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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

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

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

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

Name/Title
Painting depicting a moa stencilled with the words "Moa Oil", a huia perched on a stencilled ten cent piece and several stems of lilies. The ten cent piece has a percentage symbol stencilled on it next to the number "10". Mount Taranaki is visible in the background. The lilies refer to a species of lily bred by Tuffery's grandfather, Len Tuffery, which he grew in Bell Block, Taranaki. The species was exported to South Africa and has since disappeared in New Zealand. The moa refers to Tuffery's fascination with a taxidermied moa that was on display at the Museum of New Zealand (now Te Papa). The painting makes reference to the big businesses that power the Taranaki economy, such as oil and gas, and link them to the disapperance of flora and fauna species from the landscape. Tuffery's painting highlights the impact of business and trade, developed to benefit the economy, on the environment and questions the sustainability of such practices.
Accession No
PA2010.075

Name/Title
Painting of a pukeko walking through marshes. Blades of vegetation are visible in the foreground and background. Painted in black, blues, reds, greens, brown and white.
Accession No
PA2008.024

Name/Title
Bush scene depicting a gully with a stream flowing over rocks. Tall trees are pictured in the middleground. Mountains with prominent pinnacle in background. May depict a South Island scene. Painted on a round piece of thick paper.
Accession No
A97.530

Name/Title
View of the New Plymouth foreshore, Paritutu and the Sugar Loaf Islands. Two people walking along beach left middleground. Two seagulls sitting on beach in front of people.
Accession No
A90.184

Name/Title
View of Oakura Beach with Paritutu and the Sugar Loaf Islands visible in the background.
Accession No
A87.716

Name/Title
View of the New Plymouth breakwater with two vessels at anchor, rocky beach and Saddleback (Motumahanga) Island.
Accession No
A83.743

Name/Title
Land and seascape, beach with rocks, surfcaster with boy and another adult.
Accession No
A81.951

Name/Title
Seascape with rocks, dark clouded sky, filtered sunlight and gulls. Paritutu and the Sugar Loaf Islands visible in the background.
Accession No
A81.947

Name/Title
View of the New Plymouth foreshore, Paritutu and the Sugar Loaf Islands.
Accession No
A79.872

View of New Plymouth c.1863 taken from approximately the junction of Liardet and Gill Streets. Mt Taranaki/Egmont, Marsland Hill and barracks visible in background. Figure in blue jacket on horse in foreground.
Accession No
A79.837

View of lower Brougham Street, New Plymouth. Buildings include the Taranaki (now Royal) Hotel, News Office and Native Office. Male figure loading horse and cart in middle foreground.
Accession No
A79.835

Name/Title
View of Humphries Castle, Mount Taranaki, an outcrop of rock formed by lava flow.
Accession No
A75.643

Name/Title
View of Paritutu with two buildings and a chimney at the base. Sand and waves in the foreground.
Accession No
A75.555

View of Moturoa Island, largest of the Sugar Loaf Islands, New Plymouth. Sea in foreground.
Accession No
A75.551
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