significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of a goannasigned: R ROGERS Bush Ka (lower right)

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

stonnington contemporary art collection, first peoples, sculpture, first nations, indigenous, aboriginal torres strait islander, goanna, arluwetyerra, epenarra, kay beasley, susie ngwarrey peterson, jessie akemarr beasley jr.

Creation story.word lists, colour illustrations, CD-ROMwangkatha, western australia, dreamtime, storytelling, animals

Sand goannas are the second largest species of carnivorous lizards found across mainland Australia. They can grow up to 160cm in length and can weigh as much as 6kg. Their common name is derived from "iguana", since early European bush settlers in Australia likened goannas to the South American lizards. Goannas retain special cultural and historic significance within Australian folklore and Indigenous culture. They were an important traditional native food source and are commonly represented in Aboriginal Dreamtime stories. In some Aboriginal languages, the sand goanna is called "bungarra"; a term also commonly used by non-Aboriginal people in Western Australia. In Pitjantjatjara and other central Australian languages, goannas are called "tingka". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Small goanna with a streamlined body and textured scaly skin in different shades of olive and brown. It has a long neck and a long tail which narrows towards the tip. The goanna has four short, stocky legs which meet with large, curled claws. Its mouth is slightly slightly open, and it has two black glass eyes.On tag: BMM / 5892 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, lizard, goanna, sand goanna, monitor lizard, various gouldii

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. Image of goanna with title and name white against a green background.Signed 'Lyn Nichols' in pencil beneath imagegoanna, bookplate, australian bookplate design awards 2020

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for International bookplate designers and graphic artists.Goanna on pole forming left border of plate with graving tools lower right framed in loose black border on three sides with MK in block.Signed in pencil beneath block Mary Keep.goanna, gravure

Spiral bound book in jacketnon-fictionThis book is a how to do guide for those interested in caring for their heritage, both natural and cultural. Its aim is to help local communities look after their own heritage.

This book tells the tragic story of the mass breakout of Japanese POW's from No 12 Camp in Cowra, NSW, on 5 August 1944Soft cover book, narrow red edge, grey background. Picture of war camp. Red text. Back cover 3 Cowra war camp photos on a red background. In Japanese and English.Blankets on the Wirejapanese breakouts, japanese pow excapes, cowra camp 12

This guide contains information to help individuals and groups working locally to identify, conserve and protect heritage places.This guide contains information to help individuals and groups working locally to identify, conserve and protect heritage places.conservation, heritage places, cultural property, historic sites, landscape protection

Inspected by Joanna Freslov, archaeologist 2/6/2008Wooden carving of an animal - possibly a goanna.carving sculpture aboriginal

A large, square-shaped glass platter decorated in bright colours. The central well has three horizontal stripes of burgundy, burnt orange, and red. The central orange stripe has a black, roughly ovular shape in the middle with a red square in its centre. The lower red stripe depicts a person's face. Outside of the well is painted in an ultramarine blue, with a speckled yellow stripe across the width of the platter below the well. To the left of the well is the image of a snake in gold, and on the right of the well is the image of a goanna, also in gold. Above the well is the image of the Southern Cross painted in gold. In each corner of the platter is a square with a saltire (diagonal cross), each in different colours.platter, snake, goanna, indigenous art, aboriginal art, first nations art, southern cross

Goanna Salve The Australian Bush Ointment, red blue and gold round tin in a yellow red and blue cardboard box, prepared by J C Marconi of Bulimba Brisbane Qld with information sheet.J.C.Marconi Bulimba Brisbane Queenslandmedicine, alternative medicine / home remedies, goanna salve

Newspaper articles re depression era, including articles on household hawking, includes information re selling Harcourt apples, Goanna oil, Rawleighs; drought and depression; quartz crushing; schooling in the depression; 8.10.99 - 25.11.99. Bendigo Weekly.person, individual, jack perry, depression, hawking, goanna oil, rawleighs

Box containing tin of Goanna Salve and information sheet. Box has one seal label intact. Box is damaged but text still legible. Tin is rusty and label is detached. Information sheet is torn and yellowed but still legible..(See packaging)pharmacy, j.c. marconi, goanna oil, ww1

Judge Box named his house "Cowana" because of the large population of goannas in the area.Black and white photograph of Judge Box's house named Cowana above the entrance to Butchers Creek Metung Victoriahouses, people

RETI on film Regional Exhibition Touring Initiative Some Stories from Regional Victoria Contents Remembering a Champion (Lockington & District) Disappeared Racecourses (Warracknabeal & Rainbow) Mourning and Memory (Coleraine) A New Dress (Wangaratta) Dad's Goanna (Murtoa) The School of Stanley Elllis (Castlemaine)

