Golden Dawn member Theodosia Moore Durand: her family, general introduction to her as an artist
There are several other files on Theodosia, at these sub-headings on my GD index page:
- In the Golden Dawn; biography of James Madison Durand
- Theodosia: life-by-dates 1914to spring 1926
- Theodosia: life-by-dates 1927 to 1949.
None of them would not have been possible without the input of Theodosia’s distant relative Ted Harwood of northern California: he sent me most of the references that are listed in the various ‘sources’ section, and dealt patiently with my further enquiries. Huge thanks to Ted. Theodosia remains an elusive, enigmatic figure; but a lot less obscure than she was before!
Ted Harwood’s research into Theodosia’s wider family shows that relatives of hers started to move West as early as the 1849 Gold Rush; but that many – especially the men – died young, and violently. Such are the risks of pioneering.
Theodosia’s parents – Armstrong Porter Moore and his wife
Anna (Annie) Elizabeth Mastin – were luckier. They were both newcomers to
When asked about her father by newspaper reporters in the
1920s and 1930s, Theodosia would reply that he had been a judge. This was
impressive, and true as far as it went. More impressive still might have been
that he was a cousin of President James Buchanan. However, in all the coverage
Armstrong Porter Moore certainly served as a judge in his
time but what paid the bills when Theodosia was very young were the series of
grocery businesses he managed, either for himself or for others, in several
towns in northern
The move to
THEODOSIA: EUROPE, AFRICA AND
Theodosia’s determination to be an artist took her away
from her family in the late 1880s, to
The México scheme never came to anything, though the
Durands may have stayed in the country for several years. They were back in
The breakdown of her marriage to James Durand may have
influenced Theodosia’s decision to return home; but she will also have heard
that a world-fair was going to be held in her home state in 1915 – the
Pacific-Panama International Exposition (PPIE). She returned to
NEEDS TO TELL READERS WHERE TO GO TO GET THE REST OF LIFE
Theodosia’s pioneering relations and their deaths at a young age: email sent me by family historian Ted Harwood 29 August 2020.
Theodosia’s father ARMSTRONG PORTER MOORE (1831-1905) and her mother ANNA ELIZABETH MASTIN MOORE (1843-1929).
At ancestry.com: basic family tree with dates. Theodosia was named after her mother’s mother, Theodosia Budd Keeler (1806-84).
The relationship to President James Buchanan: seen by me at //cdnc.ucr.edu the California Digital Newspaper Collection: death notice for Theodosia’s brother Virgil Moore, in the Sotoyome Scimitar volume 35 number 46 issue of 15 February 1934.
Familysearch California Marriages 1850-1945 GS film number 1310590: marriage of A P Moore to Anna E Mastin 27 December 1858 at Plumas. He was 27 and born in Brown County Ohio; she was only 17 and born in Monroe County Mississippi.
Details of Armstrong Porter Moore’s life as far as
Geyserville were published in History of Sonoma County by Thomas
Jefferson Gregory – Armstrong and Annie’s son-in-law Tom Gregory. Published
Letter Maud Moore to Eugenia Mastin, written
Via //cdnc.ucr.edu the California Digital Newspaper Collection to the Santa Rosa Press Democrat volume 31 number 89 Tue 21 March 1905 p1: obituary of Armstrong Porter Moore who had died “on Monday morning” [20 March 1905].
ANNA ELIZABETH (Annie) MASTIN
Annie Moore’s trip to visit relatives, after her husband’s
death: via //cdnc.ucr.edu the California Digital Newspaper Collection to Santa
Rosa Press Democrat volume 31 number 105 issued 22 April 1905: item
describing the trip Mrs A P Moore was about to make, beginning in May. She was
expecting to be away for one year, during which she’d spend time in
there’s a page on the
because I saw several references to the cutting’s writer,
Herbert W Slater, as a reporter on SRPD. Details from the newspaper item: Annie
had died at home in
for details of the
Theodosia’s interest in her family history: undated newspaper snippet sent by Ted Harwood 11 September 2020. Item History of Pioneers Recalled at Meeting. Due to the difficulties of downloading from www.newspapers.com Ted didn’t note the date or newspaper the report was in. The meeting, of the Sonoma County Pioneers’ Society, was held at the Native Sons’ Hall.
