Henry Prinsep is known as Western Australia’s first Chief Protector of Aborigines in the colonial government of Sir John Forrest, a period which saw the introduction of oppressive laws that dominated the lives of Aboriginal people for most of the twentieth century. But he was also an artist, horse-trader, member of a prominent East India Company family, and everyday citizen, whose identity was formed during his colonial upbringing in India and England. As a creator of Imperial culture, he supported the great men and women of history while he painted, wrote about and photographed the scenes around him. In terms of naked power he was a middle man, perhaps even a small man. His empire is an intensely personal place, a vast network of family and friends from every quarter of the British imperial world, engaged in the common tasks of making a home and a career, while framing new identities, new imaginings and new relationships with each other, indigenous peoples and fellow colonists. This book traces Henry Prinsep’s life from India to Western Australia and shows how these texts and images illuminate not only Prinsep the man, but the affectionate bonds that endured despite the geographic bounds of empire, and the historical, social, geographic and economic origins of Aboriginal and colonial relationships which are important to this day.

James William Newland’s (1810–1857) career as a showman daguerreotypist began in the United States but expanded into Central and South America, across the Pacific to New Zealand and colonial Australia and onto India. Newland used the latest developments in photography, theatre and spectacle to create powerful new visual experiences for audiences in each of these volatile colonial societies. This book assesses his surviving, vivid portraits against other visual ephemera and archival records of his time. Newland’s magic lantern and theatre shows are imaginatively reconstructed from textual sources and analysed, with his short, rich career casting a new light on the complex worlds of the mid-nineteenth century. It provides a revealing case study of someone brokering new experiences with optical technologies for varied audiences at the forefront of the age of modern vision. This book will be of interest to scholars in art and visual culture, photography, the history of photography and Victorian history.

This collection of essays collects the leading scholars on British colonial thought in Southeast Asia to consider the question: what was the relationship between liberalism and the British Empire in Southeast Asia? The empire builders in Southeast Asia: Lord Minto, William Farquhar, John Leyden, Thomas Stamford Raffles, and John Crawfurd - to name a few - were fervent believers in a liberal free trade order in Southeast Asia. Many recent studies of British imperialism, and European imperialism more generally, have addressed how the anti-imperialist tradition of Eighteenth century liberalism was increasingly intertwined with the discourses of empire, freedom, race and economics in the nineteenth century. This collection extends those studies to look at the impact of liberalism on. British colonialism in Southeast Asia and early nineteenth century Southeast Asia we see some of the first attempts at developing multicultural democracies within the colonies, experiments in free trade and attempts to use free trade to prevent war and colonisation.

Examines the rising numbers of free settlers from the 1820s to the 1860s, their dependence on Aboriginal, immigrant, and convict under-paid laborers, and the slow development of representative government.

Fragile Settlements compares the processes by which colonial authority was asserted over Indigenous people in south-west Australia and prairie Canada from the 1830s to the early twentieth century. At the start of this period, there was an explosion of settler migration across the British Empire. In a humanitarian response to the unprecedented demand for land, Britain’s Colonial Office moved to protect Indigenous peoples by making them subjects under British law. This book highlights the parallels and divergences between these connected British frontiers by examining how colonial actors and institutions interpreted and applied the principle of law in their interaction with Indigenous peoples on the ground. Fragile Settlements questions the finality of settler colonization and contributes to ongoing debates around jurisdiction, sovereignty, and the prospect of genuine Indigenous-settler reconciliation in Canada and Australia.

"This is a marvellous contribution by Chris Owen to the understanding of the role the Western Australian police force played in the colonial expansion into the Kimberley district of Western Australia."--Senator Patrick Dodson, Yawuru Elder ***Chris Owen provides a compelling account of policing in the Kimberley district from 1882, when police were established in the district, until 1905 when Dr. Walter Roth's controversial Royal Commission into the treatment of Aboriginal people was released. Owen's achievement is to take elements of all the pre-existing historiography and test them against a rigorous archival investigation. In doing so, a fuller understanding of the complex social, economic, and political changes occurring in Western Australia during the period are exposed. The policing of Aboriginal people changed from one of protection under law to one of punishment and control. The subsequent violence of colonial settlement and the associated policing and criminal justice system that developed, often of questionable legality, was what Royal Commissioner Roth termed a 'brutal and outrageous state of affairs.' Every Mother's Son is Guilty is a significant contribution to Australian and colonial criminal justice history. Subject: History, Aboriginal Studies, Criminal Justice, policing]

This book tells a compelling story about invasion, settler colonialism, and an emergent sense of identity in place, as seen through topographical and landscape images by seven fascinating artists. Their ways of imagining the Vandemonian landscape are part of a much larger story about how aesthetic forces shaped empire and colony, place and migration, and people’s lives. They remain intriguing through-lines of global significance and local meaning.