High School Friends. Briget and I went to Timaru Girls High School together, and I have wonderful memories of painting together in Mr Jones art room. It was so lovely to reconnect and introduce our children to each other, who hit it off and had a great time playing hide and seek in the galleries sculpture garden. Bridget is now back in Timaru teaching art at TGHS.
by Roselyn Fauth
It was wonderful to spend a couple of hours with our friends and family on Sunday afternoon drawing in the former dining room. We talked about the Grant family who lived there over a century ago and imagined what they might think if they could see us now, enjoying their home in this new way. What a legacy their family gave to our community: a home for art.
The house, designed in the Queen Anne style by Timaru architect James S. Turnbull and built in 1905, became the Aigantighe Art Gallery when it opened to the public in 1956. While the family were living here, the South Canterbury Art Society were already laying the groundwork for a civic art collection. Their voluntary efforts provided the nucleus of what became the gallery’s permanent collection.
Over the past nearly seventy years, that collection has grown into one of the most treasured in the country, especially rich in works by local artists who offer us their lens on the world, like signposts across time. We are so grateful for the recent renovation of the historic house. It was a sad day when the impacts of the Christchurch earthquakes forced it to close, but now it has reopened, beautifully strengthened and restored. It feels wonderful to be inside again.
Art and a building may create a gallery, but it is the people who make it feel like our home for art in South Canterbury. For generations, artists, directors, staff, volunteers, donors and visitors have shaped this special place, a space where creativity, curiosity and community continue to come together. That is the true legacy.
The dining room at the Aigantighe Art Gallery. - Photo Roselyn Fauth 2025
Aigantighe Art Gallery and the Sculpture Garden. - Photo Roselyn Fauth 2025
Roselyn Fauth (nee Cloake) and Bridget Pahl drawing together in the dining room of the Aigantighe Art Gallery
Making wearable art at Timaru Girls High School in 1998
A quick sketch of the Aigantighe in the center with the trees and roots. I love the quote... "Society grows great when old men plant trees whose shade they know they shall never sit in.". It is apparently an ancient Greek saying, though its precise origins are uncertain. It beautifully captures the essence of selfless, long-term thinking... of building or contributing to something for the benefit of future generations.
Trees at the Aigantighe Art Gallery - Photo Roselyn Fauth
Inspired by a legacy of others. Left, An oil painting (from the Aigantighe's permanent collection) by Archibald Nicoll of Helen Grant. Helen Grant and her family left their home, gardens and art collection to Timaru in 1955 and the Aigantighe become South Canterbury's public art gallery when it opened in 1956. This painting of Helen joined the Aigantighe Art Gallery Collection in 1998 when it was gifted by a family member. Center: 1956 was the official opening of the Aigantighe Art Gallery. Pictured in this group photo is Governor-General Sir Willoughby Norris, the Mayoress, Mrs R.E White, Lady Norrie, Mrs Lorna Grant, Mr James Grant, and the Mayor, Mr R.E. White on the Verandah of the Aigantighe. Right: generations can now enjoy art in South Canterbury thanks to the legacy and generousity of others.
Photo from Cynthia Cleland. Aigantighe Art Gallery before the extension. 1950's
People Behind the Aigantighe: Fun Facts of Legacy
- The Aigantighe was originally a private home built in 1905 for Alexander and Helen Grant.
- The house was designed by James S Turnbull in a Queen Anne style with Arts and Crafts influences.
- Helen Grant named the home Aigantighe, meaning home of welcome in Scots Gaelic.
- Alexander and Helen Grant had farmed at Gray’s Hills Station in the Mackenzie Country before retiring to Timaru.
- Their daughter Jessie Wigley, with the support of her brother James Grant, gifted the house and garden to the people of Timaru in 1955 to become a public art gallery.
- The Grant family lived there for fifty years before making their extraordinary gift to the city.
- The Aigantighe opened its doors to the public on 16 August 1956.
- The South Canterbury Art Society began collecting artworks for the gallery as early as 1895.
- Their voluntary efforts created the nucleus of the Aigantighe’s permanent collection.
- The gallery’s collection now includes more than eighteen hundred artworks and continues to grow.