The eldest child, MAUD MOORE PECK
Via Familysearch to California County Marriages 1850-1952
GS film number 10131224: marriage of Maud Moore to Harvey W Peck; 12 July 1882
I could see several Harvey W Pecks online. I hope this is
the right one: at www.geni.com a man called
H W Peck with dates 1858-1927, died
Seen at //cdnc.ucr.edu the California Digital Newspaper
Collection: Healdsburg Tribune number 91 issued 18 February 1924: Maud
Peck had died unexpectedly after a short illness. She had been in
Next child, MAY MAUD MOORE; wife of Tom GREGORY (d 1914); and then of E F MARTIN
I couldn’t identify on Familysearch the marriage of May to
Tom Gregory, but the birth of their daughter did come up: California Births and
Christenings 1812-1988 GS film number 1031217: Virginia Anna Gregory born May
Via Familysearch to NARA US Census data for 1900 which
showed May and Tom Gregory, and Virginia, living with Armstrong Porter Moore
and Anna in
I found information on Tom Gregory at
//santarosahistory.com a posting 2011 by Jeff Elliott in which he was trying to
piece together some sense of Tom’s working life as a reporter; which was a real
challenge as so much newspaper journalism was not credited at that time.
Elliott found that Tom had been born in
I’d just like to add here that in the 1920s, the San Francisco Call and Post printed a lot of small items on what Theodosia Durand was doing.
I couldn’t find the date of May Gregory’s second marriage, to E F Martin. There wasn’t much information on May’s second husband either, though he was still alive when she died.
Newspaper snippet seen at www.newspapers.com, sent as an attachment
to an email from Ted Harwood 11 September 2020. I think the item was in the Plumas
Independent published in
Via //cdnc.ucr.edu the California Digital Newspaper
Collection to Healdsburg Enterprise volume XLV number 21 issued 4
January 1923: item on the death of May Moore, Mrs E F Martin. The item noted
Via //cdnc.ucr.edu the California Digital Newspaper Collection to the Santa Rosa Press Democrat volume XLIX number 157 issued 1 January 1922, which I think is referring to 930 Cherry Street: an item mentioning Theodosia as staying as the house guest of her sister May, Mrs Gregory Martin, and May’s daughter Virginia Gregory. Theodosia had held a dinner party for 12 guests at the house; with an evening of bridge afterwards.
But via www.newspapers.com
to Santa Rosa Press Democrat 7 August 1936:
Surviving brother VIRGIL MOORE
Via //cdnc.ucr.edu, the California Digital Newspaper
Collection to the Santa Rosa Press Democrat volume XL number 219 13
September 1913: an item on Virgil Moore, a “well known
Also seen at //cdnc.ucr.edu, the California Digital
Newspaper Collection, an obituary in the Healdsburg Tribune number 88
issue of 15 February 1934 printing information supplied by Theodosia. Virgil
had died in
At //wc.rootsweb.com is the Ancestry of Bob and Mary Beth
Wheeler. Virgil Moore is one of their ancestors: born 1864
Newspaper snippet seen in www.newspapers.com and sent as an
attachment to an email sent by Ted Harwood 11 September 2020: 2 items
apparently from separate newspapers, both reporting on a meeting betw Theodosia
Durand and her brother Virgil Moore; the first time they had met for 50 years.
They met at the Union Station in
there’s more information on Virgil Moore who’s buried at Elmwood Cemetery
Kansas City. There’s a quote from a letter of 25 June 1940 written by his widow
Allie Hazzard Moore, to a woman called Olive. In it Allie calls Virgil a
“newspaper man” and says that he’d crossed the Pacific 42 times; lived in
ALVA PORTER MOORE 1877-1895
THEODOSIA: FAMILY MATTERS
Theodosia Moore and James Madison Durand. Perhaps I should say here that I have no idea how, where or when the two of them met.
Attachment to an email from Ted Harwood 13 September 2020:
a list dated July 1891 of passengers on a ship going from
At web pages www.theislandwiki.org, are transcriptions made 2017 of marriages at St Helier, Channel Islands, 1584-1940: Theodosia Moore born c 1866 married James Madison Durand born c 1870 in St Helier Jersey on 28 June 1893. Ted Harwood then found the original page in the Marriage Register; sent in an email 13 September 2020 - marriages solemnised 1893: 28 June 1893 James Madison Durand, bachelor aged 23 and a “Painter”; and Theodosia Moore, spinster aged 27 and a “Painter”. There was no place on the page for the names of the witnesses unfortunately; I’d like to have known who they were. Note that the bride again scraped a couple of years off her age: Theodosia was actually 29 in June 1893.
