The Tatham Art Gallery is saddened to learn of the passing of Valerie Maggs in Cape Town on 12 March 2020.

Pic: Valerie Maggs in Cape Town, October 2019

Valerie Maggs’ contribution to and support of the arts in KwaZulu-Natal was substantial. 

She was instrumental in setting up the African Art Centre in Pietermaritzburg, which provided an outlet and income for local crafters. She was also a member of the Natal Arts Trust which supports artists and Art Museums in KwaZulu-Natal.

Val was a pillar of support to the Tatham Art Gallery for over forty years.  She was a member and Chairperson of the Gallery’s Acquisitions Committee and  a member of the Tatham Board of Trustees and Chairperson of The Friends of the Tatham Art Gallery for many years.  She was an exceptional art teacher and ran a vibrant art school until she retired to Cape Town a couple of years ago.  We will miss her colourful  and unique approach to life, her unfailing support of the Tatham Art Gallery and her deep integrity as an artist and teacher.

Tatham Art Gallery

The Tatham Art Gallery is one of the major art museums in South Africa. This art museum is funded by the Msunduzi Municipality and belongs to the residents of Pietermaritzburg, the capital of KwaZulu-Natal. The Tatham Art Gallery serves the Msunduzi region through the Visual Arts.

A core function of the Tatham Art Gallery, established in 1903, is to display art. This is accomplished through the hosting of a range of art exhibitions. These include travelling and researched exhibitions as well as exhibitions initiated by the Gallery, and based on art works in the permanent collection.

The Permanent Collection

A selection of the Tatham Art Gallery's permanent collection is always on display. Work by South African and European artists is displayed upstairs. The work of KwaZulu-Natal artists is displayed downstairs. A selection of ceramics is displayed in the Ceramics Room.

The Main Exhibition Room

The Tatham Art Gallery displays major exhibitions in the Main Exhibition Room downstairs. Exhibitions change on a regular basis. These include travelling and researched exhibitions showing the works of groups or individual artists of significance. There are also exhibitions organised by the Gallery that draw on the works in the permanent collection or from artists of KwaZulu-Natal.

The Schreiner Gallery

The Schreiner Gallery is an exhibition space dedicated to smaller temporary exhibitions. Artists may apply to use this space for solo or group exhibitions. Visit the EXHIBITIONS page here for more and for requirements if you wish to apply.

Education

The Tatham Art Gallery has an extensive Education and Outreach programme, including art classes for the youth, Art Educator training , an Artist’s Forum and Lectures and talks.   Continue reading →

Temporary Exhibitions

More from ‘Our Choice’

Selected images with accompanying text from ‘Our Choice’.

Workshops

Current Exhibitions from the Collection

Migrations: Time - Place - Culture

This eclectic display of European and South African art works spans more than three centuries. Each art work has its own story to tell.

Preller’s painting, Still Life with Pomegranates (1951), is a typical assembly of objets trouvé used by the artist in his still life paintings. The patterned vase, fruit and wooden fruiterer’s box are all talismans to which he frequently turned for artistic inspiration. The patterned Persian vase becomes a central object. This vase, given to him as a boy by his mother, was cherished and was often referred to by Preller as one of his 'household gods', a collection of modest but important objects that were to inspire works throughout his lifetime.

Brendan Bell’s art work, Meditation: Avalon Springs (above) , is a gouache work on paper, with elements of collage. It was created after a family holiday at a holiday resort. Viewers are invited to make their own interpretations of this complex work, which is structured like a medieval altar piece, by considering texture, water, landscape, religious icons, multicultural figures and even furniture.

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• Perimeter Gallery

Containers for Liquid

The glass cabinets in this venue are filled with a variety of liquid-holding containers from the Gallery’s permanent collection. They represent different cultures, purposes, designs and materials. On show are  vessels  made  from materials as diverse as earthenware, stoneware, porcelain, glass wood and bronze. Their designs vary according to the liquids they are meant to hold. They could contain water, milk, beer, wine, tea or coffee.

