William Turton Kennett Archive

This journal contains entries from the date of Kennett’s departure from England, October 1866, the entries are out of sequence after 31 December, he continued listing dates and entries for 1 January - 21 January 1867. He then turned to the front section (January 1866), where he made various records and lists in Sydney, Brisbane and Somerset and continued the diary entries from 21 January - 2 October 1867 overwriting the printed dates. On four pages facing some of the diary entries for December 1866 he records entries for 7 January - 8 March 1869.

This diary contains only brief entries of his activities, his greater narrative being contained in the letter-journals, however he does attempt to record a brief vocabulary of the Cape York dialects: Ecokuagan (Cape York inland), Kowraregan (Prince of Wales Island), Yaardigans, Kuklalega (Mount Ernest) and Gudang (Coast of Cape York). [These are his interpretations]

This journal which although dated 1 October 1867, it covers 14 March to 31 August 1867.

Kennett describes his time in Queensland for friends and family by recording his activities and observations of life in North Queensland. The journal begins with the history of European settlement in the area, climate, wildlife and the residents of Somerset: Captain Simpson, R.N. (police magistrate) his wife & female servant; Rev. Frederick Jagg, Dr Haran, Sergeant Dent and ten marines, J. Ralph his man servant and himself. He writes in great detail of the five tribes of Aboriginal people that he encounters: the Yaardiangans, the Goodangs (Gudang), the Goomkodeens, the Unduyamos and the Islanders north of the mainland, the Kowraregas - their dress, tools, food and customs.

Kennett also lists the names and known heritage of the children attending his school, and then writes extracts from his "log book" beginning 14 March through to August 1867. These entries note the ships that came to harbour, his expeditions to islands off the coast, encounters with Aboriginal populations, observations of their ceremonies and the news that the Queensland Government was to withdraw their support for the settlement.

In this continuation of his previous journal, Kennett begins by describing at length the local method for capturing and consuming marine turtles, then dated entries continue from 8 September.

There is much narrative around the interaction of the police with the Aboriginal tribes and visits from the Kaurareg people of the 'Prince of Wales Island' or Muralag. Kennett was persuaded to stay with the people for two weeks where he observed much of their customs and heard stories of several white men who had lived among them.

Charles Alford, MA, Principal, Bishop of Victoria, Hong Kong writes a glowing reference for William Kennett to any prospective employer.

Reverend James Cohen, MA, Rector of Whitechapel writes to recommend William Kennett to be considered for employment.

John French, Honourable Secretary to the Whitechapel Society for the Education of the Poor, London writes a letter confirming that William Kennett had been employed ably and effectively as Assistant Master for three years.

Francis Cooper, B.A., Cambridge writes of his relationship with William Kennett the past 10 years, bearing testimony to his excellent character.

Reverend Frederick Jagg, M.A. St Luke's, Toowoomba, writes a letter of recommendation for William Kennett describing his appointment by the Society for the Propagation of the Gospel as a missionary at Somerset, Cape York, and with whom he travelled from England in October 1866.

Reverend James Cohen, MA, Rector of Whitechapel writes to recommend William Kennett to be considered for employment to Sir Thomas Rich's Hospital.

Secretary for the Society for the Propagation of the Gospel (SPG) - William Bullock writes to William Kennett advising that he will be receiving a grant of £50 in appreciation for his work in North Queensland.

Charles Parker, of Symondsbury, Bridport writes a general reference for William Kennett testifying to his excellent character.

John Pitfield, Churchwarden & Trustee of the Charity, writes a letter of recommendation for William Kennett to be considered for employment.

Charles Edmond, Churchwarden & Trustee of the Charity, writes a letter of recommendation for William Kennett to be considered for employment.

William Kennett, as Rector, St Crux Rectory, writes to Raymond's Charity, Symondsbury, Bridport an application for a position as Master for St Crux Endowed School, detailing his teaching experience:

1853-1858 Public teacher, Christs Church Camberwell National Schools
1859-1860 First Class Queen's scholar, the Training College, Highbury
1860-1866 Assistant Master, Whitechapel Society's Schools
1866-1869 Head Master of the Industrial Schools, Queensland
1869-1874 Head Master of the schools of Raymonds Charity, Symondsbury, Bridport

Extracts of reports written on behalf of William Kennett dating from 3 May 1864 to 4 June 1874.

Salisbury Board of Education, teachers certificate with annual assessments, from 1874 to 1884 issued in recognition of William Kennett's ability to conduct Religious Teaching.

William Turton Kennett's birth certificate issued in the County of Surrey, showing that he was born at 99 Regent Street. It also records that his father William Roberts Kennett (1813-1891) was a watch maker, and his mother was Ann Kennett formerly Turton.

