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Woodblock print of Morris' character Captain Buzzard Rock. The character arose out of the realisation that comic book heroes and the extreme brutality of their actions were not, in fact, that far from reality. The print is comprised of three frames showing Captain Buzzard Rock. The frames are captioned "captain buzzard rock was a mighty fine jock and a mighty fine jock was he." The back of the artwork features the details of a paint order Morris was going to send to an art supplier in Christchurch.
Accession No
PA2012.069

Name/Title
Woodblock print of a soldier figure printed on grid paper taken from a school mathematics exercise book. The soldier holds a raised gun, wears a helmet and heavy boots and assumes a fighting pose. Both sides of the paper feature a child's maths equations and a teacher's marking and feedback.
Accession No
PA2012.072

Name/Title
Artwork consisting of handmade stamps in black ink. Along the bottom of the artwork is line of Morris' symbol for fascism. In the centre two jigsaw puzzle shapes frame two long geometric shapes. The jigsaw shapes are indicative of the human figure. In the upper third of the artwork a triangle speeds towards a moon. The triangle represents a rocket or airplane. The shapes are stamped onto the pages of a book about fuels and combustion.
Accession No
PA2012.075

Name/Title
Homemade stamps in black ink of a stylised figure floating above an engine. The artwork's paper has been taken from a car manual chapter entitled "Fuel, exhaust and emission control systems". The artwork examines the military and machine dominated world we are living in.
Accession No
PA2012.074

Name/Title
Wood cut print depicting a car crashed in the middle of a road.
Accession No
PA2012.076

Name/Title
Screen print depicting cityscape of Auckland at night-time in blue, black, orange and yellow inks. The bright light's of the city are reflected in the dark-toned harbour. The Sky Tower stands prominently in the right of the image. The print is an artist's proof.
Accession No
PA2012.105

Woodblock print in black ink on white paper. The print is approximately 1/3 of what was once a larger image. The 1/3 represented here depicts a television. A distoted close-up portrait of former United States President George W. Bush takes up the entire television screen. 'In the Houses of Shadow' relates to the September 11 "Terrorist Attacks" on the World Trade Center and ponders how much of the true story is being covered up.
Accession No
PA2012.106

Cartoon about 2XP radio station in New Plymouth. The cartoon features Howard Gough, manager of the Programming Department, trying to get three employees to catalogue the new records. Gough is wheeling in a wheelbarrow full of cards and outlines to his employees what he would like them to do. The three employees are lounging behind desks and are making dismissive comments.
Accession No
PA2012.119

Cartoon about a newly appointed Programme Officer called Mike at 2XP radio station in New Plymouth. It features five frames and focusses on Mike's interactions with various other 2XP staff. The cartoon is drawn on the back of an auto-cue programme dating from June 1967.
Accession No
PA2012.126

Unfinished cartoon started on Graham Kirk's way back from the United Kingdom in 1970. It features five frames that focuses on a character - possibly the artist - returning from travelling, including arriving home aboard a ship and catching a train. Text
Accession No
PA2012.127

Inkjet print of original Graham Kirk painting "Halley's Comet Over Hawera". It shows a view of High Street, Hawera during an appearance of Halley's Comet. The comet is depicted as a glowing white orb with a tail of vivid reds and oranges against a starry night sky. The streetscape below is largely deserted except for one lone figure and a parked car. The metal railings of a bike stand and a bed of orange flowers run along the print's foreground. There is a bicycle in the bike stand.
Accession No
PA2012.136

Inkjet print of original Graham Kirk painting "Xena Over Back Beach". It shows the fictional television character Xena from the fantasy adventure series "Xena: Warrior Princess" riding a horse on the hill above New Plymouth's Back Beach. The Xena character was played by New Zealand actress Lucy Lawless. The Sugar Loaf Islands are visible off the coast. The original painting is part of Kirk's "Superheroes in New Zealand" paintings series.
Accession No
PA2012.139

Name/Title
Inkjet print of original Graham Kirk painting "Road to Manaia". It imagines Molly Macalister's monumental bronze sculpture "Maori Warrior" (1964-1966) transported from its usual location in Queen Elizabeth II Square, Auckland to a rural Taranaki roadside. Dark clouds loom ominously in the distance, indicating the coming of a storm.
Accession No
PA2012.140

Name/Title
Self portrait of Peter Lambert wearing a green t-shirt.
Accession No
A64.641

Red and yellow flowers in a garden at Pukekura Park, New Plymouth. Several large trees and the roof of a building are visible in the background. Rendered predominantly in greens, red, yellow, black and purple.
Accession No
A64.613

Name/Title
Portrait of Michael Smither rendered in rainbow colours and set against a blue/grey background.
Accession No
A65.616

Name/Title
Flowers in a garden. Wooden structure partially visible through creeping plants including jasmine. Rendered predominantly in greens, pink, white, orange, purple and blues.
Accession No
A64.615

View of Ōākura Beach at sunset. Rocks visible on beach and in the waves. Clouds in the sky. Rendered predominantly in blues, shades of orange, grey and black.
Accession No
A64.643

Name/Title
Bust portrait of a man with dark hair and wearing a white t-shirt. Blue background.
Accession No
A64.624

Name/Title
Bust portrait of a man with black hair and wearing a black t-shirt. Predominantly white background.
Accession No
A64.623

Name/Title
Stylised portrait of a nude woman. Background in two blocks of colour - red and navy blue. The woman is rendered in pink and brown/black.
Accession No
A65.598

Dry point etching referencing navigational charts that document shoreline profiles to indicate a course when approaching ports. Smith's artwork shows three different boxed views of the shoreline in front of Puke Ariki pā, New Plymouth. The first shows a traditional vessel approaching the coastline of Taranaki from the sea. The second shows the coastline from a closer viewpoint and also references the coastline in the style of hydrographic charts. It also features the words "uneven seabed / rocky sandy" next to it. The third shows both the coastline and the charting from a similar perspective but includes the words "sea bed / hillside and / ancestral remains" next to it. A compass point has been printed in pink ink lower right. The artwork references historical hydrographic charts held in Puke Ariki's Archives Collection and indicates changes in use of the shoreline around Puke Ariki - from being a place used predominantly for collecting seafood to a place "that contains the remains of the hillside and includes human remains of previous occupation" (Vicki Smith).
Accession No
PA2013.012

Digital collage comprising three elements layered to form a self-portrait of Taranaki artist Dale Copeland. The background layer is a dusky brown colourfield from which a photograph of Copeland at age 5 emerges on the left. A colour photograph occupies the ceter of the composition and slightly overlaps the figure of the five year old girl. The colour photograph shows Copeland age 40 reflected in a mirror. A doll's head, a human skull and a blue vase of pink flowers overlap the reflection. The photograph has a white boarder. An x-ray taken of Copeland's right hand when she was 69 years old reaches up and over the other two elements from the lower right of the composition. Copeland was wearing a thumb ring when the x-ray was taken, it appears as a startlingly white loop on the skeleton thumb in the image.
Accession No
PA2013.019

Colours of the First Battalion of the Royal Irish Regiment.
Accession No
A66.698

Pencil drawing with watercolour wash showing the view from the western side of the Bell Block Stockade, 1860. Looking out over the Bell Village District and showing the Anglican and Primitive Methodist Churches, the Village Inn and the residence of James Marshall. Soldiers with cannon in foreground.
Accession No
A75.454
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