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An orange presentation folder of nine letterpress prints of sketches made by Sapper Horace Moore-Jones N.Z.E. at Anzac Cove, 1915. The prints are unframed and mounted on card with printed captions underneath. This folder of prints come from a print run by Mr W.J.Bryce of Moore-Jones' sketches made in circa February 1917. The prints are captioned with the following titles and descriptions:
"ANZAC COVE / The Historic Landing Place of the Australian and New Zealand Army Corps, April 25th, 1915."
"TURK ENTRENCHED POSITIONS / Sketch looking North-East, descriptive of the country immediately in front of our Firing Lines."
"THE SPHINX / One of the many Wings of Sairi Bair, honeycombed with dug-outs. A Rest Camp, called by the New Zealand Boys / Wellington Street."
"LOOKING NORTH OVER SHRAPNEL GULLY / Showing the Inner and Outer Lines, Deadman's Ridge, etc., and further North the Trenches on the Sairi Bair Range. / Sketched from Indian Mountain Battery."
"OUTPOSTS Nos. 1, 2, AND 3 / Showing the Trenches winding through the country by which communication was maintained between Walker's Ridge, The Outposts, and Suvla, via Fisherman's Hut."
"THE TERRIBLE COUNTRY TOWARDS SUVLA / Sketched looking North and down from the Heights of Walker's Ridge and Russell's Top, showing the Suvla Bay Landing / Places - B & C Beaches, -Salt Lake, Chocolate Hill, Table Top, and the Village of Biyuk Anafarta, etc."
"THE HISTORIC POSITIONS / Pope's, Quinn's, Courtney's etc. Sketched from the Inner Lines on the Heights above Anzac Cove."
"THE COAST NORTH OF ANZAC COVE / Showing Plugge's Plateau, The Sphinx, Walker's Ridge, and Russell's Top."
Showing Bolton's Hill and the Turk positions at Gaba Tepe, the Olive Grove and Achi Baba."
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Depicts conflict in bush with Armed Constabulary and Maori Forces. Von Tempsky shown, sword in hand, being shot.
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A black ink and wash sketch by Murray Moorhead, c.1980s. It is presumed to illustrate the attack of Te Kohia Pa, Waitara in 1860 by the Taranaki Mounted Volunteers. Sarten and two unidentified figures on horse back reach for the red flag at Te Kohia Pa (known as the "L" pa due to its layout). On the horizon are colonial troops and weaponary including canons.
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Cartoon depicting an arm sporting the Nazi Party's swastika emblem holding a white flag aloft towards dark clouds in the sky. Refers to the German surrender of early May 1945 at the end of WWII.
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Lithograph depicting a Greek belly amphora decorated with scenes relating to the Taranaki Wars (1860-1866) and Tītokowaru's War (June 1868 to March 1869). All the figures represented on the amphora are in Greek style. The main frieze on the body of the amphora shows Riwha Tītokowaru sitting on a tree stump while prodding the embers of a fire with a stick. He is wearing a hat and chequered blanket. He is framed by two ponga trees. A bird with wings depicted as stylised eyes sits in the tree behind Tītokowaru. Behind that tree another Greek vase sits on the ground holding a tewhatewha and a cross. A taniwha figure is pictured in front of the opposite ponga tree. The friezes above the central image show settlers arriving on ships and pulling carts in convoy, a line of sheep and Mount Taranaki. The friezes below the central image show more processions of settlers arriving with carts and goods.
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Lithograph depicting Te Whiti and Tītokowaru discussing the question, 'what is peace?'. Both men are represented in a Greek style. Te Whiti is wearing a cloak and hat and is holding a taiaha. Tītokowaru is wearing a chequered blanket and is holding a tewhatewha. His hat is resting against his seat. Both men are bent over a small table and are gesturing with one hand. On the left of the image a statue of Captain Cook is camouflaged in a tree, possibly a rata. Another tree, also possibly a rata, is visible on the right of the image. Vegetation including ferns is depicted in the foreground and middleground. Mount Taranaki dominates the background.
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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.
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Colours of the First Battalion of the Royal Irish Regiment.
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View of the end of Pratt's sap, which was constructed during the seige of Hapurona's Pa, Te Arei (seen in the background) with further protective outwork on the left. Shown as it appeared on conclusion of fighting between the Maori defenders and British forces, 19 March 1861. Seated Maori figure with horse and rider on left side.
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Column of Pakeha troops advancing on earthwalled redoubt with Maori defenders leaving by rear. Foreground skirmishing between regimental troops and Maori forces. Huts on redoubt interior are filled with smoke billowing above. Kaitake, Pouakai and Mt Taranaki/Egmont in background (all with exaggerated height perspective). Printed text along lower edge reads as follows: "THE WAR IN NEW ZEALAND : THE 57TH REGIMENT TAKING A MAORI REDOUBT ON THE KATIKARA RIVER, TARANAKI. - SEE PAGE 222". The illustration is taken from page 212 of the Illustrated London News, August 29, 1863. Printed text is visible through the image on the verso of the page.
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Chromolithograph depicting Mt Taranaki/Egmont in the rear with redoubt (Turuturu Mokai) in middle distance and six raupo huts in front and to the left. One marked with a "+" is captioned "Capt Ross' Whare".
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View from Marsland Hill of troops disembarking from 'H.M.V.S. Victoria'. Has legend at bottom left corner numbering and naming the sites.
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Troops from the 40th Regiment disembarking from "H.M.V.S. Victoria" on 3 August 1860. Amongst the other vessels off shore are the "Tasmanian Maid", the "Airedale" and the "George Henderson". Also depicted is the original St. Mary's Church and parade of Imperial Troops and Militia.
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View of New Plymouth from Marsland Hill. St Mary's Church pictured in the foreground, the signal flag on Mount Eliot (Puke Ariki pa) in the middleground and ships off the coast of New Plymouth in the background. Possibly a record of the day troops from the 40th Regiment disembarked from the 'H.M.V.S. Victoria' on 3 August 1860.
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The colours of the Taranaki Militia and Volunteers. Depicts a crown, crossed flags, name scrolls and "Waireka 1860".
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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.
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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.
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Imperial troops disembarking the "H.M.V.S. Victoria" off the coast of New Plymouth. Two surfboats carrying soldiers in red coats are featured in the foreground. Both boats are chartered by men in blue and white suits (Navy?) and a large cask floats in the water to the left of the boat in the left corner. Men wearing both uniforms can be seen on board the "H.M.V.S. Victoria" which is flying the Union Jack from a staff at the rear of the boat. Several other ships, including the "Airedale", "George Henderson" and "Tasmanian Maid", are headed towards New Plymouth which is located near the centre left edge beneath Mt Taranaki/Egmont. The barracks on Marsland Hill is the main feature of the settlement. The Pouakai and Kaitake ranges, as well as the Sugar Loaf Islands, feature as part of the landscape profile.
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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.
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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'.
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Mono print depicting a figure crouched and cowering. A partially visible man, with only the bottom half of his body depicted, stands over the figure holding a gun. The barrel of the gun is also only partially visible.
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Cartoon commenting on the potential size of post-WWII taxation.
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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.
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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.
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Small watercolour of Armed Constabulary's redoubt at Wai-iti from Papatiki (Bushranger's redoubt). Depicts collection of small buildings lower centre with column of smoke emitting from one of the buildngs. Redoubt positioned on flat land surrounded by hills - brown fern regrowth immediate foreground, large light green hill right background and distant blue hills left background. Small line of bush located to right of buildings - beginning lower middle right; larger patch of bush located to left of buildings - lower middle left.
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