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Cartoon about various animals and people taking the credit for the woollen jersey Field Marshal Montgomery was photographed wearing in Cairo during WWII.
Accession No
A95.918

Name/Title
Cartoon depicting Hitler and several German officers along with a Japanese ally under seige in a bunker.
Accession No
A95.893

Drawing of india ink on exposed photographic paper. The drawing shows a tangled web of lines representing perceptions moving through a rectangular shape which represents one of the World Trade Center towers.
Accession No
PA2012.097

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

Depicts scattered residences in New Plymouth from seaward end of Liardet Street. Methodist Church (right), Marsland Hill with barracks and St Mary's (right) with Mt Taranaki/Egmont and Pouakai in background.
Accession No
A97.451

View of New Plymouth looking west down Devon Street from about Liardet Street. Paritutu in the distance with military camp of 58th Regiment on Mount Eliot in right middle distance. Foreground figures include two horse riders, five Maori, and a dray. 58th Regiment established on Mount Eliot. Just landed from the "Duke of Portland" at anchor. The mail steamer "Zingari" is seen approaching from the south and is being signalled from the Mount Eliot mast.
Accession No
A97.452

Coloured print depicting a group of soldiers clustered in the centre of the image. Some are wounded and some are fighting on. They are wearing uniform and most are holding guns. Several horses are also depicted, at least one of which is has also been shot.
Accession No
A66.066

Name/Title
Pencil sketch of the Omata Stockade from the north east side, 1861. Stockade situated upper right middleground, small area of cleared land middle foreground with stock grazing on it.
Accession No
A75.450

Coloured ink sketch depicting a large vessel at sea with water fountain immediately in front of it. Another ship in the distance to right.
Accession No
A70.041

Soldiers with drums and fife flutes parading through New Plymouth. Military camp and ships visible in the background. Paritutu is also pictured in the background.
Accession No
A66.694

Framed commemorative scroll for Private Charles Lawrence Sattler of the Wellington Infantry Regiment, N.Z.E.F. Sattler was killed in action October 30th, 1916. The text reads: "He whom this scroll commemorates was numbered among those who at the call of King and Country, left all that was dear to them, endured hardness, faced danger, and finally passed out of the sight of men by the path of duty and self-sacrifice, giving up their own lives that others might live in freedom. Let those who come after see to it that his name be not forgotten." Below this in red is: "Pte. Charles Lawrence Sattler / Wellington Inf. Regt. N.Z.E.F."
Accession No
A87.215

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

Cartoon depicting a military figure demanding operational silence from a farmer over dairy accounts.
Accession No
A95.912

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

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
Artwork of etching ink and pencil on exposed photographic paper. The artwork shows two white fields on a black background. The pencil drawings on the field on the left depict one of the World Trade Center Towers. The artwork is a working-drawing in which Morris explores questions surrounding the strength of the Towers' cores and what caused them to collapse on 11 Septemeber 2001.
Accession No
PA2012.095

Lithograph depicting a Greek belly amphora decorated with scenes relating to the Taranaki Wars (1860-1866) and Tītokowaru's War (June 1868 to March 1869). All the figures represented on the amphora are in Greek style. The main frieze on the body of the amphora shows Riwha Tītokowaru sitting on a tree stump while prodding the embers of a fire with a stick. He is wearing a hat and chequered blanket. He is framed by two ponga trees. A bird with wings depicted as stylised eyes sits in the tree behind Tītokowaru. Behind that tree another Greek vase sits on the ground holding a tewhatewha and a cross. A taniwha figure is pictured in front of the opposite ponga tree. The friezes above the central image show settlers arriving on ships and pulling carts in convoy, a line of sheep and Mount Taranaki. The friezes below the central image show more processions of settlers arriving with carts and goods.
Accession No
PA2012.029

Lithograph depicting Te Whiti and Tītokowaru discussing the question, 'what is peace?'. Both men are represented in a Greek style. Te Whiti is wearing a cloak and hat and is holding a taiaha. Tītokowaru is wearing a chequered blanket and is holding a tewhatewha. His hat is resting against his seat. Both men are bent over a small table and are gesturing with one hand. On the left of the image a statue of Captain Cook is camouflaged in a tree, possibly a rata. Another tree, also possibly a rata, is visible on the right of the image. Vegetation including ferns is depicted in the foreground and middleground. Mount Taranaki dominates the background.
Accession No
PA2012.030

Name/Title
Lithograph depicting four Greek neck and belly amphora vases decorated with various scenes relating to the Taranaki Wars (1860-1866) and Tītokowaru's War (June 1868 to March 1869). The vases are individually titled and all the figures are depicted in a Greek style. The vase depicted top left is titled "Neck Amphora by the Confiscation Painter, 1865-66, Side A: Teatime in Taranaki" and shows a settler family seated at a table eating a meal in a wooden hut. A dog sits begging for food at their feet. Part of Mount Taranaki is visible through the hut window. A figure wearing a lion skin is depicted digging on the neck of the vase. The vase depicted top right is titled "Neck Amphora by the Confiscation Painter, 1865-66, Side B: The Lost Harvest", which shows several figures on horseback brandishing weapons. A whare [Māori house] is burning behind them. Several figures are running away from the fire. A cabbage tree and other vegetation is visible in the foreground of the vase's body. A figure wearing a lion skin is looking through a surveying tool on the neck of the amphora. The vase depicted lower left is titled "Belly Amphora by the Provocation Painter 1868-69, Side A: The Burning Homestead" and shows a woman mourning over the body of a man. Two figures stand watching with their arms around each other. Two other figures carrying weapons are running from the scene. A burning hut is depicted on the neck of the amphora. The vase depicted lower right is titled "Belly Amphora by the Provocation Painter, 1868-69, Side B: Titokowaru waits" and shows Māori fortifications including trenches and wooden palisading. A tree and ferns are depicted on the left side of the vase. A small bird sits in the tree. Three figures with bird bodies and holding musical instruments are depicted on the neck of the amphora.
Accession No
PA2012.028

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 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

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

Name/Title
Homemade stamps in black ink of a stylised figure floating above an engine. The artwork's paper has been taken from a car manual chapter entitled "Fuel, exhaust and emission control systems". The artwork examines the military and machine dominated world we are living in.
Accession No
PA2012.074

View of Marsland Hill from the north west with full moon rising in the south east. Barracks on top of hill with steps curving down and towards foreground. Charles Brown's grave in left foreground.

Marsland Hill provided the single most important European military establishment of the Taranaki Wars. First occupied in 1855, it provided the headquarters for Imperial troops and local forces in Taranaki until the Armed Constabulary period of the 1870s and 1880s. The site was a former pa, Pukaka, and to provide a sufficient platform for the barracks and stockade, twelve metres had to be removed from the top. The iron clad barrack buildings which were erected on top of the hill arrived from Melbourne on the "Alexander" in June 1855. Marsland Hill was at the centre of an extensive signaling system throughout the First Taranaki War and for part of the second war. Three or four canvas wicker balls were raised or lowered on the yards of a signaling mast. At its greatest extent the signaling system reached the Waitara River to the north and St George's Redoubt in the Tataraimaka Block to the south.
Accession No
A75.434

Small watercolour of Armed Constabulary's redoubt at Wai-iti from Papatiki (Bushranger's redoubt). Depicts collection of small buildings lower centre with column of smoke emitting from one of the buildngs. Redoubt positioned on flat land surrounded by hills - brown fern regrowth immediate foreground, large light green hill right background and distant blue hills left background. Small line of bush located to right of buildings - beginning lower middle right; larger patch of bush located to left of buildings - lower middle left.
Accession No
A58.491
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