title: Castlemaine Art Museum

abstract: Castlemaine Art Museum is an art gallery and museum in Castlemaine, Victoria, Australia. Founded in 1913, it is housed in a purpose-built Art Deco building, completed in 1931 and heritage-listed by the National Trust. Its collection concentrates on Australian art and the museum houses historical artefacts and displays drawn from the local district. The museum is governed by private trustees and managed by a board elected by subscribers. It is funded by state and local governments with additional support from benefactors, local families, artists and patrons. Its trustees also oversee the management of Buda, a heritage-listed villa and garden 1.3 km adjacent to the museum, which houses its own collection of art and artefacts associated with the Leviny family, and is also open to the public for exhibitions, events displays and garden tours.

text:
# Castlemaine Art Museum

**Castlemaine Art Museum** is an art gallery and museum in Castlemaine, Victoria, Australia. Founded in 1913, it is housed in a purpose-built Art Deco building, completed in 1931 and heritage-listed by the National Trust. Its collection concentrates on Australian art and the museum houses historical artefacts and displays drawn from the local district.

The museum is governed by private trustees and managed by a board elected by subscribers. It is funded by state and local governments with additional support from benefactors, local families, artists and patrons. Its trustees also oversee the management of Buda, a heritage-listed villa and garden 1.3 km adjacent to the museum, which houses its own collection of art and artefacts associated with the Leviny family, and is also open to the public for exhibitions, events displays and garden tours.

## History

The founding of Castlemaine Art Gallery and Historical Museum was preceded by four other public regional galleries in the state of Victoria: Ballarat in 1884, Warrnambool in 1886, Bendigo in 1887 and Geelong in 1900, but its significance, by comparison, was that it was in a small town, not a regional city like its forebears.

Cultural precedents were the 1855 Castlemaine Mechanics Institute which included a library; the School of Mines whose art teacher C. Steiner in 1908 taught engineering, surveying, architecture and fine art students; and numbers of artists, including S. T. Gill, Samuel Calvert, George French Angas, and early photographers Antoine Fauchery and Richard Daintree, had visited to document the swarming goldfields.

### *Castlemaine Past and Present*

The Castlemaine Progress Association's display of items of a 'novel and interesting nature', *Castlemaine Past and Present,* the town's first major exhibition, running 18–20 August 1910, celebrated the commercial, civic and cultural achievements of the town with "a collection of geological specimens and curios from the Government collection," photographs of historical interest, maps, furniture, applied art, books and artefacts, as well as landscapes by local artists intended to "popularise our town as a resort for artists and painters".

The committee included a "special feature" of "modern art, the only stipulation being that works of art, as well as all other exhibits, must relate in some way to Castlemaine or its district," and called for "historical curios, weapons, maps, manuscripts, medals, trophies, or any other article of local significance". An early supporter was Elioth Gruner. The exhibition thus established the principle of collecting of Australian art and of looking locally, for works connected to Castlemaine in some aspect, in contrast to a policy of concentrating on British and European art that was pursued by most Australian galleries of the period, in particular the National Gallery of Victoria purchases in Europe by L. Bernard Hall through the Felton Bequest.

### Public meeting

Two years later, in October 1912, the first solo exhibition of paintings by a local resident, Elsie Barlow, wife of a Castlemaine police magistrate, was held in the reading room of the Mechanics Institute, raising hopes "that the Castlemaine public will have the same opportunity in this matter as is afforded to the Melbourne public, which now-a-days is rarely without an Art Exhibition".

Subsequently, a meeting at Barlow's Hunter Street home on 9 July 1913 proposed the creation of a permanent gallery for Castlemaine and approached the Mayor to "affirm the advisability of establishing a Museum and Art Gallery in Castlemaine" on 30 July at a public meeting of Mayors and Councillors from Chewton, Maldon, Metcalfe, Newstead and Mount Alexander with Col. Davies, Secretary of the Bendigo Art Gallery, Mr A T Woodward Director of the Bendigo School of Arts, Mr Bernard Hall, Director of the National Gallery of Victoria, Trustees of the National Gallery and Museum and the Old Pioneers Association, and with support of the local High School committee.

Winifred Brotherton, who took the minutes, emphasised the imperative of establishing a museum in which to preserve the heritage of the town, and the museum was later to be given her name in her honour.

Colonel Davis spoke from the experience of Bendigo Art Gallery where he was secretary, advising not to expect government funds such as they had received as the grant was only £2,000 to be divided amongst all the arts organisations, but to secure donations of pictures, be prepared to go into debt, and make use of loans from the National Gallery of Victoria. The housing of the gallery was considered and proposals included the cooking classroom of the Technical High School, the Market Building, the Town Hall, and the School of Mines.

### Realisation

The gallery became a reality when Bertha Leviny of Buda homestead provided use of a room in a shop in Lyttleton St. for one year free of charge, and Bendigo Art Gallery offered a loan of paintings. A loan exhibition of 30 works in the Stock Exchange Room of the Town Hall launched the Castlemaine Art Gallery and Historical Museum on 24 October 1913. Significant exhibitors who made donations of their work included Harold Herbert and Jessie Traill.

