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Solar plate etching in black ink on white paper. Composition consists of 5 long plates placed one below the other depicting landscape views of pa sites on the coastal road between Pungarehu to Warea road including Mt. Taranaki/Egmont. Some trees and power lines included. Titled, signed and dated below.
Accession No
TM2003.358

Multi-coloured screenprint on paper composed of 3 long panoramic views of pa sites located between Pungarehu and Warea on the coastal road including Mt. Taranaki/Egmont.
Accession No
TM2003.357

Early New Plymouth street scene depicting the corner of Brougham and Devon Streets. Three buildings in middleground with horse and cart standing on road in front. Middle shop has a small golden boot at front. This shop belonged to boot maker Thomas Wood, and was called "The Golden Boot". Methodist Church can just be seen top left on the hill. A small number of people stand around the block of buildings.
Accession No
TM.2000.147

Small framed watercolour depciting view of Mount Taranaki and Pouakai Ranges from Pukekura Park, New Plymouth. Two figures in front of lake in immediate foreground. Written along the top of the matt is ""Mt EGMONT" FROM THE RECREATION GROUND PUKEKURA PARK". Along lower edge of mat reads: "Presented by Miss Gertrude Davies 1963 / Painted by:- M.R. Skeet."
Accession No
TM.1999.188

Name/Title
Small watercolour, possibly of Pukekura Park or a lake at Ardendale, the Arden family home on Frankley Road, New Plymouth.
Painting depicts lake with water lillies in lower right foreground. Thick bush to lake edge in middle background. Two punga trees extreme left/middleground. Colours primarily light blue, greens browns and white.
Accession No
TM.1999.143

Name/Title
An unframed botanical work of oil on canvas. Depicts a specimen of NZ puff ball. Predominant colours - cream coloured puff ball image with an orange coloured background.
Accession No
PA2016.004

Inkjet print of original Graham Kirk painting titled "Batman and Robin at Pukekura Park". The busts of Batman and Robin, dressed in costume, are pictured lower left. They appear to be looking at a computer screen. Behind them is a view of Pukekura Park from the Boating Lake, looking towards Poet's Bridge and Mount Taranaki in the background. Lush green vegetation rings the Lake. A duck is visible on the water lower right and another is visible immediately behind Batman.
Accession No
PA2012.141

Name/Title
Inkjet print of original Graham Kirk painting "Road to Manaia". It imagines Molly Macalister's monumental bronze sculpture "Maori Warrior" (1964-1966) transported from its usual location in Queen Elizabeth II Square, Auckland to a rural Taranaki roadside. Dark clouds loom ominously in the distance, indicating the coming of a storm.
Accession No
PA2012.140

Inkjet print of original Graham Kirk painting "Xena Over Back Beach". It shows the fictional television character Xena from the fantasy adventure series "Xena: Warrior Princess" riding a horse on the hill above New Plymouth's Back Beach. The Xena character was played by New Zealand actress Lucy Lawless. The Sugar Loaf Islands are visible off the coast. The original painting is part of Kirk's "Superheroes in New Zealand" paintings series.
Accession No
PA2012.139

Inkjet print of original Graham Kirk painting "Halley's Comet Over Hawera". It shows a view of High Street, Hawera during an appearance of Halley's Comet. The comet is depicted as a glowing white orb with a tail of vivid reds and oranges against a starry night sky. The streetscape below is largely deserted except for one lone figure and a parked car. The metal railings of a bike stand and a bed of orange flowers run along the print's foreground. There is a bicycle in the bike stand.
Accession No
PA2012.136

Name/Title
Sketch of Graham and Glenda Kirk's dog Wiki sleeping on a chair.
Accession No
PA2012.135

Name/Title
Sketch of Back Beach, New Plymouth, including three of the Sugar Loaf Islands and a person in a kayak.
Accession No
PA2012.130

Name/Title
Mixed media painting of the artist's dachshund, Jess. The dog is pictured sleeping on her back on the right of the painting. She is rendered in browns, ochre, black, red and white. The abstract background incorporates several page fragments of a South African phone book and features a range of colours including yellow, purple, green, blue, red and white. The brushstrokes are very expressive and the paint surface is heavily textured. Anne Holliday often reworks previous paintings and in 2008 this artwork was originally a painting of an insect.
Accession No
PA2012.120

Name/Title
An assemblage sculpture constructed from a wooden Singer sewing machine cover (orientated on its side), a taxidermied canary, an artificial lemon tree and a page of printed sheet music. The taxidermied canary is perched on top of the artificial lemon tree, which is mounted on a painted wooden base and attached to the side of the Singer sewing machine cover. Inside, the sheet music is glued to the top of the cover. The sheet music includes the words "bring back the dead?" The sheet music is from a score based on Janet Frame's poem "Some Thoughts on Bereavement". The stanza's singled out by the artist read: "In loss the trees bear stings, and flowers / carry pain as if it were honey. / The sun is cruel. The daylight does not / understand or why does it not bring / back the dead?" The artificial lemon tree was collected by the artist from a midden at a cemetery. The taxidermied canary, a deaccessioned collection item from the Taranaki Museum, was gifted to the artist when the museum was shifting the collection before their new facility - now known as Puke Ariki - was opened in 2003.
Accession No
PA2012.101

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. An image of a faceless head - rendered in white, black and grey - is adhered to a piece of plastic that has been cut into the shape of a television/table. The numbers "4 37 790" are stamped in white into the bottom of the image. The numbers are random. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees the face not only as dead, but also hopeful and humorous.
Accession No
PA2012.058

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. An image of a faceless head - rendered in white, black and grey - is adhered to a piece of plastic that has been cut into the shape of a television/table. The numbers "07 3 9 94" are stamped in white into the bottom of the image. The numbers are random. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees the face not only as dead, but also hopeful and humorous.
Accession No
PA2012.057

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. An image of a faceless head - rendered in white, black and grey - is adhered to a piece of plastic that has been cut into the shape of a television/table. The numbers "00 1 3197 5 67" are stamped in white into the bottom of the image. The numbers are random. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees the face not only as dead, but also hopeful and humorous.
Accession No
PA2012.056

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. An image of a faceless head - rendered in white, black and grey - is adhered to a piece of plastic that has been cut into the shape of a television/table. The numbers "4 5 223 9" are stamped in white into the bottom of the image. The numbers are random. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees the face not only as dead, but also hopeful and humorous.
Accession No
PA2012.055

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. An image of a faceless head - rendered in white, black and grey - is adhered to a piece of plastic that has been cut into the shape of a television/table. The numbers "2 2 1 69 4 415" are stamped in white into the bottom of the image. The numbers are random. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees the face not only as dead, but also hopeful and humorous.
Accession No
PA2012.054

Artwork from Roger Morris' 'Enduring Freedom' series that evokes the anonymous casualties of war. The artwork is made up of twelve panels that feature faceless heads, depicted in such a way as to make them virtually indistinguishable from each other. They are rendered in blacks and greys. The artwork was inspired by the casualties of war remembered by various war memorials around the world. Morris sees them not only as dead, but also hopeful and humorous.
Accession No
PA2012.052

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

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

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

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
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
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