Thylacine Rock Art
At present this page is mainly a bibliography of thylacine rock art. However, it will be expanded over time to serve as a complete overview of prehistoric images of thylacines, including detailed information about each site and location, taxonomic identification, estimated age, etc. Twenty eight rock art images can be seen over at the Thylacine Museum.
Table 1: Individual records of thylacine rock art by state. This includes both confirmed and possible depictions. References are given in full where they are not included in the bibliography of thylacine rock art below (i.e. they are more general in nature).
| State | Site | Individual record | Comments | References |
| New South Wales | greater Royal National Park | Charcoal design | Thylacine charcoal drawing (Bursill, 1993; Bursill et al., 2001; Mittlebach et al., 2006). |
Bursill, 1993 Bursill et al., 2001 Mittlebach et al., 2006 |
| New South Wales | greater Royal National Park | Charcoal design |
This record requires further investigation. Thylacine-like charcoal drawing (Bursill, 1993). May depict a dingo (Taçon et al., 2011). |
Bursill, 1993 Taçon et al., 2011 |
| New South Wales | Pinchgut site, Wollemi National Park | Charcoal design | Discovered by bushwalkers in 2005 next to Pinchgut Creek in the southern part of the national park (Taçon et al., 2011:167). The design is accepted as being that of a thylacine (Taçon et al., 2011; Mulvaney, 2023). The dating of the artwork is based upon the chronology established for the Mangrove Creek site to the east by McDonald (2008), which puts its style (Art Phase 3) at no more than around 1,600 years old to just after European contact. |
McDonald, J. (2008). Dreamtime Superhighway: Sydney Basin Rock Art and Prehistoric Information Exchange. Terra Australis 27. ANU, Canberra. Taçon et al., 2011 Mulvaney, 2023 |
| New South Wales | Wollemi National Park | Thylacine-like design |
This record requires further investigation. A design more ancient that others recorded in the area, which is thylacine-like (Taçon et al., 2010 fide Knights & Langley, 2021:209). |
Taçon et al., 2010 Knights & Langley, 2021 |
| South Australia | Red Gorge/Deception Creek | Engraved thylacine tracks |
This record requires further investigation. Knights & Langley (2021) include the site in their study, implying that it meets their rock art criterion 1: "The image was agreed to be depicting a thylacine by more than one researcher". However, they only cite Flood (1997)* in support of this identity, but a reading of Flood (1997:106-107) shows the relevant discussion is highly ambiguous: Under the heading 'Absence of the Dingo' (pp. 106-109), Flood mentions tracks at Red Gorge that have historically been regarded as depicting dingoes. And she writes in the plate caption for the assumed tracks in question that they are dingo tracks (unnumbered plate, p. 107), while the plate with the tracks themselves (panels A and M, unnumbered plate, p. 107) are reproduced from Mountford & Edwards (1964:Fig. 5 on p. 856) who do not discuss their identity. Flood (1997:106) quotes twice from Mountford & Edwards (1964), one being a long quote about the lack of knowledge of the Red Gorge/Deception Creek rock art by local aboriginal peoples that is accurate. But the second, much shorter and more relevant quote is about the recent age of dingo tracks at Red Gorge, but does not actually originate with Mountford & Edwards (1964). And a direct quotation placed into the Google search engine does not provice any clues to its true origin. Knights & Langley (2021:104) state that: "The art at Red Gorge presents a complication in identification as the tracks depicted could belong to either a dingo (Canis lupus dingo) or a thylacine. However, Flood (1997) says that they most likely belong to a thylacine, owing to the unique foot shape and the technique of engraving used." But after briefly discussing the timing of the arrival of the dingo and extinction of the thylacine, Flood (1997:107) simply states that: "One complication here is distinguishing between engravings of dingo tracks and thylacine tracks. They are different (the thylacine has five toes on its front feet and four on the back, whereas a dingo has four on both feet), but a casual, undetailed depiction might cause confusion (see top two plates, page 108)." The tracks all have four toes, and Flood does not give any indication that she believes them to be thylacine tracks beyond raising the complication of identification. But even if we accept this as Flood implicitly and tentatively supposing them to really be thylacine tracks, no second researcher is cited by Knights & Langley (2021) in support of the identification of the engraved tracks as depicting thylacines in line with their self-imposed demand via rock art criterion 1 ("The image was agreed to be depicting a thylacine by more than one researcher"). Thus it is not clear that Flood herself even agrees with the identification, and certainly no second researcher is ever mention in conjunction with Red Gorge in their paper. |
Mountford & Edwards, 1964 Flood, 1997 Knights & Langley, 2021 |
| Victoria | Yeddonba Aboriginal Cultural Site (=Yeddonba art site (formerly Mt Pilot-1), Chiltern-Mount Pilot National Park | Severely affected by fire. Design barely visible today. Cannot be repainted because no Duduroa/Dhudhuroa descendants survive today. |
Gunn, 1983, 2002 |
Bibliography
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Anonymous. (1970). [Untitled typewritten diary entries about visiting islands in the Dampier Archipelago]. Unpublished. [Angel island]
Anonymous. (1974). The lost world of Mt. Brockman. Northern Territory Newsletter [1974]: 3-8. [Trove: "Ganbald-Ja valley in Mount Brockman, Kakadu National Park; brief report of discovery of 50 Aboriginal rock painting galleries (including 10 paintings of Tasmanian tigers)"] [Paddle (2000:246) has pagination as "1-8".]