Porcelain originated in the East and has been widely used to hold hot liquids. René Lalique (1860-1945) was a famous French designer of glass containers, often used as vases. The Nala and Magwaza families are renowned for their exquisitely decorated burnished earthenware forms, based on traditional Zulu beer vessels.

The vessel by Hendrik Stroebel (above) is too large for a cabinet and is mounted on a free standing wrought-iron stand. The design represents different cultures and religions, and is a surprizing combination of metal, clay and embroidery.

On show are vessels made from materials as diverse as earthenware, porcelain, glass, wood, and bronze. We challenge you as the viewer to compare the various forms and functions.

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• Ceramics Room

The South African Landscape

This display, selected from the Gallery’s permanent collection, features landscape paintings by South African artists. For concert goers they have become a serene background to the world-class music performed in this room. While listening, the  audience could  focus  on  a painting and ponder on the meaning of land from different perspectives. One could ask: Who painted this landscape? How has the scene changed over the years? What impact did the changes have on people’s lives?

Landscapes by South African artists can stir up different associations with the land for different viewers, such as elements of memory and place.

This display, selected from the Gallery’s permanent collection, focuses on landscape painting by South African artists, but makes room for some exceptions. To a greater or lesser degree, all these artworks deal with abstraction.

Andrew Verster’s Storm Colour could suggest the climatic changes that are taking place and affecting our weather patterns which in many cases have become unpredictable and intense.

The title of the painting Absence/Presence by Virginia MacKenny raises more questions than answers. The composition is strange with the focal point being a draped green cloth on the left side which dominates the painting. There is absence of water in the dry dam with the jetty standing exposed in the middle section  of the composition. A post with a sign only known by the artist is facing away from the viewer. Three boats lie abandoned on the sand.

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• Lorna Ferguson Room

Point of view

Staff retiring December 2019

Two of our staff retired at the end of last year. Kobie Venter joined the Gallery in a temporary capacity in 1999, and has kept us all on track since then, and Mary Kleinenberg has managed the Gallery Shop since 2001. We wish them both well and thank them for their lengthy and dedicated years of service. We will miss them both very much.

We asked them both for a few recollections and thoughts on their involvement with the gallery.

“It was with some surprise that I realised I had been in the Tatham Shop for 18 years. I started when, after retiring from Association for Rural Advancement (Afra), Brendan Bell asked me if I would help in the shop over the Christmas period. At the time I didn’t think it was something I wanted to do, but all these years later I find I have been challenged, and learned and gained a great deal from my association with the Gallery. I shall miss the talented people who make the exquisite craft, my colleagues, and spending so much time in the beautiful surroundings of a world class Gallery. It has been a privilege to work with the whole Tatham community.”
Mary Kleinenberg

“Fond memories of working at the Tatham Art Gallery - Kobie Venter - 30 December 2019

1977
We came to live in Pietermaritzburg in 1977, and I have been in love with the Tatham Art Gallery for more than 40 years. The present building was built around 1875, and at one time served as the Supreme Court, but the Tatham Art Collection started in 1903, and moved to this building from its first home, the City Hall, in 1990. 

My more intimate relationship with the Tatham began when I became a temporary staff member in 1999 - 20 years ago. I am tempted to say that I have loved every minute of that time, but perhaps I should just say that I loved almost every minute. After all, we did have our ups and downs. 

1999
One of my earliest memories of working at the Tatham Art Gallery was when a handsome, blonde young man was looking for face powder to tone down highlights for a photo shoot in the Lorna Ferguson Room. Only one staff member had powder … in quite a few shades darker than the young man’s complexion. To my embarrassment, I ended up doing the powdering. But the result was a charming photograph of the pianist, who later became very involved in Gallery matters. 

