Jennifer Eggins, a founder of local tourism

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A local identity

Outside John Oxley Cottage, Camden Visitor Information Centre at 46 Camden Valley Way Elderslie, is a memorial plaque with a story to tell of local identity, Jennifer Eggins, and her legacy that still echoes across the district.

Jennifer Eggins is one of the founders of the local tourist industry.

The plaque was originally located adjacent to the Macarthur Country Tourist Association Information Centre at 470 Hume Highway, Liverpool, on the corner of the Hume Highway and Congressional Drive.

Jennifer Eggins’s memorial plaque is located outside the Camden Visitor Information Centre at 46 Camden Valley Way, Elderslie. (IW, 2023)

The MCTA tourist information centre opened in 1987 and was demolished in 2005. The plaque is the only remnant of the official opening.  

Eggins and others founded the Macarthur Country Tourist Association in 1978.

Camden Tourist Association (1906)

This was not the first attempt to form a local tourist association. In 1906, 30 local businessmen formed the short-lived Camden Tourist Association under the leadership of Camden Mayor GM Macarthur Onslow. Their aim was to promote the ‘magnificent scenery around Camden’ in the Burragorang Valley. (Camden News, 10 May 1906)

Seven decades later, events cast a pessimistic view of the world across the Camden business community. The Hume Highway was shifted from Argyle Street in 1973 to the Camden Bypass, removing the passing trade and the main street was blocked when the 1975 flood destroyed the decking of the Cowpastures Bridge.

Macarthur regionalism had been turbocharged by the establishment of the Macarthur Growth Centre by the Whitlam Government in 1974 and the Macarthur Development Board (1975-1992) as the state authority to direct the urban growth in the Campbelltown area.

In May 1978, Eggins called a public meeting to form an organisation to promote tourism in the Macarthur region. Betty Hunt (Yewen) attended the meeting and was hooked.

At the time, Jennifer was employed at a doctor’s surgery in Camden, and Betty was working for a Camden dentist.

The dynamic duo

Eggins and Hunt had a wider vision of tourism in the 1970s.

The dynamic duo, Jennifer Eggins and Betty Hunt, on the cover of Betty’s book My Story. The pair were on a media tour at Bundanoon, and the photo appeared in The Crier newspaper. (The Crier 26 September 1984)

The former Member for Macarthur Michael Baume recalls, ‘while some lamented that Camden would wither on the vine, two women took the view that a great opportunity only required imagination and energy to exploit’. Jenny Eggins and Betty Hunt (Yewen) became ‘the female double-act to show Camden was alive and well’. (Yewen, My Story)

Macarthur Country Tourist Association (1978)

The May meeting led to the formation of the Macarthur Country Tourist Association. The aims were to (1) promote local tourist attractions, (2) encourage further development of tourist facilities, (3) and foster new attractions. (Camden News 14 June 1978)

The new association intended to do this by setting up a tourist information centre and pursuing the association’s aims through advertising, literature, and community involvement. (Camden News 14 June 1978)

Macarthur Country Tourist Association logo (B Yewen, 2018)

Eggins and Hunt were an unstoppable duo. They attracted a motivated team of supporters around them and set out to achieve the aims of the new association.

Association membership gathered pace over the following months under the direction of Betty Hunt (Yewen). By December 1978, there were 200 paid-up members.

Over the following decade, there were many events and activities. Lunchtime bus tours, festivals, promotional events, creation of the position of tourist officer, Camelot open house, visitor guides, filmmaking, and a host of other activities.

The MCTA Tourist Information Centre (1985)

The association successfully lobbied the Wran Labor Government to create a tourist information centre at Liverpool on the Hume Highway.

The Macarthur Country Tourist Association at 470 Hume Highway, Liverpool, on the corner of the Hume Highway and Congressional Drive, Liverpool. (LCL, 1985)

The land for the tourist information centre was allocated to the association by the state government in 1985, which also provided $350,000 towards the construction of the centre. Liverpool City Council, Campbelltown City Council, Camden Municipal Council, and Wollondilly Shire Council jointly met running expenses.

Demolition (2005)

In the early 1990s, Liverpool City Council and Campbelltown City Council withdrew their support for the information centre. The centre closed in 1998, sat empty and was demolished after vandalism in 2005.

The demolition of the MCTA Tourist Information Centre in Betty Yewen’s My Story (Betty Yewen 2018)

 The site of the former tourist information centre is now vacant and has been converted into a park.

Legacy

The dynamic duo of Eggins and Hunt (Yewen) left a considerable legacy that has left an indelible mark on today’s tourist industry.

The duo were responsible for many firsts. These include the first bus lunch tours, the first dedicated visitor’s guide, the first tourism promotion booklet, the first tourism promotional business in the region, the first tourist officer, the first tourist information centre and others.

Sometime around 2005, the Jenny Eggins memorial plaque was relocated from the Liverpool site to a location outside the John Oxley Tourist Information Centre on Camden Valley Way at Elderslie.

Read more about the Macarthur Country Tourist Association in Betty Yewen’s My Story.

Seek it out at your local library.

Read a story written by Betty Yewen in Camden History about the creation of her book, My Story.

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Camden Library and Museum public art

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Collaborative efforts

The 2007 Camden Library and Camden Museum redevelopment project resulted in a community collaboration to create a mix of public artworks.

The collaboration process was led by Camden Council Cultural Development Coordinator Angela Pasqua. Participants included school children, TAFE students, artists and sculptors.

The artworks were commissioned by Camden Council..

The efforts have been documented in a pamphlet called ‘The Walls Have Words’ originally published by Camden Council.

Public artworks at the Camden Library and Museum on the old fire station and original temperance hall forecourt. Created by sculptor Benjamin Gilbert and titled Chaise Lounge Ensemble, they were aimed at introducing a ‘feminine touch’ in a previously male-dominated domain. (I Willis, 2023)

Public artworks on the forecourt of the Camden Library and Museum at 40 John Street Camden. The sculptures are called the Chaise Lounge Ensemble. (I Willis, 2023)

The Camden Library and Museum John Street frontage. The Chaise Lounge Ensemble is shown on the forecourt of the former fire station. (I Willis 2023)

Redevelopment of Camden Library and Camden Museum

The aim of the 2007 redevelopment project was to integrate three former historical buildings, fire station, school of arts and council offices, into a contemporary functional space for the use of the Camden community using the adaptation principles outlined by the Burra Charter (2013). The former school of arts was occupied by Camden Library, while the Camden Museum was located in the former Camden Council offices.

The state government and Camden Council spent around $2.5 million to bring Camden Library up to contemporary library floor space requirements. This was achieved by enclosing a laneway between the former fire station and school of arts (library) buildings.

The works enclosed the laneway using a glass roof to create a galleria that has been used for a variety of public events for the library and museum.

The galleria space was created by the enclosure of the former laneway between the former fire station and library buildings. (CHS 2022)