Art n GRANT in Timaru -

 Mt. Somers stone sculptures. The changes in colour of the rock is part of its beauty.  Garden open at all times.
 The Aigantighe rocks.

An art museum: it collects, preserves, reaches, educates about and exhibits art for the enjoyment of all visitors.

News March 21 2017 The Timaru District Council has made a series of structural assessments of their older buildings. The latest round of assessments has shown that the house section of the Aigantighe Art Gallery, is only at 10%, below the minimum 34% new earthquake strengthening standards in the Building Amendment Act. The Timaru District Council has today decided that the house will be closed to the public and staff for more detailed assessment. All artworks displayed in the House Gallery was placed in storage. The Aigantighe will still function in the modern part of the gallery, maximum capacity of 220, but we await to see the outcome of the older building’s requirements. Off site You tube: The final stroll 49 views and counting. Aigantighe Stroll March 21 2017.  98 pieces of art shown during stroll. 68 views as of 22 April 2020.

Website. Admission is free. ph 03 688 4424 email  Instagram Colouring pages
In 2018 the gallery received 25 research requests, predominately seeking information about the collection or individual artists represented in the collection.
49 Wai-iti Rd, Timaru
Tuesday – Friday 10am – 4pm   
Saturday – Sunday 12pm – 4pm
Monday Closed. The day when many exhibitions are installed and taken down, although it could open occasionally for pre-booked tours.
25 and 26 December Closed. Other public holidays 12pm – 4pm
Facebook   Friends est. 1976  history  newsletters  Magazine article July 2015 essence  
Art on a wall is a gallery. But it's our heritage, and our community, that brings our home for art - the Aigantighe, to life. Roselyn Fauth, Oct. 2020, President Friends of Aigantighe.
My Beloved exhibit 2021. The art collection belongs to the people of the Timaru District.

Aigantighe was a beautiful homestead and still is very beautiful with lovely grounds. The property, 49 Wai-iti Road, near the corner of Le Cren St. was given to the citizens of Timaru by J. W. Grant (1879 - 1969) in 1955 to be kept as a garden, a place of peace and rest, and the house to be used as an art gallery. The grounds, about two acres, are maintained as a park, with beautiful oaks, limes, a magnolia tree and there was a flowering cherry tree at the gateway, the residence being used for the display of works of art. Lime trees (Tilia) planted in the early 1900s are protected by the Timaru District Council. Azaleas, Rhododendrons, Camellias and other reliable perennials and shrubs border the lawn. The tennis courts and conservatory were removed in 1956. Timaru's public art gallery is administered and financed by the Timaru City Council with a permanent collection of paintings, drawings, prints, and ceramics is enlarged from time to time by purchases, gifts, or bequests. Suitable travelling exhibitions are shown at the gallery. The House Gallery did feature works from the permanent collection were circulated regularly including the South Canterbury Room is dedicated to local artists in their collection like William Greene's painting of the donkeys on Caroline Bay titled The Unemployed. The Favourite room had Goldie, McMahon and Hodgkins. Upstairs a "theme" room. In 1978 a modern wing was added on. The sculpture garden was put in place in 1990 after an International Stone Carving Symposium, set on two acres, had 25 sculptures in Sep. 2019 including works by Fred Graham, Buck Nin and Pat. Fraser. sign  pdf. A steam punk sculpture by Donald Paterson has been installed in the garden in 2014. Well worth a 30 minute stop, easy to find, just up Wai-iti Rd, on the right and it is free.


Aigantighe is Scottish Gaelic for 'welcome to our home' and is pronounced 'egg and tie'.

April 2014. The gate posts identical to the Grange posts.  There are several fireplaces throughout the house gallery, here is a fairly fancy metal register and tiled surround.  On a fine day Mt. Cook can be seen from the from verandah. No 15, a Dawn Redwood (Metasequoia) with autumn colours viewed from the porch.  It is in the middle of the loop drive with the cabbage tree just to the behind right. Wai-iti Rd runs along the bottom of the building on the map pdf, No 16 tree sits at the entrance. Alex. Grant selected the site so he could have a view of the sea. No Gypsy moths. The grounds are larger than you think, keep on walking.

Aigantighe, built in 1908, to the design of architect James S. Turnbull (1864-1947) who had worked in a Melbourne architect's office before returning to establish his own practice in Timaru in c.1895. In a career which spanned over forty years, Turnbull designed a wide range of building types in the South Canterbury town, including Chalmers Presbyterian Church (1903-04) and a considerable number of large town houses. Grosvenor Hotel was redeveloped by architect James Turnbull in 1915 Edwardian Baroque style. Upper Stafford Street shows many good examples of small city Victorian and Edwardian buildings. The late Victorian FTC building and Tekapo buildings were designed by James Turnbull. The new Ballantynes block designed by Mr J. Turnbull, architect, and faithfully built by Mr P. Pringle (builder), Mr E. Hall (bricklayer), and Mr J. Craigie (painter and plumber) in September 1899.
    The large double brick two storyed ten room house, Aigantighe, faced with concrete has a frontage of 285 feet facing Wai-iti Road, five minutes' walk from Caroline Bay. Mr. T. Pringle was the building contractor.

Leadlights. Pictorial windows are generally called Stained Glass and decorative ones are called Leadlights. The old entranceway leading to a covered porch in this 1908 built home has a door framed with the leadlight glass panels in a geometric designs and formalised plant motifs and this adds natural light to the hall, a popular feature in those days. The leadlights at the foot of the stairs also brings natural light to the stairwell. Look for the bull's eyes. Another door has the classic Tudor diamond panes. Throughout Timaru leadlights were a regular architectural feature in many private houses up to the 1930s.

After the death of Mrs. Helen Grant in 1955, her son, James, gifted the property to Timaru as an art gallery in accordance with the wishes of his mother and his sister, Jessie Wigley, the artist. Helen lived at the Aigantighe until her death at age 101. The gallery has six paintings by Jessie Wigley as part of their Permanent Collection including one painting of Mt. Cook Lillies. When walking through note the original kauri staircase, the parquet flooring, the four fireplaces and leadlight glass windows. The original house is still part of the gallery in its entirety and has six sets of Art Nuevo [curved sections of glass that were never previously a feature of leadlight windows] lead lights throughout that were part of the original home. The set of three small windows and three large windows with bull's eyes can be seen as one descends down the staircase - it is quite impressive. In domestic architecture prior to WWI it was common to use leadlight windows for stair-well windows and the front entrance. The Grant's also were the donors of a large stained glass to the Chalmers Church in 1923.  

1908 Aigantighe built as a retirement home for Mr & Mrs Alexander Grant.
1955 Mrs Helen Grant (1854-1955) dies and following her wishes the house was donated to the people of Timaru.
1956 Art Gallery opened 16th August with a collection donated by the Grant family and the South Canterbury Arts Society. Clifford Brunsden appointed director. He was a member of the interim committee set up to establish the Aigantighe and when it opened he became the first director. A position he held until his death in 1969.
1976 Friends of the Aigantighe formed providing support and fundraising and gifting artworks for the permanent collection.
1978 A wing added with an office, foyer, collection storage, loading bay, gallery space was designed by Ronald Dohig. Opened 9 Sept. by Sir Henry R. Wigley KBE.
1990 Sculpture garden installed
1990 Mary-Jane Duffy curator at the Aigantighe Art Gallery
1990 South Canterbury Artists: A Retrospective View, 3 February-11 March 1990. Publisher Aigantighe Art Gallery, 69 pages.
1990 Small art store added.
1995 Gallery extension including additional storeroom and office.
2008 Andrea Marsden, the museum's collection curator at that time spent two years re-cataloguing the gallery's sculpture and decorative art collection into a new computer database.
2011 32,800 people visited the gallery.
2012 35,000 visitors approx.  "anomalies from previous calculations" might have contributed to the variations.
2012 The Aigantighe cost $453,000 to run with income from exhibitions, sales and donations likely to be around $10,500. The gallery charges to hire its space as well taking 25 per cent commission on work sold by artists or groups (excluding non-profit organisations).
2013 The Timaru District Council's community development committee allocates $6200 of rates money each year to buy art
2013 23 exhibitions. The museum had >24,000 visitors.
2013 More than 180 adult South Canterbury artists exhibited at the gallery during the year as did 621 students. The donation box [koha box] inside the gallery door did not receive a lot of use, gallery director Dr Fiona Ciaran said. Some galleries charge but she said that was usually when there was another attraction there as well.
2014 Timaru City Council goal in 2014 to promote South Canterbury art, history and creativity. 23,632 visitors in 2014.
2014 Dr Fiona Ciaran, appointed in 1996 as the director of the Aigantighe resigned in 2014. The job involves supervising maintenance of the building, enacting legislative compliance, curating and designing the layout of around 16 exhibitions for the main gallery each year and overseeing the school holiday programmes.
2015 April. Cara Fitzgerald, Aigantighe Art Gallery Manager, was acting manager for 14 months. Radio.
2015 Monarchs winter in the sculpture garden on the Himalayan Cedar. The donkeys are inside. How many can you find? 33.
2014-15 Visitors18,492. July most popular month. Why? Because it is winter. 8 volunteer staff. 163 works exhibited from the gallery's permanent collection, 47 of them related to South Canterbury. 41 artworks were refurbished for exhibition.
2017 March 21st The old house closed.  All artworks displayed in the House Gallery were placed in storage. Below the minimum 34% new earthquake strengthening standards in the Building Amendment Act. 2017 June Annual report: Nearly 20,000 people made use of the gallery's services through the year, 92 works of art were added to the collection, and 15 exhibitions took place. There were considerably more visitors in August 2016 than in the same month in 2015: 4224 versus 2909.
2017 Petrena Fishburn  - Aigantighe Collection Curator
2018 Staff  Own URL for website - a break away from the TDC website.
2018 News - there will be a heritage hub in the vicinity of the Theatre Royal on south Stafford Street.
2018 Friends of Aigantighe worked with the Aigantighe team towards a series of signs along our coastal walking track that features reproductions from the Gallery’s Permanent Collection.
2018 During 2018 the Aigantighe Art Gallery provided 49 editorial articles to the Timaru Herald highlighting an artwork from the collection or a current exhibition. This editorial approach to promote the Gallery was very popular with the community and enticed people to visit the Gallery.
2018 visitors 17,158 visitors compared to 19,025 in 2017 - a 9.8 per cent drop. Curator Hamish Pettengell said "The visitor numbers have reduced for two reasons. Firstly, due to the temporary closure of the House Gallery and secondly, because we started a new method to capture visitor number two years ago, which has provided greater accuracy of visitor numbers." The gallery had a record 20 exhibitions during 2018. The front desk was relocated and gallery walls relined and office furniture relocated to maximise available gallery space while the House Gallery is closed.
2018 The gallery purchased six works valued at $23,00 and ten artworks were donated to the gallery's permanent collection.
In 2018 The gallery had four full time staff: Art Galley Manager, Exhibitions Curator, Collections Curator and Technician. as well as two part time Gallery Assistants and one casual Gallery Assistant.
2019 The old house will be closed all year. Waiting on the Council regarding strengthening.
2019 The Aigantighe recorded 19,591 visitors for the year-ending 2019, a 14 per cent jump on the previous year.  During this period the gallery purchased 13 artworks and 48 artworks were gifted to the gallery's permanent collection. The gallery has 1786 works.
2020 The permanent collection had a current assessment value of $11 million.
2020 Oct. Aigantighe Feasibility Study and Recommendations.
2021 The Aigantighe old house part is still closed.

March 2016
Monarch butterflies on the cedar tree in March 2016. They were also flying around near the tree.

Aigantighe's Fiona Ciaran: I am passionate about regionalism and as I grew up in the Mackenzie Country it's so good to be back here.

April 2014
 Chimney pots, Marseille tiles and steel plate butterfly, a fad from the 1960s, created by Philippa Wilson in 1996, Lattimore bequest. With community support and passion, the Aigantighe now cares for the 3rd largest art collection in the South Island after Dunedin and Christchurch. CHCH remains closed but offers a venue on Tuam St. and offers many images from their collection online. Dunedin has an excellent search engine. To find an art gallery in Wellington, try the top floor of Te Papa and the portrait galley is along the waterfront in a shed, but they are not as good as the Aigantighe.

Timaru Herald, 14 September 1904, Page 4
Mr Greene said that appreciation demands education. With the beautiful landscape in South Canterbury, there should be a development of the artistic sense, but people are apt to overlook beauties spread at their feet when they travel far to see what is on a larger scale. They will go to Mount Cook, or the Cold Lakes for instance, where they can appreciate the scenery merely because it is grand and impressive. But the artist can see beauties of colour even in a bunch of weeds. The establishment of an art gallery in Timaru would have a good effect in education the public taste, and thus enabling people to get much more pleasure out of life from a contemplation of the beauties with which Nature has surrounded them.

Timaru Herald, 14 September 1904, Page 4
The Art Society of some years past held exhibitions that were always popular, and was to some extent very successful. These, exhibitions were, however, held perhaps too close together. An organised exhibition, once every two or three years, with a gallery of pictures open always, would probably be far more successful.

Timaru Herald, 20 September 1904, Page 4 ART GALLERY FOR TIMARU
To the Editor of the Timaru Herald." Sir, — I was pleased to read "Art Student's letter in Saturday's Herald," and agree with him, that now is the time an effort should be made to establish an art gallery in Timaru. The generous contributions of Mr Greene and the Mayor; would soon be added to by those who know the value of art. I should suggest that all funds available, be spent in the purchase of works of art, and the committee room at the Mechanics' Institute be used pro tem. I am, etc., ADVANCE.