Small paper boklet by J. C. Marconi titled 'Natures Problems Solved' Curing disease and regaining bodily strength by natural methods, without drugs or surgical operations. Promoting Goanna Salve & Oil. Manufactured solely by J. C. Marconi. White paper with black print & black & white illustrations. Robt. McGregor & Co. Printers Brisbane.J. C. Marconi, Bulimba, Brisbane, Qldmedical, malone collection, natures problems solved, j. c. marconi, robt. mcgregor & co

Book. ALEC H CHISHOLM COLLECTION. A 36 page hardcover book of poetry entitled 'Lilacs out of the Dead Land' by Edgar Holt. Published by Transition Press, Melbourne in 1932. Catalogue sticker '2008 HOL' on spine. Handwritten in ink on flyleaf 'To the everlasting damnation of the goanna school of poetry this volume, my esteemed Alec, is sincerely dedicated Edgar Holt May 15 1933'Edgar Holtbooks, collections, poetry, alec h chisholm collection, poetry, edgar holt

The Flying Dogtor treats Granny Goanna after being bitten by Crafty Carson Carpetbag. Crafty then disappears and the bush children start looking for him while the Dogtor directs them from the air. Polly Possum stumbles into Crafty's hideout and is caught.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 3 pagesPage 2, crossed out paragraph top of page for 'Narrator'. Paper tear on top of front page.the flying dogtor, robin boyd, crawford productions, manuscript, ohm2022, ohm2022_4

BHS Collection377-page book. Front cover 'Federation - The guide to Records' Plastic sleeve over the dust jacket. Picture of Tom Robert's painting 'Opening of the First Parliament' on front cover. Compiled by SG Foster, Susan Marsden and Roslyn Russell. Records of Federation given for each State. Illustrated with colour and B&W photos, posters and correspondence. Published by the Australian Archives 1998 and Printed by Goanna PrintSignature in ink of SG Foster on title page Collins Booksellers price of $60 on back cover. federation records, archives

Granny Goanna's homestead was burning. The Dogtor couldn't land his plane. Granny and the children were in despair. The Dogtor finally found a bag of the best 'Scientific & Industrial Research Seed for Rainmaking'. He steered the plane over the clearing, tipped the bag out and hoped for the best...The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 3 pages.Page 1, 'then' handwritten in between 'badly' and 'they'. Page 2, 'burned' crossed out with pencil and replaced with 'pulled' written in pencil.the flying dogtor, robin boyd, crawford productions, manuscript

Crafty Carson and his nasty friends started a grass fire which started to spread. The flames were raging and the bush children watched in horror. Granny Goanna was unwell and in the homestead. The bush children tried to call the Dogtor but flames had damaged the radio. The fire then reached their store of fireworks and 'Boom!'.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 4 pages.Page 2, 'Man' handwritten in between 'Old' and 'Redback'.the flying dogtor, robin boyd, crawford productions

Polly Possum escapes and runs to Granny Goanna's cottage. The Dogtor holds a conference with the bush children, on how to catch Crafty. In the meantime, Crafty is having his own conference with his nasty friends. The Dogtor leaves to summon the police. Meanwhile, Crafty and friends start a grass fire to drive out the bush children.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 4 pages.Page 2, crossed out paragraph top of page for 'Theme'.the flying dogtor, robin boyd, crawford productions, manuscript

The bush children were following a mysterious map leading to a bushranger's hidden treasure when they were attacked by Crafty Carson Carpetbag and Old Man Redback. The map fell out of Colin's pocket and was pulled into the bushes. Meanwhile, Granny Goanna worried that the children had not returned home and she radioed The Flying Dogtor.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 2 pagesPage 1: top of page, episode number and title cut offthe flying dogtor, robin boyd, crawford productions, manuscript

The Flying Dogtor noticed that someone seemed to be living in Mangrove Mansion, an old homestead not far from Granny Goanna's house. The homestead had not been lived in for a hundred years, except when the famous bushranger Danny O'Canny used it for a hideout. The bush children went to investigate and find out who had moved in, so that they could tell their friend, The Flying Dogtor.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 2 pagesthe flying dogtor, robin boyd, crawford productions, manuscript

Diana NIKKELSON (c1943-30 December 2022) Diana Nikkelson is a Ballarat-based Gunditjmara elder. Her grandfather was Watchobaluk. A part of the stolen generation, Diana Nikkelson was one of 10 children, and she had nine children of her own. A founding member of the Ballarat and District Aboriginal Co-operative in the late-70s, Diana Nikkelson was a board director for 16 years and chair for six years. She worked on the Bunjil the Eagle installation at the Koorie Playground at Lake Wendouree, and designed the goanna which was etched into the paving along Police Lane in 2006, and has painted murals across Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 000 works and was listed as a 'Ballarat Treasure' in 2007.AboriginalThis work by Ballarat-based Gunditjmara elder Diana Nikkelson was commissioned by the University of Ballarat (later Federation University) for use on the Aboriginal Employment Strategy brochure. The central figures in this painting represent the artist and the fathers of her children. The outer groups are Diana Nikkelson’s children and their families. art, artwork, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara, aboriginal employment strategy