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Bursill, Les W., Jacobs, Mary, Lennis, Deborah, Timbery-Beller, Beryl and Ryan, Merv. (2001). Dharawal: The story of the Dharawal speaking people of Southern Sydney. Sydney: Kurranulla Aboriginal Corporation. 64 pp. [Port Hacking/Djeeban/Deeban]
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Chaloupka, George. (1975). Fallen emblem – or lingering star? E.Z. Review (1): 2-4. [Trove: "Describes the discovery of 50 Aboriginal galleries at Mount Brockman near Jabiru by Chaloupka and F. Woerle; One shelter contained a group of what appear to be 6 Thylacine (the extinct Tasmanian Tiger) designs."]
Chaloupka, George. (1977). Aspects of the chronology and schematisation of two prehistoric sites on the Arnhem Land Plateau, pp. 243-259. In: Ucko, P. J. (ed.). Form In Indigenous Art: Schematisation in the Art of Aboriginal Australia and Prehistoric Europe. Caberra: Australian Institute of Aboriginal Studies.
Chaloupka, George. (1993). Journey in Time: The World’s Longest Continuing Art Tradition. Chatswood, NSW: Reed.
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Chaloupka, George. (2023). Journey in Time. New Holland Publishers. 388 pp.
Chaloupka, G., Kapirigi, N., Nayidji, B. and Namingum, G. (1985). Cultural survey of Balawurru, Deaf Adder Creek, Amarrkananga, Cannon Hill and the Northern Corridor: a Report to the Australian National Parks & Wildlife Service. Unpublished manuscript, Australian National Parks & Wildlife Service and the Museum & Art Galleries Board of the Northern Territory. [p. 86 at least]
Chaloupka, George and Murray, Peter. (1986). Dreamtime or reality? Reply to Lewis. Archaeology in Oceania 21(2): 145-147. https://doi.org/10.1002/j.1834-4453.1986.tb00136.x
Clegg, John K. (1978). Pictures of Striped Animals: Which Ones Are Thylacines? Archaeology & Physical Anthropology in Oceania 13(1): 19-29.
Day, Bill. (n.d.). Thylacine seen near Tom Price. Unpublished.
Dingle, Sarah. (2015, June 22). Burrup Peninsula rock art shows extinct megafauna and Tasmanian tigers in WA. https://www.abc.net.au/listen/programs/backgroundbriefing/burrup-peninsula-rock-art-shows-extinct-megafauna/6561788 [Accessed 17 November 2025] [unfinished design likely a thylacine according to Dr. Ken Mulvaney]
Donaldson, Mike. (2004). Burrup Rock Art : Ancient Aboriginal rock art of the Burrup Peninsula and Dampier Archipelago. Fremantle: Fremantle Press. 516 pp.
Donaldson, Mike. (2009). Burrup Rock Art : Ancient Aboriginal rock art of the Burrup Peninsula and Dampier Archipelago. Perth: Wildrocks Publications. 516 pp.
Donaldson, Mike. (2012). Kimberley rock art, Volume two: north Kimberley. Wildrocks Publications, Mount Lawley.