When the gallery moved into the room offered by Leviny in Lyttleton St., more donations were made. Bertha E. Merfield made generous loans of works from her collection to its inaugural exhibition, including paintings by Tudor St George Tucker, Alexander Colquhoun, George Clausen, Frederick McCubbin and Blamire Young. joined by direct loans by artists, and by the National Gallery of Victoria which contributed Franz Courtens' *Morning*, David Wynfield's *Death of the Duke of Buckingham*, Robert Dowling's *Sheikh and His Son Entering Cairo;* Hermann Eschke's *Freshwater Bay, Isle of Wight*; Cave Thomas' *Canute Listening to the Monks at Ely*; and Louis Buvelot's *Summer afternoon, Templestowe*.

The 1914 annual report recorded 30 memberships and a collection of 23 pictures with others on loan and a balance of £75. Initial opening hours in 1914 were daily from 3 to 5 p.m., and Wednesday and Saturday evenings from 7.30 to 9.30, changed later to weekdays 10 am to 12 pm and 2 to 5 pm, and Sundays 2 to 5 pm.

The next home of the gallery and museum, by June 1915, was in the rooms above the Castlemaine Post Office which it rented for £1 per annum, and where it remained until 1931 in three well-lit rooms: two small ones, and one measuring 9 by 5.5 metres (30 by 18 ft) which served as the main gallery. Nevertheless, the Victorian Government rejected their grant application of 1915 because the Gallery's tenure of its premises was not secure. Electric lighting was added in 1927.

The facility, proved popular, with attendances rising from 800 in 1920 to 3,600 in 1923. Many in 1928 came for a series of talks by John Shirlow intended to boost interest in the Gallery. Artists too were noticing it, as *The Age* reported in November 1923;

> 'Tis said that the reputation of this gallery is such that every artist of note throughout Australia has heard of the little gallery which so cherishes and encourages the work of Australian men and women that a renaissance of effort has been brought about among Australian painters.

The insurance value of the collection rose in 1925 to £2,000, with a further 37 paintings gifted in 1926 by, among others, Arthur Streeton, George Coates, Dora Meeson, Jo Sweatman, and A.M.E. Bale, etchings by Martin Lewis, and purchases including *The Dark Horse* by George W. Lambert, and *The Coming Storm* by Blamire Young, as reported by Lieut. Col. Francis S. Newell, then President of the Castlemaine Art Gallery in *Art in Australia* of December 1926. Newell also commented on attendance by 5,248 visitors; "When it is remembered that the population of this town is about 7,000, the progress of this gallery is remarkable. The committee has now purchased a site for a new building, but more funds are needed before the project can be carried out."

## Building

Since 17 November 1983 Castlemaine Art Museum is classified by The National Trust (revised 3 August 1998), which notes its significance as;

> … an exceptional building in its intent and execution and … historically important as one of the earliest examples of the "modern movement" in provincial Victoria.

A building fund was set up in 1923 using a donation of £100 by Sir John and Lady Higgins. A site in Templeton Street was purchased for £1200 but later sold to acquire the present block in Lyttleton Street in 1927 for about £300. That year in a visit to Castlemaine the Hon George Prendergast enabled a deputation to seek a grant to augment the building fund, to which he offered £1000 on the basis of £1 for every £2 raised locally. Walter J. Whitchell promised £500 for the building fund should the balance be found when the fund held only £760. With the building costed at £3,500, an appeal for funds from the public was launched. Despite the onset of the Depression, £3,250 was raised in only six weeks from private individuals and companies the Bank of Australasia, Ball & Welch and Bryant & May, augmented by the promised State government grant of £1,000, and afterward a further £500. With furnishings, the total cost was £4,132.

Architect Percy Meldrum, who trained in the United States presented to a reluctant management committee a "modern and artistic" design for the Castlemaine Art Gallery and Historical Museum (as it was then named) in an American Art-deco style. The main gallery walls and those of both additional gallery spaces were naturally and indirectly lit from the concealed windows of a saw-tooth roof above suspended ceilings.

The entry steps are Harcourt granite, the parapet of Malmsbury bluestone, and Barker's Creek slate pave the forecourt, on which rest two cuboid planters decorated with panels showing native animals in a sympathetic style by textile artist and sculptor Michael O’Connell who also provided planters and ornaments to Buda's garden.

A "Jazz" style frieze that combines Egyptian and Central American motifs and fluting decorates the parapet, front wall and tympanum over the central front door, itself recessed behind ornate wrought-iron grille gates. The symmetrical facade includes a bas-relief in artificial stone featuring a female figure that symbolises Castlemaine surrounded, on the right, by two attendant gold-miners of the past, and artist and sculptor at left. It was designed and carved by Orlando H. Dutton (1894-1962), an English-born artist working in Australia after 1920.

Builder Frank Pollard completed construction between June 1930 and April 1931 for the Gallery and Museum's official opening, free of debt, It consisted of a main gallery 19.5 by 7.3 metres (64 by 24 ft) for the display of oil paintings, behind two smaller galleries for prints and water-colours flanking the entry, each approximately 7 by 6 metres (23 by 20 ft) and with the museum in the basement with storerooms. The opening was held on the 18th of that month by the Governor of Victoria Lord Somers at a ceremony conducted in front of a crowd at the entrance to the Gallery that flowed across the street. It was reported as far away as Canada that;

> In opening the art gallery, in the presence of a very large gathering, Lord Somers said that he had been amazed at seeing a gallery and a collection so fine. He did not suppose that a gallery of those dimensions would be found in a town of that size anywhere else in the British Dominions. Extraordinary enthusiasm must have been shown to make the gallery possible.

Visitor numbers during 1933 increased to 10,000.