Timaru Herald, 17 September 1904, Page 3 ART GALLERY FOR TIMARU
To the Editor of the Timaru Herald. Sir, I am surprised that no correspondence has appeared in the Timaru Herald with regard to the excellent suggestion put forward by the Mayor for the establishment of an art gallery in Timaru. The suggestion must commend itself to all who have at heart the advancement and elevation of the young people of our community. Mr Greene's generous offer to paint a copy of one of the masterpieces of either the London or Paris galleries and present it to Timaru deserves the best thanks of the public. There are a good many art students in and around Timaru, but comparatively few of them ever have the opportunity of seeing really good works of art, and the next best thing to seeing a masterpiece is to see a good copy of one. The educational advantage to the art student of having good works to look at and study is very great. Although nature should be the art student's chief master, yet he cannot make any real advancement unless he at same time studies the works of the great masters both of the past and present. I see that the Mayor is to commission Mr Greene to select castings from some of the best pieces of sculpture in the Home galleries, with the intention of presenting them to our town. With two such generous offers before us, I think we should lose no time in securing a site for our future art gallery. I am, etc., ART STUDENT.

Dominion, 18 May 1912, Page 4 ART GALLERY FOR TIMARU
MR. CRAIGIE'S PROPOSAL. The proposal to make a presentation Mr. J. Craigie, M.P., in recognition of his services as Mayor of Timaru, has brought about a possibility of an art gallery being established in that town. The citizens or Timaru have already subscribed about £150 for a presentation, and the committee, which has the matter in hand, recently approached Mr. Craigie with a view to ascertaining his views as to the form which the presentation should take. He replied that he did not desire to have money collected for him, and would be quite satisfied if they gave him an album of Timaru and South Canterbury views. As to the money collected he suggested that it should be set aside as the nucleus of a fund to provide for the establishment of an Art Gallery in Timaru. The principal, he considered, should remain intact, and the interest might be devoted as it accumulated to the purchase of pictures. The committee accepted Mr, Craigie's suggestion, its chairman (Mr. Bowie) declaring himself very sensible of the generous spirit in which the suggestion was made. Mr. Craigie hopes that, if art galleries are established in Timaru and other provincial towns, they will be able to temporarily borrow, from time to time, pictures acquired for the National Gallery in Wellington. In the Old Country many pictures are passed from gallery to gallery, and the number of people privileged to see them is thus largely increased.

April 2014

North Otago Times 1 July 1912, Page 4 TIMARU ART GALLERY
Timaru, June 30. The art gallery movement is making headway. Mr and Mrs George Wells gave nine water colors, costing £300 (not £200) on Friday. Yesterday they added more (cost about £150). Subscriptions in aid of the Craigie Testimonial (which Mr Craigie will devote to the gallery) now amount to a considerable sum.

Press, 14 June 1912, Page 8
The premises of Messrs W. E. Simes and Co., auctioneers, of Hereford street, where a fine selection of pictures by prominent English water-colourists is on view. They are specially chosen from Mrs Fletcher Johnston's collections, so favourably known throughout Australasia, and will be submitted to auction at 2.30 p.m. on Tuesday next.
"Charge of Treason" is a powerful work marked by very close attention to details. Excellent composition marks "Out in the Morning Early." by Mr W. Follen Bishop, R.B.A., A.R.C.A., R.B.C. The browns have been carried through the picture in very effective fashion, and are thrown up by the note of red in the background. There is a fine fresh feeling of the open air in Mr Walter S Stacey's "Marking Lambs," while "Sheep-shearing in a Barn, Hampshire" shows that he is equally good in interior work, the reproduction of the shadow in the corner being admirable.

Timaru Herald, 1 July 1912, Page 5 FURTHER DONATIONS BY Mr. AND Mrs WELLS
That Timaru is to have an art gallery now seems assured. Mr and Mrs G. Wells, in furtherance of their generosity of Friday last, when they gave £300 worth of pictures to the town, bought two more from the same collection on Saturday, and presented them also too the town. Mr. J.P. Newman, as vice-president of the Timaru Art society, cordially thanked Mr and Mrs Wells, in the absence of the president (Mr Craigie), and the latter sent a telegram to the donors expressing his warm appreciation of their action. The pictures presented on Saturday were valued at £100. They were as follows:— "A Charge of Treason," by J. Shaw Crompton R.I., a beautifully executed work, and "Down by the Old Mill Stream," a very fine landscape by W. Follen Bishop. Those who are interesting themselves in the matter with Mr J. P. Newman decided also to purchase another work of great merit— "Sheep Shearing in a Hampshire," a picture by Walter S. Stacey, which has been very cleverly executed so as to bring out the very best result. The picture, which has been exhibited in the Royal Academy, Will be of particular interest to country people. Mr Newman hopes that they will be able to secure one or two more pictures to-day, as the balance of the pictures are to be packed and sent back to Sydney tomorrow.

Hawera & Normanby Star, 5 February 1913, Page 7 GENEROUS GIFT. TIMARU
The Post learns that Mr J. Craigie, M.P. is offering a generous gift to the citizens of Timaru. It is a very handsome Carara marble statue of Robert Burns, standing six feet high in a pedestal of Corormandel granite. Mr Craigie's gifts to the town during the ten years of tenancy of the mayoralty and since include a fine avenue of trees, valuable gifts for art gallery and chimes for the new post office clock.

Timaru Herald, 28 April 1913, Page 8 ANOTHER GENEROUS GIFT
The permanent collection has been enriched by the donation of yet another picture. With his usual generosity Mr George Wells has bought for ten guineas, a water colour by Mr William Baddock, art master of London University College, entitled, "When the Heart is Young." The picture, which measures about 14 inches 10 inches, shows skilful treatment of a very taking subject. A young woman in the bloom of health and attired in semi-Quaker style is reclining in a large carved arm chair holding a bunch of marguerites, while, with a roguish smile, she nibbles a single flower held in the other hand. There freshness of the subject and the skill and delicacy of the treatment have gained the warmest approbation, and the picture is worthy of its position in the Gallery which is slowly but surely expanding to an importance commensurate with the size and progress of the town and district.

Timaru Herald, 12 August 1913, Page 9 THE ART GALLERY
Two meetings of the Art Gallery Committee have been held within the past few days. There were present— Councillors Maling and Souter, and Messrs R. Grant, J. E. Pigot, and P. Rule, the three latter representing the Art Society. Councillor Maling was chairman. The Committee submitted the following recommendations to the Borough Council at their meeting last night: That all pictures in The Art Gallery be vested in the Timaru Borough Council. That a committee of management be set up to consist of three members of the Council, and five members of the Art Society. That the committee so appointed report to the Council quarterly, or oftner. That the Art Gallery be named the "South Canterbury Art Gallery.'' The report was adopted.

Colonist, 19 June 1914, Page 5 A NEW ART GALLERY
Timaru, June 18. The Mayor (Mr Guinness) this afternoon formally opened the temporary Public Art Gallery. The collection now on view has been obtained by gifts to the borough, purchases by the Art Society, and permanent loans. Mr Craigie president of the society, today added gifts of a large painting "The Mother," which has been exhibited at Wellington, and one of Goldie s Maori portraits, "Memories."

Looking from the outside in and inside out.

The Timaru Herald. Friday, June 19, 1914. TIMARU ART GALLERY
The South Canterbury Art Society has still only a temporary home for its collection, but it has a collection, worthy of admiration, though it is not extensive, and the long room of the Public Library in which its pictures are now hung will exhibit them to only less advantage than an Art Gallery specially built and lighted. "Art is long," quoted Mr Craigie at the pleasant opening ceremony yesterday afternoon the establishing of art galleries is long also, but remarkable progress has been made by Timaru in that direction in the last two years. When Mr Craigie announced that the proceeds of a public presentation made to him would be diverted to this purpose a strong start was given to the movement; Mr George Wells made some noble contributions to the "nucleus" later added to by others; art lovers in all parts of South Canterbury gave their best assistance to an exhibition held to raise more funds by the Art Society; and the result of very general efforts is the Art Gallery of which, as something more than a commencement, everyone has reason to feel proud. People can still give pictures to it; they cannot give too many if the pictures are as good as even the more modest of those now exhibited. We hope that the Art Society will not despise reproductions of great pictures, but increase the interest and educational value of the Gallery by this means, as often as it has some funds to spend, but not sufficient for the acquisition of new works. Admirable reproductions can be obtained of masterpieces the originals of which not one person in a thousand can ever expect to see. They need not be reproductions in colour, but if they are the wise artist will not judge such copies by the fact that they are "machine-made," but by the extent of their fidelity to the originals. He will recognise that even art galleries are not meant to serve artists alone, but thousands of people whose art sense can be stimulated, to their pleasure and advantage, by the beauty of a reproduction, without thinking how the beauty was produced. At the annual banquet of the Royal Academy a few weeks ago Lord Haldane made some remarks on education which are not without application to the Art Gallery which now exists in Timaru. "I feel," he said, "that a national system of education will not be complete unless it embraces in the spiritual education of the country education in art. Somewhere among the great democracy whom we have not yet reached there are hidden Joshua Reynoldses and Turners of the future. We have got to find them. All the State can do is to give them opportunity. lam sure they will get their development and completion in your schools much better than in State schools," Timaru's Art Gallery may not help to bring out the genius of a single Turner but next to the blessedness of producing Turner pictures is the blessedness of being able to appreciate them in the highest degree, and after that the blessedness of being able to appreciate them, and lesser pictures; in an intelligent degree, understanding, which comes largely from familiarity and comparison, adding always to enjoyment of these things. The Timaru Art Gallery will foster understanding and appreciation of works of art, and in doing that it will perform a service not to be lightly valued.

Wanganui Chronicle 9 July 1914, Page 7 A LESSON FROM TIMARU
With reference to the proposal before the Borough Council to take over the administration of the local Library the "New Zealand Shipping and Commerce" contains a line illustration of the Timaru Municipal Library. The building was erected in two portions, one in 1909 and the other at the end of 1913. It is a very handsome structure, and its total cost is given as £4500. It has a two-storey frontage of 99ft 6in., with a depth of 29ft. giving two large reading rooms on the ground floor, and on the first, floor a handsome art gallery 41ft by 29ft., circulating branch of the library 55ft by 24ft, and a reference library 19ft by 19ft. It is interesting to note that the library, including the lending department, is free, no charge being made to take out books. To show that the library is appreciated, there are 2300 borrowers. The cost of upkeep is £1023 per annum. The art gallery has opened on June 18, 1914, with 29 pictures costing £1082, the gift of several citizens.

In Sept. 1895 the South Canterbury Art Society was formed with Arch. Henry W. Harper as the president and held eight exhibitions between 1896 -1920 then stalled for more than 25 years. The South Canterbury Art Gallery Committee with James Craigie and T.J. Maling as the main promoters operated between 1913 and 1916. In June 1951 a South Canterbury Arts Club started with Jessie C. Wigley the prime promoter.

Austen Deans was asked what he likes about Aigantighe "almost everything! It is one of the nicest galleries in my opinion"

Timaru Herald, 24 September 1919, Page 9 TIMARU ART GALLERY
SOME RECENT ADDITIONS. The art gallery has recently been enriched by a collection of beautiful paintings which have been lent to the South Canterbury Art Society for exhibition, by Mr W. S. Blaikie. First in importance are three magnificent examples of the work of P. van der Velden, "Sweethearts," "Sunset in Holland," and "Dutch Fishers." As a painter, van der Velden is worthy to rank with the old masters, and his work is now eagerly sought after. "Boulogne Harbour," by Cafteri is full of interest, while "A Surrey Landscape," by Claude Hayes, R.I. is a delightful bit of English water colour painting. A large "Seascape" by G. E Butler, R.B.A., is full of life and the restless witchery of the sea. Last, but almost equal in importance with van der Velden's "Sweethearts" is Count Girolamo Nerli's oil painting of an old blacksmith, entitled "The Close of Day." Altogether, the seven pictures, in artistic value and importance, make a collection which any art gallery in the world would be pleased to exhibit, and it is indeed a privilege for the small art-loving section, of the community that the opportunity of viewing such paintings is made possible by the generosity of the owner. The permanent and loan collections in the gallery now rival anything in the Dominion outside the four centres, and it is hoped that some day an effort will be made to provide an art gallery worthy of the town.

Timaru Herald, 12 April 1920, Page 3 S.C. ART SOCIETY
Twenty-five years ago, in August, 1895, a number of art lovers met together in Timaru and formed the South Canterbury Art Society. Since then from time to time exhibitions of pictures and art craft work have been held, the last one being held in the Technical School, in 1913. Then came the war, which effectually prevented any attempt at holding art exhibitions or similar functions. Now, however, the members of the Art Society are at work again, and it is hoped tat the seventh exhibition will be opened in the Technical School on 3rd May. The leading artist of New Zealand are being invited to exhibit, and it is expected that they will be represented by some of their best work.
One of the principal aims of the Society is to purchase pictures for the South Canterbury Art Gallery, and any profits arising from the exhibition will be devoted to this end. 

At the egg.

A favourite. Purchased by the town in 1913. There are very few images of paintings from the Aigantighe online. The main reason is for the gallery to keep control of the images and to protect them from being sampled by other internet users for whatever reason. The art gallery offers the a combination of traditional and contemporary art. The Aigantighe is planning on digitising their collection to make it more available to the public.

