Studio: international art — 51.1911

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Henry Tebbitt, Australian Water-Colour Painter

and a nurse’s bedroom. Further servants’ bed-
rooms are placed in the attic. The locality
suggested the use of local bricks and hand-made
tiles—with the occasional use of chequer panels
in stone and pebbles. The gardens have been
designed by the architect in keeping with the
house, flagged paths being a feature of those on
the western side.


Sir Isidore Spielmann, Director for Art of
the Exhibitions Branch of the Board of Trade,
desires it to be stated, for the information of those
who have already promised to contribute works of
art to the International Fine Arts Exhibition to be
held in Rome early next year, and for the benefit
of those also to whom application for the loan of
additional works is being made, that the Exhi-
bitions Branch of the Board of Trade is on this
occasion itself erecting the building in which
British works of art are to be exhibited. The
building, which will be completely isolated, is
being constructed of fire-resisting materials (steel
and cement); no artificial light or heating appa-
ratus will be installed, and every precaution will
be taken to ensure the safety of the building and
its contents. Owners of art treasures need have
no fear of risk from fire, and may with confidence
accede to the request of the Royal Commission
and Exhibitions Branch of the Board of Trade,
and safely lend them for exhibition. It may be
added that few cities are provided with so
abundant a water supply as the City of Rome.

The British section at this exhibition will
include paintings in oil and water-colour, archi-
tectural drawings, black-and-white drawings and
engravings, and sculpture by living and deceased
artists. Special care will be taken of all works
entrusted to the Committee (which is composed of
leading artists and representatives of all the chief
societies and institutions connected with art); the
expenses of collection and transport will be
defrayed out of the grant made by the Treasury,
and special officers will take charge of the
exhibits during transit and throughout the con-
tinuance of the exhibition. As already announced
in these pages, the Italian authorities intend to
distribute a large sum (200,000 lire) in prizes for
modern works of art executed between 1901 and
1911, and they will purchase works of art among
the various sections to the value of half-a-million
lire G£2°,000).



It was while on a visit to Queensland, some
sixteen or seventeen years ago, that I first saw in
the Brisbane Art Gallery an example of Henry
Tebbitt’s work in water-colour. I was at once
impressed with the directness of purpose, the
absolute unconventional mode of treatment and
delicacy of colour. I there and then made up my
mind to become acquainted with Mr. Tebbitt and
his work, and have since that time been closely
associated with him.

Mr. Tebbitt was born in Paris of English parents,
and, though destined to a business career, he soon
discovered that his ambitions were not commercial.
He visited the principal art schools in Europe,
plying his brush in a desultory way, and gaining
much experience. He showed at many exhibitions,
both on the Continent and in England—notably
the Royal Academy in 1882, where he exhibited an
oil painting, Southampton Water, which at the time
was very well spoken of. But it was not until he
arrived in Australia, and was impressed by the

( Photo, Appleby, Sydney)

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