P. S. Markham and Professor Henry C. Richards, touring Australia on behalf of the Carnegie Corporation of New York, reported that the Gallery was "a credit to all concerned ... After Port Sunlight, where Lord Lever's art collection is housed, this small town has probably a better art gallery than any comparable town in the British Empire."

### Additions

By 1938 space proved insufficient for special exhibitions and to accommodate the program of public galleries lending artworks and circulating exhibitions amongst them. At Castlemaine that necessitated dismounting the existing collection and storing while a temporary exhibition was on display. The burgeoning collection posed storage problems; in 1942 Sir John Higgins' bequest of his pictures, china, glassware and furniture, could not be housed and the committee was forced to make plans for extensions to be part-funded by his sister Catherine's bequest of £8,300. However, it was not spent due to war and post-war impediments to building.

### 1960

Impetus for a new extension did not gather until 1956, when the possibility of an internal paved courtyard for sculpture was considered. But only in 1959 was a decision reached to complete the project though the cost had risen to £16,000, beyond the means of the Gallery. The Bolte ministry promised a subsidy on a pound for pound basis and in late 1960 the adjacent Presbyterian Church donated a strip of land for driveway access to the rear of the building, enabling work to commence. The resulting Higgins Gallery was opened on 23 September 1961, by Dr Leonard Cox, Chairman of Trustees of the National Gallery of Victoria, and it included storerooms, work areas, and shelving and sliding racks for storage of artworks.

### 1973

A third space for special and temporary exhibitions was funded by a gift of $12,500 from the Stoneman Foundation after which it is named, and a State Government grant of $26,000 and was opened by Premier Rupert Hamer on 14 September 1973, on the occasion of the Gallery's sixtieth anniversary.

### 1987

Renovations and additions completed since include a storeroom and workspace areas, added in 1987 and named the A & B Sinclair Building Extensions, after inaugural Director Beth Sinclair and her husband, and were opened by the Hon Race Matthews MLA, Minister for the Arts. This renovation included an extension to the Museum below, named the Percy Chaster Building for his bequest to the gallery.

### 2000

Grants from the Department of Communication, Technology and the Arts were distributed by the Federal government for the Centenary of Federation in 1999, denounced by some commentators as pork-barrelling, from which Castlemaine Art Gallery and Historical Museum received $2,000,000 for upgrades and redevelopment by architect Allom Lovell. The 1973 addition at the rear of the building was gutted and turned into the temporary exhibitions gallery with international museum standard climate and lighting controls, and security systems enabling Castlemaine to borrow major national and international works and travelling exhibitions. The high vaulted ceiling naturally lit via UV-filtered skylights has a hidden shutter system to permit blacking out for exhibitions that require artificial lighting only. An artificially lit small prints and drawings gallery is, since 2020, set aside for CAM's Orbit program; a series of exhibitions by artists who live and work in Central Victoria. Other works included a conservation studio for the treatment and restoration of works of art and historical documents, renovation of the Gallery and Museum shop, and a substantial mezzanine at the rear of the building for new offices, and a research library, the latter named after A. G. Lloyd-Stephenson whose bequest added substantially to its collection of art books. During these year-long renovations, the Gallery and Museum were temporarily relocated to the Gallery's old quarters above the Post Office. Completed in late 2000, the extensions were opened on 6 October by the Hon Peter McGauran, Federal Minister for the Arts and Centenary of Federation.

### Forming the collection

#### Policy

While its building was assertively Modern, attitudes prevailing during the 1930s and 1940s meant that the collection of works within remained conservative. One artist, and one of the wealthiest, associated with the Gallery, A.M.E. Bale was vehement in her distaste for anything 'modern,' echoing the views of then National Gallery of Victoria director James Stuart MacDonald who, of the 1939 Herald exhibition of contemporary French and English painting sponsored by Sir Keith Murdoch, proclaimed, 'They are exceedingly wretched paintings ... putrid meat ... the product of degenerates and perverts ... filth'. A demonstration of these conservative values was the Gallery's 1933 commission to have painter W B Mclnnes travel to England to paint portraits of the Duke and Duchess of York (later King George VI). Numbers of 20th-century artists represented were members of the conservative, anti-modernist Australian Academy of Art (1937–1946), while others joined its rival the Contemporary Art Society.

It was not until 1946 with the purchase for 175 guineas (A$13,000 in 2020) of *Desolation,* painted the same year by Russell Drysdale, a dark expressionist work, that this attitude changed. When added to existing holdings of 105 oils, 57 water colours and 76 etchings, drawings and prints, the purchase was welcomed by Clive Turnbull, since 1942 the Murdoch-appointed art critic at the *Herald*, who considered the cost ...

> ... a good price by any Australian standards. The gallery's committee has shown its enterprlse and the courage of its convictions in buying what ranks as a "modern" work. "Desolation," as this large oil is called, is one of the series painted by Russell Drysdale — in some peoples' view the most significant of all contemporary Australian artists — after his visit to the erosion country of New South Wales last year. In rich, dark colors, it is typical and good Drysdale of this period. The foreground is dominated by a huge twisted tree form. A picture of the power and quality of this one obviously presents considerable difficulties in hanging in a small gallery it is destructive of neighboring works which are merely pretty or superficially representational, and one hardly supposes that the placing of it will be entirely satisfactory until there are enough works of kindred character and quality to keep it company \[...\] Castlemaine is to be congratulated on having obtalned this picture.