Timaru Herald, 19 April 1913, Page 10
The work which appears to be the most highly thought of is one by the eminent English artist Lexden L. Pocock. It is a large and finely toned figure study, entitled "
Dangerous Documents." The theme is of the Cromwellian period. A young Cavalier and a young lady are watching a detachment of Cromwell's men passing, the Cavalier holding treasured document, rescued from the burning castle, seen in the background, prepare to. drop them into the rivulet at his feet, if they, the fugitives, are discovered. The look of determination of the young man, and the look of terror of the girl, are very well portrayed. There is much fine intricate work in the foreground, and the scene generally is pleasing in its reminders of the Old Country. This picture earned much praise when shown in the Royal Academy. 

How appropriate for a rural gallery to show rural work.

IThe unemployed.n the Nineteenth Century many English 'beef barons' commissioned portraits of their favourite cattle. Cooper, a famous cattle painter exhibited no less than 266 paintings of cattle and sheep at the Royal Gallery in London. A print of an early painting of highland cattle in New Zealand was found hanging in a farmhouse near Mt. Horrible.  newspaper. The painting, a brilliant oil painting, of highland cattle had been given to the Aigantighe from the estate of J. H. Rhodes in 1960 and was in storage in 2010. It was restored and is was hanging in the Aigantighe Art Gallery in 2013. The first herd or "fold" in the country had been shipped from Scotland to Claremont by George Rhodes in 1892. The shipment comprised four highland cattle (three in-calf cows and a bull). A fourth cow died on the voyage. The cattle were inspected on the boat by a number of local farmers but they were not unloaded and went to Quarantine Island in Lyttelton Harbour before being shipped back to Rhodes at Claremont. The painting was completed in 1904 by William Greene, so it is highly likely that George Rhodes commissioned the work, and the bovine subjects are either the original animals, their offspring, or a combination of both. The Scottish Highland Cattle Society who were able to identify those first animals and trace their gene pool back even further. A "fold" is the correct term for a herd of Highland Cattle. Canterbury foldsWilliam Greene painted animals particularly within rural landscapes. The Unemployed, 1912, is a painting of the donkeys that gave rides at Caroline Bay during the summer months whose names are recorded from left to right as Snowball, Sambo, Emma and Matilda.

Auckland Art Gallery Artist database
Una Platts book on 19th century New Zealand artists
Find New Zealand Artists
eHive CHCH Art Gallery  UK Artist A to Z
South Canterbury Artists: a retrospective view. Published by the Aigantighe Art Gallery in association with the South Canterbury Arts Society in 1990. wayback
Friends donate work

"The majority of our collection has been donated and we care for these artworks in perpetuity on behalf of the people of South Canterbury." said Aigantighe Art Gallery manager Cara Fitzgerald in August 2016

The home of art in South Canterbury. One of the gallery storerooms.
80 visitors viewed the Collection storage areas in 2018.

Works (201) out of 1,500 in 2015 [13%], by 2018 the gallery had 1700 paintings including 13 works by William Greene and their own website online.
End of 2019 the gallery held 1786 artworks in its permanent collection.  During 2018-2020 there was an ongoing audit of the collection. This process includes confirming the current location of each collection item, recording the current condition of each collection item in detail, removing and replacing acidic labels from the backs of paintings and objects, the re-housing and repacking of artworks and updating collection records, photographing the artwork, and updating and adding additional information on the collection excel spreadsheet. In 2018 the Gallery audited 671 artworks and at the end of December 2018 the Gallery had audited a total of 871 artworks (or 51% of the Collection).

The Aigantighe objectives in 2018 were excellence, accessibility, relevance, collaboration, accountability, responsiveness, and growth. Relevance: Communicate the relevance of art and culture to the community and be recognised as an irreplaceable part of the cultural life of South Canterbury region.

The Aigantighe Art Gallery in 2015 has a collection of some 1500 works of art and each year it displays about 150 of them.  92 new art works were added in 2016-2017 year. The gallery has an extensive ceramic collection with examples of nationally significant potters including Len Castle, Mirek Smisek, Helen Manson, Doris Lusk/Holland, Michael Trumic and Barry Brickell.

The art gallery not only has paintings but other art media.

Bronze "Moonstruck" (a pr of doves) by Trevor Askin
Bronze Sea birds, 1998 by Trevor Askin. Given by the Friends of Aigantighe Art Gallery in 1998.
Bronze by Francis A. Shurrock b. in Lancashire in 1887. Arrived in NZ in 1923. (cast in 1978) Study from Life . c. 1908. Given by the Friends of Aigantighe Art Gallery in 1978. history.
Francis Shurrock The Gymnast, c. 1927, bronze sculpture, acquired 1981
Heaven and Earth a bronze by Margriet Windhausen  (b. 1942 - ) 365 x 380mm.

Impressions of Nature. 1982, stoneware, by Keith Blight. Given by the Friends of Aigantighe Art Gallery in 1983.
Janna van Hasselt, Swirly Jug, 2018, stoneware, purchased by gallery in 2018.
Galactic Deer, porcelain, by Patti Meads. Given by the Friends of Aigantighe Art Gallery in 1983.
Shoji Hamada - a dish and stand

Pat Foster's sculptures x4 outside Nelson marble, Northland Green Serpentine, black serpentine and Nelson black serpentine, 1997-8.
Giuseppe Gambogi (1862 -1938), an Italian sculpture, Rebekah at the Wall, c. 1895, marble. Acquired 1964.
Koru I., 1990, welded copper and Oamaru stone, by Edwin J. Poulston. Given by the Friends of Aigantighe Art Gallery in 1990.
Ranganui by Dan de Ha, 1990, Mt Somers stone, in the Sculpture garden.

My Father 's Chair, 1994, black steel and gold leaf, Philippa Wilson. Given by the Friends of Aigantighe Art Gallery in 1994.

Reliquary statue, artist unknown, Fang tribe, N. Gabon, W. Africa. Wood, bark, feathers. Desmond Bovey Collection.
Peter Janssen's Co-ordination, c. 1968 acquired in 1968. Relief sculpture.
Crouching Figure, 1936. John Kavanagh (1903-84).
Wood Torso 400m h. by J.A.D. Thompsom b. 1920.

Folded lip and Black Cylinder, glass, both made in 1982 by Tony Kuepfer.  Given by the Friends of Aigantighe Art Gallery in 1982.
Vase of Four Pink Acid Frosted Flowers, glass, by Ann Robinson. Given by the Friends of Aigantighe Art Gallery in 1983.
Woman with fish. Fibreglass statue, 1998. Ramonda Te Maiharora.

Gayle Foster (b. 1949 - ) Our Land VII A/P woodcut with gold leaf 750 x 880mm 1989.
Zheng (after Cao Ba), Portrait of Kuan Kung, 1936, silk scroll, acquired 1973.
Ukiyo-e, the permanent collection holds a significant collection of these Japanese prints.
"Life Outside The Bubble" Lino print. 2020. Gifted to the Aigantighe June 2020 by the artist. Kerry Irvine depicted Dr Ashley Bloomfield inside his own bubble surrounded by New Zealand animals. Irvine was inspired by the adventurous nature of animals coming into urban zones during COVID lockdown.

The Aigantighe Art Gallery’s greatest asset is its collection which continues to grow due to the generosity of individuals and the community.
238 plus 12 +3= 22= 275 works listed as of April 2020. Local artists that have a national profile. The gallery has a collection of international artwork from 1650 to 1950.

