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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
Oil painting depicting the clearing of land during settlement. A man stands in the foreground on the trunk of a felled tree. He is wearing a white shirt, black trousers, a belt, a hat and a scarf knotted around his neck. He is holding a broken axe. His head is turned to the side and he is looking into the distance. The ground behind him is littered with felled trees. A large nikau palm still stands on the left of the painting, though it has an axe mark in its trunk. In the middleground a boy stands holding the bridle of a white horse. A black dog sits on the ground in front of the boy and horse and is looking up at them. A wooden hut is visible in the background, as are tall trees that are yet to be felled. The painting is the second in McLean's 'Settler Trilogy'.
Accession No
PA2011.094

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
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

High cliff pictured in the foreground with waves crashing at its base. Another cliff is visible in the background. A ship is pictured on the horizon. Gulls are flying.
Accession No
A66.107

Name/Title
Sketch of a pā site, noted as being "Kaikaraka pa". A number of buildings are ringed by pallisading, pictured from a high vantage point. Several animals are grazing in the middleground. Numerous trees, bushes and lahars are dotted across the landscape.
Accession No
PA2011.081

Sketch of Kapoaiaia Armed Constabulary camp, misspelled as "Kapueiha AC Camp" on the sketch itself. Numerous bell tents and several buildings are pictured on the right of the image. Vegetation and several lahars are visible in the middleground. Mount Taranaki (Egmont), the Pouakai Ranges and the Kaitake Ranges are pictured in the background. Mount Taranaki is visible on the right of the image, The Pouakai Ranges are pictured in the middle and the Kaitake Ranges are visible on the left. The camp was officially known as the 'Cape Egmont Armed Constabulary Camp'.
Accession No
PA2011.082

Sketch of the Kapoaiaia Armed Constabulary camp, misspelled as "Kapueiha" on the sketch itself. The camp is pictured in the centre of the image. A military post with a flag is positioned on a hill, which is now the location of the Cape Egmont Lighthouse. Bell tents and several buildings are pictured at the base of the hill. Vegetation is dotted across the landscape. The sea is visible behind. The camp was officially known as the 'Cape Egmont Armed Constabulary Camp'.
Accession No
PA2011.083

Seven members of the Armed Constabulary pictured at the entrance to the Pungarehu Armed Constabulary camp. They are dressed in uniform and are wearing caps. A dog is lying on the ground in front of them. A wooden building dominates the left hand side of the painting. Another building is pictured on the right of the painting and a bell tent is visible in the centre. Numerous large trees are pictured behind the buildings. On the ridge of the hill behind the entrance to the camp, the Pungarehu blockhouse can be seen. The Pungarehu Armed Constabulary camp was used as the base from which the Armed Constabulary staged the invasion of Parihaka pā on 5 November 1881. At that time, approximately 1,000 men were stationed at the camp.
Accession No
PA2011.084

Maori whare and pataka in a clearing. Tall trees are visible behind the whare. Reeds, ferns and water are pictured in the foreground. A body of water and a mountain range are visible in the background.
Accession No
A66.088

Name/Title
Two Maori whare situated on the shore of a body of water, possibly a lake. A cooking fire is pictured in front of one of the whare. Tall trees are visible behind the whare. A boat and cliff are pictured in the middleground, ranges in the background and water with various vegetation in the foreground.
Accession No
A66.087

Whare pictured in a clearing. A fire burns next to the whare. A body of water is pictured both in the foreground and the background. The whare is surrounded by various forms of vegetation.
Accession No
A66.124

Exterior view of a two storey wooden house, 113 Lemon Street, New Plymouth. Picket fence in foreground.
Accession No
A66.683

Two sketches adhered together relating to the murder of Mary Dobie on 25 November 1880. The top sketch shows the place where Dobie was killed. A road and rock-lined pathway are pictured in the foreground and who figures are visible standing on a hill in the middleground. The bottom sketch shows Tuhiata, who was tried, convicted and hanged for murdering Dobie. He is pictured with his hands crossed over his chest and a pipe in his mouth. He is wearing a grey jacket. Dobie, who was an artist, had walked to Te Namu Bay to sketch Mt Egmont/Taranaki for the 'Graphic' when she was killed by Tuhiata.
Accession No
PA2011.078

Panoramic sketch in two halves of Mount Taranaki and the Kaitaki Ranges. The Armed Constabulary camp at Cape Egmont is pictured in the middle of the panorama. The Armed Constabulary camp at Pungarehu is pictured in the middle of the right hand side of the panorama. Telegraph wires are pictured lower right and a large plume of smoke is pictured on the left of the panorama. The words "Swamp / Pungarehu Camp / Parihaka / Mt Egmont and Taranaki" are noted in pencil on the right and "Kaitaki" is written lower left of the panorama.
Accession No
PA2011.079

Sketch of a military picket, noted as being between Pukemanu [?] and Pungarehu. Sketched from a higher point looking down towards land with various lone trees and several lahars. The sea is visible in the background.
Accession No
PA2011.080

Painted version of the colours and battle honours of the 14th (Buckinghamshire) Regiment of Foot of the British Army.
Accession No
A66.792

Depiction of Captain Cracroft's crest and motto. Inscription beneath the crest and motto says: "Presented to the New Plymouth Museum by R. B. Craven late of the H. M. S. Niger May 7th 1909". The Latin motto "Ne Cede Malis" translates as "yield not to misfortunes".
Accession No
A66.338

Name/Title
Unfinished painting of Mount Taranaki from Okato. Hill in foreground has been partially painted and Mount Taranaki has both ink and watercolour paint added. Sky area only features pencil marks.
Accession No
A75.627

Name/Title
Lake scene. Trees and vegetation in the foreground, body of water in the middleground and mountains visible in background.
Accession No
A75.484

View of a two-storied house once located at 234 Devon Street East and 236 Courtenay Street, New Plymouth. The house is white with green window frames and detailing. The house is situated amidst a large garden. A lawn dominates the foregound. There is a large tree planted at the edge of the lawn, in front of the house. A wheelbarrow sits on the lawn on the left. The house was built for Dr David Wylie in 1910. From 1927 to 1950 it was the home of Monica and Rex Brewster. It was demolished some time in the 1970s.
Accession No
PA2012.025

A cross-shaped section of the forest floor at Te Ngutu o te Manu, South Taranaki, littered with both brown dead leaves and small branches of green foliage. A dark background presses in from the edges of the painting. The painting visualises what Shepherd imagines to be soldier Gustavus von Tempsky's last visual memory before his death at Te Ngutu o te Manu on 7 September 1868. It also explores the inaccuracy of memories as they are recorded in history. Shepherd was inspired to paint this subject after he spent three days travelling around Taranaki War sites with Puke Ariki's Manager Heritage Collections, Kelvin Day.
Accession No
PA2012.024

View of Waipu River valley with Mount Hikurangi in the background. Rendered in browns and greys.
Accession No
A70.093

View of islands in Whangaparapara Harbour. Vegetation on cliff top in foreground. Rendered predominantly in green, brown, pink, grey and purple.
Accession No
A70.089

Goat Island viewed from the sea. Waves in foreground and cliffs on left hand side of image. Vegetation on top of island. Rendered in blue, green, black, orange, yellow, brown and white.
Accession No
A70.090
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