Augustus Earle was a London-born travel artist. Unlike earlier artists who worked outside Europe and were employed on voyages of exploration or worked abroad for wealthy, often aristocratic patrons, Earle was able to operate quite independently - able to combine his lust for travel with an ability to earn a living through art. The body of work he produced during his travels comprises a significant documentary record of the effects of European contact and colonisation during the early nineteenth century.
Earle was the youngest child of an American-born father, James Earl (Augustus later added an 'e' to the name), an artist, and Georgiana Caroline Smyth, daughter of John Carteret Pilkington and former partner (with two children) of Joseph Smyth, an American loyalist who spent some years in England. Earle's father James was a member of the prominent American Earle family. The elder of his two sisters was Phoebe Earle (1790–1863), also a professional painter and wife of the artist Denis Dighton, while his older half-sister was Elizabeth Anne Smyth (1787-1838) and his older half-brother was the scientist Admiral William Henry Smyth (1788-1865). There is no record of him marrying or having children.
Earle received his artistic training in the Royal Academy and was already exhibiting there at the age of 13. Earle exhibited classical, genre and historical paintings in six Royal Academy exhibitions between 1806 and 1814. In 1815, at the age of twenty-two, Earle's half-brother, William Henry Smyth had sought and was given permission by Lord Exmouth to allow Earle passage through the Mediterranean aboard the Scylla that Smyth commanded & which was part of Admiral Exmouth's Royal Navy fleet. Earle thus visited Sicily, Malta, Gibraltar and North Africa, before returning to England in 1817. A portfolio of drawings from this voyage is held by the National Gallery of Australia, Canberra .
In March 1818, Earle left England, bound for the United States of America on the first stage of a journey that would end up taking him around-the-world to South America, Tristan da Cunha, New South Wales, New Zealand, the Pacific, Asia, India, Mauritius and St Helena before returning home in late 1829.
The first leg of Earle's 1818 voyage took him first to New York, before moving on to Philadelphia, where he exhibited two paintings at the Pennsylvania Academy of Fine Arts. No artworks are known to survive from this period. Continuing his voyage in February 1820, Earle sailed for Rio de Janeiro, Brazil, visiting Chile in June and was resident in Lima, Peru from July to December. On 10 December 1820, Earle left Lima for Rio de Janeiro aboard the HMS Hyperion. During the subsequent three years spent in Rio de Janeiro, Earle produced a large number of sketches and watercolours.
A number of the works produced dealt with the subject of slavery, including Punishing negroes at Cathabouco (Calobouco), Rio de Janeiro, Negro fandango scene, Campo St. Anna nr. Rio, and Games at Rio de Janeiro, during the Carnival. Other works included landscapes and a series of portraits.
On 17 February 1824, he left Rio de Janeiro aboard the ageing Duke of Gloucester bound for the Cape of Good Hope, and onwards to Calcutta. Earle's departure was due to a letter containing the 'most flattering offers of introduction to Lord Amherst, who had just left England to take upon himself the government of India' . In the mid-Atlantic storms forced the ship to anchor off the remote island of Tristan da Cunha. During the ship's stay in the island's waters, Earle went ashore with his dog and a crew member, Thomas Gooch, attracted by the idea that 'this was a spot hitherto unvisited by any artist' . Three days later the Duke of Gloucester inexplicably set sail, leaving Earle and Gooch on the island, which had only six permanent adult inhabitants. In the ensuing eight months of enforced stay on the Island, between March and November, Earle became a tutor to several children, and continued to record impressions of the island until his supplies ran out.
Sixteen works survive from the stay on Tristan da Cunha, including Government House, Tristan D'Acunha (i.e. da Cunha), which was reproduced in his Narrative , and Flinching a young sea elephant.
Earle was finally rescued on 29 November by the Admiral Cockburn, which had stopped off on its voyage to Hobart, Van Diemen's Land (Van Diemen's Land was renamed Tasmania in 1856 honour of Abel Tasman) where he landed on 18 January 1825. He remained in Hobart briefly, and only a small number of works survive from this period, including June Park, Van Dieman's (sic) Land, perfect park scenery, and Cape Barathas, (i.e. Barathus) Adventure Bay, Van Dieman's (i.e. Diemen's) Land.
Earle left Hobart for Sydney aboard the brig Cyprus, arriving there on 14 May. He soon established a reputation as the colony's first & foremost artist of significance. Upon setting up a small business, Earle received a number of requests for portraits. These commissions came from a number of Sydney's establishment figures & leading families. Throughout this time, Earle also continued to produce a number of water colours which mainly fall into three categories : landscapes, Aboriginal subjects, and a series of views of public and private buildings that record the development of the colony. One of his most famous works is a lithographic print entitled Portrait of Bungaree, a native of New South Wales, with Fort Macquarie, Sydney Harbour, in background.

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