Artist Painting Year painted Credit Line
Aldridge, F.J. (1850 - 1933) English Brig Sailing into Port 1921 watercolour on paper
Armstrong, Michael "Mike" b. CHCH, 1954, based in Timaru Dated cheque May 28, 2014 2014 Acrylic on canvas. Presented by the artist.
Aumonier, James (1832 - 1911) English Landscape with Cattle 1886 Oil on canvas
Badcock, John (1952 -  ) NZ Sculptor with Floating Stone 1998 Oil on canvas
Baddock, William, English  ? When the Heart is Young   Donated by George Wells, 1913 PP donated 10 pictures in 1912 by British artists
Binney, Don (1940 -2012) NZ Green Autumn Te Henga 1965 oil on board. Mixed media including oil on board. Purchased in 1979 with funds from the Sevicke-Jones Bequest. guests before painting conservation
Bishop, W. Follen (1856-1936) English Down by the Old Mill Stream Donated by Mr & Mrs. G. Wells in 1912 PP
Booth, Leonard (1879-1974) ChCh, NZ The Ode Player 1907 Charcoal on paper. Acquired 1975
Braithwaite, Joanna (1961 - ) Garuda Bird 2 1988 oil 2260 x 1805mm
Braithwaite, Joanna (1961 - ) Onwards and Upwards 2008 Oil on canvas. Purchased through TDC rates, the G. Sevicke-Jones and Lattimore Bequests in 2008.
Brown, Nigel (1949 -  ) Invercargill, NZ Bridge Over Troubled Waters 1985 Oil on canvas
Brundsen, Clifford Automation unkn. Pastel on paper. Acquired 1998
Brundsen, Clifford Kakahu Lime Kiln 1967 given by Ian Morrison in 1999
Brundsen, Clifford Aubrey (1909-1969) NZ Mt. Cook 1944 Watercolour on paper, donated to the to the Aigantighe in 2014 by J. Moore.
Brundsen, Clifford Geraldine Landscape Watercolour  270 x 372mm
Brundsen, Clifford Gannet Timaru   Watercolour 419 x 532
Brundsen, Clifford Timaru from South Street Railway Bridge c.1960 oil on canvas and board
Crooks, Lindsay Crayfisherman II 1992 Watercolour and pastel on paper. Given by the Friends of AAG in 1992.
Buchanan, Dean (1952 -  ) NZ Cascades 1998 A Taste of Aotearoa exhibit 2014
Bethune, Phyllis Drummond (1899 -1982) Black Cap 1966 oil 410 x 575mm Black Peak and the lower Harris Mountains
Bethune, Phyllis Drummond b. in Woodbury untitled landscape   oil 360 x 455mm
Brown, Nigel (1949 - ) NZ Bridge over Troubled Waters 1985 Oil on board
Butler, Grace Heathcote River c.1930 watercolour on paper
Butler, George Edmund (1872-1936) English Bristol Docks and St Mary Redcliffe Church 1907  
Butler, George Edmund (1872-1936) The Cross Roads, Neuve Eglise 1918 Watercolour and charcoal on paper, acquired 1956
Buzzi, Achille (   -  ) Italian Reproach 29th cent. Watercolour on paper, a narrative painting. Acquired 1956
Campbell, Rosemary (1944 - ) Mackenzie Excitation watercolour 551 x571
Charman, Anne (1906 -97) Bee Farm, Fairview   b. Milton
Chevalier, Nicholas Mount Cook 1868 watercolour on paper
Clark, Russell (1905-66) NZ Caroline Bay Timaru During a Southerly Gale c.1950 Acrylic on board. Lattimore bequest and Friends of AAG, given in 1995
Clark, Russell Stuart Cedric (1905 - 1966) N.Z. Sculpture Group 4 1964 Oil on canvas 69.5 x 48.9. Was owned by Mrs Rosalie Archer, ChCh, Acquired 1978
Cleverley, Peter  (1954- ) Oamaru influenced by a visit in to Vanuatu, Samoa & Tonga 1991 untitled oil on board. Donated by D. & L. Hughes
Cloake, Roselyn Coaster Series II 2010 Acrylic on canvas
Coley, John (1935- ) Blue Street Scene 1982 Oil on canvas. Aigantighe Art Gallery Collection 1983.10. John Coley studied at Palmerston North Technical College and the Canterbury School of Fine Arts. He taught at Christchurch Teachers' College and was director of the McDougall Art Gallery for 16 years.
Collins, Charles (1851-1921) English Wick House, Dorking c1900 Oil on canvas. Acquired 1956.
Crooks, Lindsay (1957 - ) Untitled Cardinal Scene 1983 Watercolour on paper
Cooper, Thomas Sidney (1803-1902) English Cattle    attributed to Cooper - a dark Jersey cow.
Cox, David Landscape   Work on paper
Cousins, Thomas Selby (1840 -1902) English Interior Scene  - Washhouse   watercolour 308mm x 140mm
Creek, Peter The artist's Mother Reading   drawing
Crompton, J. Shaw  (1856 - 1916) English A Charge of Treason   Donated by Mr & Mrs. G. Wells in 1912 PP
Crooks, Lindsay (1957-2005) NZ Crayfishermen II. 1992 Given by the Friends of Aigantighe Art Gallery in 1992
Cumming, William (1933-2002) NZ Westland Landscape 1976 Acrylic on board. Purchased using the George Sevicke-Jones Trust and QEII Arts Council in 1977.
Curnow, Betty (1911-2005) NZ Power and Glory 1971 etching on paper
Curnow, Betty, b. Geraldine They hold him, Mt. Cook 1968 PVA glue print on paper
Day, Melvin (1923 -2016) NZ     abstract. Melvin Norman "Pat" Day CNZM (30 June 1923 – 17 January 2016)
Deans, Austen (1915-2011) NZ Orari Gorge 1956 Oil on canvas. Purchased through the George Sevicke Jones Trust in 1960. Currently hold 6 Deans paintings in the collection.
Deans, Austen Bush clad hills, Peel Forest 1956 oil
Deans, Austen Bush Clad Hills, Raincliff 1957 watercolour on paper
Deans, Austen Puddingstone Creek - Rangitata Valley 1961 watercolour on paper
Deans, Austen Mount Sibbald 1970 watercolour on paper
Deans, Austen Tree Study, Peel Forest 1955 Oil on board
de Hooch, Horatius (fl. 1652-92) Dutch Italianate Landscape c.1665 Oil on canvas. From the Estate of T.A. Kerr in 1964.
Darroch, Duncan  (1888-1967) NZ Pamir (End of Voyage  Auckland)   The Aigantighe has 20 of his paintings gifted by him to the city. oil 745mmx1000mm
Darroch, Duncan Mt. Cook the usual scene
Darroch, Duncan Governor's Bush   oil on canvas on board. Given by the artist in 1963.
Darroch, Duncan Approaching Storm oil 562x918mm
Don, Bruce Four Peaks   painting
Dobie, Beatrix (1887 -1945) NZ The Boundary Dog. 1920  
Dowling, Robert b. 1927 Ruth and Boaz 1876 oil on canvas
Downing, Delapoer The Music Lesson   Oli on canvas
Drawbridge, John Encounter 1964 acrylic on canvas
Driver, Don      
Esplin, Tom (1915-2005) SCT The Royal Mile, Edinburgh 1930s Oil on board
Eves, Reginald Portrait 1920 Oil on canvas acquired 1958
Fahey, Jacqueline (1929 -  ) NZ  Christine in the Pantry 1973 Purchased in 1978 from the artist using Sevicke-Jones Trust funds with assistance from the QEII Arts Council.
Fahey, Jacqueline Sister's Communing II. 1990 Oil and collage on board. Given by the Friends of Aigantighe Art Gallery in 1990.
Ferrier, William (1855-1922) SCT. / NZ Caroline Bay   watercolour  177 x 380mm
Ferrier, William Breakwater Timaru Running a Southerly Gale 1888 oil on canvas
Fitzgerald, James The Don 1919 Etching on paper. Acquired 1983.
Foley, Maria Glimpse 2005 Oil
Forbes, Brent  Colour Sketch for Hendrix Guitar in Clairmont Style 1989 Crayon on paper . Gifted.
Forster, Frank Cameron (1913 - ) NZ The Fisherman 1948 Linocut on paper. Presented by Francis Shurrock in 1970. A pied shag diving.
Forster, Gayle (1949 - ) Our Land VII 1989 Woodcut with gold leaf 75 x 88 cm
Fraser Jock (1899 -1974) b. Oamaru, NZ Italy. POW camp.  1942 A POW. Fraser left his drawings with an Italian family who later sent them to NZ with the advancing American forces. It is because of this act of  kindness  that we are able to see Fraser's unique works today. Watercolour on paper. Given by Mrs Mackenzie in 1982. The Aigantighe has about 100 of his sketches made during the time he was a POW.
Fraser, Jock Piani di Coreglia
View at Coreglia showing Cookhouse and Toolhouse
Guard House Porch,
Piani di Coreglia
Interior Scene Bunkhouse
1942 3 sketches. Pen and ink on paper.  Given by Mrs Mackenzie in 1982.
Fraser, Jock Flower arrangement with barbed wire 1940s (poppies)  15cm x 10cm
Fraser, Jock Edward (1899 -1974) NZ Italian Landscapes (2)   watercolour 200x150  150x200mm
Fristrom, Claus Edward Untitled   Oil on board, purchased by gallery in 2018
Gibb, William Menzies (1859-1931) Timaru Harbour 1888 Oil on canvas. Hangs in S. Canterbury Room
Greig, Jason (1963 - ) NZ one piece in the Aigantighe collection
Greig, Louise St. Sebastian 2010 Oil
Piranesi, Giovanni  (1720 - 1778) Pyramid of Caius Cestius 1745 Etching on paper
George, Darryn (1970  ) ChCh Register (Onement2) 2014 Oil on melamine, purchased by gallery in 2018
Goldie, C.F.  (1870-1947) NZ Memories: The last of her tribe 1913 Gifted by James Craigie in 1914 PP. Oil on canvas.
Goldie, C.F.  Tumai Tawhiti 1913 Given by the South Canterbury Arts Society in 1956
Goldie, C.F. Maori Girl   Gifted by Lorna Grant 1938
Goldie, C.F. Ngahene -The Last Match   Gifted by Lorna Grant 1938
Goldie, C.F. Untitled charcoal sketch 1903 F.H.
Goldsmith, Sydney Pink Terrace 1920s  oil on canvas
Gopas, Ruby      
Gould, Alec In the Sun. 1914 Oil
Greene, William  (1872-1925) AUS / NZ The Unemployed 1912 Oil on canvas. Credit Line Given by Allen Hawkey in 2002
Greene, William The Roadmakers at Patiti Point 1916 oil on canvas. South Canterbury: A Record of Settlement pg400
Greene, William Spring -  South Canterbury Riverbed 1913 Oil on canvas. On display April 2016. Orari Riverbed at Riverslea.
Greene, William How difficult is it to trace a Smith family in South Canterbury N.Z.? c.1899 Oil on canvas. Art of War exhibition upstairs House Gallery, 1914
Greene, William Highland Cattle, Claremont 1904 Given to the Aigantighe from the estate of J. H. Rhodes in 1960.
Greene, William Pompey 1919 oil 406 x 510. A grey horse.
Greene, William Scene in Surrey, England 1909 oil on canvas 305 x 405mm. Given by the South Canterbury Arts Society in 1956
Grieg, Jason (1963 - ) untitled portrait, etching on paper   500 x 350
Gully, John The Staircase from Halfway Bay, Lake Wakatipu 1878 watercolour on paper
Gunn, Angela (1961-95)      
Guthrie, Sir James (1873-1930) Navvy 1890 Pastel on paper
Haite, George Charles (1855 - 1924) English Procession of the Corpus Christi, Chiozzia, Venice 1898 watercolour
Hammond, Bill Fancy 2 1997 acrylic on paper
Hay-Campbell, Charles Duncan (1867 - 1936 ) Scottish End of the Day 1890 painting
Hemera, Ross  (1950 - ) Kurow      
Humich, Cameron Dolphin Cloud Mount Cook 1997 watercolour
Hemy, Charles Napier (1841-1917) ENG /AUS Red Autumn 1875 Oil on canvas. Presented by the South Canterbury Arts Society from the collection of Mr A. Hope in 1956.
Henderson, Louise (1902-1994) France / NZ Water Rock and Seaweed c.1965 oil on hessian
Higgins, Colin (1954 - ) Denniston, NZ The Taniwha & the Swamp 2011 Acrylic
Higgs, John Liddington (1864 - 1919) NZ Timaru Coastline 1884 Oil on board. View from Patiti Point looking north towards central Timaru and its harbour
Hill, Heather Verbascum Olypicum, Beth Chatto's Gravel Garden 1998 Watercolour on paper. Given in celebration of the 25th anniversary of the Friends of AAG.
Hill, Rachel   1916 seacape
Hiroshige, Ando (1797-1858) untitled (lake & cherry trees)  c. 1830 original woodblock print
Hiroshige, Ando (1797-1858) Shinobazu Pond c.1843-45 Wookcut on paper
Hodgkins, Frances (1869-1947) NZ woman kneeling, boy standing under shelter watercolour
Hodgkins, Frances Maori woman 1900 watercolour on paper
Holmes, Randolph K2 Karakoram   Painting
Holmes, Randolph Lonely Gory of Everest    
Holyoake, Rowland (1861-1928) UK Fish Washing in the Faroe Islands 1898 oil on canvas, Painting
Hope, Esther (1885-1975) NZ Lake Alexandrina 1963 Watercolour. Presented by the artist in 1963. guests before the painting
Hope, Esther Studholme Tekapo River and Simon's Pass   watercolour 543x 750mm
Hope, Esther Studholme Tekapo River from Gray's Hill   watercolour 543x 750mm
Hope, Esther Studholme Mackenzie 1965-70 watercolour on wove paper. acquired 2016
Hope, Esther Studholme White Gum, Geraldine c.1930 watercolour on paper. Purchased July 1971 with funds from the George Sevicke-Jones bequest .
Hope, Esther Albi Cathedral   work on paper
Hope, Esther Gateway at Avigon 1921 watercolour on paper
Hotere, Ralph ( 1931-2013) NZ Drip Ping 1980 Timaru Herald 26 Feb. 2013 Given to the Aigantighe Art Gallery by Dr William Glass and Barbara Fahey
Hotere, Ralph Les Saintes-Maries de la Mer 1982 (The Saint Marys of the Sea) Mixed media on paper bought by the gallery with funding from the George Sevicke Jones Trust and Queen Elizabeth II Arts Council in 1983
Hotere, Ralph Les Saintes-Maries de la Mer
1986 Lithograph on paper (printer's proof) donated to the Aigantighe Art Gallery by Dr William Glass and Barbara Fahey
Huddleston, F.F.C. (1846 -1922) Opawa nr Albury 1880s Early South Canterbury Runs by Pinney  watercolour 200x288mm
Hungerford, Col. Townsville Lahore rose tiles from interior of building in Lahore
Izard, Susanna NZ Mount Stevenson from Braemar Road 2007 she is from Totara Valley
Jones, Evan Three Dead Finches 1998 Oil, acrylic, gesso and charcoal on board.
Jones, Morgan (1934 - ) Rural Machine wood  20 x 50 cm
Kelly, Elizabeth (1877-1946) N.Z. Day Dreams c. 1919 Oil on canvas. Acquired 1956.
Kemp -Welch Lucy  (1869-1958) English The Wanderers c. 1925 oil on canvas. Always on display in the corridor of the House Gallery. Acquired 1962.
Kennington, Thomas (1856-1916), English The Mother 1895 Oil on canvas. Gifted by James Craigie in 1914 PP.  Stamp on back of canvas  (Youtube 24 views July2020) reads L. Cornelisseen & Son 22 Queen St. London (the shop still esists in 2020)
Kennington, Thomas Relaxation 1908  
Kennedy, Charles Naiper The Quarrel 1877 oil on canvas
Killick, Ernest A.S. (1875-1964) English/NZ Beech Wood 1919 Oil on canvas. Estate of the artist in 1965. Town Clerk of Timaru in 1929.
King, Henry John Yeend Still Waters   Oil on canvas, acquired 1962.
Lambert, George  (1873-1930) Russia/Australia untitled 2 ladies seated    
Lee, Ower R (1918 -2003) NZ      
Louis, Neville (1852-1919) Timaru from the breakwater 1919  
S.L. NZ Bush Scene   painting
Loxton, John (1903-1969) Australian Self Portrait 1930 Oil on canvas. Acquired 1980.
Lusk, Doris (1916  - ) NZ Blue Lake, St. Bathans 1963 Watercolour on paper
Lusk, Doris North Canterbury Landscape 1964 Accession No. 2020.11.1
Lynne, Vivian      
Maguire, Marian (1962 - ) ChCh, NZ The Colonial Major and his Trusty Guide seek out the Rebels Strongholds. 2010/11 Lithograph. Acquired 2016
Manson, George Ainslie (1917 -1983) NZ Debut   oil 780 x 605mm
Manson, Ainslie Timau Port c. 1957 oil on canvas and board
Mayo, Dame Eileen (1906-94) English/NZ
Royal Avenue Chelsea 1949 Gouache on paper. Purchased through the QEII Arts Council and George Sevicke-Jones Trust in 1974.
Mayo, Eileen Sun and Earth 1979 Linocut print on paper
Mayo, Dame Eileen (1906-94) ENG/NZ White Cat & Poppies 1985 Lithograph. Given by the Friends of Aigantighe Art Gallery in 1992. 50 produced. Relief print. Value in 2019 $1400 to $2000.
McCahon, Colin (1919-87) NZ Red and Black 1976 Gift of the Ministry of Foreign Affairs and Trade, Wellington in 2002
McCahon, Colin 'In memory of Daisy Le Cren' 1976 acrylic on board, a set. 16 panels. Daisy Roberts b. in Timaru (1881 -1951) painted watercolours,  m. Charles John Le Cren in 1903. Mother of printmaker Betty Curnow. Gifted by Betty.
MacDiarmid, Douglas energetic landscape squiggle
McLintock, A.H. (1903 -1968) NZ Low Tide Limehouse   etching 107 x 165
McLintock, A.H. The Old Smithy Dundee etching 150 x 213mm
Meryon, Charles (1821-1868) French Capturing daily life at a pa at Akaroa   Una Platts book on 19th century New Zealand artists
Moffitt, Trevor (1936- 2006) NZ Landing a Kahawi 1988 Oil on board. Purchased by the gallery in Feb. 1990.
More, Jono Te Moana Gorge 2015 woodcut
Moore-Jones, Horace  (1868-1922) English/NZ Simpson and his Donkey 1915 Presented by the South Canterbury Arts Watercolour. Society from the collection of James Maling 1956
Moore-Jones, Horace  The Sphinx (Gallipoli Peninsula) 1915 Given by Miss JCM Lauder in 1994
Nairn, James (1859-1904)      
Nerli, Giromlamo (1860-1926)      
Neville, Louis  (1852 - 1919) English/NZ     Una Platts book on 19th century New Zealand artists
Nicoll, Archibald (1886-1952) English/NZ Mrs Helen Grant 1940s Oil on canvas. From the Hester Wigley Bequest in 1998 
unknown artist signed H.J.W. Alexander Grant   Pencil and watercolour on card. From the Hester Wigley Bequest in 1998 
Norman, Edmund (1820-1875) English/NZ sketch of Caroline Bay 1870s Timaru Herald 30 April 1913 pg2. Pen and ink wash 28cm x 52cm
Norman, E Lake Tekapo taken from northern end 1870s Presented to Timaru Art Galley TH 30 April 1913 from late Miss Todd
Norman, E Mackenzie Plains showing Haldon Station   pencil 251mm x 354mm Teschmakers
Norman, E Otaio Station ca1868 pen and ink wash 332mm x 502 mm
Parsons, Letitia Margaret Chrysanthemums 1903 Oil on canvas
Peneamene, Diana Celebrate Diversity 2014 Oil on canvas. Acquired 2016
Perrett, John Douglas Mount Cook from Lake Pukaki   Painting
Peter, Juliet (1915-2010) NZ Morepork and Pungas c. 1964 Lithograph
Pick, Seraphine Japanese Superbike 2018 Oil on paper, purchased by gallery in 2018
Piper, John Pertworth Park gates   Lithograph on paper
Piranesi, Giovanni (1720 - 1778) Italian Untitled c. 1756 Engraving on paper. Acquired 2003.
Pocock, Lexden L (1850-1919) British Dangerous Documents c. 1900 watercolour on paper. Purchased in 1913 £62 10s by the town. Donated in 1956 from the collection of Mr G. Wells.
Pond-Eyley, Claudia Window View - Mt Eden Domestic Landscape 1981 acrylic on canvas
Pope, Eleanor (1897-1966) NZ The War Widow, aged 26 c. 1946 Presented by the artist in 1963
Pope, Eleanor June, eldest daughter of the war widow, sister is Joan 1947 Signage in AAG said it in the permanent collection
Poulston, Gypsy (1923 - 2016) ) NZ a painting in the permanent collection pre 2010  and several of Eddie's, (1920 - ) sculptures and pottery works
Piranesi, Giovanni (1720 - 1778 ) The Pyramid of Caius Cestius c.1745. etching on paper
Rae, Albert James (1885 -1971) NZ Girl Seated -Etching on paper c. 1930s Given by Mrs D. Tanner in 1997.
Rae, Albert J. The Dancer c. 1929 Oil on canvas. Acquired 1956.
Rae, A.J. Boats    Etching on paper
Rae, A.J. Mount Cook (After Glow)   Mezzotint 97 x 126mm
Rae, A.J. Mount Sefton from Mueller Hut   Mezzotint 127 x 176mm
Rae, A.J. Caroline Bay 1923 etching on paper
Rae, A.J. Portrait of Brundsen   etching on paper
Rae, Albert Apple Blossom   oil on canvas
Reed, William James  (1908  ) Broad Bay, Dunedin   acrylic 450 x 605
Reid, Percy C. Waiting 1913 Timaru Herald, 22 May 1913, Page 10 donated by George Wells.
Richmond, Dorothy Kate (1861 - 1935) NZ   1929 watercolour
Richmond, Dorothy Kate The Idlers 1905 oil on canvas
Rowe, Poly Self-help    
Rushbury, Sir Henry (1889-1968) Henry St. Paul's from Bomb Ruins 1942 Drypoint on paper.
Seyb, Wayne (1961 - )  (NZ) Lord of the Sea and Hills 1992 oil on board, represents the landscape of Karitane where Seyb lived from 1990. Donated by D. & L. Hughes
Seyb, Wayne Black Hill of Ravensbourne 1986 oil 1285  x 1055mm
Seyb, Wayne Triptych 1985 Oil on three boards, large in scale
Short, Frank (1857-1945) Broadstairs Pier   etching on paper
Smith, Hugh Nevill Mt. Cook   work on paper H. Nevill-Smith
Spencer-Bower, Olivia (1905-82) English/NZ The Untidy Verandah 1935-1938 Watercolour on paper. Given by Mr and Mrs A.N. Hope. 1982
Spencer-Bower, Olivia Mackenzie Basin landscape c.1969 Purchased through the Lattimore and G. Sevicke Jones bequests in 2000
Spencer-Bower, Rosa (Mrs) NZ (1865-1960) Anemores c.1920 watercolour on paper
Squirrell, Leonard (1893-1979) untitled landscape
Stacey, Walter S.  (1846-1929) English Sheep Shearing in a Hampshire Barn 1908 watercolour on paper. Donated by Mr & Mrs. G. Wells in 1912. PP
Sterndale, C.H.T. (1853 -) India Beech trees, Autumn watercolour 250 x 194mm
Steven, Astrid Mary (1906-1999) Ports and Journeys No. 1 1967 abstract artist aka Mollie Steven
Stoddart, Margaret Ngaio Trees c.1909 watercolour on paper
Strutt, William (1825-1915)  English The Fox and the Raven   Timaru Herald, 14 May 1913, Page 6 given by Miss McLean. Watercolour on off white paper.
Summerton, Justin (1972 - ) Eng /NZ     one piece in the Aigantighe collection
Sutton, William (Bill) A. (1917-2000) NZ- CHCH Landscape Synthesis III 1980 Oil on canvas. Purchased through the G. Sevicke Jones Trust with assistance from QEII Council in 1981. Accession No. 1981.8
Swan, John Macallan (1847-1910) English Abandoned 1881 two girls looking at a white cat on a window sill
Sydow, Carl (1940 - 1975) NZ      
Temple, Edwyn (1835-1920) Eng./NZ Hanging Rock, Pleasant Point.   Watercolour on paper. Given in celebration of the 25th anniversary of the Friends of AAG
Thompson, Sydney Lough (1877-1973) NZ Afternoon Market, Concarneau, Brittany 1904 Oil. Given by Robert Moyes in 1993
Thompson, Sydney Early Morning, Concarneau   oil on canvas and board
Thompson, Sydney Lough Fishing Boat on River, Stabithes 1901 Hanging in House Corridor in 1914
Tomkins, Riduan (1941-2009) ENG Untitled   Oil on board, purchased by gallery in 2018
Topolski, Felkis (1907-89) Polish Soldiers' Leave, Summer, 1940 1940 Pen and ink wash on paper. Acquired 1979
Trusttum, Philip (1940 - ) NZ Hannah on the Rocking Horse Oil 1974 Oil on board 1990 X 1210 mm
 Van der Velden, Petrus (1837-1913) Dutch /NZ Bush Creek, Taramakau (Otira Gorge in Arthurs Pass) c.1893 oil on canvas. Given by Mr and Mrs P. F. Finch and family in 1982
van der Velden, Petrus Dutch Figure 1890-1900 Acquired 1900.
van der Velden, Petrus Girl with Candle 1890-1900 Acquired 1956. (1900)
van der Bergh, Paul  (1941 - ) Red landscape   oil on canvas
van Hout, Francis Plain Sky 2018 Oil on wood. Purchased by gallery in 2018.
Verestchagin, Vassili Russian Trader calling for Orders 1897 oil on canvas
Waagrez, Vincent The Brook c.1900 oil on canvas
Vane, Katherine Airini (1891-1965) Pohutukawa in Bloom 1935 gouache on paper
Waddington, David (1948 -  ) Early Spring Hilton 1983 watercolour 335 x 730mm
Waitt, Robert Macdonald (1847 -1879) Te Weka St, Timaru (then Maori Reserve) 1872 Watercolour 158x351mm
Waldron, Zita Mackenzie Country Sky 2016 Oil on canvas
Waldron, Zita Considering 2016 Oil on canvas
Waldron, Zita Still life 1989 Oil on canvas
Waldron, Zita Initial Introduction 2016 Oil on canvas.
Warr, Malcolm (1939 - ) Mountain Daisies, National Park 1983 Screen-print on paper given by the artist in 1983. On Mt. Taranaki.
Wheeler, Colin NZ First Blossom 1961 oil on board
Wheeler, Colin NZ Young Pear 1960 gouache on paper
White, Pat work 2017 13 paintings gifted by the artist in Dec. 2019
White, Pat (from Fairlie) Each Paddock its own History   6 metres long, unstretched oil painting. Gifted by the artist in Dec. 2019
Wigley, Jessie (1880-1968) NZ Edinburgh from Calton Hill c. 1950  InSPIRE exhibit. Watercolour. Acquired 1980.
Wigley, Jessie Kimbell   watercolour
Wigley, Jessie Mt Cook watercolour on white wove paper
Wigley, Jessie Christie  NZ Mt. Cook Lilies c. 1950s watercolour on paper. F.H. The Aigantighe has 6 of her paintings
Wilson, Susan  (1951 0- ) NZ Self-Portrait with a Maori Kete 1996 From the D. Margaret Guild bequest in 1998.
Woollaston, Toss (1910-98)  NZ Tasman (Tarakohe) Bay from Mapua, Nelson c.1960  Purchased through the George Sevicke Jones Trust. 1967
Woollaston, Toss Portrait c. 1960 Ink on paper
Wontner, William (fl.1879-1922) English Amelie 1905 oil on canvas. Given by J.W. Grant in 1962. another view
Worsley, Charles (1862-1923) English The Lago Di Garda unkn. Watercolour. Acquired 1956
Wright, Walter Return of the canoes   Painting
Zheng Kuan Kung 1936 silk scroll. Acquired Feb. 1973
Artist unknown Cattle    
  Timaru Port from the rubble wall 1915  
Artist unknown Robert Burns c. 1815 Acquired 1983

