By Roselyn Fauth, nee Cloake
Roof tile from the Aigantighe Art Gallery. Photography By Roselyn Fauth. The Aigantighe Historic House that is part of the Aigantighe Art Gallery was designed by James S. Turnbull, a well-known Timaru architect. Built of brick and plaster it is crowned with Marseille tile roofing, which were likely imported from Guichard Carvin et Cie, Marseille St. Andre, known for the bee mark. Pressed tiles like this one were exported all over the world and were introduced to New Zealand in about 1901.
It’s weathered and some would say now useless. But when I held the roof tile from the Aigantighe Art Gallery in my hands, I felt more than clay. I felt the legacy of makers, builders, home owners, givers and art lovers. I feel a piece of someone's home, and what has felt like my home for art all my life.
If you look closely you can spy a bee stamped into the surface. This is a makers mark, and tells us the tile was made by Guichard Frères in Marseille, France. Someone made this tile shipped it all the way from France to Timaru where it was placed high on the roof to shelter a grand home in Timaru. That home was called Aigantighe and means "home of welcome” in Scottish Gaelic. Today it’s our region’s public art gallery that has national and international significance, but it used to be the Grant's family home.
The tile came down during the heritage house’s recent seismic strengthening and restoration, part of a major project following concerns raised in the aftermath of the Canterbury earthquakes. Unfortunately, the roof tiles could not go back up. They had been damaged by a significant hailstorm, rendering many of them cracked and brittle. Instead, they were replaced with replica tiles to preserve the roof’s historical aesthetic.
The original tiles now stacked in storage are waiting for a new use. Some, like the one in my hands, were set aside and were donated to the Friends of the Aigantighe for fundraising. Objects too broken for a rooftop can now find a new use and connect to that memory...
Aigantighe Art Gallery Marseille Roof Tile with a bee detail - Photo Timaru District Council 1998 timaru.govt.nz/aigantighe-seismic-strengthening-progress-photo-series-two
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.
The Aigantighe Art Gallery: A Home of Welcome
Aigantighe was built in 1905 for Scottish settlers Alexander and Helen Grant. It was designed by local architect James S. Turnbull, who shaped much of Timaru’s townscape. His work includes the Coronation Buildings (now Farmers), the Oxford Building, Chalmers Church (now St George’s Coptic Church), and many homes across the district. Aigantighe, with its gables, finials, verandas and mix of plaster and brick, reflected the style and ambition of the time.
But it was more than a grand home. Helen Grant stayed on after her husband’s death and lived there until she was 101. She hosted garden parties and fundraisers and always hoped her home would one day become a public gallery for the community.
That wish came true in 1956 when her daughter Jessie Wigley and son James gifted the house and its grounds to the people of Timaru. The South Canterbury Art Society, who had long supported the idea, donated its civic collection. From there the collection grew, with works by Colin McCahon, Charles Goldie, Frances Hodgkins, Doris Lusk and others added over the years. The Friends of the Aigantighe group formed to support the gallery, raise funds and build a community of art lovers.
I’ve been part of that story in different ways throughout my life. I remember twirling around at my dad’s photography exhibition when I was a preschooler. I entered Artarama exhibitions as a child, and in high school I won a Friends of the Aigantighe award for a sketch of my grandfather’s honey tin. In my twenties I joined the Friends committee and have been involved ever since, helping however I can.
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.
This place has always felt special to me. There is something about seeing art in a house, not a white box. It feels warmer, more personal. You notice the details. You take your time. You see things you may not have noticed elsewhere.
When the historic house had to close after the Canterbury earthquakes, there was real worry about what would happen. For a while there was even talk that the house might not be saved. So it was emotional and deeply meaningful when the ribbon was finally cut and the doors opened again after important strengthening and careful renovation. We got back not just a gallery, but a piece of Timaru’s story.
Aigantighe holds an art collection of national and international significance, but it also holds our memories and stories. It tells tells through art, through architecture and through the people who have loved it, lived in it and kept it going. I feel lucky to be one of those people.