Even so, the purchase coincided with that of Rupert Bunny's semi-allegorical 1932 *Stepping Stones*, and the policy remained still to prefer figurative studies, landscape and portraiture, but to permit semi-abstract works.

#### Funding

Lack of funds has historically handicapped the Gallery's acquisitions of significant works of art. After WWI it survived on subscribers, door takings and a government grant of £20 per annum, and finances were particularly strained when it had found a permanent home during a period coinciding with the Great Depression, when all government funding was withdrawn until 1935. Nevertheless, bequests were forthcoming, such as that for the portrait of Edna Thomas, by John Longstaff, funded from the will of F. McKillop, editor of the *Castlemaine Mail*. It relied also on direct donations of works, such as Billy McInnes's large canvas *Ploughing* and etchings by Norman Lindsay given by Sir Baldwin Spencer, and Dame Nellie Melba's gifts of a portrait of her father David Mitchell by Hugh Ramsey and Frederick McCubbin's *Golden Sunlight*. Locals contributed to special subscription funds in order to secure desirable works unlikely to be donated, as they did in 1925 for Charles Wheeler's *The Last Ray*.

Other works have been acquired by exchange; for example The Australian War Memorial's provision of duplicates of two Will Dyson lithographs in return for an Eric Kennington portrait of Hughie Edwards, the highly decorated Second World War airman. The Australian Government's Taxation Incentives for the Arts Scheme provided for other donations.

In 1916 an annual state government grant of a mere £30 ($2,836.00 value in 2020) was " ... to be spent on pictures, and pictures only". By 1937 this had been raised to £100, with the municipality contributing only £6.

In 1980, former Director Perry wrote in complaint to James Mollison of the National Gallery of Australia objecting to one of its purchases at auction when both galleries were the only bidders beyond $11,000 for Margaret Preston's 1925 *Still Life*, which went to Canberra for a record price of $17,000. Perry felt the richer rational gallery should have withdrawn to let the work through to a less prosperous smaller institution.

Government funding tended to be piecemeal; deputations to MPs during the war years and another during the Depression received minor dispensation, $319 from the Australia Council in 1985 was given for "purchase of crafts for public display and permanent collection", and in 1987 Minister for the Arts, Race Mathews, announced minor capital grants including $60,000 approved to enable the Castlemaine Art Gallery to extend its storage space. The Gallery and Museum received $2,325 in 1988, and then two years later a further $6,000, from the Australia Council for the Arts Visual Arts/Crafts Board for collections development, and in 1997, part of $2.5m through the state government's Victoria Organisations Funding program, shared with seven other arts institutions.

## Collection

The Collections may be searched online.

### Museum collection

The museum, housed in the basement, presents the history of Castlemaine and its region in objects, maps, models, diaoramas, photographs and prints, including a large group of hand-coloured lithographs from watercolours by S. T. Gill; pithy vignettes of life on the goldfields. Historical glassware and ceramics, much brought to Castlemaine by its European immigrants, extends from the Roman era. Local fauna is represented by taxidermy specimens. Items of Victorian-era fashion are also displayed, and locally-produced arts and crafts is represented in early-to-mid 20th-century enamelware and silver.

The gallery has always specialised in Australian art as the gallery's constitution stipulated in 1913, emphasising "... the cultivation of a taste for the Fine Arts by the collection and exhibition of works of especially Australian Artists..." Accordingly, at its opening in 1931 it held 155 pictures, 26 added only the year prior, and the total predominantly Australian, and now the collection spans the periods Colonial, Impressionist, Early Twentieth Century Modernism, Mid-Century Modern, Postmodernism, and Contemporary in varieties of media.

Earlier artists include Louis Buvelot, Fred McCubbin, Tom Roberts, Arthur Streeton, Violet Teague, May Vale, Walter Withers, Ethel Spowers, David Davies, Rupert Bunny, Max Meldrum, Ethel Carrick, E. Phillips Fox, Jessie Traill, John Russell, Christian Waller, Hugh Ramsay, Clarice Beckett, A.M.E. Bale, Arthur Lindsay and John Longstaff.

Modernists include Margaret Preston, Clifford Last, Ola Cohn, Roland Wakelin, Joy Hester, Russell Drysdale, Judy Cassab, Fred Williams, Klytie Pate, John Brack, Albert Tucker, John Perceval, Clifton Pugh, Lloyd Rees, Danila Vassilieff, and Roger Kemp.

More contemporary artists include Rick Amor, Ray Crooke, Rona Green, Betty Kuntiwa Pumani, Peter Benjamin Graham, Fiona Orr, Robert Jacks, Jeffrey Smart, Diane Mantzaris, Ian Armstrong, Jenny Watson, and Brian Dunlop.

### Indigenous art

First Nations art is progressively being transferred from the Museum to the walls and display cases of the Gallery, and its collection is being actively expanded. In 2019 Tiriki Onus, of Yorta Yorta and Dja Dja Wurrung heritage and University of Melbourne Associate Dean Indigenous Development and Head of the Wilin Centre for Indigenous Arts and Cultural Development, became the premier First Nations appointment to the CAM Board. The Art Museum's Strategic Plan released in 2019 and current until 2023 declares;

> During the life of this Plan, CAM will consult with Traditional Owners towards increasing its engagement with and relevance for Traditional Owners and other Aboriginal and Torres Strait Islander artists and audiences.

