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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

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

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

Artwork from Roger Morris' 'Tales of the New Dominion' series that evokes the coming of a new war. The composition is broken into two halves. The lower portion shows white dabs of paint on white cardboard. The top half depicts a black missile shape and four red triangles, which represent either aeroplanes or bombs, targeting the tall buildings of a city on the left of the image. The top portion of the artwork is rendered in greys and black.
Accession No
PA2012.045

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

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. 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 "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 "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 "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 depicting ten stencilled jigsaw puzzle shapes in red ink. The shapes are indicative of human figures. They are set into white dots that have pinky red edges. The dots are placed against a black background. Both the right hand and left hand vertical edges of the paper feature pinky red lines.
Accession No
PA2012.062

Name/Title
An unframed botanical work by Fanny Bertha Good - oil on canvas. Depicts a specimen of Hebe speciosia : Titirangi : Ngapuka. Predominant colours - leaves green, flowers deep maroon, beige/pale green/yellow background. Signed lower right corner in black paint "FB. Good". Handwritten text in black ink on rear reads as follows "Karamiko / Oeo / April, 1900, / FB Good." Handwritten text in black felt pen to the above left of text reads "Koromiko. / Hebe speciosa. Mokau?". Small square of paper with "448" printed in black adhered lower right corner on rear via sellotape.
Accession No
A64.765

Name/Title
Depicts a specimen of Karaka (Corynocarpus laevigatus). The leaves are bright green and the yellow berries olive shaped, some with speckled brown dots. The background is grey, beige and a pale blue/green.
Accession No
A65.770

Depicts a specimen of Leatherleaf (Senecio eleagnifolius). Green leaves with small white and yellow flowers. Background is predominantly beige.
Accession No
A65.788

Depicts a specimen of Kohekohe (Dysoxylum spectible) with a central branch, green broad leaves and small red blooms. Background is predominantly beige.
Accession No
A65.771

An unframed botanical oil painting by Fanny Bertha Good. Predominant colours - dark brown/red, greens white/pink flowers and pale green/yellow flowers.
Accession No
A65.773

Name/Title
An unframed botanical work by Fanny Bertha Good - oil on canvas. Depicts a collection of convolvulus.

R. Calystegia soldanella.
L. Olearia solandri.
L. Pratia angulata.
LR. Pimelia prostrata.

Leaves bright green with a lighter underside, a small area of leaves with a red underside, darker green in the background, pink trumpet shaped flowers, smaller purple olive-like buds in the lower left corner, scattering of small white blooms throughout and smaller yellow/cream flowers intertwined through the centre section.

Graduating background colour from top left (brown) through to bottom right (blue).

Signed lower left corner in black oil paint "F.B. Good" ('d' is underlined). A65.762"
Accession No
A65.823

Name/Title
Unframed botanical oil painting of phormium tenax/harakeke. Predominant colours - golds, yellows, blacks, and greys

Depicts a flax flower stem with blades of flax in the background.

Predominant colours are black, yellow and orange.

Has a milky finish overall that is related to the areas where black paint has been used.

Is in poor condition generally.
Accession No
A65.002

Name/Title
Watercolour with black ink details depicting the base of a tree on Mount Taranaki. The tree is covered in an epipytic vine (probably rata).
Accession No
A70.083

Unframed botanic oil on canvas painting depicting the Kakabeak. Predominant colours - red flowers, greens, and yellows.
Accession No
A64.774

Name/Title
Unframed botanic oil on canvas painting depicting the New Zealand Blueberry ("Dianella nigra"). Predominant colours - purple flowers, white flowers, greens, browns, and creams.
Accession No
A65.786
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