Roof tile from the Aigantighe Art Gallery. Photography By Roselyn Fauth. The Aigantighe Historic House that is part of the Aigantighe Art Gallery was designed by James S. Turnbull, a well-known Timaru architect. Built of brick and plaster it is crowned with Marseille tile roofing, which were likely imported from Guichard Carvin et Cie, Marseille St. Andre, known for the bee mark. Pressed tiles like this one were exported all over the world and were introduced to New Zealand in about 1901.
The Tile’s Origin: Guichard Frères & the Bee of Marseille
The tile itself connects Aigantighe to a much older and wider story... one of international industrial design and craftsmanship.
It was produced by Guichard Frères, a Marseille-based manufacturer whose bee emblem was a hallmark of quality in the Marseille tile pattern—a globally exported standard of roofing innovation. This type of interlocking tile emerged in the 1840s, thanks to advances in tile-pressing machinery in Alsace and Marseille. By the 1850s, the Martin brothers and other local tilemakers created standardised moulds that would become dominant across the French colonies—and later, the world.
Guichard Frères was one of the most prolific among over 20 Marseille tilemakers who agreed to manufacture and export tiles with matching dimensions and overlapping technology. Their designs included side grooves for sealing, bullnose overlaps, and fixing knobs for wiring the tile securely to battens. The bee emblem signalled not only brand identity but also industriousness, precision, and durability—traits admired and emulated in both construction and culture.
By the late 19th century, Marseille tiles were being widely used in Australia and New Zealand, becoming symbols of prestige and practicality for settler homes. Many were imported through ports like Dunedin and Wellington, offering a touch of European craftsmanship to buildings in the developing colonies.
That Aigantighe’s roof bore these tiles places it within this global narrative of colonial architecture, aspiration, and identity.
Top side of the Aigantighe Roof tile including lichen. Photography By Roselyn Fauth. Roof tile from the Aigantighe Art Gallery. Photography By Roselyn Fauth. The Aigantighe Historic House that is part of the Aigantighe Art Gallery was designed by James S. Turnbull, a well-known Timaru architect. Built of brick and plaster it is crowned with Marseille tile roofing, which were likely imported from Guichard Carvin et Cie, Marseille St. Andre, known for the bee mark. Pressed tiles like this one were exported all over the world and were introduced to New Zealand in about 1901.
The Boulevard du Grand Camp, now surrounded by two railway lines, once housed a 12-hectare property that belonged to the Caradet, known as Bourgogne, de Cabre de Roquevaire families (18th century). Pierre Guichard established a large ceramics factory there in 1880. The City, by resolution of June 5, 1967, acquired this 27,440 m² property from the Falcot estate. Today? There is no trace of this industrial past. The mechanical tile and brickworks Guichard, Carvin & Cie, had steam-powered factories and clay quarries. The company, symbolized by a bee, manufactured ceramic products such as flat and round tiles, bricks, tiles, bushels, and ornaments. The Monier company , still in existence, took over the brand from the Bee of Guichard Carvin. On a heritage forum, an Internet user recounts having “ found Guichard Frères St Henri Marseille tiles, with an image of a lion, in Istanbul on the roofs of the Orthodox theological institute of Halki on the island of Heybeliada .” According to another Internet user, “ The Guichard Frères company was founded in 1832 and we can assume that it had the lion as its symbol very early on, which was also found on these advertising posters.” Pierre Guichard could therefore be a descendant of these brothers. - Historical Dictionary of the Streets of Marseille by Adrien Blès & Factory Documents
The same tiles were used for the Curator's House in Timaru's Botanic Gardens. Also made by Guichard Carvin and Company, in Marseille, that dates from around 1914. Can you see the bee trademark on the front edge of the tile?
Marseille Tile Pattern and Detail - https://acahuch.msd.unimelb.edu.au/miles-lewis-heritage-building-collection/marseille-roofing-tiles
Wunderlich Ltd., Colour in Wunderlich Products (Sydney 1933), p18-19. acahuch.msd.unimelb.edu.au/miles-lewis-heritage-building-collection/marseille-roofing-tiles
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 Canterbury Museum
Aigantighe Art Gallery before the extension. 1950's. Photo from Cynthia Cleland.
Fun Facts About the Aigantighe Art Gallery
Aigantighe Means “Home of Welcome” Pronounced Aig-an-tighe, the name comes from Scottish Gaelic. The house was built in 1905, most likely by well-known Timaru architect James S. Turnbull.
