Context (CMS Context)
(bio) 'Judus Mahlangu was born on 14 January 1951 in Brakpan, Transvaal. Mahlangu matriculated at KwaPhakama High School in Springs in 1969 where he first studied art. From 1972 to 1974 he studied at Rorke's Drift and in 1975 he opened a graphic studio in his house in Kwa Thema, near Springs, where he worked as a freelance artist until 1982. From 1973 to 1976 he was helped by Lucas Sithole and in 1975 he studied at the Bill Ainslie Studios. In 1976 and 1977 Mahlangu worked with Mel Brigg in Springs. Until the late 1970s his work was sold byJasna Bufacchi. In 1980 he was a guest lecturer at the Natal Technikon. Since 1982 Mahlangu has worked at the SABC as a graphic artist. He is a member of the Soweto Art Society and SAAA and produces both mono- and polychromatic etchings.' [from http://www.sahistory.org.za/people/judus-mahlangu].
Event Date 15/7/2014
Author: Remke van der Velden

Context (CMS Context)
Acquired directly from the artist, Judus Mahlangu, Dunnottar, c.2001 while on a research trip with Nirmi Zeigler and Nessa Leibhammer. One of the works made by Rorke's Drift artists post 1982. From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013].
Event Date 15/7/2014
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 15/7/2014
Author: maa

Description (CMS Description)
Drypoint by Judus Mahlangu titled 'Totem pole II - family tree', 1994. Edition: Artist proof 10/10. Signed, dated and inscribed: 'A/P 10/10 Totem Pole II Family Tree Judus Mahlangu '94'. Blindstamp on edges and indentation in top center edge. Condition: Good.
Event Date 15/7/2014
Author: maa