### Portraits of Australian artists

Portraits of Australian artists by Australian photographers Max Dupain, David Moore, Richard Beck, Jack Cato, Pegg Clarke, Connie Christie, Sonia Payes, Michel Lawrence, Joyce Evans, Mina Moore, Jacqueline Mitelman and Olive Cotton and others form another specialist concentration in the collection initiated by previous Director Peter Perry.

### Buda historic home

Separate from the Art Museum, but under the guardianship of the trustees of the Castlemaine Art Gallery and Historical Museum (CAGHM), Buda holds on display domestic items, decorative art, furnishings, artworks, books and personal effects of the Leviny family from the 1850s up until 1981, after Hilda Leviny's death, when the home and garden were opened to the public. Clothing and accessories, documents, correspondence, diaries and photographs preserve the family's history and the eras in which they lived.

Hungarian Ernest Leviny, a practising gold- and silversmith, arrived on the Castlemaine goldfields in 1853 and the collection of his work is notable. Arts and Crafts style articles of embroidery, woodcarving and metalwork on display throughout the house and garden were produced by the Leviny daughters.

Also in the Buda collection are original artworks by mostly early twentieth century Australian artists including William Blamire-Young, Margaret Preston, Lionel Lindsay, Mildred Lovett, Ursula Ridley Walker and Alice Newell, studio pottery from the 1920s and 1930s by Klytie Pate, Philippa James and John Campbell, and hand-printed textiles of Melbourne artists Michael O’Connell, Frances Mary Burke and Lucy Newell.

### Management

Volunteers administered and managed the Castlemaine Art Gallery and Historical Museum for the first six decades of operations, opening Monday-Sunday 1-5pm and 2.30-5pm Sunday, but for a period having to close for lack of a caretaker. In 1962, the requirements of the Regional Galleries Association of Victoria necessitated the appointment of professional staff. This transition to being a managed cultural organisation was handled largely by Beth Sinclair (1919–2014) who, when she moved to Castlemaine in 1953, was introduced to the Gallery by her husband Alec who was on its committee. As reported in 1948 by Castlemaine Technical School lecturer in Art Colin Hunt to an audience at Horsham interested in repeating the success of Castlemaine Art Gallery and Museum;

> Women have been active in their support of the movement from its inception. They have contributed substantially to its success during the formative period, and are still active in committee. One holds the office of vice president and another leads the selection committee.

Using her background in secretarial work she volunteered to catalogue works and organize the office systems. In 1963 Castlemaine hosted a meeting of the Victorian Public Galleries Association, and in May, Sinclair was able to announce that Castlemaine had secured its rating as one of four 'A' class regional galleries and would retain its government funding.

Sinclair was appointed the Gallery's first Director in 1969, and was the first woman to be a public gallery director in Australia. She was rigorous in her management of the collection and the daily running of the Gallery, and established a network of individuals and organisations all over Australia for purchases and loans of artworks and a regular schedule of exhibitions. A significant acquisition of contemporary art, made in her first year as Director, was Fred Williams' *Silver Landscape,* painted 1968 In 2000, after her retirement in 1975 and in celebration of the extensive renovations Sinclair donated her personal collection of Australian art, including watercolour landscapes by Reginald Sturgess, works by Rick Amor, E. W. Syme and other painters, which was presented in the inaugural exhibition *The Beth Sinclair Donation of Australian Art* in the new temporary exhibitions gallery. The north-east corner gallery was named in her honour.

When Sinclair retired, and on her recommendation, after he and his twin brother John, who had been collecting since their teens, held a 1974 exhibition of their collection of Australian paintings, the committee appointed Peter Perry as the next Director, at 23 years old the youngest in Australia, into the role he was to serve for thirty-eight years before his retirement in 2014. He was assisted by the Gallery's first curator Lauretta Zilles from 1986 to 1995 and Kirsten McKay, 1995 to 2014. In interview, Perry acknowledged the importance of women in the history of the gallery and its collection;

> "The gallery was founded by women in 1913. They were women artists here or wives of local dignitaries and their war cry was 'No art, no culture; no culture, no nation'. We also had the first woman director appointed to an Australian public gallery: Beth Sinclair. It's not that we've pushed women artists. We just have that tradition and it's always been there. I've tended since my earliest days in the '70s to support research of women artists."

Perry also introduced musical recitals in the Gallery, and talks with presenters including James Mollison, then director of the National Gallery of Australia; and Dr. Eric Westbrook, then Director, Ministry of the Arts, for a champagne brunch talk on appreciation and enjoyment of art. In 2022 Perry was awarded a Medal of the Order of Australia (OAM) for his service in the museums and galleries field.

### List of directors

* 1969 to 1975: Beth Sinclair
* 1975 to 2014: Peter Perry OAM
* 2014 to 2017 Jennifer Kalionis
* 2019: Naomi Cass (Director, CAM Renewal)

## Renewal

In 2015, gallery members, for the purpose of accountability and compliance voted for the gallery to become incorporated. However a consequence was that income from the SR Stoneman Foundation a major annual philanthropic endowment, which had been worth $30,000 per year over 13 years, was lost due to its condition that the Gallery remain unincorporated. Thus, due to lack of funds, the Art Museum faced a forced closure on 11 August 2017. It was saved when a town hall meeting in Castlemaine on 2 August announced a $50,000 gift from the Macfarlane Fund, launched concomitantly in honour of the late businessman Don Macfarlane, for whom the gallery was his favourite, and given on the condition of greater support from Mount Alexander council. Combined with a $250,000 donation by an anonymous couple, by fundraising efforts amongst local supporters, and a government grant, the money meant the gallery would remain open to the public giving time for sustainable revenue to be sourced, though difficulties, as identified by The Institute of Community Directors Australia, remained.