Marriage certificate for William Turton Kennett and Florence Elizabeth Marsh (1863-1935) issued in the County of Dorset. It also records that Florence's father Charles Marsh, was a farmer from Symondsbury.

Probate of the will of William Turton Kennett, who resided at 'Sweetbriar' West Road, Symondsbury, Dorset.

The copy of his will which is included, names his wife Elizabeth Kennett, sons William Charles, Frederick Arthur, and daughters Dorothea Adelaide and Barbara Frances as equal beneficiaries, after naming specific bequests to each.

View of the settlement, Somerset, Cape York.
Captioned in Kennett's hand. This photograph was reproduced by Daniel Marquis (1829–1879) George Street, Brisbane.

View of Somerset Bay, Cape York

Sapling garden fence with view of bay beyond (presumably at Somerset)

Police Magistrate's residence, Somerset, Cape York.

Title taken from same view held British Museum 
https://www.britishmuseum.org/collection/object/EA_Oc-A3-29

Plan & Elevation of Police Magistrate’s House, available at Queensland State Archives. Note: The couple on the veranda are probably the Police Magistrate, Captain Henry Simpson & Mrs Simpson.

Police Barracks, Cape York. Captioned in Kennett's hand. Plan & elevation of barracks, available at Queensland State Archives.
The child standing near the steps is likely to be Arthur Baxendell (1856-1938).

Similar view held British Museum
https://www.britishmuseum.org/collection/object/EA_Oc-A3-52

Settlement building, Somerset, Cape York. Of similar construction to the police barracks, without verandah hand-rails.

Naval Surgeon Doctor Timotheus John Haran (1830-1904) was appointed to the garrison settlement of Somerset in 1863 along with Lieutenant Pascoe and 25 marines. Haran was accompanied by his wife Bedelia Mary (nee Kelly) and family. Two daughters died during his tenure at the settlement (1864-67) Mary Josephine and Edith Kate, they are buried at Somerset. After his departure in 1867, William Kennett moved into the doctor's residence taking it for his own quarters.

Title taken from same view held British Museum
https://www.britishmuseum.org/collection/object/EA_Oc-A3-32

Large group posed at Customs House, Somerset, Cape York. In this image William Kennett has gathered a large group of Aboriginal people - men, women and children - to pose in front of the customs building, many are holding spears.

Photograph reproduced by Daniel Marquis (1829–1879) at his studio in George Street, Brisbane.
Image also held British Museum
https://www.britishmuseum.org/collection/object/EA_Oc-A3-30

Married mens quarters, Somerset, Cape York. Captioned by Kennett on reverse: Cottages Cape York. Image shows three small timber houses.

Married men’s cottage, Somerset, Cape York. The image also shows several people on the verandah. This is one of the three married men’s cottages at the Somerset settlement.

Married men’s cottage, (possibly William Kennett’s house / schoolhouse). This is one of the three married men’s cottages at the settlement.

Marine officer’s quarters, normally occupied by Lieutenant Pascoe who was the military commandant in charge of a contingent of 25 marines. European man with mutton chops whiskers, dressed in white, can be seen seated in chair beside door.

Marine officer’s quarters, with flagstaff, Somerset, Cape York. This building would normally be occupied by Lieutenant Pascoe who was the military commander for the settlement in charge of 25 marines.

The building was identified from the watercolour, ‘Marine Officer’s Quarters – Somerset/ Cape York – 1866.’, in album James O. Burgess ‘Views in Queensland, N.S.W. and Tasmania, 1866-1902’ (DGA 5), held Dixson Gallery, SLNSW, Sydney.

Francis Lascelles (Frank) Jardine's (1841 -1919) cattle station established in 1864. In December 1867 Frank Jardine was appointed by the Queensland Government as police magistrate at Somerset, he was later dismissed in 1873 for his corrupt practices. Jardine returned to Somerset in 1878 taking possession of the buildings and the surrounding cattle stations after the Queensland government moved its operations to Thursday Island. WikiPedia

The building was identified from a similar image held British Museum.
https://www.britishmuseum.org/collection/object/EA_Oc-A3-31

Cattle station established by Francis Lascelles (Frank) Jardine (1841-1919) in 1864 at Vallack Point, Cape York.
Reverend Frederick Jagg and others can be viewed in the grounds.
Photograph reproduced by Daniel Marquis (1829–1879) George Street, Brisbane.
The building was identified from an image also held British Museum
https://www.britishmuseum.org/collection/object/EA_Oc-A3-31

Portrait photograph of William Turton Kennett, c.1880s. Photographer unknown.