- Works by renowned artists such as Colin McCahon, Doris Lusk and Frances Hodgkins are held alongside treasures by South Canterbury artists.
- Clifford Brunsden was the gallery’s first director and lived in a flat upstairs.
- He was known for hand-framing artworks and died unexpectedly while still in the role in 1969.
- Ainslie Manson expanded the gallery’s reach through national exhibition partnerships in the 1970s.
- Meg Parkin led the gallery through the 1980s and 1990s with warmth, vision and a strong connection to local artists.
- Fiona Ciaran’s eighteen-year leadership brought curatorial excellence and national recognition to the collection.
- The Friends of the Aigantighe have supported the gallery since 1976 by restoring artworks, providing storage drawers for delicate works on paper, sponsoring young artists through Artrama and Polychrome, hosting special openings, managing a membership base, sending regular communications, and creating resources to help people celebrate art, such as the coastal art history trail from Caroline Bay to Patiti Point.
- The sculpture garden, once an orchard, is now a creative outdoor space enjoyed by families and visitors.
The Grant family beside their homestead on Grays Hills Station, McKenzie, circa 1885. Depicts Helen Grant on the veranda of the homestead, while Mr Alexander Grant leans against an adjacent fence. Two children also appear in the photograph - possibly their daughter Jessie, in the push chair between her parents, and son James, seated on the veranda. A small wooden addition or outbuilding appears behind the homestead. South Canterbury Musuem CN 1879
In 1881 Alexander Grant purchased Grays Hills, down the Haldon Rd, in the Mackenzie from Captain Baldwin who had 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. A manager was put on when James went off to WW1 in 1917-1918. 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. In 1948 the farm property was sold to David Urquhart and the 58,800 acre property is still in the Urquhart family in 2025.
Mr and Mrs J.W. Grant retired to Timaru to "The Croft" also set on spacious grounds. James Grant treasured the many fine specimens of trees on his Park Lane property - and his gardens gave him considerable pleasure with its fine showing of azaleas and camellias. At one time he was president of the local Rhododendron Society.
James Grant transfers Aigantighe to the Mayor, Councillors, and Citizens of the City of Timaru via a deed to be held in trust in perpetuity as an Art Gallery and Gardens.
James and Marion (Lorna) Grant acquired The Croft in 1947 and formally bequeathed it to the Presbyterian Social Services Association (PSSA) in 1968 (on James & Lorna Grant’s death) to serve as an aged‑care home (now known as the Lorna & Hamish Grant Eventide Home).
James wife Lorna had an uncle Sir James Guthrie who taught portraiture to the famous artist Charles Frederick Goldie. Lorna Grant knew Goldie and the two smaller paintings by him which she owned are part of the Aigantighe gallery's collection. - sites.rootsweb.com/Croft
A large crowd pictured listening to a speech at the Aigantighe, probably from the time of its opening as an art gallery in August 1956. The gallery was opened by the Governor-General, and while there appears to be an official party and speaker on the porch entrance, they are difficult to see or identify. South Cannterbury Museum
Aigantighe - Timaru District Council
Archibald Nicoll, Helen Grant, c.1940. Aigantighe Art Gallery Acc. No. 1998.34
Unknown artist, Alexander Grant, unknown date. Aigantighe Art Gallery Acc. No. 1998.38
The grant family with helen- Aigantighe Art Gallery
Jessie Wigley - Aigantighe Art Gallery
James and Lorna Grant - Aigantighe Art Gallery.
In 1948, James William (Hamish) Grant and Marion Lorna Grant purchased The Croft at 12 Park Lane, Timaru. In 1968, they bequeathed the property to the Presbyterian Support Services Association (now PSSC), with the vision that it would one day become a home for older people in the community. Hamish died in 1969 at the age of 91, and Lorna passed away in 1972 at 87. The keys to The Croft were formally handed over shortly after.
Hamish Grant was the son of Helen and Alexander Grant, who built Aigantighe House in 1905. In 1955, Hamish’s sister Jessie Wigley and brother in law James Grant gifted the Aigantighe property and its garden to the people of Timaru to become a public art gallery. The legacy of the Grant family lives on through two of Timaru’s most valued community properties... The Aigantighe Art Gallery and The Croft.
