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Cartoon depicting the figure of History hurrying to record action from WWII.
Accession No
A95.894

Grey velvet lined box with Michael Smither's signature embossed on the lid, containing eight colour reproductions of Michael Smither paintings. Boxed set produced by Ron Sang. Reproductions of paintings include:
'Alfred Road Bridge' (1971)
'Joseph Snarling' (1978)
'Hamilton Diggings Central Otago' (1969)
'Rocks with Mountain' (1968)
'Two Cups' (1992)
'Sarah Eating Corn' (2000)
'A Song of the Sea' (Gribben Mural) (undated on reproduction)
'New Zealand Oranges' (2000)
Accession No
PA2008.078

Name/Title
Ink sketch of Alexander Davidson's house, corner of Gill and Liardet Streets. Sketch depicts a house behind a wooden fence. Trees and shrubs visible around the house. The house has two chimneys, one of which has a wisp of smoke coming out of it.
Accession No
PA2008.112

Name/Title
Ink sketch of the blacksmith's premises on Gill Street. The premises is the squat building in the foreground and the blacksmith's house is visible on the far left of the image (see PA2008.112). The building immediately behind the blacksmith's premises is the P & T Workshop and on the right is E C Hayton's. Darby & Hannan's is visible behind the P & T Workshop.
Accession No
PA2008.113

Painting depicting a pilot in a black military aircraft. The bottom of the aircraft shows a string of white numbers and letters that refer to the code printed into a piece of metal retrieved from an American missile dropped on a residential area of Baghdad, Iraq, in March 2003. The missile killed dozens of civilians. The body of the aircraft also features a symbol in a yellow circle, which is Roger Morris' symbol for "the corporate fascist". The red dot refers to a sniper's laser dot and the words "HIT HERE" to targets attacked by the US military. One of the red dots is printed onto the silhouette of a figure. The background of the print is vivid orange. The print is from Morris' 'Enduring Freedom' series, which explores differing version of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.031

Pouākai Ranges rendered in dark blue in foreground. Bank of grey cloud above that partially obscures Mount Taranaki in the background. Printed in shades of blue and grey.
Accession No
A98.772

Lupin and boxthorn bushes in foreground, Mount Taranaki and ranges in background. Print predominantly rendered in greens, yellow and blues.
Accession No
A98.773

Woodcut print of a part of an engine printed in black paint. Text reading "TOO /LATE / utility R. was here. OEO CALLING" is printed on the bottom right hand corner of the artwork. The print is part of Morris' 'Enduring Freedom' series, which explores differing versions of truth surrounding the September 11, 2001 'terror attacks' in the United States of America.
Accession No
PA2012.041

Name/Title
Depiction of the World Trade Center towers, New York, in pencil. Above them the words "see nothing" are stencilled in black ink. The words "BOOM BOOM" are handwritten in red crayon beneath the towers. The artwork is on the back of an invite to an exhibition. Invite text reads: "see nothing / recent work / by / roger morris / thistle hall / CUBA ST. / monday OCTOBER 19 / 5:30 / thru sunday 25 oct."
Accession No
PA2012.063

Mono print depicting the World Trade Center complex, including the Twin Towers, and the legs and torso of a male figure. Four circled X's are depicted on the Twin Towers, indicating possible points of explosion in the foundations and the points of impact of the planes on 11 September 2001. On the left of the image, a box of text taken from a newspaper report is quoted. Artist Roger Morris has also inserted several of his own words. The text reads: "Lieutenant Colonel Eric SCHwar-tz did not see much of Baghdad as his battalion of 60 tanks, bradleys and other armoured vehicles churned along high-way B, rumbling through an industrial and then residen-tial zone not far from the city centre. All he recalled when it was over, were the IRAQI soldiers, artillery batterie, then pick-up trucks mounted with machine guns, and DEBORAHs sweet arse. ... the whip and blast of rock-et propelled grenades, the whipzz of bullets and the firey explosions of cars full, he presumed, with students cramming for April exams but who all unfortunately died under Lt. Col Schwarts' fire." The artwork draws attention to the bombastic nature of reporting around the 'War on Terror'.
Accession No
PA2012.102

Mono print depicting a naked figure turned to look at the World Trade Center towers. The figure is scrutinising the buildings that, since the September 11, 2001 attacks, have been the catalyst for large scale world conflict.
Accession No
PA2012.107

Inkjet print of original Graham Kirk painting titled "Batman and Robin at Pukekura Park". The busts of Batman and Robin, dressed in costume, are pictured lower left. They appear to be looking at a computer screen. Behind them is a view of Pukekura Park from the Boating Lake, looking towards Poet's Bridge and Mount Taranaki in the background. Lush green vegetation rings the Lake. A duck is visible on the water lower right and another is visible immediately behind Batman.
Accession No
PA2012.141

Name/Title
Line of pines in a landscape, presumably at sunrise or sunset. Rendered predominantly in greens, yellow, orange and black.
Accession No
A65.597

Name/Title
View of two tall trees with grass and wild flowers in the foreground. The tops of several other trees are visible in the background. Rendered predominantly in greens, blues, yellow and red.
Accession No
A65.611

Name/Title
Seascape at sunset. Waves rolling towards the shore and clouds in the sky. Rendered predominantly in yellows, blue, purple, green and orange.
Accession No
A64.631

View of the Kaitake Ranges in the moonlight. Tall trees silhouetted against the sky on the left of the image and a power pole silhouetted on the right. Rendered predominantly in browns, blue anb black.
Accession No
A64.634

Name/Title
View of the horizon and clouds in the sky at sunset from Ōākura Beach. Rendered predominantly in blues, reds, brown, yellow and orange.
Accession No
A64.620

View of Paritūtū Rock at either sunrise or sunset. Hill with two large Norfolk pines on it pictured on the left of the image. Paritūtū is bathed in golden light. Rendered predominantly in yellow, ochre, green, blue/purple and black.
Accession No
A64.636

Partial view of Paritūtū Rock and the New Plymouth Power Station chimney from behind a pā site at Ōmata. Rendered predominantly in greens, blues and yellow.
Accession No
A65.618

Rocks on the banks of the Stony River and water behind. Rendered predominantly in blues, grey, black and brown.
Accession No
A64.618

Name/Title
View of the Sugar Loaf Islands, Paritutu and the power station chimney from a beach at sunrise. Pooled water in the foreground. Rendered predominantly in blues, greys, greens, and orange/yellow.
Accession No
A64.625

Silhouette of tall pine trees against an orange sky. Pine trees and landscape rendered in very dark green.
Accession No
A65.599

Name/Title
Pooled sea water on a beach with sand, rocks and the sea visible in the background. Rendered predominantly in blues, yellow and brown/black.
Accession No
A65.591

Exterior view of St John's Church, Omata. It features a church in the midground with white panelling and a red roof. There is a bell tower on the facing right side. In the bottom right quadrant is a fenced off memorial. The landscape is very bare with only a few lines delineating hills and ground growth. The church was originally built in 1875. It was blown over by a gale on 16 June 1894 and rebuilt the same year.
Accession No
A66.678

Name/Title
View of two lahar mounds, fence and tall trees, Komene Road, Ōkato. Mount Taranaki and ranges in background. Colours predominantly greens and yellows.
Accession No
A65.610
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