Confirmation that Annie Moore went to stay with them in
Via //cdnc.ucr.edu the California Digital Newspaper
Collection to Santa Rosa Press Democrat volume 31 number 105 issued 22
April 1905: report on Annie Mastin Moore’s proposed trip to Europe; it
described Theodosia and James as having lived in
1914: the end of the marriage.
Email from Ted Harwood arrived 16 September 2020:
attachment showing a list of the passengers on the
Divorce proceedings begun 1915 in
Newspaper snippet seen at www.newspapers.com and sent as attachment
to email by Ted Harwood 11 September 2020: legal notice dated 17 November 1915
and published 18 November 1915 in case number 69774 in which Theodosia Durand
was the plaintiff and James Madison Durand the defendant. Issued by the Court
of the State of
That Randolph Whiting was a cousin of Theodosia Durand was confirmed by Ted Harwood in an
email sent 13 September 2020.
If you’ve read my file on the Durands and the Order of the
Golden Dawn you’ll know that it was most unlikely that James Madison Durand
ever knew of the summons. I daresay Randolph and Theodosia were aware that he
would not answer it, as he was probably living in Europe or possibly
Source for Theodosia getting her divorce in 1918: tiny
snippet, probably in the small ads of The [
THEODOSIA AS AN ARTIST
Theodosia Durand is poorly and often inaccurately covered in those dictionaries of artists that even have an entry for her. And there just doesn’t seem to be enough of the usual information around for me to put together a list of artworks by Theodosia, with dates, where originally exhibited and where they are now; which is what I’ve done with the other GD members who were artists. There’s not even enough for me to do more than a sketch of where Theodosia learned her trade as an artist, what kind of work she produced, and what styles she worked in over a professional life spanning 1890 or thereabouts to the late 1930s at least.
LAUGHABLY SHORT LIST OF WORKS KNOWN TO ME THAT ARE OR MAY
BE BY THEODOSIA
Laughably short because one source I found mentioned 300
works by Theodosia on show at her studio in
December 1890 Peace on Earth
Pencil drawing signed by Theodosia as Theodosia Moore and dated by her to Christmas Day 1890.
exhibited 1914 Three washable paintings in pastel paint, on stone.
These were exhibited in
exhibited 1915 Four “decorative plaques”.
These were shown at the Panama-Pacific International Exposition (PPIE) and won a medal. They may have been forerunners of the Yolo Courthouse murals.
1918-19 Yolo Courthouse murals. Four of them: Spring, Summer, Autumn*, Winter.
Pastel paint on cement.
These are Theodosia’s best-attested works: they got a lot of coverage at the time (see those years in the first ‘life-by-dates’ file) and are still in the place for which they were painted. *Note Theodosia’s choice of word: ‘autumn’ not ‘fall’.
By 1918 A portrait in pastel paint of a daughter of Grace and Ulysses S Webb.
This is mentioned as being one of the works on display when
Theodosia opened her
By 1921 Sketch entitled Visits to the Modern Potters of México.
Theodosia took this to a talk she gave at
unknown; ?1920s Young Autumn
unknown; ?1920s portrait, with the sitter described in a press review as “a negress”.
These two paintings were part of an exhibition of works by Theodosia held at the Duncan Vail Co gallery. I couldn’t find a date for the exhibition.
By 1930 Youthful Heroes.
Described as a Frieze and so probably a mural. It had been bought by 1930 by Ernest Latimer Finley, owner and editor of the Santa Rosa Press Democrat.
1932 Three “canvases” which may have been landscapes
A newspaper report mentions Theodosia painting them for an
unknown; by 1932 Remorse of Cain
I think may be a mis-attribution resulting from a misunderstanding by a newspaper reporter. There’s a painting with that title by Asher B Durand, who was a relation of Theodosia’s husband.
1940 The Picnic
There must be more works out there somewhere, but as at 2 October 2020, those I’ve listed above are all that I know about. So if anyone reading this has a work by Theodosia in their possession, or knows the whereabouts of one, please contact me with details.
Sources for the list:
The 300 works on display in 1932: newspaper snippet, though without a date; sent in an email by Ted Harwood September 2020. Ted wasn’t able to send the newspaper’s name but it’s probably the Santa Rosa Press Democrat.
Peace on Earth. Ted Harwood noticed the drawing for sale on
Ebay in August 2020. He then found a reference to it being in an auction in
2014: Material Culture: Fine, Self-Taught and Outsider Art. Auction of
works 18 July 2014 at
?Three pastels on stonework.
