Context (CMS Context)
(bio) 'Sokhaya Charles Basil Nkosi was born on 27 January 1949 in Durban. From 1974 to 1976 Nkosi studied painting, graphics, sculpture, weaving and ceramics at Rorke's Drift. From 1977 to 1980 he worked full-time at his art at Mariannhill. From 1980 to 1981, he taught art at the Open School, Durban. Between 1982 and 1986 he was employed as a graphic artist by the SABC. Since 1986 he has been a senior tutor at the AIA, FUNDA, teaching drawing and painting to diploma students.' [From http://www.sahistory.org.za/people/sokhaya-charles-nkosi]. Also featured in Hobbs and Rankin: 'Rorke's Drift Empowering Prints', 2003, p.221.
Event Date 22/7/2014
Author: Remke van der Velden

Context (CMS Context)
Acquired directly from the artist by Hobbs in Soweto. Featured in Hobbs and Rankin: 'Rorke's Drift Empowering Prints', 2003. Exhibited in 'Rorke's Drift Empowering Prints' held at Johannesburg Art Gallery; Isiko South African National Gallery, Cape Town; Nelson Mandela Metropolitan Art Museum, Port Elizabeth; PAG; Oliewenhuis; Ann Bryant; Fort Hare; William Humphreys Art Gallery, Kimberly; Durban Art Gallery, 2003-5. From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013]. The titles to this edition are variable.
A number of the copies in this series of editions are in the Fort Hare collection, the ELC collection and the UZ collection. Editions of each image totalled about 14 prints.
From the series for which Nkosi is most esteemed. From an unpublished internal document, ‘PH Comments on artworks', by P. Hobbs, undated [2013].
Event Date 22/7/2014
Author: Remke van der Velden

Context (CMS Context)
The Hobbs' Rorke's Drift Collection was purchased from the collector, South African printmaker and art historian Philippa Anne Hobbs, with money from the Victoria and Albert Museum Purchase Grant Fund, The Art Fund and private donations. The collection included items received through a combination of gift and purchase.

From the early 1960s, one of the most important centres for new practice in southern Africa was the Evangelical Lutheran Art and Craft Centre, situated at the battlefield site of Rorke's Drift in what is now KwaZulu Natal. The project was led by teachers, Peder and Ulla Gowenius, graduates of the Konstfackskolan, a Bauhaus style modernist institute. They worked with patients recuperating from tuberculosis at the Ceza Hospital and saw crafts such as weaving essentially as therapeutic, but economic empowerment was also an aim, hence work was sold locally and through exhibitions in Sweden, a training programme was developed, and printmaking was introduced early in 1962. From the beginning, linocuts made by Azaria Mbatha (1941-) and Muziweyixhwala Tabethe were highly impressive; they embraced Biblical subjects, indigenous belief, and historical scenes related to Zulu identity.

In 1963 the ELC relocated to Rorke's Drift and expanded its activities. The Centre was virtually alone in providing a place during the Apartheid period in which black artists could train and produce work. In 1968 Otto and Malin Lundbohm arrived, bringing new expertise in textile screenprinting; Otto Lundbohm became principal in 1969 and led the school until 1975. Students who became major practitioners included Dan Rakgoathe (1937-), Vuminkosi Zulu (1948-1996), Charles Nkosi (1949), Tony Nkotsi (1955-), and Sam Nhlengethwa (1955-).

From the mid-1990s Philippa Hobbs collaborated with Elizabeth Rankin towards what is now the standard monograph, Rorke's Drift: Empowering Prints (2003). To facilitate her research she assembled a collection, purchasing some works from artists, and a substantial group from former principal, Otto Lundbohm, who had himself bought the prints directly from the artists. A total of 61 works fully represent the development of printmaking at Rorke's Drift. The collection includes the key early works by Mbatha and Tabete, dating from 1962, and prints by all the other significant Rorke's Drift artists .These are complemented by a further 22 prints made by Rorke's Drift artists after the centre closed in 1982; this group includes Joel Sibisi's 1994 print, Voting at Rorke's Drift, bringing the story into the post-Apartheid period. The Hobbs collection is the strongest of any private collection representing the ELC and these artists and incorporates the personal collection of a key figure, centre principal Otto Lundbohm.

The collection represents what is not only a chapter of foundational importance in South African art history, but a vital movement that exemplifies the emergence of local modernisms worldwide. With the encouragement of outside teachers, these Zulu and other artists embraced new techniques and styles and produced art that imagined a changing world and their place within it. This was an art that gave voice to visions of liberation as well as to customary belief, the local vision of history and the environment, and to the Christian theology that became and remains fundamental and empowering for many Africans today.
Event Date 22/7/2014
Author: maa

Description (CMS Description)
Linocut by Sokhaya Charles Basil Nkosi titled 'Pain on the Cross II', 1976. Edition: Artist's Proof. Print signed, inscribed and dated 'A/P Pain on the cross II S. Charles Nkosi '76'. Condition: Good.
Event Date 22/7/2014
Author: maa