Three quarter-length, self-portrait of William Turton Kennett, taken in Somerset, Cape York.

Full-length self-portrait of William Turton Kennett, taken in Somerset, Cape York.

Portrait of the Reverend Frederick Charles Jagg (1829-1924) who accompanied William Kennett to form a Christian mission at Somerset, on behalf of the Society for the Propagation of the Gospel (SPG) in Foreign Parts.

Reverend Frederick Jagg with 3 others, Somerset, Cape York. The others photographed are likely to include Police Magistrate Captain Henry George Simpson (1822-1898) and his wife Emily (nee Lamb) pictured at centre, with a naval officer at left, in front of the Police Magistrates residency.

Man with moustache, pointed beard & high riding boots, his hand on barley twist chair-back. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Unidentified female, seated in chair with barley twist back. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

This full-length portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York of a military officer. He wears chevrons on the sleeves of his uniform and holds a white hat to his knee.

This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York, the officer is also depicted in Item 43.

Unidentifed man wearing mutton chop whiskers & moustache. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Head & shoulders portrait of long-faced man with dark hair, long beard & moustache, the same man as pictured in Item 47. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Seated man, wearing white trousers, shoes & white hat on knee, white shirt & darker jacket, the same man as pictured in Item 46. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Seated man, wearing white trousers, shoes & white hat on knee, white shirt & darker jacket; the same man is pictured in Item 47 & Item 48. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Seated portrait of bearded man in dark clothing with a brimmed hat. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

This portrait by William Kennett of two men is most likely to have been taken at the settlement of Somerset, Cape York.

Unidentified young man, clean shaven, seated in a chair. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Clean shaven young man, seated with hat held on knee; same man is pictured in Item 51. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Portrait of seated young dark-haired man, with moustache & beard, wearing white trousers, darkish jacket & vest, hat held to knee. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Portrait of a seated man in darkish suit (verandah window at left). This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Studio portrait of a dark haired man with moustache and full beard, holding a hat on his knee. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Studio portrait of dark haired man with moustache, white trousers, hat with round crown balanced on knee, wearing white trousers. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Studio portrait of dark haired young man, wearing a dark coat and striped shirt. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Head and shoulders portrait of Frank Jardine. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Frank Jardine (1841-1919) was appointed by the Queensland Government as Police Magistrate at Somerset in December 1867, he was later dismissed in 1873 for his corrupt practices.

Casual portrait of Frank Jardine, barefoot & wearing checked shirt, seated on the floor of a veranda. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Frank Jardine (1841-1919) was appointed by the Queensland Government as Police Magistrate at Somerset in December 1867, he was later dismissed in 1873 for his corrupt practices.

Head and shoulders portrait of a man with dark curly hair, beard & moustache, wearing a felt hat and striped shirt. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Head and shoulders portrait of a dark-haired man with moustache, wearing an open necked top and darkish hat. This portrait by William Kennett is most likely to have been taken at the settlement of Somerset, Cape York.

Man with beard, wearing a straw hat, light coloured belted shirt & trousers, and holding a riding crop. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Young man, clean shaven, wearing a cap, with his hand in jacket pocket, wearing white trousers. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Man wearing a cap, jacket & vest with watch chain, and white trousers - possibly a uniform. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Frank Lascelles Jardine (1841-1919) was appointed by the Queensland Government as Police Magistrate at Somerset in December 1867. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Reverend Frederick Charles Jagg (1829-1924) standing amongst trees, holding a white dome hat. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Reverend Frederick Jagg accompanied Kennett from England to establish the mission at Somerset in 1866. Although his wife Robertha and young son also travelled to Queensland, Robertha remained with relatives in Ipswich and gave birth to their son Frederick in October 1867. In 1868 Jagg took up the position of Vicar of Darling Downs and first Rector of St James Church, Toowoomba, and later returned to England.

Arthur Baxendell and an anthill, Cape York. Pencil inscription to mount ‘Ant Hill’ & in faded ink, ‘Cape York’; inscription in ink to verso ‘Ant Hill Cape York’, with faded signature ‘W T Kennett’

Arthur Baxendell in the bush, Cape York. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell with hunting party of 3 European men, similar view to Item 70. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell with hunting party of 3 European men, similar view to Item 69. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Two ship’s officers with 2 other men in bush surrounds. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell seated on a horse, Reverend Frederick Jagg holding the reins. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Reverend Frederick Jagg seat on a horse, Arthur Baxendell standing before him. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell & three European men seated in bush with refreshments. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell with Boroto (seated centre) & 2 other unidentified Aboriginal men, and Reverend Frederick Jagg (obscured) with horse beside an anthill, Cape York.

