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Name/Title
Lithograph depicting four Greek neck and belly amphora vases decorated with various scenes relating to the Taranaki Wars (1860-1866) and Tītokowaru's War (June 1868 to March 1869). The vases are individually titled and all the figures are depicted in a Greek style. The vase depicted top left is titled "Neck Amphora by the Confiscation Painter, 1865-66, Side A: Teatime in Taranaki" and shows a settler family seated at a table eating a meal in a wooden hut. A dog sits begging for food at their feet. Part of Mount Taranaki is visible through the hut window. A figure wearing a lion skin is depicted digging on the neck of the vase. The vase depicted top right is titled "Neck Amphora by the Confiscation Painter, 1865-66, Side B: The Lost Harvest", which shows several figures on horseback brandishing weapons. A whare [Māori house] is burning behind them. Several figures are running away from the fire. A cabbage tree and other vegetation is visible in the foreground of the vase's body. A figure wearing a lion skin is looking through a surveying tool on the neck of the amphora. The vase depicted lower left is titled "Belly Amphora by the Provocation Painter 1868-69, Side A: The Burning Homestead" and shows a woman mourning over the body of a man. Two figures stand watching with their arms around each other. Two other figures carrying weapons are running from the scene. A burning hut is depicted on the neck of the amphora. The vase depicted lower right is titled "Belly Amphora by the Provocation Painter, 1868-69, Side B: Titokowaru waits" and shows Māori fortifications including trenches and wooden palisading. A tree and ferns are depicted on the left side of the vase. A small bird sits in the tree. Three figures with bird bodies and holding musical instruments are depicted on the neck of the amphora.
Accession No
PA2012.028

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
Wash sketch of Graham Kirk's wife reading on the couch and their dog Wiki sitting in the window.
Accession No
PA2012.133

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

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

A miniature oil painting of Elizabeth Lackworthy from Exeter (England). Contained in an oval wooden frame.
Accession No
A62.864

A miniature oil painting of Ambrose Lackworthy from Exeter (England). Contained in an oval wooden frame.
Accession No
A62.865

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 Marsland Hill from the north west with full moon rising in the south east. Barracks on top of hill with steps curving down and towards foreground. Charles Brown's grave in left foreground.

Marsland Hill provided the single most important European military establishment of the Taranaki Wars. First occupied in 1855, it provided the headquarters for Imperial troops and local forces in Taranaki until the Armed Constabulary period of the 1870s and 1880s. The site was a former pa, Pukaka, and to provide a sufficient platform for the barracks and stockade, twelve metres had to be removed from the top. The iron clad barrack buildings which were erected on top of the hill arrived from Melbourne on the "Alexander" in June 1855. Marsland Hill was at the centre of an extensive signaling system throughout the First Taranaki War and for part of the second war. Three or four canvas wicker balls were raised or lowered on the yards of a signaling mast. At its greatest extent the signaling system reached the Waitara River to the north and St George's Redoubt in the Tataraimaka Block to the south.
Accession No
A75.434

View of an Italian coastline at sunset.
Accession No
A66.775

Colours of the Taranaki Rifle Volunteers. Colours have the words "Taranaki Volunteers / Waireka" in the centre. The colours were presented at a parade on Poverty Flat (now the site of Central School) on 25 June 1861.
Accession No
A66.790

Taranaki Regiment Colours "Primus in Armis", 1916-18. Presented by Governor General Viscount Galway in a ceremony at Pukekura Park, New Plymouth, on 22 March 1936.
Accession No
A66.789

View of Mount Taranaki and the Sugar Loaf Islands from the sea.
Accession No
A66.793

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
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