Lorna Grant herself had a wonderful appreciation for art. Her uncle was a well known portrait artist in the UK, and taught the celebrated New Zealand artist Charles Frederick Goldie, who was renowned for his portraits of Māori. Lorna’s admiration for the arts remained strong throughout her life and she donated many artworks to the Aigantighe collection.
In the early 1970s, PSSA began developing The Croft as the first rest home of its kind in New Zealand. Community fundraising began in 1973 to meet a significant shortfall in building costs, and within six months, local efforts had raised half of the $150,000 target. A key part of this success was the leadership and dedication of the Women’s Auxiliary Group, who mobilised events, donations and awareness to support the vision of Hamish and Lorna Grant. Their work laid the foundation for sustained community backing.
Building commenced in 1978, and the government increased its support to $865,000. In November 1980, Prime Minister Robert Muldoon officially opened the 50-room Hamish and Lorna Grant Eventide Home. Over the following decades, PSSC expanded services to meet evolving needs, including the addition of independent living cottages, dementia care units, hospital-level facilities, and a purpose-built administration centre. In 2001, the original rooms were rebuilt and four independent apartments added to improve quality of life and support changing care models. By 2004, The Croft could deliver the full continuum of aged care, with a range of accommodation and support services tailored to individual needs. In 2008, PSSC launched its Enliven Community Support Service to help older people remain well in their own homes, supporting over 900 people in 2023 and delivering more than 30,000 frozen meals. In 2022, the care wings at The Croft were renamed to reflect specialist functions. The Lorna Home supports residents with high-level dementia, The Hamish Home provides moderate dementia care, and The Hubbard Home delivers hospital and rest home-level support. Today, The Croft is home to up to 105 people, including those in cottages and apartments, and has supported thousands of older people, just as Hamish and Lorna intended.
Their legacy, along with the continued dedication of community supporters and groups like the Women’s Auxiliary, has enabled PSSC to offer high-quality, compassionate care for generations. Through their shared vision, the Grant family helped build two of Timaru’s most enduring institutions—one that enriches the soul through art, and one that supports wellbeing and dignity in later life.
I have loved volunteering for the gallery for almost 20 years.
"Art and a building equals a gallery. But it is the artists, the staff, the members, the volunteers and the visitors who bring the "Arts Spirit" to life. At the end of the day it is about atmosphere, discussion and inspiration. There is plenty to be found at the Aigantighe." - Roselyn Cloake
The idea for a Friends group was first publicly discussed in May 1975 following a Timaru Herald article and a Timaru City Council Art Gallery Committee meeting. Gallery director A G Manson and committee members supported the proposal, suggesting it would complement rather than compete with the South Canterbury Arts Society. A steering committee was formed, chaired by Dr E R McKenzie, and in May 1976 a special function was held at the gallery featuring an exhibition of African art and original brass rubbings, with sherry served to guests.
In August 1976, the Friends of the Aigantighe Art Gallery was officially established with over 300 members. Their purpose was to support the gallery by organising social functions, promoting exhibitions, encouraging public interest and assisting with the purchase of artworks. Membership grew rapidly, reaching over 500 by 1978 and 594 in 1979. Original subscription rates were two dollars for individuals, three for couples, four for families and eight for institutions. Early members also paid fifty cents to attend openings to help cover expenses. By 1979, wine had replaced sherry at events.
The Friends were soon actively involved in hosting gallery openings and supporting the gallery’s expansion. In 1980, they responded publicly to negative press about a pottery and weaving exhibition, defending it through letters in the newspaper. That same year, they launched a campaign to gain support from major companies for donations, acquisitions and exhibition sponsorship. In a 1980 report to the cultural committee of the City Council, Friends pledged to contribute one hundred and fifty dollars a year toward the restoration and preservation of gallery-owned works.
In 1981, Friends helped purchase a stereo system and gallery chairs, and also expressed concern over the lack of a permanent trained assistant or exhibitions officer. That year, they introduced music to the gallery through a recital series titled Music at Five, featuring performances by Hans and Margaret Van Swaay and Lynn McFarlane.