From Scottish Pioneers to South Canterbury Legacy. Alexander Grant (1831–1920) and Helen Grant (1854–1955) emigrated from Scotland and farmed Gray’s Hills Station in the Mackenzie Country.
They lived in Aigantighe for 50 years. Alexander died at age 89, and Helen lived to an extraordinary 101.
A Family Gift to Timaru. In October 1955, the Grants’ daughter Jessie Wigley, with support from her brother James Grant, gifted the house and gardens to the people of Timaru. Their wish was to create the district’s first and only public art gallery, and so the Aigantighe Art Gallery was born.
A Long-Awaited Dream Fulfilled. The South Canterbury Art Society had been calling for a public gallery since 1895. On 16 August 1956, that dream came true when Aigantighe officially opened. To help launch it, the Art Society donated their entire civic art collection.
A Growing Collection of National Treasures. Since opening, the gallery’s permanent collection has grown to more than 1,800 artworks. It includes works by some of New Zealand’s most celebrated artists, such as: Colin McCahon, Doris Lusk, William Sutton, Toss Wollaston, Charles Goldie
Expanding the Space. As the gallery became more popular, it outgrew the original heritage house. A modern extension, designed by Ronald Dohig, was added in 1978, providing a main gallery, reception area, and storage. Additional rooms were added in 1995 to support the growing needs of the collection.
A Cultural Landmark for All. Today, Aigantighe Art Gallery continues to collect, exhibit, preserve, and educate. It’s a cornerstone of South Canterbury’s arts scene...a place where people come to be inspired, challenged, and connected through art.
The Bee, the Hive, and the personal hunt for legacy
That stamped bee made me smile, but because bees are part of my family story too. My surname before marriage was Cloake. And in South Canterbury, Cloake’s Honey is still reasonably well known. My great-grandfather Bertie Cloake began with just a few hives at his farm near Fairview Road over at Springbrook. My fathers aunty Myra said that Bertie crossed these bees with bees from the Aikins up near Mt Peel. These bees over time, and through the efforts of four generations from Bertie, my grandfather Harry and his children and grandchildren, became one of the largest apiaries in the South Island. Before beekeeping, my grandfather Harry was a policeman in Greymouth, incidentally, also my husband’s hometown. Our grandfathers played rugby together in the local Marist team, never knowing their grandchildren would one day marry, and their great grandchildren would end up at a party of the road from their house and play back yard cricket! One of my husbands, best friends, fathers remembers buying bees from my grandad Harry, but said the East Coast bees were a bit to gentle natured for the rain of the West Coast.
Medinella Cornelia Fauth and Annabelle Meredith Fauth look at the grave of their grandfathers grandparents Bertie and Sarah Cloake. In the center is a photo of Bertie and Sarah with their son Harry Cloake and Doreen nee Stocker on their sons wedding day. The reception was held at the Caroline Bay Tea Rooms. The photo of the girls was taken during lock down, when we had to find our own free fun, and spent a bit of time playing dress up and exploring the cemetery. We would find interesting graves and I would go home and learn about the people who reseted there. This has led to a journey of learning so much more about myself by reflecting on the people of our past who contributed to our place.
Harry with his wife Doreen, returned to Timaru and lived at Fairview. This is the family home where my father Geoff grew up and we spent many years visiting as kids. The honey business became an intergenerational venture, when Harry and Dorreens son's Mervyn and Russell, their wives Margaret and Janet, and later Mervyn's sons Paul, Michael and predominantly Peter, innovated. They developed the Cloake Board, a beekeeping tool now used internationally to raise strong queen bees. They also developed a process to cream clover honey that made it spreadable and smooth (long before patents and international claims). They could have protected their inventions, but they shared it all freely to help strengthen the honey making industry. That bee on the tile reminds me of innovation, working for the good of the hive, a hive of activity, of building something bigger than yourself. Legacy.
While my father went on to have a career in drafting, telecommunications and engineering, my memory of our visits to Fairview always centered around bees, the weather, the crops. It was a an up and down industry, and while a lot of what they said went over my head at the time, I could sense that bee keeping was a huge part of their lives, and came with a huge amount of work. My second cousins are also aiparists and learned lots from the family business, I saw them often at the Timaru Farmers Market, selling their Huttons Honey and wax related products.