Patty Wigley donated a bronze sculpture, The Whale's Tale,  to the gallery to mark the 60th anniversary of Aigantighe Art Gallery on Friday 2nd Sept. 2016. The sculpture is based on a Kaikoura sperm whale, wearing a cloak that represents "both a physical and spiritual garment that shields and protects the wearer." “We are the guardians of our land and sea.” The cloak acknowledges the whales high rank and enables the wearer the right to speak and be heard.  Sculptor Brett Rangitaawa.

Tom Esplin held a lecturing appointment at Otago University for 30 years, 'retiring' to full time travelling and painting in 1985. During this time he developed his trademark and unique palette knife impasto technique, which makes his work so distinctive. He was active in the promotion of art in Otago, being President of the Otago Arts Society and the Dunedin Public Art Gallery Society. Edith was also a talented painter. Her great skill, however, was in creating lively colourful word pictures, as revealed in the travel diaries she wrote over thirty years.   

Some painters with Scottish connections represented at the art gallery:

William Brown (1863-1936)
Wm Menzies Gibb (1859-1931)
Helen Paxton-Brown (1876 - 1956)
Jessie Wigley (1880-1968)
Wm Macleod (1892- 1963)
Alexander McBride (1859 - 19550
Hannah MacGoun (1831-1911)
Dr A.H. McLintock (1903-1968)
Sir Wm Russell Flint(1880 - 1969)
Tom Esplin (1915-2005)
Wm Ferrier (1855- 1920)
Thomas Hunt (1854 - 1929)

Beginnings of Aigantighe Gallery
Date: 1988 From: AGMANZ Journal, By: Trevelyan, Jill
A history of Timaru's art gallery, located in the Aigantighe homestead of Alexander Grant. Describes collections and donations by James Craigie, Mr and Mrs G Wells, William Greene and others. Outlines contribution of South Canterbury Arts and Crafts Society. Notes current collecting policy.

Ferrier, W. Administrative History / Biographical Notes Born 20 August 1855 Edinburgh, Scotland arrived 10 Sept 1869 at Port Chambers, New Zealand on the "William Davie" from Glasgow, aged 14 years died 16 October 1922, Timaru New Zealand aged 67 years buried Timaru Cemetery 18 October 1922, row 34 plot 418 Biography - William Ferrier 1855-1922 by John Lester, Aigantighe Art Gallery

Treasures of the Aigantighe A column in the Timaru Herald 2010-2014. Saturdays paper with biographical notes on the artist and a colour photo of a painting.
17 April 2010 Olivia Spence Bower Mackenzie basin c. 1969 watercolour and charcoal on paper. TH page 22

The art of the unusual. Date: Sum 2006 From: Art News, By: Ciaran, Fiona
Features the Aigantighe Gallery in Timaru. Outlines its history and talks about the 'Treasures of Aigantighe: the 50/50 project' exhibition.

High heritage: Jessica Gunn and Susie Izard: Granddaughters Above the Mueller. They are descendants of artists Jessie Wigley and Enga Washbourne. Article. Source: The Press 2005 May 18, p. D3

The InSPIRE exhibit in 2011 featured works from the permanent collection. Included in the exhibition is Jessie Wigley’s watercolour Edinburgh from Calton Hill, there are several spires that feature in the skyline of this painting including the steeple and spire of Tolbooth St John’s church and St Mary’s Cathedral spire.


Timaru Herald Saturday 18 July 2020Thomas Kennington, The Mother, 1895.
Aigantighe Art Gallery Accession number: 1956.37
One of the original artworks in the Aigantighe Art Gallery’s permanent collection, Thomas Kennington’s The Mother, 1895, has recently returned after being restored by the Gallery’s painting conservator in Christchurch, Olivia Pitts. The conservation of this large painting has been sponsored by the Friends of the Aigantighe by donations from Footes Chartered Accountants and a Friends of the Aigantighe member.

The British artist, Benjamin Thomas Kennington (1856 – 1916), was academically trained – he studied at the Liverpool School of Art, the Royal College of Art, and the Acadèmie Julian in Paris in the 1870s. He was a successful portraitist and genre painter, and many of his paintings are described as Victorian narrative paintings. Capturing a story with an underlying moral message, Kennington often painted as a social activist depicting scenes of the plight of the urban poor in London – his paintings had titles such as Homeless (1890), A Pinch of Poverty (1889), Windowed and Fatherless (1888).
But, The Mother is a celebration of family values and the role of a woman within the family. It is worth noting that the artist’s wife, Elise, passed away at the age of 34, the same year Kennington produced this painting (and the couple did have children). While the artist draws the viewer’s attention to the importance of marriage as a family value by having the woman’s left hand and her wedding ring bathed in light and placed just below the centre of the picture plane, he also uses the light source in the painting symbolically. The lamp or candle metaphorically represents the woman’s essence and influence – as a wife and mother – it is her that lights up the children’s bed, with her warm touch, and her noble stature, as she guides and comforts all in her care with her nurturing and protective presence.

