End Note 1: 

Mr Heward's dates do not match those of Phillip Parker King's. King's journal records the date of their arrival in Timor as follows:

June 4. At daybreak the 4th we were off the South-West point of the island, and at nine o'clock entered the Strait of Samow; but, from light winds, we did not get through it until after noon: at half past two o'clock we anchored off the Dutch settlement of Coepang

Source: NARRATIVE OF A SURVEY OF THE INTERTROPICAL AND WESTERN COAST OF AUSTRALIA PERFORMED BETWEEN THE YEARS 1818 AND 1822 VOLUMN 1, by Captain Phillip P King RN, FRS, FLS and Member of the Royal Asiatic Society of London with an appendix, containing various subjects relating to hydrography and natural history. In two volumes illustrated by plates, charts, and wood-cuts. Published London: John Murray, Albemarle Street.

End Note 5: 

The Museum of Sydney held an Exhibition in 2006 titled Joseph Lycett: convict artist.

The online invitation to view the exhibition (on the Museum of Sydney's website in 2006) described it as follows:

"Be the first to examine the life and work of this significant, but elusive figure of Australian colonial art. Guest curator John McPhee has spent the past three years piecing together the remarkable story of this gifted but tragic character for the exhibition and an accompanying publication.

Lycett's paintings are among the most important visual documents of early New South Wales and Tasmania, documenting Aboriginal life and culture, the landscape and its flora, and the towns of colonial Australia. A convict transported for forgery, Lycett arrived in Australia in 1814 and emerged as one of the colony's most accomplished artists.

This is the first exhibition devoted exclusively to Joseph Lycett's life and work and will present some new interpretations and a new appreciation of the early colonial landscape he captured in his art, says Mr McPhee.

While well known for Views in Australia, published in London in 1824 and 1825, the most extravagantly illustrated early 19th century account of the colony; Lycett's other work is less familiar. As well as watercolour landscapes in and around Sydney painted during his time in the colony (1815 to 1822), Lycett also painted botanical watercolours and a series of unique watercolours depicting the Aboriginal people of the Newcastle and Sydney regions.

One of the hallmarks of this project is that it is a collaborative curatorial partnership. Aboriginal linguist and historian, Jakelin Troy and Shane Frost, an Awabakal traditional owner, came on board, providing fresh interpretations of Lycett's work and his interaction with the Awabakal people living in the Newcastle area.

The two most significant holders of original Lycett material, the National Library of Australia and the State Library of New South Wales agreed to participate in the development of the exhibition and have generously provided numerous works from their collections. Richard Neville at the State Library, and Martin Terry from the National Library of Australia, brought to the project their specialised knowledge of the collections in their care.

Roger Butler, Curator of Australian Prints and Drawings from the National Gallery of Australia also contributed his vast knowledge of prints and printmaking to the project, says Mr McPhee.

Source: The Museum of Sydney's website in 2006.

End Note 6: 

Allan Cunningham stays in the home of Henry and Marianne William at Paihia New Zealand in 1826

Botanist Allan Cunningham . . . in 1826, . . . was visiting the bay of Islands and occupying a room in the house of Henry and Marianne Williams. On 4 November Cunningham returned to Paihia from a botanising expedition:

It was not until after sun set that I reached Paiai when on observing an augmentation of the number of ships in the bay I learnt that of them were the New Zealand Company ships Rosanna and cutter Lambton, under the direction of Capt Herd who had come up from the Thames.

Allan Cunningham, friend of Dumont d’Urville, and described by Marianne Williams as a very pleasant man, had sought permission from the New South Wales authorities to take his convict servant John Law with him on his investigation of the flora of New Zealand. He had applied in writing to colonial secretary McLeay but permission was refused.

Source: http://www.wcl.govt.nz/wellington/rosannachap8.html