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Jane Rowe (nee Roberts), passenger on the "Essex" and married H.N.Rowe. Portrait presumably painted from existing photograph of Jane Rowe (P.1.5112). Unframed, oil on paper with card mount.
Accession No
PA2005.331

Name/Title
Mr Richard Rowe seated on a chair, passenger on the "William Bryan". Presumably painted from existing photograph (see P.1.1637). Unframed, oil on paper with card mount.
Accession No
PA2005.332

Portrait of Henry Nathanial Rowe, passenger on the "Essex" and husband of Jane Rowe (nee Roberts). Presumably painted from existing photograph (see P.1.5098). Unframed oil on paper with card mount.
Accession No
PA2005.333

A watercolour depicting a coastal scene with a pinky/orange sky. A log is in the left hand corner of the foreground. Label on seperate panel titles the work ""THE FIRST BREAKWATER " / WAITARA RIVER / BY E.E.WICKHAM" This is in question because three other works in the collection have been attributed to Collier, despite a label stating E.E.Wickham.
Accession No
TM.2002.318

A watercolour depicting a coastal scene with sand dunes, grasses and shrubs in the foreground. "J Collier / 1922" is signed in the lower left hand corner. Label on rear has "EAST BEACH SANDHILLS / WAITARA / BY E.E.WICKHAM". This is questionable because two other works in the collection have been attributed to Collier, despite a label stating E.E.Wickham. Painting is adhered to a card support.
Accession No
TM.2002.319

A watercolour signed in th lower left corner "J Collier / 1926". Painting is adhered to a card mount. Image is of the coast, with a bay, shrubs in foreground and to the sides in the middle. The rear has handwritten ""MOUTH OF THE WAITARA" / BEFORE THE WALLS / BY E.E.WICKHAM". Another two paintings also state Wickham as the artist, when it is actually signed Collier.
Accession No
TM.2002.320

Name/Title
A watercolour depicting a flower (resembling blue bells) with two leaves and a stem with four pink bell shaped flowers hanging down. Image is painted onto card and has been covered with tissue paper which is secured at the back in the four corners. Top rear has been signed in pencil "H Lackworthy" or possibly Larkworthy.
Accession No
TM.2002.325

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

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

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

Painted version of the colours and battle honours of the 14th (Buckinghamshire) Regiment of Foot of the British Army.
Accession No
A66.792

Name/Title
Diagram drawn on a page of printed paper, possibly from an encylopedia, headed "Literature, Western" and featuring a subtitle that reads "Irony, satire, and "black humour" in fiction". The top part of the page features Roger Morris' handwriting, which reads "world of lies". The bottom half is divided into a triangular shape, in which the words "struggle of truth" are handwritten. The artwork refers to how difficult it is to discern the truth when people are living in a world where lies are perpetuated.
Accession No
PA2012.068

Six uniformed soldierse of the Highland Regiment pictured in a landscape scene.
Accession No
A66.074

Name/Title
Artwork based on a graphic produced by the National Institute of Standards and Technology (NIST) in the United States of America to explain how the World Trade Centre towers fell without the aid of explosives. The artwork depicts one of the World Trade Centre towers with lines emanating from the centre of the tower, indicating the tower's core strengthening columns. An aeroplane is pictured on the left of the image prior to impact. Roger Morris considers NIST's explanation of the towers' collapse to be "creationist", overlooking other factors in the buildings' collapse.
Accession No
PA2012.037

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
Artwork Roger Morris has termed a "test piece" which exemplifies his experiments with unexposed photographic paper. The artwork depicts two human figures in a tight embrace. They stand on a black ground and against a pink and blue sky. The figures are painted in black ink with parts of their bodies highlighted in red.
Accession No
PA2012.093

Name/Title
Artwork of etching ink on exposed photographic paper. The artwork shows a human figure within a black and blue ground. The lighter-toned flickers and shapes are created by exposing the inked paper to chemicals. The artwork is about considering the human being as a passionate interaction.
Accession No
PA2012.098

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

Monochromatic painting of Charles Armitage Brown's grave on Marsland Hill, behind St Mary's Church, New Plymouth. His grave is surrounded by cabbage trees and various other vegetation. Painting rendered solely in blue and black.
Accession No
PA2009.143
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