L’Architecture volume 29 1914 p209 re catalogue numbers 2361-63. This was just a snippet, in French, and I couldn’t see what exhibition was being reviewed.
Four “decorative plaques”.
Undated newspaper snippet; not contemporary with the PPIE. Title of the newspaper not known either but possibly the Santa Rosa Press Democrat.
Yolo Courthouse murals see the first ‘life-by-dates’ file.
Portrait of Miss Webb: American Art News 16 February 1918.
Visits to Modern Potters...
A passing mention of it at stanforddailyarchive.com The Stanford Daily volume 59 number 46 issued 4 May 1921. This is the source for Theodosia’s sketch; but the report reads as though the sketch wasn’t a part of the exhibition, so I think Theodosia took it away with her when she went home. Her talk was part of the opening ceremony of the University’s Maya-Aztec Applied Arts Exhibition.
Young Autumn; “a negress”:
newspaper snippet seen at www.newspapers.com by Ted Harwood and sent to me in an email 11 September 2020. The item was about works by Theodosia which were on display at the gallery attached to one of the Duncan, Vail Co’s artists’ materials shops; possibly the one in Los Angeles. The item described Young Autumn as a portrait of a girl; and mentioned the painting’s rich colours. This snippet also mentioned a portrait of “a negress”; though it didn’t give the painting’s actual title so I’ve no idea what to look for.
I couldn’t find a date for this exhibition of Theodosia’s works but at ericmerrell.wordpress.com I saw a reference to a Duncan Vail Gallery existing in the 1920s.
Youthful Heroes: newspaper snippet seen at www.newspapers.com by Ted Harwood and sent to me in an email 11 September 2020. The snippet didn’t have the newspaper’s title though I’m pretty sure it was the Santa Rosa Press Democrat. The item has no date either, though other sources indicate it was 1930. The headline was: Mme Durand Frieze Exhibited at Library, suggesting that Youthful Heroes was a mural.
On E L Finley:
//digital.sonomalibrary.org, the host site for the Sonoma County Library Digital Collection has a photo of Finley, taken in 1941, and a short profile. Finley owned the Santa Rosa Press Democrat.
See also santarosahistory.com, a post from January 2015: Ernest Finley Party Animal.
On Youthful Heroes: newspaper snippet sent by Ted Harwood attached to an email of 11 September 2020. The newspaper it was from was not identified but must be the Santa Rosa Press Democrat. Finley had loaned the Frieze as President of its Library Board; I think what’s meant is the Board of the Santa Rosa Library (founded 1904).
The three “canvases” exhibited in
Source: via www.newspapers.com to the Santa Rosa Republican issue of Tues 18 October 1932 p8, which described the paintings in question as “canvases”; so I think they weren’t murals.
Comment by Sally Davis: although my knowledge of
Theodosia’s working life as an artist is so sketchy, I haven’t come across any
evidence that she had exhibited in
Source for the likely exhibition: scal.org, the website of the Santa Cruz Art League.
Remorse of Cain.
Probable source of the mistake if there was one: Santa Rosa Press Democrat of 2 July 1932 p6 which also says Theodosia was a niece of Asher Durand.
At sandiegohistory.org, the web pages of the
Arts Magazine volume 15 issues 1-6 1940, p17. The Picnic was actually joint runner-up with a work by Clarence Hinkle. The winner was Diana Seated, by Los Angeles-based artist Onestus Uzzell.
Standard procedure on starting out to research an artist is
to check their entries in the art dictionaries, which list artists by surname
with a basic amount of information on them: dates between which they were
exhibiting artworks; which galleries their works were shown at; and prizes won
if any. Theodosia never claimed to have exhibited in the
Theodosia did claim to have exhibited at the Paris Salon.
Some of the catalogues of the exhibitions at the Paris Salon are now online at
onlinebooks.library.upenn.edu, beginning with 1879, the first year in which a
list of exhibits and exhibitors was issued. The
Theodosia also claimed that one or more works she showed at the Panama-Pacific International Exposition had won a medal. I’ve done some searching for what the works were, and which medal Theodosia won with them; but haven’t found any confirmation of her claim.
There is a short entry for Theodosia in Artists in
There are a lot of websites for and by art dealers and collectors which list prices that works by particular artists have fetched in recent auctions. However, at www.artprice.com and other such webpages, there were no records for works by Theodosia.
