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A miniature oil painting of Elizabeth Lackworthy from Exeter (England). Contained in an oval wooden frame.
Accession No
A62.864

A miniature oil painting of Ambrose Lackworthy from Exeter (England). Contained in an oval wooden frame.
Accession No
A62.865

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

Oil portrait of Rangi Kuini Wikitoria Topeora. She is wearing a cloak with a patterned border and has four feathers in her hair. She is wearing long pounamu [greenstone] ear pendants and is wearing an elaborate pounamu [greenstone] necklace comprised of several different pieces. She is seated. A small part of the chair is visible on the right hand side of the painting. Topeora was a niece of Ngati Toa leader Te Rauparaha, and a sister of Te Rangihaeata. She was one of only a few women to sign the Treaty of Waitangi. When she was baptised at Otaki by Bishop Selwyn she insisted on taking the name Kuini Wikitoria [Queen Victoria].
Accession No
A66.140

Name/Title
Portrait of Paul Parau of Gisborne, a relative of Ngapai Ngatata. He is dressed in a white shirt, vest and jacket. He has a facial moko and a white beard.
Accession No
A66.141

Name/Title
Portrait of Epia Parau of Gisborne, a relative of Ngapai Ngatata and one of the sons of Paora Parau. Parau is pictured wearing a white shirt, a dark waistcoat and jacket, and a tie. He has a moustache.
Accession No
A66.145

Oil portrait of Rahapa te Whi Whi, daughter of Rangi Kuini Wikitoria Topeora. She is wearing a cloak with a patterned border and has shoulder length dark hair. She has a moko on her chin.
Accession No
A66.148

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
Portrait of Henry Des Forges (1830-1906). Depicts Des Forges as a young man. He is seated and visible from the waist up. He is wearing a dark suit with a white shirt, waistcoat and scarf tied at the neck. He has some sort of metal ornament attached to his waistcoat. One arm rests on a chair and the other in his lap.
Accession No
A66.160

Bust portrait of Commander W. Butterfield, grandfather of C.B. Shaw. He is wearing a suit with a bow tie.
Accession No
A81.368

Name/Title
Bust portrait of Mrs Butterfield, grandmother of C.B. Shaw. She is wearing an off the shoulder dress with a brooch on the chest. Her hair is tied up in ringlets. She is pictured in profile.
Accession No
A81.369

Head and shoulder portrait of Second Lieutenant F.W. Watson. He is wearing military uniform. Plain background. Watson died in WWI.
Accession No
A83.003

Ink sketch of Mr Henry Faull of Tikorangi. He is bearded with a moustache and is wearing a hat, long sleeved shirt and unbuttoned waistcoat, long pants held up by braces, and shoes. He is standing with a basket of fruit in each hand in a field with trees in the background. An ornate border of berries and leaves surround the subject.
Accession No
A83.320

Jane Rowe (nee Roberts), passenger on the "Essex" and married H.N.Rowe. Portrait presumably painted from existing photograph of Jane Rowe (P.1.5112). Unframed, oil on paper with card mount.
Accession No
PA2005.331

Name/Title
Mr Richard Rowe seated on a chair, passenger on the "William Bryan". Presumably painted from existing photograph (see P.1.1637). Unframed, oil on paper with card mount.
Accession No
PA2005.332

Portrait of Henry Nathanial Rowe, passenger on the "Essex" and husband of Jane Rowe (nee Roberts). Presumably painted from existing photograph (see P.1.5098). Unframed oil on paper with card mount.
Accession No
PA2005.333

Name/Title
Portrait of a Maori woman wearing a cloak and holding a large greenstone mere across her chest. She has a large tiki hanging from her neck. She wears a feather in her hair and has several tattooed lines around her mouth. She is also wearing bone (?) earrings. Pictured looking to the right (her left).
Accession No
PA2008.107

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

"Post 9/11 Landscape" highlights the way the media and government authorities mediate and control our view of world events. The painting depicts a figure standing next to one of the World Trade Centre towers. The figure has five white stripes on its body and is wearing a helmet. It is a symbol of authority. Four triangle shapes depicted in black and white in the sky represent aeroplanes and/or bombs. The landscape and sky areas of the painting are made up of blue, orange, red, white, purple, yellow and brown dots and dashes. They allude to the way our view of the world is constructed from pixelated newspaper and television images of international events. It also references how the level of filtering, mediation and control of information by Western media and governments has increased after the 11 September 2001 'terror attacks' on the United States of America.
Accession No
PA2012.034

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

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
Diagram drawn on a page of printed paper, possibly from an encylopedia, headed "Literature, Western" and featuring a subtitle that reads "Irony, satire, and "black humour" in fiction". The top part of the page features Roger Morris' handwriting, which reads "world of lies". The bottom half is divided into a triangular shape, in which the words "struggle of truth" are handwritten. The artwork refers to how difficult it is to discern the truth when people are living in a world where lies are perpetuated.
Accession No
PA2012.068

Name/Title
Artwork consisting of handmade stamps in black ink. Along the bottom of the artwork is line of Morris' symbol for fascism. In the centre two jigsaw puzzle shapes frame two long geometric shapes. The jigsaw shapes are indicative of the human figure. In the upper third of the artwork a triangle speeds towards a moon. The triangle represents a rocket or airplane. The shapes are stamped onto the pages of a book about fuels and combustion.
Accession No
PA2012.075

Printed cardboard mount from a plastic toy gun with added elements by artist Roger Morris. The cardboard mount is printed with the words "THE BEST NEWS WEAPON" / "M3AI MODEL DIN G GUN" / "TRY ME". It also features a scene with tanks advancing, soldiers in camouflage uniforms shooting guns, missiles flying through the air and explosions with flames. The mount is pierced where the gun was previously held in place. Morris has added several elements in paint and ink. On the left of the image the word "HIT" has been stencilled in white paint above a crouched soldier's head. In the middle of the image a large puzzle figure, rendered in black ink, has the word "HERE" stencilled on its chest, applied in yellow paint. The word "OIL" is stencilled in the centre of a circle of tanks on the right of the image. In the right hand corner the figure of a soldier is surrounded with red paint and a red dot, representing the laser sight of a sniper's dot, is trained on his body.
Accession No
PA2012.092
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