Donaldson, Mike and Kenneally, Kevin (eds.). (2007). Rock Art of the Kimberley: Proceedings of the Kimberley Society Rock Art Seminar. Perth: Kimberley Society. x + 158 pp.
Flood, Josephine. (1983). Archaeology of the Dreamtime. Sydney: Collins.
Flood, Josephine. (1997). Rock Art of the Dreamtime. Sydney: Angus and Robertson.
Fox, Allan. (1982). Tiger country. Panorama 5: 36,38,41. [Trove: "Rock painting of thylacine at Obiri in Kakadu National Park; triggers memory of possible encounter with thylacine in Tasmania."]
Freeman, Carol J. (2005). Figuring extinction: Visualizing the thylacine in zoological and natural history works 1808-1936, 2 vols. Unpublished doctoral dissertation. University of Tasmania: Hobart, Australia. [Angel Island, Dampier Archipelago]
Garde, Murray. (1997). Bawinanga Rock Art Recording Project : 1997 field season report. Murray Garde ... Bawinanga Aboriginal corporation/Maningrida Arts and Culture. Report to the Australian Institute of Aboriginal and Torres Strait Islander Studies. iv + 70 pp.
Gillespie, D. (1983). The rock art sites of Kakadu National Park: some preliminary research findings for their conservation and management. Canberra: Australian National Parks and Wildlife Service Special Publication 10. [relevant reference?]
Guiler, Eric Rowland and Godard, Philippe. (1998). Tasmanian Tiger: A Lesson to be Learnt. Perth, Western Australia: Abrolhos Publishing. 256 pp.
Gunn, R. G. (1983). Mt Pilot 1 Aboriginal Rock Art Site (Site 82253/001). Occasional report (Victoria. Dept. of Health and Community Services. Aboriginal Affairs Division), iii. [Abstract]
Gunn, R. G. (1989). Survey and Assessment of Rock Art Sites in the Mikinj Area, Western Arnhem Land. Unpublished report to Northern Land Council, Darwin.
Gunn, R. G. (2002). Mudgegonga-2 and the rock art of northeast Victoria. Rock Art Research 19: 117-132.
Knights, Tessa and Langley, Michelle C. (2021). Invisible or ignored: investigating the lack of thylacine‐based material culture in the Australian archaeological record. Archaeology in Oceania 56(2): 100-110. https://doi.org/10.1002/arco.5227
Lewis, Darrell John. (1977). More striped designs in Arnhem Land rock paintings. Archaeology and Physical Anthropology in Oceania 12(2): 98-111. [Abstract]
Lewis, Darrell John. (1983). Art, Archaeology and Material Culture in Arnhem Land. B.A. Honours thesis, Australian National University, Canberra. https://doi.org/10.25911/42TR-TZ57
Lewis, Darrell John. (1988a). The Tasmanian Devil in Arnhem Land Rock Art. Australian Archaeology 27: 121-124. https://www.jstor.org/stable/40286667
Lewis, Darrell John. (1988b). The Rock Paintings of Arnhem Land, Australia: Social, Ecological and Material Culture Change in the Post-Glacial Period. BAR International Series 415: xiv + 410 pp. Oxford: British Archaeological Reports.
Lewis, Darrell John. (2016). Comment on Welch’s ‘Thy Thylacoleo is a thylacine’, Australian Archaeology 80: 40-47. Australian Archaeology 82(1): 55-59. [Abstract]
Lewis, Darrell. (2017). Megafauna identification for dummies: Arnhem Land and Kimberley 'megafauna' paintings. Rock Art Research: The Journal of the Australian Rock Art Research Association (AURA) 34(1): 82-99.
Lipscombe, Don. (1977). How the tiger came to the Pilbara. Bulletin, 6 August, p. 30.
Lorblanchet, Michel. (2018a). Archaeology and Petroglyphs of Dampier (Western Australia), an Archaeological Investigation of Skew Valley and Gum Tree Valley, ed. Graeme K. Ward and Ken Mulvaney. Technical Reports of the Australian Museum, Online 27: 1-690.