THEODOSIA’S TRAINING AS AN ARTIST
Long after her training must have been over, Theodosia
mentioned it when speaking to various newspaper reporters. The reporters were
only after brief news items for their newspaper’s social or cultural columns;
so the information that got printed was basic. Piecing it together I infer the
following: Theodosia began her training in
If Theodosia ever gave a reporter any dates for any of
those stages, they didn’t make it into the newspaper items. However: her Peace
on Earth, with its very specific date of 25 December 1890, indicates that she
was drawing and had learned something about how to compose a picture by then.
One reference she made to having anatomy classes with Dr Richer means that she
was still doing some training, in
PARISIAN ‘ISMS’ IN THE 1890s
The French government’s art schools were still teaching a very traditional style of painting and sculpture – it’s often referred to as ‘academic’ - and a very narrow range of subject-matter in Paris in the 1890s; and still chose works in that kind of style for the exhibitions at the Paris Salon. Works painted in oil paints were another Paris Salon preference. However, by the 1890s there were many break-away groups. The artists in those groups are all far better-known now than their academically trained contemporaries. The group of artists known as the impressionists put on their first exhibition in 1874. In the 1880s, a younger group of artists began moving on from impressionism towards what’s now called post-impressionism: van Gogh, Gauguin, the Pointillists, Cézanne. That was one strand of art that challenged the academic style.
THEODOSIA’S ART TRAINING IN
Theodosia chose to learn another strand of art that challenged the academic style: the style known as symbolism. Symbolism was more suited than impressionism and its descendants to a woman artist-to-be with an interest in the occult: meaning, in symbolist art works as in occult texts, is very elusive, it’s put over – if at all - through the use of myth and allusion. Figures in symbolist paintings tend to be types rather than individuals and there is a dream or nightmare-like quality about many symbolist paintings and also in its poetry. Symbolism had a wider reach than impressionism, which was very focused on the every-day, the use of paint, and what the eye sees. Symbolism had started as a literary movement (Baudelaire, Mallarmé) and encompassed music (Debussy) and theatre as well as painting. It wasn’t interested in the every-day. The symbolist painters were not such a close-knit group as the impressionists; they tended to work more independently.
Once she had made up her mind to start taking her art
training seriously – which seems to have taken many years - Theodosia chose a
teacher who would enable her to combine her occult understanding of the power
of symbols, with her desire to learn more about mural-painting. She became a
pupil of Alexandre Séon. Séon was born near
That Séon and his symbolist artist friends chose to call
their exhibition space the Salon de la Rose Croix suggests they were interested
in the occult themselves. Rosicrucianism – the study of the occult works based
on the Rosy Cross - was a strand of late 19th century freemasonry
and also featured in the symbolism of the GD. The two founders of the Order of
the Golden Dawn – Samuel Mathers and William Wynn Westcott – were both members
of a Rosicrucian group in
Giving interviews to newspapers late in 1918, Theodosia
also claimed to have studied with Puvis de Chavannes himself. She would have
had to have been quick: she reached
The newspaper item gave his name as Reicher; but Paul Richer 1849-1933 is the man Theodosia did her anatomy classes with. He was a trained anatomist and physiologist; but he was also a sculptor, exhibiting regularly and with pieces now in the Musée d’Orsay and elsewhere. He was assistant to Charcot at the Salpêtrière asylum from 1882 to 1896, working with him in his research on epilepsy, and the affect of hypnotism. However, if Theodosia had wanted to study anatomy with Richer as an art student she would have had to wait until after 1903 when he was appointed Professor of Artistic Anatomy at the Government Fine Arts School in Paris.
At some point Theodosia will have had to admit that her
instructors had no more to teach her, and to set out on a working life as a
professional artist. I don’t know when that point was, but I would suppose her
periods living in
There doesn’t seem to be much symbolism and hidden meaning
in murals at
In 1930 Theodosia wrote that she and her husband James
Madison Durand had lived in the artists’ studios at 65 boulevard Arago in
By 1918 – probably several years before – Theodosia was using her study of ancient mural painting techniques to develop a method for painting murals that would withstand bad weather and so be able to be sited or left outdoors. The technique involved the use of pastels, but Theodosia doesn’t seem to have told anyone exactly what the recipe for the paint was or at what stage she applied it (was the background very wet, a bit wet, or dry?); and the details of it seem to have died with her. She used the technique on stonework, cement, and asbestos.
Murals were a life-long interest for Theodosia but she also painted smaller works. I’ve found several references to portraits by her; and one reference to works that might have been landscapes. If she painted any allegorical works or any still-lifes I haven’t come across any references to them. Though pastel paints seem to have been a favourite medium, Theodosia also did paintings in oils. I haven’t seen any references to works in watercolours. She continued to produce art work until at least the late 1930s.
