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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

Coastal scene, New Plymouth. Sugar Loaves and Paritutu are visible in the background, as is a surfboat on the shore. An ox-drawn cart and people are on the beach in the foreground. Based on an art work by William Strutt, 1855.
Accession No
A75.068

View of an Italian coastline at sunset.
Accession No
A66.775

Name/Title
View of White Cliffs from Onaero. Three figures are pictured on the beach in middleground and a further three figures are seated in a boat approaching the beach. Foliage in the foreground.
Accession No
A66.055

Name/Title
Memorial to the 57th (West Middlesex) Regiment at Te Henui Cemetery. Mt. Taranaki/Egmont visible in background.
Accession No
A65.909

Residence of Mrs William Honeyfield at Moturoa, circa 1870. Hongi Hongi lagoon is visible in the left middleground and Sugar Loaf Islands in the background. Three cattle in the lower right corner and a flock of sheep near the foreshore. The Honeyfield residence was built by Richard (Dicky) Barret, pioneer trader and whaler of Moturoa.
Accession No
A66.460

View of Moturoa Island, largest of the Sugar Loaf Islands, New Plymouth. Sea in foreground.
Accession No
A75.551

Name/Title
View of Paritutu with two buildings and a chimney at the base. Sand and waves in the foreground.
Accession No
A75.555

Name/Title
View of waves with rocks in the background, possibly at the base of Paritutu, Back Beach.
Accession No
A75.550

Name/Title
View of Oakura Beach with Paritutu and the Sugar Loaf Islands visible in the background.
Accession No
A87.716

View of central New Plymouth from lower Liardet Street looking towards Marsland Hill and Mt Taranaki / Egmont. Figure in red jacket on horse in foreground.
Accession No
A75.426

View of New Plymouth c.1863 taken from approximately the junction of Liardet and Gill Streets. Mt Taranaki/Egmont, Marsland Hill and barracks visible in background. Figure in blue jacket on horse in foreground.
Accession No
A79.837

View of Upper Brougham Street, New Plymouth c.1862-65. Post Office to the left, Devon Street leading up to the White Hart Hotel, and the Primitive Methodist Church visible right background. Huatoki Valley in foreground with two cattle pulling cart.
Accession No
A75.423

View of lower Brougham Street, New Plymouth. Buildings include the Taranaki (now Royal) Hotel, News Office and Native Office. Male figure loading horse and cart in middle foreground.
Accession No
A79.835

View of central New Plymouth from Liardet/Gill Street area. Wesleyan Methodist Church (left), St Mary's Anglican Church (right) and Marsland Hill and barracks centre right.
Accession No
A65.888

Suspension bridge over the Waiwhakaiho River, with Mount Taranaki/Egmont in the background. This bridge was built in 1842-1843 using chains from the wreck of the "Fifeshire" at Nelson. It collapsed in a flood in September 1847.
Accession No
A66.768

Resident Agent's house centre middle ground, man driving a cart drawn by two bullocks on Courtenay Street in right foreground, and group of four Maori figures outside the front of the house in centre foreground. Pukiekie Pa is to the right of the Agent's house (on what is now Victoria Street) and Pukaka pa (now Marsland Hill) is located on the right edge. Mt Taranaki/Egmont and Ranges are visible in the background. The resident agent at this time was John Tylson Wicksteed.
Accession No
A75.435

Liardet Street, New Plymouth. Marsland Hill Barracks in right background. Street in foreground on which there is a cart with two oxen and a small number of people.
Accession No
A65.887

Ink and wash sketch based on two photographs taken of New Plymouth (VNP 100-P) in 1859, this work depicts a view of Devon Street looking towards Moturoa. Paritutu and the Sugar Loaves visible in the background.
Accession No
A70.074

Name/Title
Small watercolour, possibly of Pukekura Park or a lake at Ardendale, the Arden family home on Frankley Road, New Plymouth.
Painting depicts lake with water lillies in lower right foreground. Thick bush to lake edge in middle background. Two punga trees extreme left/middleground. Colours primarily light blue, greens browns and white.
Accession No
TM.1999.143

Name/Title
Bush scene depicting a gully with a stream flowing over rocks. Tall trees are pictured in the middleground. Mountains with prominent pinnacle in background. May depict a South Island scene. Painted on a round piece of thick paper.
Accession No
A97.530
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