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Print of episode 58 from the 'Dick Sargeson' comic strip scanned directly from original episode that featured in 'The Listener' in the 1980s. The episode refers to Dioxin Man, a character that was introduced to the Sargeson storyline after a chemical spill at Ivon Watkins Dow, New Plymouth. Episode 58 features the boss of the chemical plant - 'played' by Barry Wiseman, who was involved with New Plymouth's Little Theatre - and the boss' right hand man, Lurgan, 'played' by artist and art tutor Lee Morgan.
Accession No
PA2009.101

Print of episode 59 from the 'Dick Sargeson' comic strip, scanned directly from original episode that featured in 'The Listener' in the 1980s. The episode refers to Dioxin Man, a character that was introduced to the Sargeson storyline after a chemical spill at Ivon Watkins Dow, New Plymouth. Episode 59 features local artist Wayne Morris, who 'plays' Bruce Bildgepipe (also known as Dioxin Man), the boss of the chemical plant - 'played' by Barry Wiseman, who was involved with New Plymouth's Little Theatre - and the boss' right hand man, Lurgan, 'played' by artist and art tutor Lee Morgan.
Accession No
PA2009.102

View of Mount Taranaki and Pouakai Ranges with flat plain in the foreground.
Accession No
A75.624

View of Mount Taranaki from Okato. Several trees and animals pictured in the foreground.
Accession No
A75.625

View of Mount Taranaki from Okato.
Accession No
A75.626

Name/Title
View of Mount Taranaki from Okato. Trees and animals visible in the middleground. Trees hand drawn in black ink frame the right hand side of the image and the upper left hand corner.
Accession No
A75.620

Name/Title
Relief etching with geometric designs and the words "truth in Rain / truth in Sun / TO THE MEMORY OF TE MIRINGA HOHAIA / PARIHAKA". The black background has been printed in a greenish black tone to reflect the New Zealand bush.
Accession No
PA2011.001

Name/Title
Sketch of the Te Henui River mouth. A building and two figures can be seen in the foreground. A collection of buildings, possibly the New Zealand Titanic Steel and Iron Company Ltd, are visible in the middleground on the right of the image. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.103

Sketch of the New Zealand Titanic Steel and Iron Company Ltd near the mouth of the Te Henui River, New Plymouth. The factory is pictured in the centre of the image. The Te Henui River is visible in the foreground. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.110

Sketch of "The Pines", the house of Major Charles (Carlino) Brown, son of Charles Armitage Brown. The house is pictured on a ridge. A river is visible in the foreground. Hills and vegetation in the middleground. The sketch is included in a sketchbook attributed to one of Major Charles (Carlino) Brown's daughters. However, the inscription on the inside cover reads "Constance W. Rowe / Taranaki / April 2nd 1880" - it is unclear if this inscription indicates the name of the actual artist.
Accession No
PA2011.111

Part XXI (21) of Banks' Florilegium containing 23 colour prints relating to New Zealand, printed from the original copperplate engravings in 1986 by Alecto Historical Editions in association with The British Museum (Natural History). The prints illustrate plants collected on Captain James Cook’s first voyage round the world in "H.M.S. Endeavour" (1768-1771). The specimens were gathered and classified by the Right Hon. Sir Joseph Banks, Bart., K.B., P.C., P.R.S., and Dr Daniel Solander, F.R.S., and were accurately engraved between 1771 and 1784 after drawings taken from nature by Sydney Parkinson.
Accession No
PA2011.112

Part XXII (22) of Banks' Florilegium containing 23 colour prints relating to New Zealand, printed from the original copperplate engravings in 1986 by Alecto Historical Editions in association with The British Museum (Natural History). The prints illustrate plants collected on Captain James Cook’s first voyage round the world in "H.M.S. Endeavour" (1768-1771). The specimens were gathered and classified by the Right Hon. Sir Joseph Banks, Bart., K.B., P.C., P.R.S., and Dr Daniel Solander, F.R.S., and were accurately engraved between 1771 and 1784 after drawings taken from nature by Sydney Parkinson.
Accession No
PA2011.113

Name/Title
Oil painting depicting a settler family in a surfboat coming in to land on the New Plymouth foreshore. A man is pictured in the foreground holding a rope attached to the bow of the surfboat. He is standing in the water and is turned towards the viewer. He is dressed in trousers, a shirt and jacket, and has an axe slung over his body. A woman, boy and baby are pictured in the surfboat, along with a white horse. The woman is seated with the baby on her knee. The young boy is standing on the back of the horse with his arms hanging over a shovel in a cruciform shape. He has a rooster standing on his head. Rows of waves are rolling towards the shore. A sailing ship and several other surfboats are visible in the background. The Sugar Loaf Islands are depicted in the upper left of the painting. The painting is the first of three comprising McLean's 'Settler Trilogy'.
Accession No
PA2011.093

