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William Lanne
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William Lanne, also spelt William Lanné and also known as King Billy or William Laney, was an Aboriginal Tasmanian man, known for being the last "full-blooded" Aboriginal man in the colony of Tasmania
William Lanne
William Lanne
Life at Oyster Cove Aboriginal station, painted c.1849 by Charles Edward Stanley
Life at Oyster Cove Aboriginal station, painted c.1849 by Charles Edward Stanley
Aboriginal Tasmanians
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Aboriginal Tasmanians are the Aboriginal people of Tasmania, a large island south of mainland Australia. Aboriginal people lived in Tasmania for tens of thousands of years before European settlement.
William Lanne
…William Lanne (c.1836 – 3 March 1869), also spelt William Lanné and also known as King Billy or William Laney, was an Aboriginal Tasmanian man, known for being the last "full-blooded" Aboriginal man in the colony of Tasmania. Lanne was born into the Indigenous Tarkinener clan of remote…
Illustration from The Last of the Tasmanians – Woureddy, Truganini's husband
Illustration from The Last of the Tasmanians – Woureddy, Truganini's husband
A picture of the last four Tasmanian Aboriginal people of solely Aboriginal descent c. 1860s. Truganini, the last to survive, is seated at far right.
A picture of the last four Tasmanian Aboriginal people of solely Aboriginal descent c. 1860s. Truganini, the last to survive, is seated at far right.
Horace Watson recording the songs of Fanny Cochrane Smith, considered to be the last fluent speaker of a Tasmanian language, 1903. Singer Bruce Watson
Horace Watson recording the songs of Fanny Cochrane Smith, considered to be the last fluent speaker of a Tasmanian language, 1903. Singer Bruce Watson, descendant of Watson, composed a song about this picture and later performed it with singer Ronnie Summers, a descendant of Smith.
Robert Dowling, Group of Natives of Tasmania, 1859. Critic Bernard William Smith assessed the work as a "history painting in the full sense of the wor
Robert Dowling, Group of Natives of Tasmania, 1859. Critic Bernard William Smith assessed the work as a "history painting in the full sense of the word", with the natives "seated – emblematic of their situation – around the dying embers of a burnt-out log near a great blackened stump, and in the far left corner there is a leafless tree with shattered branches."