Descriptive information provided in 2022 by Northern Peninsula Area traditional land owners, Kennett had identified the man as Boro. Boroto was the brother of Tomogo, the man shown in image number 33001-0079-0001.

Similar view held British Museum titled ‘Ant Hill, Cape York’, taken from a slightly different angle. [https://www.britishmuseum.org/collection/object/EA_Oc-A3-16]

Imprint of photographer W. Barrett of Bridport (U.K.) on reverse (evidently copied at Kennett’s behest)

Officers of HMS Salamander & Boroto, seated centre. Titled in pencil across bottom of mount. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

HMS Salamander provided a vital and on-going link for the settlement at Somerset, bringing in supplies by sea, on average three times a year. Under the command of Captain George Nares between 1865 and 1868, it also carried out survey work.

Descriptive information provided in 2022 by Northern Peninsula Area traditional land owners. Kennett had identified the man as Boro. Boroto was the brother of Tomogo, the man shown in image number 33001-0079-0001.

Two European men with rifles and dead birds standing beside an Aboriginal man and boy holding dead cockatoos.

Imprint of photographer W. Barrett, Bridport (U.K.), on reverse (evidently copied at Kennett’s behest).
Note the thatched hut, is similar to that adjacent to Jardine’s Cattle Station. The scene may be associated with the taxidermists, ornithologists and bird collectors John Adolphus Thorpe and James Cockerell (who may be the young man on the left).

Leop (ritual turtle shell mask), Torres Strait Islands. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Same image, titled ‘Tortoiseshell mask’ held British Museum [https://www.britishmuseum.org/collection/object/EA_Oc-A3-51]

Tomogo, brother of Boroto, photographed by William Kennett (see images 33001-0075-0001 and 33001-0076-0001).

Descriptive information provided in 2022 by Northern Peninsula Area traditional land owners, who identified this man as Tomogo, the brother of Boroto.

A duplicate of this image is held in the British Museum [https://www.britishmuseum.org/collection/object/EA_Oc-A3-9] (Oc,A3.9] and described as "portrait of a man from Cape York sitting on the floor in front of a neutral backdrop; he has scarification on his shoulder and chest and wears armbands and a cloth wrap around his waist; he holds a long bamboo pipe in his lap, and an axe lies on the floor near him".

Imprint to verso ‘W. Barrett, Photographer, Bridport.’ (evidently copied at Kennett’s behest).

Cape York man sitting cross-legged, holding a small axe; he wears a pearl-shell disc pendant and arm bands. The pendant has been identified as a 'divadiv' or warrior's pendant, able to be used to signal, reflecting the sun's light, and used to announce or warn of people coming.

Title taken from annotation to same photo held by the British Museum; also 'Illustrated: National Museum of Australia', Encounters, p179
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-6]

Imprint on reverse ‘W. Barrett, Photographer, Bridport.’ (evidently copied at W T Kennett’s behest).

Similar image held British Museum, description: Two women sit cross-legged on a woven floor mat. The woman to the right has scarification to her stomach & wears a fibre apron.

[https://www.britishmuseum.org/collection/object/EA_Oc-A3-20]

Imprint to verso ‘W. Barrett,/ Photographer, Bridport.’ (evidently copied at Kennett’s behest)

Young Aboriginal girl, wearing a plant fibre apron; holding a woven bag under her arm.

Similar image held British Museum
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-11]

Imprint on reverse ‘W. Barrett, Photographer, Bridport’ (evidently copied at W T Kennett’s behest).

Kennett's inscripion on reverse: 'Native Boy, Cape York, Goodang Tribe’. Pencil inscription ‘Cape York’ on mount.

Similar image held British Museum [https://www.britishmuseum.org/collection/object/EA_Oc-A3-12]

Portrait of young boy, likely belonging to the Goodang (Gudang) people, he holds a plant fibre basket under his arm.
Similar image held British Museum, inscribed in Kennett’s hand ‘boy – Cape York’
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-19]

Portrait of a Gudang woman wearing a shell necklace. It is said she later died in England, where she was taken by Kennett in 1869, although to date there is no documentary evidence of this occurring. 

Similar image held British Museum, has pencil caption, ‘Cape York woman’; another (oval) is pasted in a 19th century school photograph album (private collection, provenanced to W T Kennett) and captioned: ‘So sad and far from home'. Also referenced: National Museum of Australia, Encounters, p173.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-14]

Portrait of Cape York woman seated in a cane chair (half length; she is wearing a headband, short hair). This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Similar image held British Museum, titled ‘Woman – Cape York’.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-17]

Portrait of a Cape York woman seated in a cane chair (half-length, wearing a headband). This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Portrait of a Cape York woman seated in a cane chair (half-length, wearing a headband, with straight cropped hair). This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Note: Appears to be same woman pictured 2nd from left in portrait of four women standing before the Union Jack flag in Item 95.