Naomi Cass, previously director of the Centre for Contemporary Photography, was appointed Director, CAM Renewal, in January 2019, and reopened the gallery, free of charge to visitors at the request of the benefactors and, after some refurbishment in November, in December launched the *Strategic Plan for Castlemaine Art Museum 2019–2023 – connecting people through Art, History and Ideas* In the 2019-20 financial year the budget returned to surplus.

## Outreach

In 2019, CAM commenced a pilot inclusivity program to engage with three communities impeded in attending and enjoying CAM; First Nations young people, people with disability, and young people at risk. Participants were recruited through Nalderun, the Mount Alexander Shire Disability Advocacy Group, the local hospital and local school teachers. Ideas were received concerning solutions to increasing accessibility and relevance.

In 2021 the Art Museum updated its website, including online access and searching of its collection. *Reflections*, a series of commentaries on works from members of the gallery's community is included.

From 2020 the Museum held 'Orbit;' shows by significant local artists in its Benefactor's gallery, moving later to the Sinclair gallery, and in 2022 commenced a series of public 'Terrace Projections;' digital video projected onto its facade during night-time hours.

### Awards and prizes

As early as 1928 Castlemaine Art Gallery offered a generous acquisitive prize of 40 guineas (A$3,484.70 value in 2020) for "the best oil or watercolour painting submitted, the works to be judged by Sir John Longstaff". The biennial $3,000 James Farrell Self Portrait Award was founded in 1991, but is longer being held. The biannual Clunes Ceramic Award, jointly offered by the Art Gallery of Ballarat and the Castlemaine Art Museum with a total prize money of $5000 was last opened in 2019 and was then postponed. In 2021Castlemaine Art Museum continued to encourage artists with the following awards:

#### Experimental Print Prize

Established in 2019, a biennial, non-acquisitive prize. Open to Victoria-resident artists resident in Victoria, an anonymous local donor provides three prizes: $10,000, $5,000 and $3,000 for an emerging artist.

#### Len Fox Painting Award

The Len Fox Painting Award is the Castlemaine Art Museum's $50,000 biennial acquisitive award and among the richest in the nation. It is awarded to a living Australian artist to commemorate the life and work of Emmanuel Phillips Fox, the uncle of Len Fox, partner of CAM benefactor Mona Fox.

### Associations

CAM is a member of the Public Galleries Association of Victoria and is accredited by the Australian Museums and Galleries Association.

