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Name/Title
Pencil and ink sketch of a seated nude figure. The figure looks downwards and reaches arm to the ground. The paper for the sketch has been torn out of an instruction manual and is an example of Morris' practice of using found paper and objects in his artworks.
Accession No
PA2012.059

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

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

Name/Title
Hand-carved stamp of a stylised human figure on a black ground.
Accession No
PA2012.064

Watercolour painting made from a 1930s photograph of the Smart Bros. Ltd. plumbing, tinsmithing, and electrical company premises on corner of Brougham and Powderham Streets, New Plymouth. The painting shows the large building with a red roof and a sign on the left side that reads 'SMART BROS. LTD. OFFICES, STORE ROOMS' and another sign on the right that reads 'SMART BROS. LTD. [PLUMBING ELECTRICAL (partially visible)]. There are two large power poles in front of the building on either side of the corner, and several vehicles parked along the street on the left and one on the right. There is a man visible in the shop window on the right wearing a blue shirt and blue overalls. He has been identified as Leslie Allen Smart, son of Allan Kiddy Smart (one of the original three Smart brothers along with George and Herbert) and father of Brian Smart, who commissioned the painting. The dog sitting outside the building in the centre of the image has been identified as Skip, who belonged to Arthur Lawrence Smart. The painting is framed with a beige mat with the title included in it and a mottled brown and gold frame.

George Smart established his business in Stratford in 1892 and was joined by his brothers when he expanded into New Plymouth. Allan Smart was one of the first registered electricians in New Plymouth. The company ran until c1957.
Accession No
PA2016.001

Monochrome ink drawing by Stratford-born artist Graham Percy. The drawing depicts an imaginary scene in Taranaki where a young Archduke Maximilien-Franz of Austria is tending to a large crop of cabbages beneath a cabbage tree. The Archduke is dressed in a coat with large cuffs, pockets, and front panels over a shirt with frilled sleeves and breeches. His hair is styled in a late 18th Century fashion. He is standing amongst the cabbages with his feet hidden in the crop and is holding a garden tool in both hands. Behind the Archduke is a fence made of bound sticks, and the slope of Mount Taranaki is just visible in the background.

The drawing is part of Graham Percy's 'Imagined Histories' series from 2005, which follows a group of unlikely early settlers cultivating the land in an imaginary pre-European New Zealand. Other works in the series show two young Austrian Archduchesses playing in Taranaki's famous black sands and an Austrian Empress and her son celebrating the opening of their cake shop in Opunake.

The drawing was included in the exhibition "The Imaginative Life and Times of Graham Percy" that was shown at Puke Ariki from April 26 to June 8 2014 and also toured around over venues in New Zealand.
Accession No
PA2015.079

Ink and watercolour sketch of the Bank of New Zealand building in Waitara. The building is rendered in green with grey columns and a large red door, with the outlines and details sketched loosely in black ink. The building was built in 1876 and demolished in the 1960s.
Accession No
A66.692

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

Pencil sketch of New Plymouth's clock tower with other buildings in the foreground. A crane is also visible upper right of drawing. Several figures are visible in the foreground. The original clock tower was demolished in April 1969.
Accession No
A64.816

Name/Title
Drawing of a female nude which Morris has dubbed a "two-minute drawing". The drawing dates from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.046

Name/Title
Drawing of a seated female nude which Morris has dubbed a "five-minute drawing". There is another drawing of a nude, seen from behind, on the reverse of the drawing. The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.047

Name/Title
Doubled sided artwork with a drawing of a nude figure on both sides. Morris has dubbed the drawings "two-minute drawings". The drawings date from when Morris was attending life-drawing workshops at Vincents Art Workshop in Wellington.
Accession No
PA2012.049

Name/Title
Sketch of a seated nude figure. The paper for the sketch has been torn out of an instruction manual and is an example of Morris' practice of using found paper and objects in his artworks.
Accession No
PA2012.053

Name/Title
Graphite drawing of a bull.
Accession No
PA2012.060

Bust drawing of the Hāwera High School headmaster making a typical address at school assembly. The text included talks about sports results and house points.
Accession No
PA2012.118

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 Kirk's wife, Glenda, breastfeeding their child Sam.
Accession No
PA2012.131

Name/Title
Sketch of a damaged wooden fence or retaining wall. Pieces of the fence/wall are lying prone behind a number of standing wooden posts. Rocks and small stones are pictured both in front of and behind the fence/wall.
Accession No
PA2012.132

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

Name/Title
Sketch of Graham and Glenda Kirk's dog Wiki sleeping on a chair.
Accession No
PA2012.135

Name/Title
Sketch of a woman, possibly the artist's wife Glenda Kirk, reading on a couch.
Accession No
PA2012.137

Name/Title
Sketch of Glenda Kirk breastfeeding her child Sam.
Accession No
PA2012.138

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 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
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