I don't really know what happened. But Grandad joined a cooperative. It was very successful and then over night they lost a heap of customers and my uncle particularly, faced very challenging times. I guess not everyone in the honey industry was as considerate, and I suspect there was some bad blood and rifts in the group that came in the aftermath.
Now it wouldn't be a true wuhoo timaru blog without a few fun facts... so hwere are some bee facts:
- European honey bees are thought to have been first brought to New Zealand in 1839.
- NZ has 28 species of native bees, most of which are solitary and don’t produce honey.
- Bees pollinate about one-third of the food we eat.
- The Cloake Board, invented in Timaru, is used globally in queen bee rearing.
- Native bees need native flowers and undisturbed earth to nest, things we often forget when planning our gardens.
- Mānuka honey is now a prized export, but it also raises questions around ownership, trademarking, and sustainability.
Native Bee Pollinators From South Canterbury Museum - Roselyn Fauth
How to be a ambassador for our pollinators
- Plant bee friendly plants, and choose a selection of plants that flower at different times of the year so you have flowers all year round, and the pollinators have something helpful too.
- Avoid spraying.
- Leave some bare soil for the pollinators who like to burrow.
- Acknowledge and celebrate both native and introduced pollinators.
What are the stories of the tile that we can sometimes no think to add in?
That little tile that once sheltered the huge house, now in my hand makes me think about who we remember. We know the names of the Aigantighe’s early owners: Alexander and Helen Grant. Helen dreamed of turning her home into a public art gallery, and after her death at 101, her daughter Jessie and son James made that dream a reality.
But who laid the roof tiles? Who carried them up the ladder, nailed them down, and balanced on the ridges?
Who were connected to the buildings vision and championing collecting and civic collections?
Who swept the galleries? Planned the shows, welcomed the guests, rolled out the carpet for exhibition openings, paid the insurance?
Who advocated behind the scenes to save the house when it was deemed earthquake prone and closed in 2017 and put in the hard work to make it happen?
For a time, the future of the building hung in the balance. There was discussion about whether the historic house could or should be saved at all. Many feared the gallery would lose its heart, and we would all loose our home of art. So when, in December 2024, the ribbon was cut and the house reopened, restored, strengthened, reborn... I found it to be a very emotional moment. Not just for the gallery staff or council, but for the community, the visitors, artists, volunteers, the Arts Society, Friends of the Aigantighe, and for me.
Because to me the Aigantighe isn’t just a building. It’s a space where we can connect to art in a special home setting. Where stories captured by artists help us think about the world around us. Inspire us. Unite us.
And this one bee tile, that is discarded but saved for a new use, I think carries all of that.
‘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, staƯ, 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.’ Roselyn Fauth.
My thoughts inspired by one roof tile that sat for over a century above Wai-iti Road, watching the sky, sheltering life then art. It now it rests in my hand.
This tile makes me think about, heritage, preservation, generosity, legacy, my personal connection and reflection and our introduced and native pollinators. Even the most ordinary object can unlock extraordinary stories when we look closely, ask better questions, and listen to the margins.
My family could have patented the Cloake Board. But they didn’t. They shared it. For the good of the hive.
The Aigantighe roof tile wasn’t “useful” anymore. But it still has something to share.
And the Aigantighe itself, lived in, gifted, closed, almost lost, then saved... is now stronger than ever.
What is good for the hive is good for all of us.
Someone might say... “It’s just a roof tile,” I invite them to look closely and to see more.
.
WuHoo Timaru fun fact colouring in sheet on native and introduced bees with clover and manuka. You can download and colour it in here: wuhootimaru.co.nz/colouring-sheets/106-bees
Paintings that have been inspired by my family and the Cloakes Honey Tin.
Honey Tins on display at Oamaru visitor center including Cloakes Honey. Below: Painting by Roselyn Cloake inspired by the Cloakes Honey Tin. I've really enjoyed rediscovering our family roots. If Annabelle was a boy we were going to call him Bertie. Above is a painting of the honey tin label. Cloakes Honey Limited (Fairview Road, Timaru) was incorporated on 12 December 1963, with Mervyn David Cloake serving as a long-time director
Roselyn Cloake. Roots 26. Acrylic on Canvas.
