Sort Ascending
filters
More Options
Shortlist
  •   Add All to Shortlist
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

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

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

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

Embossed woodcut print of Mount Taranaki viewed from the head of the Whanganui River. The river is portrayed as a series of curling koru shapes that rise up in a wave formation on the left of the image. These koru shapes are echoed in the sky and are also embossed into the paper itself. Mount Taranaki is pictured on the right. The contours of the mountain are expressed in feather-like shapes. The image is rendered mostly in black and brown. Turquoise is also used as an underlying layer and is most visible where the river curls into a wave, accentuating the reference to water and movement.
Accession No
PA2010.074

Pencil sketch of New Plymouth township in 1850-1856. The view looks down the Huatoki Stream to Devon Street Bridge. Marsland Hill and Mount Taranaki are visible in the background.
Accession No
PA2008.116

Name/Title
Screenprint is broken up into eight panels. In the first four panels, an eagle is flying from the horizon towards the smoke stack at Port Taranaki, getting closer in each panel. In the fifth panel the eagle crashes tino the smoke stack. Text reads "Thunk", "Whoosh" and "Scre-e-e-e-ch!". The sixth panel has the eagle flying away from the crumbling stack. The seventh panels depicts the silhouette of the eagle flying away over a cloud of dust and rubble. Text reads "Booom!". The last panel shows the stump of the smoke stack seen from a distance with Paritutu dominating the skyline once more. Screenprint rendered in yellow, black, red, grey, brown & white.
Accession No
PA2008.023

Matted and framed watercolour depicting the Waitara township in 1896. The view is taken from Manukorihi hill with the bridge in the foreground running into McLean Street which intersects with Quay Street in the midground. There is a group of figures being led by a man on a horse about to cross the bridge. A surf boat and ship are moored up against reinforced river bank. A railway runs parallel to the river with a carriage to the right of the red building. The engine can be viewed on the edge of town to the right.
Accession No
PA2004.193

View of Paritutu with large waves in foreground.
Accession No
A98.756

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

Matted and framed watercolour featuring an Inglewood street scene with a partially clouded Mt. Taranaki/ Egmont in the background. The foreground includes a flock of sheep being driven by a whip wielding mounted shepherd and flanked by two dogs. Two 'swaggermen' with bed rolls, hats and one with walking stick are located in the bottom left corner. The railway reserve and line is in the mid-foreground. This view is of Matai Street from Rimu Street- from in front of the former old Bank of New South Wales (now New Zealand Colonial Antiques 33 Rimu Street). It shows the first Methodist Church on Rata Street (right), the fire station and the commercial buildings on Matai Street to the Inglewood Hotel in the left distance.
Accession No
A96.982
Loading...