Portrait of a Cape York woman, wearing pendant (with scraped-back hair). This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

The pendant worn by the woman in this photograph was for carrying a fragrant herb, to be worn as a perfume. The same plant it is said, was used for dancing and grass skirts. The plant is called taka koreke.

Similar image held British Museum, titled ‘Woman – Cape York’.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-18]

Portrait of an Aboriginal man employed as a ‘Native trooper', Cape York. He wears a moustache and beard and has pronounced tribal scarification across his chest and upper arms. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

The body marking of a single straight line denotes warriors from the Gudang group, and can be seen on the body of the man in this image. There are rocks with the different tribal warrior markings on different islands – these represent warrior groups and the boundaries between groups.

Similar image held British Museum
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-15]

Four Aboriginal constables with rifles at Jardine’s cattle station; a European stands at the window behind, likely to the the Reverend Jagg. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

‘Cape York Natives & Native troopers’ (at Jardine’s cattle station, 8 Aboriginal men and 2 women). Captioned on reverse in Kennett's hand; ‘W T Kennett’ faded ink signature/inscription lower left.

Photographer’s imprint on reverse: ‘Marquis, Photographer, George Street, Brisbane’ (copied from Kennett’s original, evidently at his behest).

Aboriginal constables, their wives & other Indigenous men at Jardine’s Cattle Station (Descriptive title taken from related photograph, Item 92. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

11 Aboriginal men & boys seated on the floor of a veranda. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Similar image held British Museum, titled ‘Natives Cape York’ [https://www.britishmuseum.org/collection/object/EA_Oc-A3-23]

Imprint on reverse ‘W. Barrett, Photographer. Bridport’ (copy after Kennett’s original).

Four young women in grass skirts, backdropped by a Union Jack flag. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.
Note: Thatched roof of building is similar to that adjacent to Jardine’s cattle station. The woman pictured 2nd from right is apparently the same as in Item 88.

It is possible that these women are South Sea [Pacific] Islanders, not Aboriginal as first described.

Captioned by Kennett: ‘Native Boy & Girl Korkeraga Tribe Cape York’ standing if front of a Union Jack flag as a backdrop. Titled to verso in ink, with faded ink signature/inscription ‘W. T. Kennett’ across bottom edge; another inscription in pencil on lower mount to the reverse, ‘Cape York’.

This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

17 men & boys in a Torres Strait Island canoe on the water. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Descriptive information provided in 2022 by Northern Peninsula Area traditional land owners, have identified the canoe as the 'Kee-mareena' (meaning Big Spirit) [aka Kie Marina, Big Shadow]. It measured 15.8m long and was used for long voyages for chiefs and highly ranked warriors. This canoe was referenced by Oswald Brierly in the 'Rattlesnake' journals, for October 1848.

There is also an image on the reverse of 10 men in two rows, which is a duplicate of Item 100. However the group in Item 100 is slightly blurred.

Captioned by Kennett on reverse: ‘South Sea Islanders’, the image shows 44 men & boys in two rows, many holding spears against background of trees; the European man at far right likely the same man who appears in Item 99. 
It is not evident whether Kennett visited any of the Pacific Islands, but there were several hundred South Sea Islanders in the vicinity of Somerset during this time, who had been brought from their home islands to work in the pearl-shell industry.

Similar image held British Museum, inscribed on reverse 'Crew of the fishing bark [barque] "Woodlark" South Sea Islanders'. [https://www.britishmuseum.org/collection/object/EA_Oc-A3-22]

Photographer’s imprint to reverse: ‘Marquis, Photographer, George Street, Brisbane’ (evidently copied at Kennett’s behest).

European bearded man in tartan trousers with rifle (same man as in Item 98), heading group of 9 men armed with wooden spears. One of the weapons held is a Qauata, a parrying shield from the Solomon Islands.

Similar image held British Museum, captioned 'Line Islanders, South Seas'.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-27]

It is not evident whether Kennett visited any of the Pacific Islands, but there were several hundred South Sea Islanders in the vicinity of Somerset during this time, who had been brought from their home islands to work in the pearl-shell industry.

Ten Ni-Vanuatu [?] men holding axes & spears (6 standing, 4 squatting in front). It is not evident whether Kennett visited any of the Pacific Islands, but there were several hundred South Sea Islanders in the vicinity of Somerset during this time, who had been brought from their home islands to work in the pearl-shell industry. 