Name/Title
Oil painting depicting the clearing of land during settlement. A man stands in the foreground on the trunk of a felled tree. He is wearing a white shirt, black trousers, a belt, a hat and a scarf knotted around his neck. He is holding a broken axe. His head is turned to the side and he is looking into the distance. The ground behind him is littered with felled trees. A large nikau palm still stands on the left of the painting, though it has an axe mark in its trunk. In the middleground a boy stands holding the bridle of a white horse. A black dog sits on the ground in front of the boy and horse and is looking up at them. A wooden hut is visible in the background, as are tall trees that are yet to be felled. The painting is the second in McLean's 'Settler Trilogy'.
Accession No
PA2011.094

Name/Title
Oil painting depicting a woman carrying buckets of water to dampen down a burn that is threatening a settler hut. The woman is pictured in the foreground with two buckets slung across her shoulders. Water is spilling out of both buckets. She has her back turned and is looking over her shoulder towards the viewer. She is wearing a light blue dress with a white lace collar and a white apron tied around her waist. Her hair is tied up. She is standing in a river and her legs are foreshortened. Water runs into the river through bush on the right hand side of the painting. In the middleground a wooden settler hut is visible, which is set in a cleared block of land. Tree stumps are dotted around the clearing. In the background, flames are visible near a line of trees. Smoke rises above the flames. The painting is the third in McLean's 'Settler Trilogy'.
Accession No
PA2011.095

Name/Title
Portrait of an unknown Maori woman. She is seated and is wearing a cloak draped over one shoulder. The other shoulder is bare. She has long, dark hair. Her head is tilted to the side and she is looking away from the viewer.
Accession No
A66.131

High cliff pictured in the foreground with waves crashing at its base. Another cliff is visible in the background. A ship is pictured on the horizon. Gulls are flying.
Accession No
A66.107

Name/Title
Sketch of a pā site, noted as being "Kaikaraka pa". A number of buildings are ringed by pallisading, pictured from a high vantage point. Several animals are grazing in the middleground. Numerous trees, bushes and lahars are dotted across the landscape.
Accession No
PA2011.081

Sketch of Kapoaiaia Armed Constabulary camp, misspelled as "Kapueiha AC Camp" on the sketch itself. Numerous bell tents and several buildings are pictured on the right of the image. Vegetation and several lahars are visible in the middleground. Mount Taranaki (Egmont), the Pouakai Ranges and the Kaitake Ranges are pictured in the background. Mount Taranaki is visible on the right of the image, The Pouakai Ranges are pictured in the middle and the Kaitake Ranges are visible on the left. The camp was officially known as the 'Cape Egmont Armed Constabulary Camp'.
Accession No
PA2011.082

Sketch of the Kapoaiaia Armed Constabulary camp, misspelled as "Kapueiha" on the sketch itself. The camp is pictured in the centre of the image. A military post with a flag is positioned on a hill, which is now the location of the Cape Egmont Lighthouse. Bell tents and several buildings are pictured at the base of the hill. Vegetation is dotted across the landscape. The sea is visible behind. The camp was officially known as the 'Cape Egmont Armed Constabulary Camp'.
Accession No
PA2011.083

Seven members of the Armed Constabulary pictured at the entrance to the Pungarehu Armed Constabulary camp. They are dressed in uniform and are wearing caps. A dog is lying on the ground in front of them. A wooden building dominates the left hand side of the painting. Another building is pictured on the right of the painting and a bell tent is visible in the centre. Numerous large trees are pictured behind the buildings. On the ridge of the hill behind the entrance to the camp, the Pungarehu blockhouse can be seen. The Pungarehu Armed Constabulary camp was used as the base from which the Armed Constabulary staged the invasion of Parihaka pā on 5 November 1881. At that time, approximately 1,000 men were stationed at the camp.
Accession No
PA2011.084

Maori whare and pataka in a clearing. Tall trees are visible behind the whare. Reeds, ferns and water are pictured in the foreground. A body of water and a mountain range are visible in the background.
Accession No
A66.088

Name/Title
Two Maori whare situated on the shore of a body of water, possibly a lake. A cooking fire is pictured in front of one of the whare. Tall trees are visible behind the whare. A boat and cliff are pictured in the middleground, ranges in the background and water with various vegetation in the foreground.
Accession No
A66.087

Whare pictured in a clearing. A fire burns next to the whare. A body of water is pictured both in the foreground and the background. The whare is surrounded by various forms of vegetation.
Accession No
A66.124

Monochromatic painting of Charles Armitage Brown's grave on Marsland Hill, behind St Mary's Church, New Plymouth. His grave is surrounded by cabbage trees and various other vegetation. Painting rendered solely in blue and black.
Accession No
PA2009.143
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