Despite ongoing success, a 1982 fundraising campaign to acquire a watercolour by Alfred Sharpe fell short. Although the public raised four thousand five hundred dollars, the Timaru District Council declined a request for the remaining two thousand five hundred, and the work had to be returned. Friends remained committed to the idea of acquiring a Sharpe for the collection in future.
At their 1977 AGM, the Friends commissioned a bronze sculpture titled Study from Life, cast from a plaster figure by noted sculptor Francis A Shurrock. The work was originally loaned by Mr F C W Staub. The model for the piece came from a family of artists’ models, with her younger brother famously posing for the Peter Pan statue in Kensington Gardens. Shurrock, who had been gassed during the First World War, had emigrated from London to Christchurch for health reasons and became a respected New Zealand sculptor and teacher.
The sculpture was completed and presented to the gallery at the opening of its 1978 extension and the New Zealand premiere of the Kelliher Retrospective Art Exhibition, where it was unveiled by Sir Henry Wigley.
From its earliest days, the Friends of the Aigantighe have played a central role in shaping the gallery’s community connection. Their work—through advocacy, fundraising, hospitality, gifting and promotion—has become an enduring part of the Aigantighe’s legacy.
Friends sponsored exhibition opening at the Aigantighe Art Gallery in Timaru
Some of the artworks that the Friends have donated and helped to restore over the years
When I first started volunteering, I thought it was all about what I could give. What I have learned is that you receive so much in return. Over the past 25 years, I have met nearly every artist who has exhibited at the Aigantighe Art Gallery. I have listened to their stories, learned what drives them, and discovered the many ways art can shape lives and communities. Through this journey, I have had some incredible experiences. I have had breakfast with amazing artists like Graham Sidney, Billy Apple, dinners with visitors to Timaru like the US Ambassador when I was 20, shaken hands with the Japanese Ambassador, and even photographed the official Chinese presidential visit to New Zealand – that is a whole other fun story! Meeting people from all walks of life, from local creatives to international dignitaries, has taught me so much. These encounters have fundamentally shaped who I am, expanded my perspective, and inspired me to believe in what is possible. Volunteering has not just been about service. It has been about growth, connection, and discovery. I would not be the person I am today without it..
Before and after conservation of artworks supported by the Friends of Aigantighe Art Gallery volunteers.
One of the most significant contributions of the Friends has been their support for the conservation of artworks in the permanent collection. Through dedicated fundraising and donor support, they have raised over $4,000 to professionally restore more than fifteen artworks. These include key pieces such as The Mother by Thomas Kennington and The Gymnast by Francis Shurrock. Many of the restored works on paper were affected by foxing, a type of mould which made them unsuitable for standard storage or public display. To relieve pressure on the gallery’s limited storage facilities and safeguard the wider collection, the Friends prioritised these restorations to bring the works to exhibition standard and reintegrate them safely into the gallery environment. The Friends continue to support this work, with eleven further artworks currently identified for conservation. Their efforts ensure that the collection remains in good condition for both present and future audiences.
Friends of the Aigantighe Legacy
Since their establishment in 1976, the Friends of the Aigantighe have played a vital and lasting role in the development and success of the Aigantighe Art Gallery. Their legacy is evident throughout the gallery’s collection, physical spaces, and community engagement, reflecting decades of generosity, commitment, and civic pride.
One of the most significant contributions of the Friends has been their support for the conservation of artworks in the permanent collection. Through dedicated fundraising and donor support, they have raised over $4,000 to professionally restore more than fifteen artworks. These include key pieces such as The Mother by Thomas Kennington and The Gymnast by Francis Shurrock. Many of the restored works on paper were affected by foxing, a type of mould which made them unsuitable for standard storage or public display. To relieve pressure on the gallery’s limited storage facilities and safeguard the wider collection, the Friends prioritised these restorations to bring the works to exhibition standard and reintegrate them safely into the gallery environment. The Friends continue to support this work, with eleven further artworks currently identified for conservation. Their efforts ensure that the collection remains in good condition for both present and future audiences.
The Friends have contributed significantly to the development of the gallery’s physical infrastructure. They played a central role in fundraising for the 1978 extension, which provided much-needed exhibition and back-of-house space. They also supported the design and construction of the 1995 climate-controlled painting store, improving long-term care for the growing collection. These developments have strengthened the gallery’s ability to function as a public institution of regional and national importance.