## Exhibitions

## Publications

* Castlemaine Art Gallery and Historical Museum (1953), *Castlemaine Art Gallery and Museum*, The Gallery, retrieved 22 September 2021
* Castlemaine Art Gallery and Historical Museum (1972). *An exhibition of fifty chairs of the 19th and early 20th centuries: catalogue*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. OCLC 220905271.
* Castlemaine Art Gallery and Historical Museum (1973), *Castlemaine Art Gallery and Historical Museum*, Castlemaine Art Gallery and Historical Museum, retrieved 22 September 2021
* Castlemaine Art Gallery and Historical Museum (1976). *A. E. Newbury: Castlemaine Art Gallery & Historical Museum, 16th Oct. – 28th Nov., 1976*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. OCLC 739118794.
* Bale, A. M. E. (Alice Marian Ellen); Castlemaine Art Gallery and Historical Museum (1977), *A.M.E. Bale: Castlemaine Art Gallery, 11th September-30th October, 1977*, Castlemaine Art Gallery, retrieved 22 September 2021
* Clark, Marc; Victorian College of the Arts; Castlemaine Art Gallery and Historical Museum (1978). *Marc Clark: sculptures 1968–78*. Warrnambool, Vic.: Warrnambool Art Gallery. OCLC 223143468.
* Newell, Lucy (1978). *The Newell family*. Castlemaine: Castlemaine Art Gallery and Historical Museum. OCLC 221717594.
* Ellis, Stanley J. (1979). *The school of Stanley J. Ellis: Castlemaine Art Gallery & Historical Museum, 5th May – 3rd June, 1979*. Castlemaine, Vic.: Castlemaine Art Gallery & Historical Museum. OCLC 1058493426.
* *Notes, nocturnes & harmonies*. Castlemaine Art Gallery. 1980. OCLC 222029063.
* Castlemaine Art Gallery and Historical Museum (1981), *Two centuries of Australian bird illustrations*, Castlemaine Art Gallery, retrieved 23 September 2021
* Castlemaine Art Gallery and Historical Museum (1981), *Aspects of Castlemaine, 1854-1980: \[exhibition\] Castlemaine Art Gallery & Historical Museum, 25th. October – 23rd. November*, the Art Gallery & Historical Museum, retrieved 23 September 2021
* Perry, Peter (1982). *E. Phillips Fox & Ethel Carrick: an exhibition of impressionist paintings*. publisher not identified. OCLC 222032057.
* Hurry, Polly; Castlemaine Art Gallery and Historical Museum; McClelland Gallery (1983), *Polly Hurry, 1883-1963: a retrospective*, Castlemaine Art Gallery, retrieved 22 September 2021
* Perry, Peter (1986). *R. W. Sturgess, water-colourist, 1892–1932*. Beth Sinclair. \[Castlemaine\]: Castlemaine Art Gallery and Historical Museum. ISBN 0-9598066-3-6. OCLC 21594920.
* Evergood, Miles; Castlemaine Art Gallery and Historical Museum; Jewish Museum of Australia; Carrick Hill (Springfield, S.A.: House) (1988), *Miles Evergood, 1871-1939: retrospective*, Castlemaine Art Gallery & Historical Museum, retrieved 22 September 2021
* Castlemaine Art Gallery and Historical Museum; Perry, Peter; Sinclair, Beth (1988). *Seventy-five years: 1913–1988*. Castlemaine, Vic.: The Gallery. ISBN 978-0-9598066-4-9. OCLC 222849742.
* Leason, Percy; Castlemaine Art Gallery and Historical Museum (1989). *Percy Leason, 1889–1959: centenary exhibition*. Castlemaine, Vic.: The Museum. OCLC 22859102.
* *Pubs and breweries of Castlemaine and district*. Castlemaine, Vic.: Castlemaine Art Gallery & Historical Museum. 1989. OCLC 221511151.
* Craig, Sybil (1990). *The Sybil Craig Bequest: 13 July – 5 August, 1990*. Castlemaine, Vic.: Castlemaine Art Gallery & Historical Museum. OCLC 222843220.
* Zilles, Lauretta (1991). *Maladies, medicos & miracle cures: a guide to the history of medicine in Castlemaine and district from 1851 – c.1950*. Castlemaine, Vic.: Castlemaine Art Gallery & Historical Museum. OCLC 221334617.
* Lindsay, Arthur J. (1991). *Arthur J. Lindsay, 1912–1990: retrospective*. Castlemaine, Vic.: Castlemaine Art Gallery & Historical Museum. OCLC 221782696.
* Castlemaine Art Gallery and Historical Museum (1991), *A catalogue of Australian ceramics*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-9598066-5-6
* Herbert, Harold B.; Castlemaine Art Gallery and Historical Museum (1992). *Harold B. Herbert watercolours, 31 October – 6 December, 1992*. Castlemaine Art Gallery & Historical Museum. Retrieved 22 September 2021.
* Stavrianos, Wendy (1994). *Wendy Stavrianos: mantles of darkness*. Castlemaine Art Gallery and Historical Museum. OCLC 222005695.
* Bush, Charles; Davies, June; Palmer, Jock; Castlemaine Art Gallery and Historical Museum (1994), *Charles Bush: self-portraits 1936–1986: Castlemaine Art Gallery and Historical Museum, 3 September-2 October 1994*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-646-19872-9
* *Flynn silver, past and present: Castlemaine Art Gallery and Historical Museum, 6 March – 10 April 1994*. Bendigo, Vic.: Richard Cambridge Printers. 1994. OCLC 221782605.
* Dent, John (1994). *John Dent: retrospective 1973–1993: Castlemaine Art Gallery and Historical Museum, 29 October – 4 December, 1994*. Castlemaine Art Gallery and Historical Museum. Castlemaine, Vic.: The Gallery. ISBN 0-646-21117-X. OCLC 35831072.
* McKay, Kirsten; McKay, Kirsten; Castlemaine Art Gallery and Historical Museum (1995), *Women printmakers 1910-1940: in the Castlemaine Art Gallery and Historical Museum*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-646-23161-7
* Murphy, Phyllis (1996). *Historic wallpapers in Australia, 1850–1920*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9598066-6-3. OCLC 38757268.
* Perry, Peter W. (1996). *Max Meldrum & associates: their art, lives and influences*. John R. Perry, Max Meldrum. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 0-9598066-7-9. OCLC 38415991.
* Armstrong, Ian; Castlemaine Art Gallery and Historical Museum (1999), *Ian Armstrong retrospective 1941-1998*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-9587299-1-8
* Castlemaine Art Gallery and Historical Museum (2001). *Fraser Fair: a retrospective*. Peter Perry. Castlemaine: Castlemaine Art Gallery and Historical Museum. ISBN 0-9587299-3-X. OCLC 935586136.
