In 1788, the First Fleet landed in New South Wales, and European settlement in Australia began. Among those on board the eleven ships of the fleet were artists who recorded their impressions of the land, its indigenous people, its flora and fauna, and incidents or events which they considered significant.

Feather and Brush traces the history of bird art in Australia – from the simple engravings illustrating accounts of the earliest European voyages of discovery to the diversity of artwork available today. It explores the early European approach, in which naval draughtsmen, officers, convicts, settlers, naturalists, artists and scientists alike contributed both to the art and the science of ornithology, through to a wealth of contemporary artists who feature birds in their works. This book contains more than 400 images, representing the work of 158 artists; some well-known, others published for the first time. The illustrations have been selected for their interest, whether ornithological, historical or artistic. They range from classical to quirky, decorative to functional, monumental to intimate. Together they demonstrate the rich history of Australian bird art, as it evolved in Europe and Australia, and continues today, along with the trends and technologies of the times. This second edition includes new and revised chapters, and features about 200 new artworks, including some by Indigenous artists. Cultural sensitivity Readers are warned that there may be words, descriptions and terms used or referenced in this book that are culturally sensitive. Aboriginal and Torres Strait Islander people should be aware that this book contains images and names of deceased persons.

The Hawkesbury River is the longest coastal river in New South Wales. A vital source of water and food, it has a long Aboriginal history and was critical for the survival of the early British colony at Sydney. The Hawkesbury’s weathered shores, cliffs and fertile plains have inspired generations of artists. It is surrounded by an unparalleled mosaic of national parks, including the second-oldest national park in Australia, Ku-ring-gai National Park. Although it lies only 35 km north of Sydney, to many today the Hawkesbury is a ‘hidden river’ – its historical and natural significance not understood or appreciated. Until now, the Hawkesbury has lacked an up-to-date and comprehensive book describing how and when the river formed, how it functions ecologically, how it has influenced humans and their patterns of settlement and, in turn, how it has been affected by those settlements and their people. The Hawkesbury River: A Social and Natural History fills this gap. With chapters on the geography, geology, hydrology and ecology of the river through to discussion of its use by Aboriginal and European people and its role in transport, defence and culture, this highly readable and richly illustrated book paints a picture of a landscape worthy of protection and conservation. It will be of value to those who live, visit or work in the region, those interested in Australian environmental history, and professionals in biology, natural resource management and education.

Parrots and lorikeets swoop down, vivid, bright and colourful. Black swans glide through the air. Owls stare out from pages, wide-eyed. A sense of awe swept through natural history circles in eighteenth-century London when the first ships returned from Sydney with their cargo of exotic animals, birds and plants – and striking watercolour illustrations. The sudden emergence, in 2011, of a large number of these watercolour illustrations has revealed much about the early years of the colony. In Natural Curiosity, Louise Anemaat uncovers never-before-published works from the artists of the First Fleet, including convicts-turned-watercolourists Thomas Watling and John Doody, and the anonymous 'Port Jackson Painter'. She unravels the complex network of natural history collectors who spanned the globe – eagerly acquiring, copying and exchanging these artworks – from New South Wales Surgeon-General John White to passionate British collector Aylmer Bourke Lambert.

In 1788, nearly 1,500 people on 11 sailing ships came ashore at Port Jackson in Australia after a gruelling four month journey from England. This collection of vessels later became known as the First Fleet, and those who sailed in them were the community who established the first penal colony in New South Wales and who laid the foundations for the birth of the nation of Australia. The Art of the First Fleet is a captivating collection of watercolours, washes, ink and pencil drawings created during this historic time, and now housed in the Natural History Museum. It depicts the natural history of this extraordinary land and the events that marked these initial formative years, as seen through the eyes of European settlers. The artists' drawings of the people and culture of the Eora people, the local indigenous population ofthe area, provide the only lasting visual record of their lives.

During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. View ‘The First Fleet Piano: Volume Two Appendices’. Note: Volume 1 and 2 are sold as a set ($180 for both) and cannot be purchased separately.

The English/British have always been known as the sailor race with hearts of oak: the Royal Navy as the Senior Service and First Line of Defense. It facilitated the motto: The sun never set on the British Empire. The Royal Navy has exerted a powerful influence on Great Britain, its Empire, Europe, and, ultimately, the world. This superior annotated bibliography supplies entries that explore the influence of the English/British Navy through its history. This survey will provide a major reference guide for students and scholars at all levels. It incorporates evaluative, qualitative, and critical analysis processes, the essence of historical scholarship. Each one of the 4,124 annotated entries is evaluated, assessed, analyzed, integrated, and incorporated into the historiographical scholarship.