The Friends have consistently enhanced the gallery experience for the community. They have funded essential amenities including a stereo sound system, audience seating, and the Yamaha grand piano still used today for concerts and events. They also commissioned the casting of The Gymnast sculpture to mark the opening of the new gallery wing in 1978. Their support has extended to educational events, exhibition openings, and public fundraising initiatives such as the popular garden parties held in the sculpture garden. These efforts have helped foster a strong relationship between the gallery and its community.
For twenty-four years, from 1995 to 2019, the Friends maintained a volunteer front desk programme at the gallery. Volunteers welcomed visitors, supported exhibition operations, and contributed to gallery security and retail services. Many individuals gave generously of their time, with some, such as Wendy Doig, volunteering on a weekly basis for more than a decade. This dedication created a welcoming environment and helped extend the gallery’s reach and accessibility.
The Friends of the Aigantighe have built a legacy founded on stewardship, advocacy and public service. Their support has ensured the care and conservation of the art collection, enabled essential infrastructure, and enriched the gallery’s cultural life. Their contributions have shaped the Aigantighe into a gallery that is truly of its place. It is a gallery built and sustained by its community, for the benefit of generations to come.
Community Legacy to the Arts in South Canterbury
The legacy of the arts in South Canterbury is a remarkable story of collective vision, civic generosity, and enduring community support. The Aigantighe Art Gallery, as the heart of this legacy, stands not only as a cultural institution but as a living testament to the region’s commitment to creativity, heritage, and public good.
The district’s civic art collection began in earnest in 1910, driven by the South Canterbury Art Society, founded in 1895. The society believed strongly that art was essential to the development of taste, thinking, and civic pride in a growing town. With encouragement from then-Mayor James Craigie, the society began acquiring artworks, starting with a gift from Craigie himself and followed by others purchased through public donations such as the Wells fund. The early collection featured notable works by both New Zealand and international artists and formed the nucleus of what would become the permanent collection.
Over time, the collection has grown through philanthropic gifts, bequests, and active acquisitions. Families such as the Grants and Wigleys contributed not only artworks but also furnishings, archives, and personal collections. Their gifts have ensured the collection is both regionally grounded and nationally significant.
In 1955, the vision of a permanent gallery home became a reality when siblings Jessie Wigley and James Grant gifted their family residence, the Aigantighe House, and gardens to the Timaru District Council. This generous gift provided a dedicated and beautiful setting for public access to art and was the culmination of decades of effort by the Art Society and local advocates.
The Aigantighe Art Gallery officially opened to the public in 1956, with 82 of its initial 84 accessioned works coming from the South Canterbury Art Society. From the very beginning, it was understood that this gallery was to be owned by and serve the community.
As the collection and public interest grew, so did the need for more space. In 1978, a major extension was added to the original house, funded by a combination of civic grants, charitable trusts, and community fundraising efforts. Designed by local architect Ronald Doig, the new wing included gallery space, a reception area, and staff facilities.
In 1995, further development included a purpose-built, climate-controlled store and offices to protect and manage the growing collection. This too was made possible through combined funding from the Timaru District Council, the Lottery Grants Board, the Friends of the Aigantighe, and community donors.
Each of these expansions reflects not only practical need but the community’s willingness to invest in its cultural institutions and the belief that the arts matter to the identity and well-being of the region.
Throughout its history, the gallery has been sustained by a remarkable level of community engagement. The Friends of the Aigantighe, established in 1976, have been central to this legacy. They have raised funds for building projects, equipment, restoration of artworks, and public amenities. They initiated and maintained a volunteer front desk service for 24 years and have hosted countless events that bring people together around art.
Individual artists, educators, local businesses, and families have all contributed time, resources, and creativity. From early art societies to current volunteers, the people of South Canterbury have consistently shown up for the arts—whether by purchasing tickets, supporting fundraising, offering gifts and bequests, or simply turning up in great numbers for exhibitions and programmes.
Today, the Aigantighe Art Gallery is home to over 1,800 works of art and continues to host diverse exhibitions and educational events. This cultural richness is the result of over a century of community leadership, philanthropy, and participation.
