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Name/Title
Pencil sketch looking up Devon Street West, New Plymouth from Brougham Street, depicting Teeds & Co. Chemist on the right side, trams and people outside Avery's Bookshop on the left side, clock tower further along the street. Two dogs playing in the middle of the street.
Accession No
A75.554

View of Mount Taranaki from Fitzroy, New Plymouth. Houses pictured in the foreground.
Accession No
A75.630

Soldiers with drums and fife flutes parading through New Plymouth. Military camp and ships visible in the background. Paritutu is also pictured in the background.
Accession No
A66.694

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

Framed memorial photograph distributed by the Director of Graves Registration & Enquiries of Private Charles Lawrence Sattler's grave. Sattler was killed in action October 30th, 1916. On the right side is a silver gelatin photograph of Private Sattler's grave which consists of a white wooden cross inscribed with the following details: "In Memory of 157 84 Pte C. L. Sattler 2nd W.I.B. NZEF Killed in Action Oct. 30 1916." "E.Z. 6" in inscribed lower left corner of photograph. On the left side is the official documentation from the Director of Graves Registration & Enquiries which provides the following information:
Regiment: 2/Wellington Inf New Zealand;
Position of Grave: Cite' Bonjean Military Cemetary;
Nearest Railway Station: Armentieres.
The number of this particular photograph is 8/14318.
Accession No
A87.216

Cartoon depicting a military figure demanding operational silence from a farmer over dairy accounts.
Accession No
A95.912

Name/Title
Collage of etching ink on exposed photographic paper and a stenciled element. A face of dark blue and black is silhouetted against a grey background. A stencil of numbers and algorithms covered in thick white ink obscures part of the face. The featureless face stands for the faceless casualties of war and was inspired by photographs taken of victims of the Khmer Rouge. The title of the artwork 'Illuminate Us' is inscribed at the base of the face and is a play on Illuminati and the United States of America.
Accession No
PA2012.044

Artwork of etching ink on photographic paper. The upper part of the artwork depicts an aeroplane flying through a grainy sky. The lower part shows a lone figure struggling through a dusty landscape.
Accession No
PA2012.061

Name/Title
Artwork of etching ink and pencil on exposed photographic paper. The artwork shows two white fields on a black background. The pencil drawings on the field on the left depict one of the World Trade Center Towers. The artwork is a working-drawing in which Morris explores questions surrounding the strength of the Towers' cores and what caused them to collapse on 11 Septemeber 2001.
Accession No
PA2012.095

Collection of 26 photographs found during the demolition of Gibsons Motors / Newmans Bus Depot. Photographs include several views of the Mokau River punt; New Plymouth foreshore with view of Dicky Barret's grave; view of Marsland Hill barracks; an exterior view of Gibsons Motors; the 1927 opening of Mokau Bridge; several group images of Gibsons Motors staff; a view of the New Plymouth bowling club; multiple views of New Plymouth township (circa late 1800s); view of exterior of St Mary's Church with ivy growing over the walls; children weaving a maypole at New Plymouth High School; a view of the rock pool, Kawaroa; a photograph of Dick Kibby in the 'Sea Dog' jet boat on Waitara River; and a group photograph of Veterans Association, which includes George Gibson, the founder of Gibsons Motors Ltd.
Accession No
PHO2008-1841

Print of episode 58 from the 'Dick Sargeson' comic strip scanned directly from original episode that featured in 'The Listener' in the 1980s. The episode refers to Dioxin Man, a character that was introduced to the Sargeson storyline after a chemical spill at Ivon Watkins Dow, New Plymouth. Episode 58 features the boss of the chemical plant - 'played' by Barry Wiseman, who was involved with New Plymouth's Little Theatre - and the boss' right hand man, Lurgan, 'played' by artist and art tutor Lee Morgan.
Accession No
PA2009.101

Print of episode 59 from the 'Dick Sargeson' comic strip, scanned directly from original episode that featured in 'The Listener' in the 1980s. The episode refers to Dioxin Man, a character that was introduced to the Sargeson storyline after a chemical spill at Ivon Watkins Dow, New Plymouth. Episode 59 features local artist Wayne Morris, who 'plays' Bruce Bildgepipe (also known as Dioxin Man), the boss of the chemical plant - 'played' by Barry Wiseman, who was involved with New Plymouth's Little Theatre - and the boss' right hand man, Lurgan, 'played' by artist and art tutor Lee Morgan.
Accession No
PA2009.102

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

Exterior view of a two storey wooden house, 113 Lemon Street, New Plymouth. Picket fence in foreground.
Accession No
A66.683

Two sketches adhered together relating to the murder of Mary Dobie on 25 November 1880. The top sketch shows the place where Dobie was killed. A road and rock-lined pathway are pictured in the foreground and who figures are visible standing on a hill in the middleground. The bottom sketch shows Tuhiata, who was tried, convicted and hanged for murdering Dobie. He is pictured with his hands crossed over his chest and a pipe in his mouth. He is wearing a grey jacket. Dobie, who was an artist, had walked to Te Namu Bay to sketch Mt Egmont/Taranaki for the 'Graphic' when she was killed by Tuhiata.
Accession No
PA2011.078

Panoramic sketch in two halves of Mount Taranaki and the Kaitaki Ranges. The Armed Constabulary camp at Cape Egmont is pictured in the middle of the panorama. The Armed Constabulary camp at Pungarehu is pictured in the middle of the right hand side of the panorama. Telegraph wires are pictured lower right and a large plume of smoke is pictured on the left of the panorama. The words "Swamp / Pungarehu Camp / Parihaka / Mt Egmont and Taranaki" are noted in pencil on the right and "Kaitaki" is written lower left of the panorama.
Accession No
PA2011.079

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
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