SOURCES for Theodosia’s training and professional career:
Newspaper snippet seen at www.newspapers.com by Ted Harwood and sent to me 11 September 2020 though without the newspaper’s name or date of issue. I think it was probably the Santa Rosa Press Democrat; and probably from 1932.
And a possible date for this very early phase; perhaps representing the end of it:
Fine, Self-Taught and Outsider Art. Auction of works 18 July 2014 at
Ted Harwood noticed Peace on Earth being for sale on ebay; 21 August 2020. Its title is written across the top and bottom: Peace on Earth. At the bottom left: “Theodosia Moore Dec 25th 1890”. Neither sighting of it suggested that it’s anything but an isolated specimen: if it was part of a set of works, it has become separated from the rest of the group.
To Europe; well, England: email from Ted Harwood arrived 13 September 2010; attachment: passenger list July 1891 for a ship going from New York to Liverpool includes James M Durand aged 29; and Mrs Durand aged 27. This begins the ‘GD’ phase of their lives in which they focused on a study of the occult – particularly the Kabbalah, numerology and (in James’ case at least) astrology, rather than art. For more on that see my file on the Durands in the GD.
Symbolists and Ancient Murals:
Most of the sources for this part of Theodosia’s life were
published when her
Rosicrucianism in the GD: see R A Gilbert The Golden Dawn Companion. On p115 Flying Roll XVI was Westcott’s lecture on the SRIA; so even if she hadn’t been able to get to the talk, Theodosia could have known what was said. On p112 is a list of the manuscripts given to newly-initiated members of the 2nd Order; including The Complete Symbol of the Rose Cross; Consecration of the Rose Cross.
Seen by me at //cdnc.ucr.edu the California Digital Newspaper
Collection: San Francisco Call and Post volume 104 number 152 issued 28
December 1918: Durand Murals Feature Fine Arts Exhibit. This is the source that
states she studied with Puvis de Chavanne and Séon; and a renowned anatomist
that the newspaper wrongly published as Dr Reicher. It also mentions the
periods Theodosia spent in
San Francisco News Letter issues January-June 1919 seen at archive.org. Issue of 4 January 1919 p13.
Healdsburg Tribune number 226 issue of 29 July 1932 p1.
Sources for Theodosia’s teachers:
Puvis de Chavannes and Alexandre Séon: their wikipedia pages; and an article on Séon at www.all-art.org.
Wikipedia on Paul Marie Louis Pierre Richer 1849-1933.
At www.metmuseum.org an article on Symbolism by Nicole Myers, Department of European Paintings; posted 2007. Amongst the illustrations: Puvis de Chavanne’s The Shepherd’s Song.
65 boulevard Arago:
Undated newspaper cutting sent by Ted Harwood in an email September 2020. The cutting didn’t have the name of the newspaper on it but other sources show it was the Santa Rosa Press Democrat.
Dawn of the Belle Époque: the
Ford Madox Ford: A Dual Life by Max Saunders. Volume 2 Oxford University Press 1996 reissued 2012 with a new preface: p133 which covers events in 1923.
Modigliani’s wikipedia page doesn’t mention his having lived at 65 boulevard Arago. It does say that he arrived in Paris in 1906.
Medal at the Panama-Pacific International Exposition (PPIE):
At www.sanfranciscomemories.com I found an article quoting Frank Morton Todd in 1921 on how important the medals were at a world fair. Todd stated that awarding medals was an integral part of the PPIE from the outset. There were six levels of medal, awarded on a points system. 20,344 medals were given out! - so I’m not sure if receiving one was anything to boast about.
At //panamapacificinternationalexposition.com there were lists of awards and award winners but I couldn’t see Theodosia on the lists.
At www.ebooksread.com there was a copy of the PPIE San Francisco Official Catalogue of the Illustrated and Fine Arts section; with lists of awards. Again, I couldn’t find Theodosia in the lists.
Theodosia’s murals: her new techniques
Newspaper snippet, though without a date; sent in an email by Ted Harwood September 2020. Ted wasn’t able to send the newspaper’s name but I think it must be one of the Santa Rosa newspapers. The report connected the opening of the studio with the new art school, supposing that Theodosia was showing her art work to prospective students.
Copyright SALLY DAVIS
7 December 2020
Find the web pages of Roger Wright and Sally Davis, including my list of people initiated into the Order of the Golden Dawn between 1888 and 1901, at: