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

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

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 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

Sketch of a military picket, noted as being between Pukemanu [?] and Pungarehu. Sketched from a higher point looking down towards land with various lone trees and several lahars. The sea is visible in the background.
Accession No
PA2011.080

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

Volunteer Rifles going on duty, New Plymouth. View from the Gover Street/Woolcombe Terrace area and looking back over central New Plymouth to the mountain, 1860.
Accession No
A65.892

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
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