Lorblanchet, Michel. (2018b). General introduction to the research at Dampier. In: Archaeology and Petroglyphs of Dampier (Western Australia), an Archaeological Investigation of Skew Valley and Gum Tree Valley, ed. Graeme K. Ward and Ken Mulvaney, chapter 1, pp. 47-58. Technical Reports of the Australian Museum, Online 27: 1-690. https://doi.org/10.3853/j.1835-4211.27.2018.1688 ["two Thylacine-like figures (GTVE-42) in the group of The Eagle in Gum Tree Valley" (p. 57)]
Lorblanchet, Michel. (2018c). The Eagle Group at Gum Tree Valley. In: Archaeology and Petroglyphs of Dampier (Western Australia), an Archaeological Investigation of Skew Valley and Gum Tree Valley, ed. Graeme K. Ward and Ken Mulvaney, chapter 4, pp. 283-416. Technical Reports of the Australian Museum, Online 27: 1-690. https://doi.org/10.3853/j.1835-4211.27.2018.1692 [pp. 305-306]
Lorblanchet, Michel. (2018d). Comparisons between the six zones studied in Skew Valley and Gum Tree Valley. In: Archaeology and Petroglyphs of Dampier (Western Australia), an Archaeological Investigation of Skew Valley and Gum Tree Valley, ed. Graeme K. Ward and Ken Mulvaney, chapter 8, pp. 669-686. Technical Reports of the Australian Museum, Online 27: 1-690. https://doi.org/10.3853/j.1835-4211.27.2018.1696 ["In GTVE we know only that the depictions of the thylacine (GTVE-62) are deeply patinated and that they must be older than 3000–4000 BP (but we don’t know how much older)" (p. 678)]
Malley, James Frederick. (1976). One mans tiger [on the Thylacine]. Australiana Trek 1(1): 22-24. ["Includes mention of rock paintings in Arnhem Land" (source: AIATSIS)]
May, Sally K. and Taçon, Paul S. C. (2014). Kakadu National Park rock art, pp. 3235-3240. In: Smith, Claire (ed.). Encyclopedia of Global Archaeology. New York: Springer Science+Business Media.
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McDonald, Jo. (2022). The Sydney School and the genesis of contemporary Australian rock art research, pp. 43-71. In: Taçon, Paul S. C., May, Sally K., Frederick, Ursula K. and McDonald, Jo (eds.). Terra Australis 55: Histories of Australian Rock Art Research. Canberra: Australian National University Press. xi + 294 pp. https://doi.org/10.22459/TA55.2022
McDonald, Jo and Clayton, Lucia. (2016). Rock Art Thematic Study. Report to the Department of the Environment and the Australian Heritage Council. [simply notes the existence of thylacine rock art from two places: "Djulirri, NT" and "Kaalpi and Jillakurru, WA" (Kaalpi being the Calvert Ranges)]
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Wright, Bruce J. (1968). Rock art of the Pilbara region, North-West Australia. Australian Institute of Aboriginal Studies. Occasional Papers in Aboriginal Studies 11. 78 pp.
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Photographs taken:
http://link.aiatsis.gov.au/resource/Hz8aAGEiS20/
http://link.aiatsis.gov.au/resource/RvoCG7C1J3I/
http://link.aiatsis.gov.au/resource/BR4PTi8RmEs/
https://documents.uow.edu.au/content/groups/public/@web/@lha/documents/doc/uow162226.pdf#page=24 [Port Hacking/Djeeban]
Sites:
https://issuu.com/reneepaolagraphicdesign/docs/beech_yack_ovg_low_res_ (p. 12)
http://www.tourisminternet.com.au/chdoma9.htm [Yeddonba, Mt. Pilot]
Kundjorlomdjorlom, Upper Liverpool River, Arnhem Land
Possible additions to bibliography:
Chaloupka, George. (1982). Burrunguy: Nourlangie Rock. Darwin: Northart. 40 pp.
Clegg, John K. (2001). Rock art studies: Theory, pp. 40-67. In: Helskog, Knut (ed.). Theoretical perspectives in rock art research: ACRA: the Alta conference on rock art. lnstituttet for sammenlignende kulturforskning (IFSK) / The Institute for Comparative Research in Human Culture, serie B, volume 106. Oslo, Norway: Novus forlag. 330 pp.
Parker, Adrian, Bradshaw, John and Done, Chris. (2007). A Kimberley Adventure: Rediscovering the Bradshaw Figures. Marleston, SA: Gecko Books. iv + 59 pp.
Zarandona, José Antonio González. (2020). Murujuga: Rock Art, Heritage, and Landscape Iconoclasm. Philadelphia: University of Pennsylvania Press. 344 pp.