Context (Related Documents)
The print is inscribed 'Adam and Eve in Paradise' on the version at the Evangelical Lutheran Church Art and Craft centre, Rorke’s Drift.

From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013].

Event Date
Author: Remke van der Velden

Context (Production / use)
Paulos Mchunu (born 1932)
Event Date
Author: rachel hand

Context (Related Documents)
Hobbs has found other impressions of this linocut in a private collection belonging to former Rorke's Drift staff in Glimakra, Sweden, and in the weaving teacher Malin Sellman's collection, and in the ELC collection. The edition number stated on the Sellman print is 35/50.
The copy in the Hobbs collection is considered to have been used as the actual guide in the weaving loom when a weaving of the central section of this image was made. This is now hanging in a private collection in Johannesburg. The story of the print and weaving is told 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; William Humphreys Art Gallery, Kimberly, Durban Art Gallery, Oliewenhuis, Ann Bryant and Fort Hare, 2003-5.
The print is inscribed 'Adam and Eve in Paradise' on the ELC version. This print was gifted to Hobbs with one corner in need of repair. Was subsequently professionally restored.

From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013].
Event Date
Author: rachel hand

Context (Display)
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; William Humphreys Art Gallery, Kimberly, Durban Art Gallery, Oliewenhuis, Ann Bryant and Fort Hare, 2003-5.
Event Date 2003
Author: rachel hand

Context (References)
The story of the print and weaving is told in Hobbs and Rankin (2003) 'Rorke's Drift Empowering Prints, (Cape Town: Double Story), p.218. The artist is referenced as 'Paulos E. Mchunu'.

From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013].
Event Date 2003
Author: rachel hand

Description (CMS Description)
Linocut by Paulos Mchunu titled 'African Expulsion', c.1968. Edition: Unnumbered.
Event Date 16/7/2014
Author: maa

Context (Field collection)
Acquired by Hobbs from Johannsons, former Rorke's Drift staff, in Glimakra, Sweden in 2001. An unusual history. Frame obscures inscriptions. Check inscription under mount when next reframing. Appears in 1968 catalogues = date ante quem. Edition of 50 is stated in old catalogues

From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013].
Event Date 16/7/2014
Author: Remke van der Velden

Context (Acquisition Details)
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 16/7/2014
Author: maa

Context (References)
Illustrated in Philippa Hobbs ‘Art is different from life’: Doctrine and agency in Thokozile Philda Majozi’s insights and imagery.
Captioned 'Paulos Mchunu Adam and Eve (1968). Linocut. 54.5 x 67.5 cm. Collection: School of Archeology and Anthropology, Cambridge University (Photo: Russell
Scott).
Event Date 2021
Author: rachel hand