2003
In 2003, the Gallery celebrated its centenary with a Centenary Ball, and artists from around the country took part in a competition to create a royal partner for the large Queen Victoria painting in the stairwell. The portrait of King Cetshwayo kaMpande had to be of equal size and dignity. The two royals have now hung together in harmony for 16 years, and their eyes seem to follow you as you walk across the landing. There are rumours that the two, who met in real life in about 1884, have secret conversations at night when the Gallery is quiet.

2009
One day, in June 2009, we all scrambled up the narrow ladder to the flat part of the roof of the Gallery, cameras in hand, and looked west. The sight was rather spectacular. The statue of Gandhi in Church Street was looking down at some feeble piddles coming from a few scattered hosepipes. High up behind Gandhi the roof of the massive Old Colonial Building was on fire. Wooden structures crumbled as flaming tongues licked the sky. 

We all realized how hazardous fire could be for an old building such as ours. With renewed effort, we inspected and improved our fire protection systems, even if it meant that staff and visitors would sometimes be rudely brought back to reality when the loud alarm system gets tested.

2010
There is so much to remember. In 2010, going on a series of field trips made possible by a generous grant from the National Arts Council of South Africa resulted in a precious exhibition and catalogue called Meeting the Makers. We travelled in teams of four and went to document craft makers in all the corners of KwaZulu-Natal. As a result we now have an amazing collection of contemporary craft in the Gallery.

2017
In May 2017 it was a great shock to everyone when disaster came from below, in the form of water!: Electricity cuts caused pumps to fail, and the Gallery’s basement storage area was flooded by an underground river, damaging hundreds of art works. Staff, volunteers and professionals worked around the clock, and through huge effort and excellent planning almost all these works could be restored, and are today in a better condition than before the flood. This was made possible by a generous pay out by the insurance company.

2019
Upstairs in the Ceramics Room one is reminded of the creative powers of water and fire, when combined with earth, which also reminds one of the origins of the lovely old red brick building. Behind the red brick walls, the small but dedicated professional staff works astonishingly hard to produce and hang 12 or more changing exhibitions per year. Over many years, colleagues have turned into brothers and sisters, overcoming the same struggles and challenges. The Gallery spirit seems to work behind the scenes, and once the works are hung, they seem to take on a life of their own. And each viewer also brings something new through association and imagination.

One of my favourite works to visit with groups of children is the painting Something for Growth, by Progress Matubako, which is hanging in the foyer at the moment. The artist has managed to turn a famous photograph of the friend carrying the body of Hector Peterson’s body into a powerful painting. In the place of the body he painted a cushion supporting a bundle wrapped in the new South African flag. My favourite question to the children (and grown-ups) has been: What could be inside that bundle? Answers vary from food to stones to diamonds to clothes, and even nappies for the naked children!

Then there is the mysterious case of the missing finger nails. Jane Alexander’s well-known sculpture, Stripped “Oh Yes” Girl, had artificial fingernails to start with. They kept disappearing, until we eventually stopped replacing them. What astounds me is the urge in human beings to prolong the abuse of the unfortunate woman.

After my retirement at the end of 2019, I hope to carry on spending time with my unforgettable gallery, looking leisurely at displays, perhaps spending more time in the Coffee Shop without having to hurry up and go back to the office. 

In my mind, true education often starts with having a sense of wonder. I believe that with this approach each exhibition could turn into a magical experience for the viewer. Take, for example, the latest Main Gallery exhibition downstairs, Our Choice, which brings together works selected by staff and committee members of the Tatham. What I would like to do, is choose a theme, for example, clothing, and look at each separate art work with this in mind. If there are people in the art work, I’ll ask myself, how are they clothed, and is there a message behind this attire (or non-attire)? 

In this way I hope to be surprised by my own thoughts and imagination for a long time to come… “
Kobie Venter - 30 December 2019

Visit the Cafe Tatham for the best cappuccino and cake in town!

CALENDER

Find out more about your possible experience at the Tatham! Go to VISIT!