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Name/Title
Ink sketch depicting a view of Omata Beach with Saddleback Island in distance. Four individuals on beach.
Accession No
A75.651

Watercolour by Bernard Aris depicting a view of Taranaki taken from the slopes of Mt Taranaki/Egmont. Brown cottage with red roof in left foreground (depicted from the rear), a corrogated iron shed is situated lower down the slopes. Large, possibly dead, tree to right of cottage in foreground. Beyond the buildings is a view of Taranaki farm land and Mt Ruapehu.
Accession No
A75.629

Pencil sketch of New Plymouth township in 1850-1856. The view looks down the Huatoki Stream to Devon Street Bridge. Marsland Hill and Mount Taranaki are visible in the background.
Accession No
PA2008.116

Name/Title
Sketch of Back Beach, New Plymouth, including three of the Sugar Loaf Islands and a person in a kayak.
Accession No
PA2012.130

Name/Title
Sketch of Graham and Glenda Kirk's house with bush and Mount Taranaki in the background.
Accession No
PA2012.134

Jane Maria and Arthur Atkinson's house at Hurworth on Carrington Road. Depicts typical New Zealand colonial house with bay window at front - house slightly side on and backs onto a cleared hill. Bush and tall trees in background. Cleared land with felled trees in foreground. Along the lower edge of the drawing are handwritten numerals (in pencil): "1, 2, 3, 4, 5, 6". On the reverse is an inscription written (also in pencil) by Jane Maria Atkinson which reads: "1 is at present the kitchen window. 2 our bedroom, but in another fortnight it will be the kitchen window and No. 1 our bedroom. We make the change because it is not convenient to have the room one sleeps in a passage room and that the sitting room and kitchen may be close together. 3 the bay window and 4 and 5 are sitting room windows, 6 window of Lely's bedroom. 1, 2, and 3 look due east to the Henui river. 4, 5, and 6 due North, we see towards the road from them, I shall have a wider view next year when the bush between our clearing and D. Atkinson's is to be felled. We see the back end of Harry's house from the North windows, he lies North west of us. The front door so to speak, is at the back of the house in a passage between the two bodies of the house and connecting them. The fence in the front is going to be moved so as to enlarge the garden considerably and the gate will be moved to the right a good way so that a path from it may lead naturally to the door."
Accession No
A75.462

Name/Title
Pencil sketch depicting a coastal view from Back Beach, New Plymouth with the Sugar Loaves, Saddleback Island and Paritutu in the distance. Sketch is on a long, narrow piece of paper which is folded in half.
Accession No
A75.553

Sketch depicting chickens scratching about in a fenced off section. Immediately behind fence are two large trees and another residence.
Accession No
A75.556

View of Ngamotu foreshore, Paritutu and the Sugar Loaf Islands.
Accession No
A66.166

Exterior view of 30 Fulford Street, New Plymouth. Rendered in black and white on coloured paper.
Accession No
A66.699

Exterior view of the northern aspect of the Mace House, Carrington Street, New Plymouth.
Accession No
A66.681

Richmond Cottage (formerly known as Beach Cottage) from the west surrounded by a picket fence. The house is positioned in the lower left corner of sketch, with the top of Paritutu visible in the distance.
Accession No
A93.839

Name/Title
Pencil sketch looking up Devon Street West, New Plymouth from Brougham Street, depicting Teeds & Co. Chemist on the right side, trams and people outside Avery's Bookshop on the left side, clock tower further along the street. Two dogs playing in the middle of the street.
Accession No
A75.554

View of Mount Taranaki from Fitzroy, New Plymouth. Houses pictured in the foreground.
Accession No
A75.630

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

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 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

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

View of Paritutu with large waves in foreground.
Accession No
A98.756

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

Inkjet print of original Graham Kirk painting "Halley's Comet Over Hawera". It shows a view of High Street, Hawera during an appearance of Halley's Comet. The comet is depicted as a glowing white orb with a tail of vivid reds and oranges against a starry night sky. The streetscape below is largely deserted except for one lone figure and a parked car. The metal railings of a bike stand and a bed of orange flowers run along the print's foreground. There is a bicycle in the bike stand.
Accession No
PA2012.136
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