The title is taken from similar image held by the British Museum, captioned on reverse 'Natives of Mii & Makula, South Seas'.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-26]

Very similar image on the reverse of Item 97.

Nine Ni-Vanuatu [?] men (5 standing with spears) before thatched wooden building. It is not evident whether Kennett visited any of the Pacific Islands, but there were several hundred South Sea Islanders in the vicinity of Somerset during this time, who had been brought from their home islands to work in the pearl-shell industry.

Similar photo held by the British Museum captioned ‘Natives of Tanna South Seas’, together with similar photo of group of 7, bearing same title.
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-28]

Seven Vanuatu men standing before thatched wooden building. Efate part of the Shefa Province, Vanuatu was named Sandwich Island by James Cook. It is not evident whether Kennett visited any of the Pacific Islands, but there were several hundred South Sea Islanders in the vicinity of Somerset during this time, who had been brought from their home islands to work in the pearl-shell industry.

Similar photo held British Museum captioned on reverse 'Sandwich Islanders (South Seas)'
[https://www.britishmuseum.org/collection/object/EA_Oc-A3-25]

Aboriginal woman seated in a chair; pronounced tribal scarring clearly visible on her right upper arm and stomach area.

Titled in ink on the reverse, & with slightly faded ink signature / inscription ‘Kennett’ below; with a further crossed-out ink inscription below, in another hand, ‘CHmoore [sic]/ Photo/ Maryboro’ (i.e. Maryborough photographer Christopher Hume Moore); pencil inscription to lower mount, recto, ‘Maryboro’ woman’.

Studio photograph of five Aboriginal women in western dresses & shifts, captioned: Natives of Wide Bay, Queensland.

Titled below in faded ink & on the reverse in ink, written over pencil inscription; ‘Kennett’ signature / inscription in faded ink below.

Studio photograph of young woman, seated in a wooden chair, showing scarification to her stomach, wearing a western skirt and patterned headband; a child with cloth draped about the waist stands beside her.

Captioned on the reverse 'Natives of Wide Bay Queensland’ and titled in ink on the reverse ‘Wide Bay Natives’, with slightly faded ink inscription/signature ‘Kennett’ below; pencilled to lower mount, front, ‘Queensland’.

Studio portrait of an Aboriginal man wearing western trousers and holding an axe, a young women wearing a checked skirt and headband, stands beside him.

Titled in pencil on bottom of mount ‘Brisbane Blacks’ & in ink on reverse ‘Native Man & Woman’, with faded signature/inscription ‘Kennett’. Photographer’s stamp to verso: ‘S Duesbury / Brisbane / Photographer’.

This is image it is closely related to a photograph of the same couple shown in 'Bitter Fruit: Australian Photographs to 1963', Auckland, 2017, p226.

Studio portrait of three Aboriginal women, dressed in western shifts, two wearing headbands.

Titled in pencil bottom of mount ‘Brisbane Blanks’ & in ink on reverse ‘Native Girls Brisbane’, above faded signature/inscription ‘Kennett’.

Photographer’ stamp on reverse: ‘S Duesbury / Brisbane / Photographer

Studio portrait of Aboriginal man, holding a spear, pronounced tribal scarring clearly visible to chest and upper arms.
Captioned on reverse by Kennett 'Native of Brisbane' with ‘Kennett’ inscription/signature in slightly faded ink below. Inscribed in pencil on mount ‘Brisbane Black’.

Photographer’s imprint on reverse ‘Photographed by Bevan, Edward-St., Brisbane’. This image was featured in ‘Captured,’ an exhibition curated by Michael Aird for Museum of Brisbane in 2014.

Half-length studio photograph of seated, young Aboriginal woman with tribal scarring to ribcage area; she is wearing a headband and the top of a European skirt can be seen about her waist.

Captioned by Kennett on the reverse ‘Native Woman Brisbane’, with ‘Kennett’ inscription/signature in below; inscribed in pencil on mount ‘Brisbane Woman’.

Photographer’s imprint to verso ‘Photographed by Bevan, Edward-St., Brisbane.’
This image was also featured in the ‘Captured’, exhibition curated by Michael Aird, for the Museum of Brisbane.

Studio photograph of an Aboriginal mother wearing a western shift, a young child with fabric draped around their waste, stands at her side.

Captioned on reverse by Kennett 'Brisbane blacks' as well as bottom of mount with ‘Kennett’ inscribed in faded ink caption.
Photographer’s imprint on reverse ‘Photographed by Bevan, Edward-St., Brisbane.’
The same image held Anthropology Museum, University of Queensland (regn no. 31336)  and also exhibited ‘Captured’, curated by Michael Aird, for the Museum of Brisbane.