Kennington exhibited his paintings with the prestigious and academic Royal Academy in London – he showed artworks there from 1880 right up until his death in 1916. The Mother was one of his paintings exhibited there in 1895, the same year that he finished the work. Seen as a British artwork of significance that could inspire the public of Timaru, The Mother was presented to the South Canterbury Art Society in 1914 by the former Mayor of Timaru, James Craigie. The Society had begun collecting artworks for Timaru’s own Public Art Gallery – which came to being in 1956 after the Aigantighe House and Gardens were gifted by the Grant family.

The Aigantighe bringing you the best in regional, national and international art - delivers a room full of McCahon, Hodgkins and Goldie paintings.

The Goldie Room - Maori art on canvas
Charles Frederick Goldie (1870-1947) New Zealand Artist b. in Auckland

The Aigantighe have five Goldie paintings, paintings of tattooed Maori chiefs and women with mokos, as part of their permanent collection. Four are on display. All, except the charcoal sketch, were on display when the old house was closed down in 2018.
(1913) Last of the Cannibals, Tumai Tawhiti  (Ngati Raukawa, Te Arawa) b. 1812 in the Bay of Plenty. As a warrior he was fully tattooed by the age of twenty-four. Given by the South Canterbury Arts Society in 1956. oil on canvas 27.3 x 22.3 cm. (10¾ x 8¾ in.)
(1913) Memories, the Last of her Tribe, a portrait of Pani a Ngatiawa widow. Given in 1956 from the collection of James Craigie.  It is among the last of Goldie's large works and was painted as a companion piece to Tumai Tawhiti
(1938) Maori Girl Maori Girl and Ngahene were gifted by Lorna Grant.
(1938) Ngahene – The Last Match
(1903) An Untitled charcoal sketch

Grey River Argus, 19 June 1914, Page 5
The Mayor, Mr Guinness, this afternoon formerly opened a temporary Public Art Gallery in a large spare room of the Public library. A creditably numerous collection is now on view obtained by gifts to the Borough had purchases by the Art Society, and permanent loans. Mr Craigie, M.P., President of the Society, was the chief speaker, and to-day he added gifts of larger painting, "The Mother" which, has been exhibited in Wellington, and one of Goldies Mason portraits" "Memories."

One left town: In 1951, at an auction at Timaru, the Dunedin Art Gallery paid 800 guineas for ‘Memories’, a portrait of an old wahine by Goldie.

Evening Post, 5 October 1910, Page 2 Sales of Pictures
The red disk indicating a sale is affixed to quite a large number of the pictures. Up to last evening the following sales had been made: —
"The Gum Trees" (water colour) , M. O. Stoddart, £8 8s;
"The Skylark" (water colour), "After Rain" (oil colour), W. F. Barrand, £5 5s
"Memories," a Maori portrait (oil colour), C. F. Goldie, £15 15s
"Sophia" (oil colour), same artist, £15 15s
"Gorse and Tussock" (oil colour), C. H. Howarth, £6 6s
"Ahinata" and "A Ngatiraukawa Joke" (both oils), C. F. Goldie, £12 12s each

Evening Post, 27 September 1909, Page 5
Some smaller Maori heads of Mr. Goldie's, too, possess equal pictorial, and scientific value ; but others, again, are suitable rather for the gallery than for the home. For several years now Mr. Goldie has devoted his whole time to painting the Maori. He seems to be fully seized of the fact that the old, tattooed Maori is passing, and that with great rapidity. Pictorially considered, the new Maori is not so interesting. His fondness for yellow boots and the love of his women kind for store-clothes disqualify the new Maori for any studio but that of the photographer. It is impossible to estimate the money value of Mr. Goldie's work : time alone will set the price. But posterity should become grateful to the artist who has done so much to put on record in these times what may be called the Last of the Maoris. Mr. Goldie's picture in this year show, "A Centenarian", is a wonderful piece of work. The original is Apirahama, and his age is given as 104 years.

Charles Frederick Goldie is said to have studied portraiture under Sir James Guthrie in London. Guthrie was the uncle of Lorna Guthrie who married James Grant and in 1955. Grant gave the Aigantighe home to Timaru so that it could become an art gallery. Lorna Grant knew Goldie and the two smaller paintings by him which she owned are part of the Aigantighe gallery's collection. The McCahon pictures were donated by Betty Curnow (neé Le Cren).

Evening Post, 8 September 1930, Page 10
The Scottish painter, Sir James Guthrie, is dead at the age of 71. He was for many years a member of the Royal Scottish Academy.

Be Inspired. It is a pleasure to greet visitors to the Gallery and assist them to enjoy their time. Together with the art collection the team of staff and volunteers makes the Aigantighe a destination for inspiration. If you are interested volunteer at the Aigantighe.

Eileen Rosemary Mayo (1906-1994)
British born and trained artist Eileen Mayo emigrated to Australia in 1952 where she became established as a leading printmaker, poster, stamp and coin designer reveals her mastery of design within a simple composition. Mayo live for almost a decade in Australia before moving to New Zealand in 1962 She settled in Christchurch in 1965 and lived here mostly until her death in 1994. Whilst most well known in this country as a printmaker Mayo was also active through her career in a diversity of media that included painting although oil paintings by her are uncommon. Nature was the predominant theme in Eileen Mayo’s work throughout her distinguished career as a printmaker, painter and designer. When Mayo lived in Sydney she worked on murals.

 If at first the idea is not absurd then there is no hope for it - Albert Einstein

Sevicke Jones Bequest
George Edgar Sevicke JONES the youngest son of William Benjamin and Sarah Sevicke-Jones was born in 1877 on a farm near Waimate. His parents had arrived on the Strathallan in 1859. Sarah died 5th Sept. 1879 in Waimate aged 47. William Benjamin died 8 Sept. 1908 aged 76. The family was Anglican. George was educated at Waimate and became an optician in Christchurch. Up to Sept. 2017 his bequest has helped the Aigantighe to add more than 250 works to the gallery's permanent collection. The trust was established in 1963.

Children of Sarah Sevecke and William Benjamin Jones
1859 Jones Frederick William Sevecke d. 23 Aug. 1941. Buried Waimate.
1862 Jones Alfred John Sevecke d. 25 Aug. 1948 aged 86. Buried Waimate.
1866 Jones Alice Maud Seveck
1867 Jones Arthur Leveeke d. 8 Jan. 1952 aged 85. Buried Waimate.
1869 Jones John Carter Levecke
1871 Jones William Benjamin Sevecke
1872 Jones Ernest Christopher Sevecke
1875 Jones Christiana Seveckse
1877 Jones George Edgar Sevecke 

Will dated 4th April 1960
Last will and testament of George Sevicke Jones of Christchurch optician.
To my nephew Hori Coutts Collett the Mahogany Sea Chest brought out by my parents from England. To Hori Coutts Collett the goodwill of my business of Optician (including any interest or share in any business of Optician which I may own at the date of my death) together with the stock-in-trade, machinery, plant, text-books, furniture, fittings, fixtures and effects employed therein...,
(c) To the Timaru City Council my portrait by H. Gower and any pictures of mine including my copy Picasso and Van Meegeren that the Council shall choose to be placed on public exhibition at the Aigantighe Art Gallery or elsewhere in the City of Timaru.
7. I direct my Trustee to pay to each of Edna Henderson of Christchurch, Helen Edwards of Temuka, Cynthia Wood of Christchurch, the said Rita Jones and the said Doris Smart as from two years after the date of my death their respective lifetimes the sum of eight pounds per calendar month.

Hori Coutts COLLETT born 26 Feb 1906 to George William COLLETT and Christina Sevicke JONES
Death: 15 Sep 2001 in Waimate. Burial: Waimate Old Cemetery

Timaru Herald, 29 August 1896, Page 3
The South Canterbury Art Society opened in the Assembly Rooms yesterday' afternoon their first exhibition of members' work, and the exhibition was continued last evening, and will be open till 10p.m. to-day. There are about 80 pictures hung, representing nearly 40 artists The subjects comprise the usual varieties, the human figure and animals being scarce however. The collection is a satisfactory one as showing that many of the younger artists are making progress. The gem of the exhibition is a pastel portrait of the Rev. R. Waddell, by a lady who lately come to Timaru, who by this work and a few other things proves that she will be an acquisition to the the society. There is a second good head on the walls. The combination of mountain and water, is too popular with our painters, and many visitors will hail with pleasure the changes from these to the pictures— well done too of the Washdyke Creek, Waimataitai Creek, the High School swamp (with its gorse and gum surroundings and snow-capped Mt Nimrod in the distance) and familiar coast and harbour scenes. Some of the flower work is excellent, and other .subjects include some creditable work. The exhibition will be seen with pleasure and satisfaction by all who are interested in the progress of the pictorial art in Timaru. There was a very good attendance last evening in spite of cold and rain. The president of the society, the Ven. Archdeacon Harper, gave a very interesting lecturette on Art, of which the following merely indicates the lines of his address Though not qualified to speak as an artist to artists, Some instruction and early practice, the advantages he had enjoyed of seeing on many occasions the very best productions of British and foreign art, and some study of the history and significance of art, would, he hoped, enable him to say something which might be generally interesting, and perhaps convey a few hints to those who indulge in the delightful recreation of painting or drawing. The highest mission of art appeared to be, to teach us how to see and how to love, the real beauty of nature or of human life. One man in a hundred sees a divine beauty in things, depicts it, and then the ninety nine can see it also, each according to his capacity to perceive its glory. The camera even if it could photograph in colours, cannot give to the heart and mind what an artist can, because the eye is so different from the lens it has the heart, and brain behind it, and receives a dominant impression where the camera gives every detail with mechanical accuracy. The effect of the afterglow of a fine sunset on Caroline Bay was mentioned as an instance of what an artist could seize upon, and fail to satisfy anyone, by trying to make the picture too accurate in representing the objects in view. An example of a successful seizure of the inspiration of the moment was a picture at the society's previous exhibition, representing a boat with two fishermen m it, off the coast of France in the charms of early morning, a picture which had a fresh charm every time one looked at it. A few other pictures, known to all by photographers, were mentioned, as instances of the expression of a dominant feeling. The lecturer proceeded to point out the importance of accuracy of observation, and the necessity for industry in sketching as a training in accuracy, illustrating his remarks on this head by instances of the habits of great artists. No one who draws or paints can dispense with accuracy in form and perspective, or the facility of touch, which only comes of practice, and all who would succeed, in giving pleasure to others, or m satisfying themselves, must put themselves to school, or their ambition will o'er leap itself. He recommended the mastery of technical processes, and practice from copies, before attempting to reproduce nature. Some hints were given to beginners of the errors they should try to avoid in selecting material for a picture, pointing out that the concentrating and selective power of a single glance of the eye should correct the tendency to superabundance of detail, so as to secure a central unity and significance in the sketch. The excessive detail of the Pre-Raphaelites was mentioned as examples of this error, and the masterly architectural sketches of Pennell and Railton of the avoidance of it. Chinese and Japanese art do not satisfy us because they are too real," and that is why a photograph never come up to a good painting. The artist idealises, as does the poet, and presents in form and colour, as the poet does in words, what many feel but cannot express. It is the privilege of Art to encourage and minister to the perception of beauty, to sweeten life's drudgery, to take us out of the sombre dullness of the daily round, and up into the cloudland of beauty, not merely the beauty of form and colour, which appeals to the senses, but of the high and magnificent purposes of human life, human conflict with difficulty, and of hope and triumph."

A c.1970s postcard.

March 2016.


Past Exhibitions

Land Marks - Architectural forms of South Canterbury
8 September 2018 - 21 October 2018
This exhibition coincides with The New Zealand Institute of Architects Festival of Architecture and is an exploration of South Canterbury’s rich architectural heritage from the past to the present.

St. David's Memorial Church, Cave c.1940

The Aigantighe Collection Curator, since 2017, Petrena Fishburn, gave a talk about Austen Deans’ commitment to the traditions of nineteenth century landscape painting, and the success afforded by this decision. The event was sponsored by the South Canterbury Arts Society and took place at the Aigantighe Art Gallery on Thursday 9 November 2017 at 7:30pm. There was a display of Deans’ artworks from the gallery’s permanent collection to accompany the talk. Petrena always wanted to be an Art Gallery Registrar. She obtained her Master of Arts in Art History at University of Canterbury (UC). After completing honours, Petrena was presented with a UC Summer Scholarship which involved working for the AA Deans Trust, cataloguing over 800 works of art left by Austen Deans to his family, and storing them safely for their preservation.

Un/Earthed 7 - 22 September 2019
In the Foyer, Un/Earthed- Pottery from the Aigantighe Art Gallery Collection, highlights pottery from the Aigantighe Art Gallery's permanent collection from the late 1950s to the early 1980s. The exhibition includes works by Len Castle (1924-2011), Juliet Peter (1915- 2010), Mirek Smisek (1925 - 2013) and Peter Stitchbury.

Earth & Fire, South Canterbury Pottery Group, 7 - 22 September 2019
South Canterbury Pottery Group’s 47th exhibition celebrates and promotes the creativity of ceramic artists from around the region. This exhibition also includes work by guest artists Tatyanna Meharry and Rick Rudd.