The gallery’s existence is proof of what is possible when a community embraces the arts as part of its civic life. It has become not only a place to view and appreciate art but a space to gather, learn, reflect, and belong. The community legacy to the arts in South Canterbury is a legacy of care, vision, and the deep belief that art should be a part of everyday life for everyone.
I'm so greatful to the support of The Aigantighe Art Gallery Manager Cara Fitzgerald, who gave me so much energy and help. Here is a pic of us at our Rock Party in 2017.
Mike Armstrong put together a Lock Down Self Portrait lesson. This inspired a heap of self portraits for the Aigantighe to exhibit. It was quite confronting to study my face, but really enjoyed Mikes lesson. facebook.com/16Vh5iah2Z/
With my self portrait on show at the Aigantighe. I gifted the sketch to the Aigantighe collection.
Art History Traiil established as a team effort with Aigantighe Art Gallery, Friends of the Aigantighe Art Gallery, South Canterbury Museum and WuHoo.
https://www.wuhootimaru.co.nz/signs WuHoo Timaru Art History Hunt
"Civic Trust Newsletter 2019 - THUMBS UP! - Celebrating art in our environment
Aigantighe Art Gallery, Friends of the Aigantighe and WuHoo Timaru, initiated by Roselyn and Chris Fauth, launched a new programme to get artwork out into the community and the environments that inspire it.
In December 2018 the first five signs were installed at Caroline Bay and Patiti Point. They feature artworks from the Aigantighe Art Gallery Permanent Collection that relate to the location of the sign and its surroundings. The signs also include explanatory text and historical images from the South Canterbury Museum’s collection giving the artworks greater context. Examples at Caroline Bay are William Green’s The Unemployed, (a painting of the well-known donkeys that gave rides on Caroline Bay) and William Gibb’s painting of Timaru Harbour in 1888. Another Greene painting entitled The Roadmakers, ploughing a road near the sea, can be found at Patiti Point . There is also a painting by John L Higgs, entitled Timaru Coastline (depicting the scene looking north towards central Timaru and the harbour in 1884) and William Ferrier’s Breakwater, Timaru, Running a Southerly Gale 1888. The next round of signs are nearing completion and it is hoped to have the next three mounted by October.
The Friends of the Aigantighe Art Gallery have commissioned their first artwork to give a contemporary reflection on Timaru’s unique past for the WuHoo signs. The painting has been created by local artist Mike Armstrong. This is a great way to support our local artists, promote our public art collection and help it to be even more visible by displaying it in a public place on a WuHoo sign."
Trees at the Aigantighe Art Gallery - Photo Roselyn Fauth
Reflecting on the Aigantighe House Campaign
Back in June 2020, like many others, I was deeply concerned about the fate of the Aigantighe Art Gallery’s historic house. This cherished building had been gifted to the community to serve as a public art gallery, a legacy of generosity and civic vision. After the Christchurch earthquakes, the house was assessed for safety and then closed to the public.
Over time, I became increasingly worried that the council might abandon the house and the remarkable legacy built by early Timaru volunteers and donors. I felt a strong responsibility to raise awareness and speak up for the community, to ensure that our concerns and proposed solutions were acknowledged.
Alongside Juliet Crawford and a committed group of community advocates, we worked together to present submissions to the council. This was a deeply emotional period for me. My uncle was in hospital in the Netherlands with life-threatening injuries. I was dealing with personal grief while also feeling a strong emotional connection to the future of the arts in Timaru.
It was frightening to put myself out there, knowing that my perspective might not be popular. But I believed it was important to share my view, to be courageous, and to stand up for what I believed was right. Staying silent would have been easier, but it would not have honoured the legacy or the community that cared so deeply.
Aigantighe Heritage House Reopened After 7 Years with a Garden Party Celebration in 2024. It was incredibly emotional. It stirred so many feelings from the time the house had been out of action. I will never forget walking through the house with Nicole Timney that final evening. We were likely the last members of the public to do so before the doors were closed. And now with Friends of Aigantighe, family and the community, we were back.