Studio photograph of two Aboriginal men seated, wearing western clothing.

Captioned on reverse by Kennett ‘Natives of Sydney’ with ‘Kennett’ in faded ink; inscription on mount ‘Sydney’.

Photographer’s imprint on reverse, ‘C. Drinkwater / Artist Photographer / Phoenix Gallery / 621 George Street, South Sydney'.

Studio photograph of Aboriginal boy, sitting cross-legged, with girl curled, semi-reclining beside him. 

Captioned on the reverse by Kennett ‘Natives of Sydney’; ‘Sydney Blacks’ inscribed in pencil to right hand side of mount.
Photographer’s imprint on reverse, ‘Freeman’s Late Dalton’s / Royal Photographic Gallery / 320 George Street. Sydney.

Studio photograph of young bearded Aboriginal man in loin cloth.

Captioned on reverse by Kennett 'Native of Brisbane' with ‘Kennett’ in faded ink beneath; ‘Sydney Black’ in pencil on mount.

Photographer’s imprint to reverse ‘Freeman's Late Dalton’s / Royal Photographic Gallery / 320 Pitt Street / Syndey'.

Portrait of an Aboriginal man draped in a blanket, taken outdoors, it shows woodpiles & a carpenter’s sawhorse in the middle ground. Captioned on reverse by Kennett ‘Native of Victoria’.

Photographer’s imprint on reverse: ‘T. F. Chuck. Artist Photographer, St Kilda’.

Studio photograph of two Aboriginal women, one nursing a young child, wearing western clothing.

Captioned on reverse by Kennett ‘Native Women, Victoria’, with faded ink inscription/signature ‘Kennett’ below; pencil inscription on mount ‘Natives of Victoria’.

Studio portrait of William Thompson, Maori Chief wearing western clothes. Captioned on reverse by Kennett and on mount below image ‘Will Thompson Maori'

Photographer’s imprint on reverse ‘Davies & Co. Photographers, 91 & 94 Bourke St. East, Melbourne’

Studio photograph of Maori woman captioned on reverse by Kennett; additional title on mount. Unknown photographer.

Studio portrait of Maori man, with pipe and traditional moko [tattoo] on cheeks and forehead. Captioned on reverse by Kennett, and on lower mount in pencil ‘Maori’

Imprint of photographer on reverse, ‘Photographed by H. Webster, Queen Street, Auckland'.
Appears to be same subject as Maori depicted in Item 119.

Studio photograph of 'New Zealander' with facial moko [tattoo] captioned on reverse by Kennett, and on lower mount.
Appears to be same man as pictured in Item 118.

Studio photograph of a Maori in tribal dress posing with a club, captioned on reverse by Kennett 'Maori, New Zealand' and on lower mount, ‘Maori’.

Head & shoulders studio photograph of Maori man wearing a feather cloak. Captioned on reverse by Kennett 'Maori, New Zealand’ and on lower mount ‘Maori’.

Unknown photographer, captioned by Kennett on reverse ‘Sandela’s Wives Kaffirs’, on lower mount, ‘Kaffir Women’. 

Studio portrait of four women in tribal dress, said to be the wives of Sandilla, Kaffir chief.
 

Portrait of Cetewayo kaMpande, 'taken at Natal before his departure to England', copy adapted from the 1881 original by C F Crewes of Capetown.
Cetewayo [Cetshwayo] (c1826-1884) was King of the Zulu Kingdom from 1873-1879. Original of 1881 by C F Crewes of Cape Town, South Africa, showing Cetewayo as a prisoner of war after the Anglo-Zulu war. The table, bottle & drink have been added.

Studio photograph of woman in traditional costume of The Netherlands, holding a jug and ewer, hand coloured.

Studio photograph of woman in traditional costume of The Netherlands, holding clogs and water jug, hand coloured.

Studio photograph of woman in traditional European costume (black and white) resting against a column.
Caption on mount: Costumes des Pays-Bas. [Costumes of The Netherlands]. La Zelande. Goks. Publié par A. Jager. Water 110, Amsterdam.

Studio portrait of man in early European costume wearing a Napoleonic hat.
Caption on mount: Costumes des Pays-Bas [Costumes of the Netherlands]. Un prieur d'enterrement CAtholique d'Amsterdam. Publié par A. Jager. Water 81, Amsterdam.

Studio portrait of a woman wearing traditional European lace headwear (black and white).

Studio portrait of William Kennett, taken in Brisbane in 1869. Inscribed on the reverse ‘Yours Faithfully W. T. Kennett’ and beneath in lighter ink ‘Brisbane 22nd March 1869.’