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.
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.
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, they were taught by Evan Jones at Timaru Girls High School.
About the Architect of the Aigantighe.
James S Turnbull (1864-1947)
James S Turnbull, born in Timaru in 1884, gained early architectural experience through training with Christchurch architects before moving to Melbourne. Upon his return to Timaru, he established a successful architectural practice that flourished well into the 20th century. When the New Zealand Institute of Architects was formed in 1905, Turnbull was immediately elected a Fellow, a prestigious membership status. His work included the design of both residential and commercial buildings during a period of growth in business and agriculture. Many of his buildings remain, including a number of elegant Edwardian houses with distinct Arts and Crafts influences.
Turnbull was drawn to the Arts and Crafts movement, which gained prominence in England through its reinterpretation of traditional British forms, inspired by Anglo-Saxon architecture. His houses often featured the Timaru vernacular of red brick, though he also designed timber buildings, combining timber boarding, roughcast plaster, and masonry in a style influenced by architect C.F.A. Voysey. Over generations, many families have enjoyed living in homes designed by Turnbull or his later partnership with Percy Rule. In 1919, Turnbull formed a partnership with Percy Rule, and together, they designed many of the buildings that contribute to Timaru's distinctive architectural character. Turnbull retired in 1938, and future articles will explore these buildings in greater detail.
The son of Richard Turnbull, a prominent Timaru businessman and politician, James Turnbull also designed significant buildings outside Timaru, such as Job Brown’s Beehive Stores in Temuka (heritage item #117, 1901-2), Chalmers Church (heritage item #38, 1903-4), and numerous homes in Timaru. After forming the partnership with Percy Rule around 1920, Rule became the principal designer in the firm. The firm’s projects included the Temuka Library (heritage item #118, 1926-27), St Mary’s Hall in Timaru (1928-29), St James’ Anglican Church at Franz Josef (1928-31), and the 1930 additions to the Bank Street Methodist Church (heritage item #51).
James Stuart Turnbull (1864–1947) died aged 82 and is buried in Timaru Cemetery. Row 130, Plot 430, Timaru Cemetery. You can view his grave here: Timaru.govt.nz/cemetery-search/12547 Katharine Turnbull was buried in the same grave at the Timaru Cemetery on 14 December 1972 at the age of 94.
Notible Buildings in Timaru CBD
1901. D.C. Turnbull & Co Offices. 1-7 Strathallan St
James Turnbull. Edwardian Commercial Classicism
1902. Coronation Buildings. 256-260 Stafford St
James S Turnbull. Edwardian Commercial Classicism
1903-4. Chalmers Presbyterian Church. 2 Elizabeth Place
James Turnbull. Gothic Revival
1915 Grosvenor Hotel. 26 Cains Terrace.
James Turnbull. Edwardian Baroque
1924-25. Oxford Buildings. 148-154 Stafford St
Turnbull & Rule. Inter-war Classical
1928-29. St Mary's Hall. 24 Church St
Turnbull & Rule. Collegiate Gothic
1941-42. Timaru Milling Co Office. 1 Stafford St.
Turnbull & Rule. Art Deco Modern
Turnbull Rule Residence Te Weka Street. Courtosey of the South Canterbury Musuem online Collection. This is the house a couple of doors down from the Te Weka street home that I grew up in. I loved to peak over the gate as a child to admire the home. The Doran's raised their family there, and Micheal and I grew up on the same street. Now our children are close friends and play in the same houses that we grew up on, on the same street. Another example of how a house can link us to memories of the places and people of our past.
Turnbull Rule Residence Te Weka Street. Property File supplied by Clarissa Doran. Her and her husband Micheal Doran, own the Oxford Restaurant business. The Building owned by Stockman Group turned 100 in 2025. It was built for David Clarkson Turnbull, and designed by his architect brother James Turnbull. James designs have become a built heritage legacy for many across the District. Our other close friends purchased a Turnbull designed home and are currently restoring it to its former glory.
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