“As one of the New Zealand’s major public art galleries it’s important that we go beyond just displaying artworks in the Aigantighe, it’s about always finding new ways to get people to experience art and the colour and vibrancy it brings our District.” 07 Dec 2018 

National Poetry Day in NZ is held on the fourth Friday of August each year. Usually readings are held at the art gallery. Which has had the greatest influence art or poetry?"

Not Understood

 Not understood. We move along asunder,
Our paths grow wider as the seasons creep
Along the years: we marvel and we wonder
Why life is life? and then fall asleep,
Not understood.

 Not understood. How trifles often change us!
The thoughtless sentence or the fancied slight
Destroy long years of friendship and estrange us,
And on our souls there falls a freezing blight ;
Not understood.

 Not understood. How many breasts are aching
For lack of sympathy! Ah! day by day,
How many cheerless, lonely hearts are breaking!
How many noble spirits pass away
Not understood.

Oh God! that men would see little clearer,
Or judge less harshly where they cannot see;
O God! that men would draw a little nearer
To one another, they'd be nearer Thee,
And understood!

by Thomas Bracken, our well-known New Zealand poet, buried in the Northern Cemetery in 1898 at age 54.

The GRANT family - enjoyed the peace and quietness of the Mackenzie

In 1881 Alexander Grant purchased Grays Hills, down the Haldon Rd, in the Mackenzie from Captain Baldwin who had recently purchased the 47,000 acres from Fletcher and Sherries for £16,000. This tussock run Grant enlarged to about 60,000 acres carried approx. 15,000 merino sheep. His son, James William Grant, became a partner in 1908. Marion Lorna Guthrie married James William Grant in 1916. A manager was put on when James went off to WW1 in 1917-1918.  Alex. Grant sold part of the run to his son James in 1911, he retained the original run until his death in 1919, after which it passed to James’ wife. I do not have any idea about Mr Grant's burial arrangements. In 1948 the property was sold to David Urquhart and the 58,800 acre property is still in the Urquhart family today. Mr and Mrs J.W. Grant retired to Timaru to "The Croft" also set on spacious grounds.

Otago Witness 4 May 1878, Page 14
On the 23rd April at Rockyside, Dunedin, by the Rev. Dr. Stuart, Alexander Grant, to Ellen Lindsay, second daughter of Mr Robert Banks.

Children of Ellen Lindsay and Alexander GRANT:
1879 Grant James William
1881 Grant Jessie Christie d. 1968 aged 87
1882 Grant Alexander Drummond
[Mrs Grant had six grandchildren and 17 great-grand children when she turned 100]

Aigantighe was built in 1908 for the retirement home of Alexander (1832 -1920) and Ellen Grant (1854-1955) of Gray's Hill Station in the Mackenzie. Pre 1920 Mrs A. Grant was aka Ellen. After the death of Helen Lindsay Grant in 1955, aged 101, her son gifted the property to Timaru as an art gallery in accordance with the wishes of his mother and his sister, Jessie Wigley, the artist. Helen, born at Edinburgh, Scotland, d/o Robert Lindsay Banks and Jessie Banks. Robert was the s/o David Banks and Helen Banks. Robert Lindsay Banks of Fairlie, County Engineer, was Mrs Grant's brother. R.L. BANKS died in 1946 aged 85Y and buried in the Northern Cemetery, Dunedin. Mrs Grant loved to garden and play bridge and host garden parties. A portrait of Helen Grant was given to the Aigantighe in 1998 by Hester Wigley's bequest, Helen Grant's granddaughter, painted by Archibald F. Nicoll, b. Lincoln, Canterbury, NZ. Nicoll studied at the Canterbury College School of Art in Christchurch and in 1911 studied art in London and Edinburgh. In 1918 Nicoll began teaching art at the Wellington Technical College and he also started a portrait studio. Nicoll painted over 100 society portraits including this one. Hester also donated a sketch of her grandfather to the Aigantighe, one of a pair produced by Walker's Galleries in London. Cheese dish. Cup & saucer
    Archibald painted "Pleasant Point" in 1930.  It was exhibited at the annual exhibition of the Canterbury Society of Arts. He lost his leg while fighting on the Somme during World War I. so was confined himself to painting landscapes in close proximity to where he was able to drive. This is why so many of his landscapes have roads as a central motif. Rather than a hindrance, however, Nicoll put his car to good use and revelled in the freedom it offered, driving all over Canterbury to paint. Peel Forest.
    Alex. was born in Stirling, Scotland and came out to NZ in 1860. He was involved in the gold rushes in Australia and Otago. Married in 1878 in NZ and the couple paid an extended visit to Australia then lived several years in Dunedin. Mr. Grant owned Waikai Station in Southland prior to purchasing Grays Hills in 1881. Mrs Grant went to live there with her two small children, one a baby of four months who on the journey had been given milk "on the turn" at the old Albury Hotel. The family spent the night at Albury, the railway terminus then, and as they proceeded by buggy made things unpleasant with her protests. Bob Fraser, the kindly shepherd who had driven to meet the party, was amused at Mrs Grant's efforts to warm the baby's milk by lighting a damp tussock and also at the bewilderment of the children's nurse, who kept saying: "I can't think, however did the master find this place." There were few trees for landmarks at that time and only a very sketchy road. In those days mail service was once a week to the "Grampians", a station seven miles from Grays Hills. Stores were brought in only once a year as backloads for the horse-drawn wool wagons.

Mrs Grant was fond of horses and was a fine horsewoman. She dressed in a long habit skirt and spent long days in the saddle on Peter, her black Arab, sometimes riding with a party from neighbouring stations down to the Waitaki River to stay at "Waitangi." On one occasion they lightheartedly crossed the river in a small boat to got to a dance in the "Rugged Ridges" woolshed given by Mr Miller, of Te Akatarawa Station.

On one occasion Mr and Mrs Grant with a house party, drove across the Tekapo River and onto the old Hermitage. There was no road at Simons Pass and the river was spread out in many streams.  A pare of old stagers jibbed in mid stream and would not budge for an hour or more. Mrs Grant and one of her sisters jumped from the buggy seat on to the spare horses backs and rode them across. This faster pair was re-harnessed in the middle of the stream and the party drove home without any further trouble.

Before rabbit holes became a danger, Mrs Grant and her children often raced the horses when out riding. One summer, when two young Australian cousins visited her, she and they would have a tail on end gallop for several miles, sometimes they rode the buggy horses. Mr Grant was driving along to Fairlie to meet the family on one occasion and the buggy horses galloped for 10 miles before he could curb them to a reasonable pace.

Once Mrs Grant and her children decided to give the rabbit pack a run. The children on their ponies and Mrs Grant on Peter with at least 40 dogs of all breeds. The day went well until the pack suddenly took a dislike to one of the house pet dogs and the pack set upon the spaniel. Mrs Grant slid down and threw her long riding habit over the spaniel while the dogs were snarling and barking around her. She sent the children off on a pretended hunt and fortunately the pack followed and she remounted and took the spaniel home. [Ref.: Timaru Herald 30 Jan. 1954]

NICOLL, Archibald Frank - WW1 2/1188 - Army
Born: 4/6/86
Occupation: Artist
Last employer: Edinburgh College of Art.
Presbyterian. 5ft 10in 160 lbs. wife Mrs A. Nicoll
Patient was struck by a piece of shell on the inner side of the right leg just below the knee joint causing a compound fracture. The wound of the leg becoming gangrenous.
8 April 1916 Embarked for France
30 Sept. 1916 Wounded in action.
31 Sept. 1916 Admitted No. 18 Gen. Hospital, Camiers.
11 Oct. 1916 Right leg fractured. Transfered per H.S. Ashwrias to England
17 Oct. 1916 G.S.W. Amputation right leg.
18 Oct. 1916 18th Gen. Hosp. seriously ill
17 Oct. 1916 Admitted 1st NZ Gen. Hospital, Brockenhurst
15 Jan. 1917 At N.Z.G.H. Brockenhurst, amputation improving.
Discharged no longer physically fit for War Service on account shell wound right thigh (amputation) received in action.
Intended address 124 Riccarton Rd, ChCh.

The freedom of widowhood. Widowhood is about the only compensation that some women get out of marriage. On the whole, if a woman can live without love or without anything stronger than tender, sentimental friendship, widowhood is the most blissful state that she can attain.

A son never forgotten
Mrs. Grant lived at the Aigantighe until her death at age 101, 21 July 1955. She was born January 30, 1854 to Mr and Mrs Robert Banks at Edinburgh. She spent 95 years in New Zealand. She came out when she was six with her parents, her four sisters and two brothers. The youngest was a baby of six months, the late R.L. Banks of Fairlie. Her ashes were buried in the Northern Cemetery, Dunedin in the same plot with her son who died 21 July 1893. Little Alex died at his Aunt's home in Dunedin. The family resided in Dundaas St, Dunedin, later the family moved to "Cheetwood" a farm near Balclutha. Helen or Ellen BANKS arrived in Dunedin in 1861 with her parents and siblings on the ship "Melbourne" in March 1861 from Glasgow. The ship Melbourne, 661 tons, from Leith, 24th Nov. 1860 for Port Chalmers arrived 17 March 1861 via Portsmouth where it left on 12 Dec. 1860 under command of Captain John Robertson with 199 passengers including the Mr. R.L. Banks, wife, two sons and five? daughters in the cabin. Mrs Helen Grant has been back to Britain twice. The first time in 1910 and the other in 1929 when she was 75 accompanied by a brother and two sisters.

Otago Witness 27 July 1893, Page 27 Death
Grant — On the 21st July, at The Willows, Caversham, Alexander Drummond, youngest son of Alexander Grant, Gray's Hills, South Canterbury; aged 10 years.

Otago Daily Times 22 February 1870, Page 2
On the 21st February, at Dundas street, by the Rev. D. M. Stuart, William Barron, to Mary, eldest daughter of Mr Robert Banks.

The Cyclopedia of New Zealand [Otago & Southland Provincial Districts] 1905
Mr. William Barron, who represented the Caversham electorate in the House of Representatives during the years 1879–90, was born in St. Andrews, Scotland, in 1837. He was educated at Scottish parish and public schools, and afterwards trained to commercial life in Edinburgh. In January, 1861, he arrived in New Zealand, landing in Port Chalmers, and was for about eighteen months subsequently engaged in mining and store keeping on the Otago goldfields. He then entered into business in Dunedin as the senior partner, first in the firm of Messrs Barron and Campbell, and, later on, in the firm of Messrs Barron, Grant and Company, merchants and runholders. In 1874 he retired from active business life, and on his return from a voyage to England eighteen months later he bought and built upon a handsome homestead, known as “The Willows,” at Kew, Caversham, where he has since resided. Mr. Barron was a member of the Dunedin City Council in the early seventies. While in Parliament he took special interest in the improvement of the patent-laws, the abolition of plural voting, extension of polling hours, economy in administration, reduction of members, and repeal of the property tax. In politics he is an Independent Liberal; and has always contended for Freetrade and for the freehold title to land. He was one of the chief advocates of the Otago Central railway, was for several years chairman of the Executive Committee, and was associated with the late Mr. Vincent Pyke in defeating the opposition to the scheme. He is a Freemason of many years' standing, and has occupied the position of Grand Master of the New Zealand Grand Lodge of Freemasons. Mr. Barron was married, in 1870, to Miss Banks, of “Cheetwood,” Clutha, and has five sons and six daughters. Obit. 1916 aged 78yrs. Forbury Rd. Buried Northern Cemetery, Dunedin.

Timaru Herald, 19 June 1916, Page 7
The death is announced at Dunedin of Mr William Barron, who was M.H.R. for Caversham from 1870 to 1890 and had occupied the position of Grand Master of the New Zealand Lodge of Freemasons; aged 78 years.

Otago Daily Times 24 August 1876, Page 2
Messrs M'Landress, Hepburn, and Co., report that they to-day (23rd) offered for sale by auction, Rockyside, the property of J. T. Thomson, Esq. near Caversham, and containing about 20 acres of land, together with the residence and all other improvements. After a spirited competition, the property was knocked down to Mr William Barron, by his agent Mr Banks, for the sum of £2500.

Bad winters of the past.

Press, 4 August 1888, Page 5 Found dead in the snow on the Grampian Plains, about 22 miles from Fairlie
Robert Russell, whose death from exposure was reported in these columns some few days ago (says our Fairlie Creek: correspondent), had a very wretched, and timely end. He was a cook at the Gray's Hill Station, Having received a letter from his wife stating that "one of the children was seriously ill," on Friday, July 13th, he got his cheque from Mr Grant and started to walk home. Pervious to starting his employer tried to persuade him to wait till Tuesday following, and he Would drive him down, but Russell preferred to start at once. At the time from 18 to inches of snow was on the ground. He managed to get as far as Whales Creek, about seventeen miles, and eight miles from Burkes Pass where he was subsequently found dead. From the position of the body it is evident he must have been having a drink of water from the creek, as he was lying in that position when found. It was only through Mr Grant's enquiries when he came down on the Tuesday that a search patty Went out to look for the man, and the body was found on the following Friday. The corpse was brought to Fairlie Creek, and an inquest was held on the Tuesday morning, the verdict being "Death from exposure." The burial took place the same day. Deceased leaves a widow and four children totally unprovided for. A subscription list has been started for them, and is receiving liberal support.

North Otago Times, 27 August 1895, Page 3
At one station, Gray's Hills, the hard frost broke all the bedroom jugs, and a vinegar jug at the same place was broken by the frost, leaving the vinegar standing in a mass.

