Accession No

2014.215


Description

print; linocut - Linocut by Muzi Tabete untitled (sacred spring with four guardian elephants/lion and four elephants), 1962. Edition: unnumbered. Condition: Good. Framed and glazed. Top right of frame nicked. Brown tape and wire on reverse.


Place

Africa; Southern Africa; South Africa; KwaZulu Natal; Rorke's Drift; Evangelical Lutheran Art and Craft Centre


Period


Source

Hobbs, Philippa Anne [collector and vendor]; Art Fund [monetary donor]; V&A Purchase Grant Fund [monetary donor]


Department

Anth


Reference Numbers

2014.215


Cultural Affliation


Material

Paper; Pigment


Local Term


Measurements


Events

Context (CMS Context)
(Bio) Muzi Tabete was illiterate and his teacher Gowenius at Ceza Hospital was convinced he had never held a pencil before he made linocuts. None are therefore signed by him, but were quite often inscribed by Gowenius.
Only about four or five different linocut images made by Tabete are known to have survived. Other copies of it appear in a private collection in South Africa, the ELC Collection, the Sellman collection, and apparently in the Volkekunde Museum in Germany.
Like all the surviving works by Tabete this work is unlikely to come up for auction. In recent years Tabete’s prints – which he only did over a short period in early 1962 while he was convalescing at Ceza Mission Hospital – has attracted some interest amongst art historians because he was apprenticed to the influential artist-prophet and medicine man, Laduma Madela. From an unpublished internal document, ‘PH Comments on artworks', by P. Hobbs, undated [2013].
Event Date 12/8/2014
Author: Remke van der Velden


Context (CMS Context)
Gift from Otto Lundbohm a former Rorke's Drift teacher, to Hobbs on first field trip to Sweden in 1999. Probably originally acquired by Lundbohm at Gowenius exhibition in Sweden. 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; 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 From an unpublished internal document, 'Comments on valuations of Rorke's Drift works in the Hobbs collection', by P. Hobbs, undated [2013]. This print may be unique. It was described in the 1960s notebook and later unpublished memoires of Peder Gowenius, the founder of the centre at Rorke’s Drift. Hobbs knows of no copies of this print in any other collection and to the best of her knowledge this linocut was unknown until she photographed it in a collection in Sweden, brought there in 1975 by one of the Rorke’s Drift teachers [?Lundbohm](although his ex-wife may have a second one).
The image has yet to be fully researched but Hobbs has managed to do some reconstruction of its iconography since publishing it in Rorke’s Drift: Empowering prints (2003). From an unpublished internal document, ‘PH Comments on artworks', by P. Hobbs, undated [2013].
Event Date 12/8/2014
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 12/8/2014
Author: maa


Description (CMS Description)
Linocut by Muzi Tabete untitled (sacred spring with four guardian elephants/lion and four elephants), 1962. Edition: unnumbered. Condition: Good. Framed and glazed. Top right of frame nicked. Brown tape and wire on reverse.
Event Date 12/8/2014
Author: maa


FM:267810

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