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Portrait painting of unknown boy. He is rather chubby and is clothed in a brown suit with white frilly collar. Thought to be Samuel Newell as a boy - Newell arrived in New Plymouth on the 'St Michaell' in December 1852 and became the licensee of the Masonic Hotel.
Accession No
A66.154

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

Name/Title
Framed oil on canvas that explores a range of subjects. A blue line, which represents a river, divides the composition into two halves. A 'cancerous' red dot is present in the river near the upper horizontal edge. The background of the two halves is painted in bright yellow. The top left of the composition features a television shape with a red/pink vase decorated with Roger Morris' symbol for fascism (the symbol is based on the stylised shape of a figure holding a gun). A line of four facsist symbols are repeated below. The two triangle shapes beneath the television represent a cattle ramp. A figure with its hands tied behind its back is pictured below. The figure takes its inspiration from the first dead body Roger Morris encountered when he was a policeman. Top right of the composition features two fascist symbols facing each other, which creates a kind of stylised Māori face. Beneath is a night landscape with the moon. Four fascist symbols mirror the four on the opposite side of the composition. Beneath the night landscape is a simplified shape in red/pink that represents a carcass. Bottom right of the composition shows a figure standing in a black oval.
Accession No
PA2012.033

Screen print exploring the issue of seed ownership by The Monsanto Company, an American multinational agricultural biotechnology corporation, and the controversy surrounding the practice of seed saving. Golden seeds are depicted on the right hand side of the print with black barcodes and numbers. The seeds are being blown across a bay. Near the centre of the image a figure is shown in the Mercury spacecraft. The figure is isolated and threatened by corporate forces. American symbolism, including a star and three stripes, features on a black curve of land. A meteor streaks across the sky on the left of the image and a boat is sinking in the bay. The print is rendered predominantly in yellows, reds, black, green and white.
Accession No
PA2012.038

Woodcut print of a part of an engine printed in black paint. Text reading "TOO /LATE / utility R. was here. OEO CALLING" is printed on the bottom right hand corner of the artwork. The print is part of Morris' 'Enduring Freedom' series, which explores differing versions of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.041

Artwork from Roger Morris' 'Enduring Freedom' series that features four elements relating to the Global War on Terror. The top element is a hand drawn engine block, referring to 'the might of the military machine'. The next is a silhouette of a tank. The third is a stylised figure. The fourth is the word "OIL". The artwork has been made on the back of a proof poster for the TOWER New Zealand Youth Choir.
Accession No
PA2012.042

Name/Title
Collage of etching ink on exposed photographic paper and a stenciled element. A face of dark blue and black is silhouetted against a grey background. A stencil of numbers and algorithms covered in thick white ink obscures part of the face. The featureless face stands for the faceless casualties of war and was inspired by photographs taken of victims of the Khmer Rouge. The title of the artwork 'Illuminate Us' is inscribed at the base of the face and is a play on Illuminati and the United States of America.
Accession No
PA2012.044

Name/Title
Drawing of a female nude which Morris has dubbed a "two-minute drawing". The drawing dates from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.046

Name/Title
Drawing of a seated female nude which Morris has dubbed a "five-minute drawing". There is another drawing of a nude, seen from behind, on the reverse of the drawing. The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.047

Name/Title
Doubled sided artwork with a drawing of a nude figure on both sides. Morris has dubbed the drawings "two-minute drawings". The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.049

Pencil drawing exploring the ways an artist's work relates to what is going on in the world around them. In the top half of the composition six figures surround a circular shape. In the lower half more figures exchange lines of indecipherable dialogue. The title of the work "How to relate questions of concience [sic] to the painters art" is written on the bottom left hand corner of the drawing.
Accession No
PA2012.050

Name/Title
Pencil drawing addressing the issue of people being driven into singular ways of thinking. A large human-like figure stands in the foreground of the composition. The World Trade Centre towers loom behind the the figure. Two triangular shapes, representing airplanes or missiles, are about to collide with the towers. Meanwhile a crowd of people push up against a fence which runs horizontally through the image.
Accession No
PA2012.051

Name/Title
Sketch of a seated nude figure. The paper for the sketch has been torn out of an instruction manual and is an example of Morris' practice of using found paper and objects in his artworks.
Accession No
PA2012.053

Name/Title
Pencil and ink sketch of a seated nude figure. The figure looks downwards and reaches arm to the ground. The paper for the sketch has been torn out of an instruction manual and is an example of Morris' practice of using found paper and objects in his artworks.
Accession No
PA2012.059

Name/Title
Graphite drawing of a bull.
Accession No
PA2012.060

Artwork of etching ink on photographic paper. The upper part of the artwork depicts an aeroplane flying through a grainy sky. The lower part shows a lone figure struggling through a dusty landscape.
Accession No
PA2012.061

Name/Title
Hand-carved stamp of a stylised human figure on a black ground.
Accession No
PA2012.064

Artwork from Roger Morris' 'Tales of the New Dominion' series, a series which explores the feeling he had in the late 1990s that a new war was coming. Black etching ink has been applied over a red background. A white shape inspired by the Mercury spacecraft has been stencilled on to the upper left of the image.
Accession No
PA2012.065

Name/Title
Etching of a human figure on paper printed with the Defense Department organization chart. The source for the chart is given as the "U.S. Organization Manual 1983/84". The human figure huddles into itself, holding a baby to its chest in a tight embrace. Morris uses the combination of this human figure with the Defense Department chart to explore the concept of humanity. He believes that for someone to be capable of pulling a trigger, they must have lost their humanity and forgotten the love that exists between parent and child.
Accession No
PA2012.067

Woodblock print of Morris' character Captain Buzzard Rock. The character arose out of the realisation that comic book heroes and the extreme brutality of their actions were not, in fact, that far from reality. The print is comprised of three frames showing Captain Buzzard Rock. The frames are captioned "captain buzzard rock was a mighty fine jock and a mighty fine jock was he." The back of the artwork features the details of a paint order Morris was going to send to an art supplier in Christchurch.
Accession No
PA2012.069

Name/Title
Woodblock print of a figure in profile. Its mouth is open and one hand is raised. A table is visible on the left of the image and a crescent moon is depicted upper right. Image is rendered in black ink.
Accession No
PA2012.071

Name/Title
Woodblock print of a soldier figure printed on grid paper taken from a school mathematics exercise book. The soldier holds a raised gun, wears a helmet and heavy boots and assumes a fighting pose. Both sides of the paper feature a child's maths equations and a teacher's marking and feedback.
Accession No
PA2012.072

Screenprint of a stylised figure holding a guitar and taking a bow. The figure is holding a conductor's wand in one hand. A speech bubble shape is issuing from the figure's mouth. The background is rendered in blue and yellow. The figure is 'bowing out'.
Accession No
PA2012.073
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