The gallery, renowned for its rich heritage and extensive permanent collection of significant New Zealand and international art, has undergone essential earthquake strengthening to ensure the safety and preservation of its priceless collection for future generations.
"We are thrilled to welcome visitors back to Aigantighe House Gallery. This reopening is not just about the physical space; it's about reigniting the passion for art and culture in our community. We've curated a diverse collection that reflects the gallery's legacy of gifting and our dedication to supporting artistic expression,” Aigantighe Art Gallery Manager Cara Fitzgerald said. - timaru.govt.nz/aigantighe-heritage-house-reopens
The project to strengthen and restore the Aigantighe Art Gallery’s Heritage House Gallery has been boosted by another $25,000 thanks the Friends of the Aigantighe. The Friends of the Aigantighe recently announced that they would pledge the sum towards the seismic strengthening and restoration of the 116-year old, category-2 heritage listed property, which closed in 2017, when the building was deemed to be earthquake prone. This matched a donation recently made by the Timaru Civic Trust to help fund the project.
When the fences were up and the Aigantighe Galley's Historic House was closed. - Roselyn Fauth
This photo makes me so happy - Aigantighe staff celebrating the re-opening of the house. The Friends contributed to the restoration and the Timaru Civic Trust. - Photography by Geoff Cloake
One of my favourite life lessons was taught to me by Fran - "Don't be a Mana Muncher". Dont diminish someones authority, prestige, spiritual power, and respect by taking the glory for yourself or draw power or status from someone else's achievements. Be a mana builder. Honor the mana of others without taking from it. You can do this by acting with integrity, leading with compassion into your relationships and your community. Listen, and make sure you help others feel seen and valued.
Francine Spencer and I were blown away when we were commissioned to create designs for two new stained glass windows. We collaborated and then created a left and right side each. When you walk into the Aigantighe house, my window is on the right. It was inspired by a visit to Aoraki Mount Cook. The girls managed to fish out some glacial ice and we held it up to the view, watching how the ice distorted the light and colours. This, and the connection to Aoraki, inspired my window design. The idea that our greatest mountain can stand tall, even with everything thrown at it—tectonic forces, the storms, the heat—Aoraki still stands tall. It feeds our rivers and land, which feed us. Like the Aigantighe. It feeds our soul.
Aoraki adventure... from ice to glass...
Today, the Aigantighe Art Gallery is home to over 1,800 works of art and continues to host diverse exhibitions and educational events. This cultural richness is the result of over a century of community leadership, philanthropy, and participation. The gallery’s existence is proof of what is possible when a community embraces the arts as part of its civic life. It has become not only a place to view and appreciate art but a space to gather, learn, reflect, and belong. The community legacy to the arts in South Canterbury is a legacy of care, vision, and the deep belief that art should be a part of everyday life for everyone.
The grand piano resides at the Aigantighe Art Gallery and often has its 88 ivory keys tickled at gallery openings and events. The piano was generously donated to the Friends of the Aigantighe in 1987 by Steve Newman and Betty Manning who are life members of the Friends. Tony Preen generously donated its cover. The Friends take great care in looking after our Yamaha piano, made possible by the revenue of subscriptions and kind donations. We are fortunate to have many talented musicians in South Canterbury who pop in to play from time to time.
Muscians perform with the piano infront of Geoff Cloake auroa photography exhibtion.
How you can join the history hunt...
If you are looking to learn about the Aigantighe their is an awesome write up here which is what we used: See page 48, Heritage Assessment by Ian Bowan Architect and Conservitor and Laura Dunham Historian): timaru.govt.nz/Community-Services-Commmittee-26-November-2019.pdf
Visit the Aigantighe website for details about the painting of Helen Grant by Archibald Nichol: aigantighe.co.nz/archibald-nicoll (This painting of Helen joined the Aigantighe Art Gallery Collection in 1998 when it was gifted by a family member) the house and gallery history: aigantighe.co.nz/gallerys-history
See photo at the Grays Hills Station with Helen Grant on the veranda of the homestead, while Mr Alexander Grant leaning on the fence. Two children also appear in the photograph - possibly their daughter Jessie, in the push chair between her parents, and son James, seated on the veranda. A small wooden addition or outbuilding appears behind the homestead: timdc.pastperfectonline.com