Photographer’s imprint on reverse ‘Marquis, Photographer, George Street, Brisbane’.

Studio portrait of Joseph 'Arthur' Baxendell (1856-1938) taken in Brisbane in 1869. The back drop is identical to that shown in the portrait of William Kennett, Item 129. See also Series 6.

Photographer’s imprint to verso, ‘Marquis, Photographer, George Street, Brisbane’.

Studio portrait of Joseph 'Arthur' Baxendell flanked by two other boys, possibly his brothers Frederick at left, and John right, who attended the Diamantina Orphan School, Brisbane. Frederick Baxendell (1859-1932) and John Gregson Herbert Baxendell (1854-1926). 

These children have been photographed in a studio with the identical backdrop to that featured in previous images Item 130 and Item 131, taken by Marquis Photographers, George Street, Brisbane in 1869.

There is a backstamp of W Barrett of Bridport, UK (where Kennett was School Master)

Portrait of Joseph 'Arthur’ Baxendell, wearing check shirt and white cape; captioned on reverse. This image by William Kennett is most likely to have been taken in the vicinity of the settlement of Somerset, Cape York.

Arthur Baxendell spent a number of unspecified months in the care of William Kennett at the settlement of Somerset, Cape York.

Studio photograph of possibly James Frederick Cockerell (1844-1897) a collector of natural history specimens, who was active in Australia, Indonesia, and the Pacific Islands after 1867. He is pictured holding a rifle along with a catch of northern spotted quolls and a bird.

Cockerell and John Adolphus Thorpe visited Somerset, Cape York in 1867-1868, and are referenced in Kennett's journal, Item 3

Photographer’s imprint on reverse, ‘Photographed by A. Weddell, Ann-Street, F Valley, Brisbane’.

Studio photograph of Sergeant Rickerby, wearing a dark jacket, waistcoat with watchchain and lighter pinstriped trousers. Sergeant Rickerby was stationed at Somerset, with the Queensland Police. 

Photographer’s imprint on reverse 'A McDonald, St George’s Hall, Bourke St. East'.

Studio portrait of R.T.V. Forster [?] [R.N.] HMS Virago [in naval uniform]; captioned on the reverse in ink with the identity of sitter and ship and the date ‘Novr. 186(?)’ (the last letter of date illegible).

HMS Salamander, and later HMS Virago, made three trips per year from Sydney to Somerset to provision and protect the settlement.

Studio photograph of sisters Elizabeth and Jane Anderson, taken in Brisbane, in 1869. The girls are wearing matching dark dresses, and braided hair. Captioned on reverse ‘Elizabeth & Jane Anderson, Brisbane April 1869’

Studio portrait of John Henry Kennett (1844-1896) presumed to be brother of William Kennett. Subject’s name in faded ink to bottom of mount.

Imprint on reverse ‘P. Dawson, Photographer, Hamilton, Victoria’; also ‘Prize Medal, Melbourne 1866, International Exhibition Victoria 1866’.

Studio portrait of a girl in a striped dress, holding a hat to her knee, she is posed leaning towards an ornate table.

Studio portrait of a clergyman, in oval mount.

Studio portrait of man dressed in a white suit and wearing a straw hat, posed with his hand resting on a padded chair (probably Queensland).

Studio portrait of a bearded man (head & upper torso) taken in Melbourne by William Short & Co.

Studio portrait of a woman, wearing a full-length dress, standing against an ornate bench; taken in Melbourne by William Short & Co. 

Studio portrait of an elderly woman, wearing a full-length dress and bonnet, seated and leaning against an ornate bench; taken in Melbourne by William Short & Co.

View of Queen Street, Brisbane, titled in pencil on the reverse.

Photographer’s imprint, ‘Photographed by Bevan, Edward-St., Brisbane’. 

Early view of Brisbane from Wickham Terrace. ‘4’ in ink bottom right hand corner of mount.  Titled in pencil to verso ‘Queen Street, Brisbane’ is crossed out.

Photographer’s imprint on reverse, ‘J. Watson, Photographic Artist, Queen Street, Brisbane’.

’Gympie’ titled in pencil on reverse. A rare view of the main street of the gold rush town. Fading. Blurring to horses at centre front.

Attributed to Christopher Hume Moore, photographer.

‘Botanic Gardens Sydney’, c.1867, titled in pencil on reverse. Very faded.

‘Tomb of a Botanist Sydney Botanic Gardens’ , c.1867, titled in pencil on reverse.

Unknown photographer, ‘Sydney New South Wales’ c.1867, titled in pencil on reverse.

Unknown photographer, ‘Sydney New South Wales’, c.1867. Titled in pencil on reverse.