Notes
- See, A Butterfield, Sophie Steffanoni 1873–1906. Australian Impressionist, Gold Bullion Embroiderer, Penrith: Lewers Bequest and Penrith Regional Art Gallery, 3 August—14 October 1990; A. Butterfield, ‘Lewis Steffanoni 1835–1880’, Australian Antique Collector, no.43, January—June, 1992, pp.59–62; Patricia McDonald, Sophie Steffanoni 1873–1906, Sydney: Art Gallery of New South Wales, 9 September—24 March 1996; Significant Others, Sydney: S.H. Ervin Gallery, 5 September—11 October 1998; and A. Butterfield, ‘Sophie Steffanoni (1873–1906): the personal, educational and artistic history of a woman impressionist in late nineteenth-century Sydney, MA. thesis, Art Theory, College of Fine Arts, University of New South Wales, 2000.
- McDonald, Sophie Steffanoni…
- There was no response from anyone holding works by Steffanoni when wide publicity was given to an exhibition of her paintings held at the Art Gallery of New South Wales in February 1996.
- ‘Rules of the Painting Club’, papers of Lady Windeyer, Mitchell Library, Sydney; and ‘Sydney Painting Club’, Sun (the Social Courier), 12 May 1893, pp.8–9.
- D. Angeloro, A woman's impression: Australian women impressionists 1880s and beyond’, Australian Antique Collector, April-October 1996, pp.188–90; also telephone conversation with the author about Emily Meston, 23 October 1999.
- Margaret Preston, ‘From eggs to electrolux’, Art in Australia, Margaret Preston Number, third series, no.22, December 1927.
- Special Council Meeting of the Art Society of New South Wales, 14 June 1893, Art Society Minutes, p.356, Royal Art Society, North Sydney, archive.
- Sophie Steffanoni, diary note, 1 September 1893, private collection.
- ‘Sutherland, Alexander’ in B. Nairn (ed.), Australian Dictionary of Biography, vol.6, R-Z, Melbourne: Melbourne University Press, 1976, p.222; Sands and Macdougall's Melbourne and Suburban Directory 1895, Melbourne: Sands and Macdougall Ltd, 1895.
- See V. Hammond and J. Peers, Completing the Picture. Women Artists and the Heidelberg Era, Melbourne: Artmoves, 1992, p.71, and cat.# 62, p.86.
- C. Jordan, ‘Pilgrims of the picturesque’, PhD thesis, Dept. of Fine Arts, University of Melbourne, 1996, p.71.
- A. Philp, ‘Society of Women Painters 1910–34’, M.A. thesis, Department of Fine Arts, University of Sydney, 1988, unpaginated.
- ibid.
- Roth's life class at the Art Society school does not appear to have been revived until 1894, after Julian Ashton allowed a woman to attend the men's class (see Art Society of New south Wales, Minutes, 8 August 1881–12 January 1887, pp.209, 219 and 1887–1895, p.445, Royal Art Society, North Sydney, archive).
- E. Ellet, Women Artists in All Ages and Countries, London: R. Bentley, 1859, quoted in Jordon, ‘Pilgrims of the picturesque’, p.71.
- Jordon, ‘Pilgrims of the picturesque’, p.72.
- P. Jones, ‘The importance of titles in the study of art history’, Fine Arts IV thesis, University of Sydney, 1984, p.11.
- W.S. Jevons, Remarks upon the Social Map of Sydney 1858, Mitchell Library, Sydney, ML MS, quoted in M. Kelly, Nineteenth Century Sydney: Essays in Urban History, Sydney: Sydney University Press, 1978, p.73.
- P. McDonald, Sophie Steffanoni…
- Tackra, ‘Art Society's show’, Evening News, 2 September 1901, p.8.
- Washington House was a boarding house set up in Paris by the American government to provide safe housing for American art students, governesses and others; people of other nationalities also stayed there.
- Tamar Garb, Sisters of the Brush, London: Yale University Press, 1994, p.157.
- ibid.
- All About Australians, 1 April 1905, p.185.
- Joan Kerr, Heritage. The National Women's Art Book, Sydney: Craftsman House, 1995, p.197.
- R. Hughes, The Art of Australia, Ringwood: Penguin, 1966, p.54.
- J. Pigot, ‘Women and the bush: Hilda Rix Nicholas and the myth of the female artist in Australia’, in J. Hoorn (ed.), Strange Women, Melbourne: Melbourne University Press, 1994, pp.53–64, p.64.
- Tackra, ‘Art Society's show’.
- Unidentified newspaper cutting, Sophie Steffanoni's scrapbook, private collection.
- Draft catalogue of Newcastle Regional Art Gallery, Heritage files, collection of Joan Kerr.
- Local history librarian, Stanton Library, North Sydney, telephone conversations and faxes with author, July 1999.
- B. Smith, Australian Painting 1788–1970, Melbourne: Oxford University Press, Melbourne, (1962, 1963) 1971, p.234.
- G. Pollock, Vision and Difference, London: Routledge, 1988, p.62.
- This point discussed in a Masters students’ seminar concerning the work of Gustav Caillebotte, College of Fine Arts, University of New South Wales, 1998.
- M. Eagle, The Oil Paintings of Charles Conder, Canberra: National Gallery of Australia, 1997, p.20.
- Sydney Mail, 8 April 1903, p.859.
- Antonio Dattillo-Rubbo, curators file, Art Gallery of New South Wales, archive.
- See Jane Clark and Felicity Druce (eds), Violet Teague 1872–1951, Sydney: Beagle Press, 1999; and Anita Callaway, ‘Geech, Portia Stranston’, in Joan Kerr (ed.), Heritage. The National Women's Art Book, Sydney: Craftsman House, 1995, p.356.
- H. Johnson, The Sydney Art Patronage System 1890–1940, Sydney: Bungoona Technologies, 1997, p.27.
- ibid.
- Garb, Sisters of the Brush, p.36.
- ‘The Art Society's exhibition’, Daily Telegraph (Sydney), 2 October 1894, p.6.
- D.H. Souter, ‘Society of Artists’ exhibition’, Art and Architecture, vol.V, no.5, September-October 1908, p.171.
- D.H. Souter, ‘Some women artists—mainly of NSW’, Art and Architecture, vol. V, no. i, 1908, p.179.
- Carmen Lawrence, speech at the launch of Joan Kerr and Jo Holder, Past Present: The National Women's Art Anthology, Gleebooks, Sydney, 10 October 1999.