North Otago Times, 31 July 1895, Page 3
Viewing the Mackenzie from where we reached, it appeared like one vast stretch of frozen snow and ice especially Brae mar way, and the only ground to be seen was chiefly on Gray's hills, Simon's hill, and Ben Ohau and a little on Benmore, Rhoborough, and Mary's range, and a mere spot or two, wind swept, on the Grampians. Mr Grant, of Gray's hills, has succeeded in getting his sheep out by aid of a snow plough off the flat on to the hill.

Poverty Bay Herald, 24 August 1895, Page 4
The Lyttelton Times of the 14th fast, says there is not much change reported from the Mackenzie country. There has been some thaw, but the country shows little bare ground yet. The snow plough was at work last week opening a track to the Grampians station, Mr Grant wishing to get some sheep out but he had not reached the Pass with any on Monday. Two young men, named Smith and Wilson, succeeded in making their way on snow skates to Braemar and Mount Cook stations and back last week. This was the first communication with these stations since the severe weather. As elsewhere, nothing has been done but skinning, no other work being possible. Mr Burnett's station (Mount Cook) was found to have had less snow than others. The mailman has only been through to Pukaki once in the last six weeks, nor is there much thaw on the eastern side of the ranges, the rivers keeping very low. The Clayton, Sherwood Downs, and Ashwick runs are still nearly as white as ever, and snow still lies on the upper end of the Ashwick Flat, including the small farm settlement. On the lower side of Burkes Pass the spurs are clearing, but the tops are covered. The road is clear to the pass, but beyond it is snow-covered and ice-clad, and is unsafe to travel over until the crust has softened a little after each night's frost. Other roads are also unsafe. That from Fairlie to Clayton is reported to be ice-bound from end to end.

Timaru Herald, 26 September 1908, Page 1
WANTED — A Good General for middle of October. Apply any evening, Mrs A. Grant, Wai-iti Road.

Timaru Herald, 4 June 1910, Page 3 Land transfer granted.
Pastoral run No. 73, Gray's Hills Station, 20,000 acres, Alexander Grant to J. W. Grant, Gray's Hills.

Timaru Herald, 22 June 1910, Page 4 Marriage
WIGLEY - GRANT. On June 15th at Chalmers Church, by the Revd Macauley Caldwell, Rodolph Lysaght Wigley, second son of the late Thos. H. Wigley, of Opuha, to Jessie Christie, daughter of Alex. Grant, Gray's Hills.

Timaru Herald, 25 June 1910, Page 3
Mrs. G. Pascoe (Christchurch), was the guest of Mrs A. Grant this week. A quiet and pretty wedding took place at the Chalmers Church on Wednesday, June 15th, when Miss Grant only daughter of Mrs. A. Grant, was married to Mr R. Wigley, Fairlie. Miss Wigley acted as bridesmaid, and Mr O. Howell was best man. The bride looked charming in a long cream coat and skirt, and huge brown beaver hat relieved with gold. The bridesmaid's dress was pale Saxe-blue silk, trimmed with cream net insertion, and large hat to match. Some of the guests were: Mrs Wigley, Mr and Mrs C. Wigley (Christchurch), Mrs Burns, Miss Banks, Mr Banks (Fairlie), Misses Howell (2), Miss Barron (Dunedin).

Jessie and R.L. Wigley had three daughters and three sons.
Jessie Christie Wigley died in 2004 aged 87.
Rodolph Lysaght Wigley died in 1946 aged 64.

Henry Rodolph "Harry" Wigley b. February 2, 1913 Fairlie, NZ. Died 15 Sept. 1980 on a golf course in CHCH.
Hester Lysaght Wigley b. 26 August 1911. Died 1998.
Alexander Grant "Sandy" Wigley b. 10 August 1915. Died 1997.
Jessie Margaret Wigley b. 16 November 1916. Married Cyril Charles Stavers Parker in 1939. Margaret Parker died in 2006. She was an artist.
Prue Wigley

Richard Wigley died 1st June 2015 age 93. Born in Timaru 1921. He was a rheumatologist in Palmerston North.
James Lysaght Wigley b. 22 March 1922. Died 2004.

A High Country Life by Sandy Wigley
Published by the author in 1994, Paperback 168 pages. b&w photos.
From the back cover: "This entertaining book follows the full and varied life of A.G. (Sandy) Wigley and his family, from the time of the arrival of his grandfather, the Hon. Thomas Wigley, in New Zealand from Australia in the nineteenth century, up to the present day. Both the Wigley's and the Grant's - Sandy's mother's family - have strong high country and South Canterbury connections. His father, Rodolph, founded the Mt Cook Company and gained a national reputation as a pioneer of tourism in New Zealand, while his mother, nee Jessie Grant, grew up at Grays Hill station in the Mackenzie Country.
    After growing up with his five brothers and sisters at Fairlie, Sandy worked for a time for the Mt Cook Co. at Queenstown before training as a pilot in Canada at the outbreak of the Second World War. The hilarious stories he tells about life as a pilot in Britain during the war years tend to overshadow the significance of his distinguished flying career.
    After his return from the war Sandy managed Huxley Gorge station before buying Glen Lyon station - about as remote a place as you could find this side of the Southern Alps. It was there that he and his wife, Barbara, brought up their family before eventually moving down country to Waimate, and finally to the Christchurch area where he and Barbara live today.
    A high country life means hard work, multifarious skills, and as often as not hard play, whether skiing, flying or horse racing, at all of which either Sandy or Barbara or both excelled. Sandy Wigley's story vividly evokes a way of life that has almost disappeared today. Full of warm and occasionally bisque yarns, it also brings to life the stories of three families - the Wigley's, the Grant's and Barbara's family, the Austin's."

Timaru Herald, 15 November 1913, Page 3
On Tuesday Mrs A. Grant invited a great many of Mrs Costello's friends to meet her at "Aigantighe," but the heavy rain unfortunately kept many away. Mrs Grant wore a beautiful lavender satin, with oriental embroidery and Mrs Costello, black crepe de chene, black picture hat with black plumes. Others present were Mesdames Clifford, Laidlaw, Hope, Stronach, Dunsford Newman, Inglis, Turner, Cotterill, English, Bristol, Bailey, Roxby, W. Grant, and Misses F. Ziesler, Kempthorne, Winter, Knubley, Bristol, Sterndale, Wigley, Wright, etc.

Timaru Herald, 23 October 1915, Page 3
Last Friday Mrs A. Grant, Aigantighe, gave a croquet party for her daughter, Mrs R. Wigley, Fairlie, who was staying with Mrs Wigley, Park Lane. Mrs Grant wore a navy crepe de chene, and a white hat lined with black and a black ostrich feather. Mrs R. Wigley, black crepe do chine, black hat with small red roses. Others present were Mrs W. Hay, Mrs Hassell, Mrs H. H. Webb, Mrs Huddlestone, Mrs W. D. Revell, Mrs K. G. Turner, Mrs Stronach, Mrs English, Misses E. Hassell, Revell, F. Raine. Knubley, O'Brien, A. Buchanan, Zeisler, and Wigley.

Timaru Herald, 3 January 1914, Page 3
Mrs A. Grant has returned from a three weeks' visit to Gray Hills.

Timaru Herald, 9 May 1914, Page 3
Mrs and Miss Ronaldson, Invercargill, Miss Banks, Oamaru, and Mrs Barron, Dunedin, are the guests of Mrs A. Grant, Aigantighe.

Otago Witness 28 February 1889, Page 21 MARRIAGE
Ronaldson — Banks. On the 21st February, at Cheetwood, Perua, Clutha, by the Rev. Wm. Ronaldson, Charles John, of the National Bank Dunedin, second son of the Rev. Wm. and Arabella Ronaldson, to Joanna Banks, fourth daughter of Robert Lindsay Banks. 

Timaru Herald, 18 July 1914, Page 3 Dance
A very enjoyable dance was given by Mrs A. Grant, Aigantighe on Saturday night. Mrs Grant received her guests wearing a dark mauve satin frock with lace. hose present were Mrs R. Wigley, Mrs Wigley, Mrs Burns, Miss Barron (Dunedin), Miss Wigley, Miss Brodrick, Miss Guthrie, yellow union over yellow satin, Miss M. Hay, Miss Rhodes, Miss Laidlaw, Miss Turner, Miss Powing (Dunedin), Miss Marchant, Miss Cotterill. Gentlemen were Messrs Grant, Wigley (2), Russell, Kempthorne, Guinness, Revell, Tonkin, Young, Hayter and Marchant.

Timaru Herald, 22 April 1916, Page 3 Wedding
Miss Banks, Oamaru, is the guest of Mrs A. Grant, "Aigantighe."
    A pretty wedding took place at the residence of Mr and Mrs Annand McKellar, Park Terrace, on Wednesday, April 12th, when Miss Marian Lorna Guthrie, only daughter of Dr and Mrs Marian Guthrie was married by the Rev. A. T. Thompson, of St. Andrews church, to Mr James William Grant, of Grays Hills, Mackenzie Country. The bride, (is Mrs McKellar's cousin) who was given away by her father, wore a trained bridal gown of while satin with bodice of ninon over shadow lace, and braces of orange blossom, an embroidered veil of net (lent by her cousin, Mrs A. McKellar) arranged over a spray of orange blossoms and carried a bouquet of white roses and maiden-hair fern. The four bridesmaids were: Miss Marian Hay (cousin of the bride), Miss Hester Wigley, Fairlie (niece of the bridegroom) Miss Betty Guthrie (niece of the bride), and Miss Marjorie McKellar cousin of the bride. They wore dainty frocks of white pin-spot muslin with tucked skirts gathered at the waist and sleeves, large bows of pale pink satin ribbon hanging from the waist at the back. Miss M. Hay wore a large black hat of drawn silk, with a posy of pink roses at the side, and the three little bridesmaids wreaths of pink roses, and each carried posies of pink roses. Mr Innes, Stony Creek, Mackenzie Country, was best man. Mrs Guthrie, mother of the bride, wore amethyst satin poplin and a velvet, hat. Mrs A Grant, white satin veiled in black ninon, black velvet- hat with ospreys. Mrs W. Hay, black charmeuse, with silk embroidery, black hat with plume and steel buckle. Mrs A. McKellar, shot blue and fawn charmeuse with touches of blue, velours hat with brown feathers and blue berries. Mrs A. Hay, shot mauve and silver grey frock, bodice of mauve chiffon, violet-hat. Also present were Mrs R. Wigley, Mr T. Wigley, Mr and Mrs J. Hay, Mr and Mrs Campbell Hay, Mr and Miss Banks, Dr. and Mrs T. Guthrie, Mrs and Miss Duncan, and many others. Only relatives were present at the ceremony, which occurred on the fortieth anniversary of Dr. and Mrs. Guthrie's own wedding day.

Timaru Herald, 17 June 1916, Page 4
Mrs Rudolph Wigley and her children motored down from Fairlie on Monday, and are the guests of Mrs A. Grant, Aigantighe.

Timaru Herald, 27 October 1917, Page 5
Private and Mrs James Grant who have been the guests of Mrs A. Grant, Wai-iti Road, returned to Featherston on Monday. The Misses Banks, Oamaru, were, with Mrs Grant for show week.

Mrs Grant's shawl. Note the beautiful leadlight window with the bull's eyes.
Photogragh of Helen Grant.

Timaru Herald, 1 November 1919, Page 4
Last week, Mrs A. Grant gave a delightful at home at "Aigantighe," Wai-iti Road, for her guest, Mrs James Grant. Those present included Mrs R. Wigley, Mrs Burns, Mrs Hassell. Mrs Wright, Mrs Giles. Mrs F. J. Rolleston, Mrs Cotterill, Mrs Clifford, Mrs P. Lindsay, Mrs Sharp, Mrs Sterndale, Mrs W. D. Revell, Mrs W. Raymond, Mrs. Walter Raymond, Mrs H. H. Webb, Mrs W. W. Baxter, Mrs C. E. Johnston, Mrs W. Johnstone, Mrs Leversedge, Mrs C Bryan King, Mrs Cecil Perry, Mrs Revell, Mrs Laidlaw, Mrs Hihdmarsh, Mrs. Miles, Mrs Muir, Mrs W. Grant, Mrs Simon MacKenzie, Mrs Alister Mackenzie, Mrs Walton, Mrs H. Hay, Mrs Gladstone Robinson, Mrs A. A. Scott, Mrs W. Hay, Mrs Blair, Mrs Sharp, Mrs English. Misses Knubley, Westmacott, Ziesler, A. Buchanan, Bristol, Winter, O'Brien, Howell, Giles, Gossett, Sterndale, Wright, Hassell, Sharp, Watt(2), Guinness, Wilson etc. Songs Were sung by Mrs Johnston, Mrs Pat Lindsay and Miss Westmacott. Delicious tea and fruit salad was served in the dining room, and the table, looked particularly artistic with sprays of crimson japonica.

Timaru Herald, 22 April 1920, Page 11 Wanted
A COOK-GENERAL. Two in Family. Other Help Kept, 25s a Week. MRS A. GRANT. Wai-iti Road.

Timaru Herald 22 July 1920, Page 6
GRANT. On July 31st, at his residence, ''Aigantighe," Wai-iti Road, Alexander Grant, of Grays Hills. Private Interment. No Flowers by request.

The will had a Codicil attached dated 28th Nov. 1919, witnessed 27th July 1920 by Elfreda Pearse, C. May Bassar, and G.A. Sherwin, J.P., J.W. Macdonald was the assistant Public Trustee in Timaru. Proved before Honourable Alexander Lawrence Herdman, a Judge. Alex. Grant in 1920 had a Studebaker motor car valued at 300 pounds.


South Canterbury NZGenWeb Project

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