* Griffin, Murray, ed. (2001). *Murray Griffin – the journey: a retrospective 1922–1980; Castlemaine Art Gallery and Historical Museum, 27. May to 1. July 2001; Eastgate Gallery, Hawthorn, Victoria, 25. July to 24. August 2001*. Castlemaine. OCLC 314370902.`{{cite book}}`: CS1 maint: location missing publisher (link)
* Lewis, Martin (2002). *Martin Lewis: stepping into the light*. Kirsten McKay. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 0-9587299-4-8. OCLC 155794636.
* Davies, June (2002). *A tribute to June Davies*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9587299-5-6. OCLC 225428434.
* Stoneman, Stuart R. (2003), *Highlights from the Stuart R. Stoneman art collection*, Castlemaine Art Gallery & Historical Museum, retrieved 22 September 2021
* Colquhoun, A. (2004). *Alexander Colquhoun: 1862–1941: artist and critic*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9587299-8-7. OCLC 62545517.
* Geelong Art Gallery; Castlemaine Art Gallery and Historical Museum; Carrick Hill (Springfield, S.A.: House); Mornington Peninsula Regional Gallery (2005), *Venezia Australis: Australian artists in Venice, 1900-2000: a touring exhibition of oils watercolours, prints, drawings and photographs*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-9757388-0-1
* Craig, Sybil (2006). *Sybil Craig 1901–89: modernist painter*. Kirsten McKay, Geelong Gallery, Mornington Peninsula Regional Gallery. Castlemaine: Castlemaine Art Gallery and Historical Museum. ISBN 0-9757388-1-X. OCLC 225240436.
* Braund, Dorothy; A'Beckett, Jan; Castlemaine Art Gallery and Historical Museum; Hamilton Art Gallery (Vic.) (2006). *Dorothy Braund: retrospective*. Castlemaine, Vic. ISBN 978-0-9757388-2-5. OCLC 225138812.`{{cite book}}`: CS1 maint: location missing publisher (link)
* Baldessin, George; Turner, Dick; Castlemaine Art Gallery and Historical Museum (2007). *European sensibilities: George Baldessin and his circle: printmaking in Melbourne during the 1960s and 1970s*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9757388-4-9. OCLC 225428312.
* Kovacic, Katherine (2007). *The art of the dog*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9757388-3-2. OCLC 225438828.
* Klein, Deborah; Soumilas, Diane (2008). *Deborah Klein: out of the past 1995–2007*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. OCLC 298663997.
* Ramsay, Donald (2008). *Donald Ramsay: artist in a landscape*. Castlemaine, Vic.: Castlemaine Art Gallery. ISBN 978-0-9757388-8-7. OCLC 277184336.
* Courier, Jack; Stocky, Catherine; Castlemaine Art Gallery and Historical Museum. *Jack Courier (1915-2007) : lithographs* (Limited (500 copies) ed.). Castlemaine: Castlemaine Art Gallery and Historical Museum. OCLC 653970903.
* Chippindall, Tom (2010). *Associates of Rupert Bunny*. Castlemaine: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9757388-9-4. OCLC 682514952.
* Edwards, Annette (2010). *Annette Edwards: ... a lifetime of mark making*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9807831-2-4. OCLC 780532076.
* Kovacic, Katherine (2010). *Archie & Amalie Colquhoun*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9807831-0-0. OCLC 608149359.
* Perry, Peter W.; McKay, Kirsten (2011), *Scottish painters in Australia*, Castlemaine Art Gallery and Historical Museum, ISBN 978-0-9807831-3-1
* Shaw, Peggy; McKay, Kirsten; Castlemaine Art Gallery and Historical Museum (2011). *Peggy Shaw: a retrospective*. Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9807831-4-8. OCLC 822892917.
* Perry, Peter; Bale, A. M. E. (2011). *A. M. E. Bale: her art and life*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9757388-7-0. OCLC 793570972.
* Moncrieff, Greg (2011). *Greg Moncrieff: now and then – : a survey exhibition of selected paintings, screen prints and mixed media works from 1974 to the present*. Castlemaine: Castlemaine Art Gallery and Historical Museum. OCLC 760034537.
* Crichton, Richard (2012). *Richard Crichton: profile selected works: July 1 – 29, 2012*. Hawthorne, Vic.; Castlemaine, Vic.: Eastgate & Holst; Castlemaine Art Gallery and Historical Museum. ISBN 978-0-646-58042-5. OCLC 806368976.
* McKay, Kirsten (2013). *Shimmering light: Dora Meeson and the Thames*. Castlemaine Art Gallery and Historical Museum. ISBN 978-0-9807831-5-5. OCLC 873675981.
* Singleton, Barry (2013). *A retrospective exhibition of ceramics from 1970-2013 by Barry Singleton: Castlemaine Art Gallery. 16.03.2013 – 26.05.2013*. Ray Hearn, Castlemaine Art Gallery and Historical Museum. Castlemaine. ISBN 978-0-9807831-6-2. OCLC 1004506372.`{{cite book}}`: CS1 maint: location missing publisher (link)
* Amor, Rick; Castlemaine Art Gallery and Historical Museum (2013). *Rick Amor: from study to painting: 1 June – 28 July 2013*. Castlemaine Art Gallery & Historical Museum. ISBN 978-0-9807831-8-6. OCLC 903203825.
* Meyer, Bill; Castlemaine Art Gallery and Historical Museum (2014). *Nurturing the place*. Bill Meyer. ISBN 978-0-9593138-0-2. OCLC 897490496.
* Middlemost, Thomas (2015). *Inking up: a group exhibition of prints by Clayton Tremlett (curator), Rona Green and Deborah Klein*. Castlemaine Art Gallery and Historical Museum. OCLC 927074958.
* Riley, Ginger; Alves, Tim (2015). *Ginger Riley: the boss of colour*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. OCLC 920461202.
* Pilgrim, Catherine; McNeil, Peter (2015). *Making history: hidden world of the Leviny women*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum. OCLC 1158894182.
* *Contemporary Australian Silver & Metalwork Award 2015*. Castlemaine, Vic.: Castlemaine Art Gallery and Historical Museum; Buda Historic Home and Garden Inc. 2015. ISBN 978-0-9924753-2-1. OCLC 938380301.
* *Bill Henson landscapes*. Place of publication not identified: Castlemaine Art Gallery &. 2016. ISBN 978-0-9924753-3-8. OCLC 948632099.
* *Clayton Tremlett: beard and influence*. Castlemaine: Castlemaine Art Gallery and Historical Museum. 2016. ISBN 978-0-9587299-0-1. OCLC 954226415.
* Nixon, John; Cox, Emma; Castlemaine Art Gallery and Historical Museum (2017). *John Nixon: experimental painting workshop*. Castlemaine Art Gallery & Historical Museum. ISBN 978-0-9598066-1-8. OCLC 982656702.
* Castlemaine Art Museum, (Compiled by) (2021), *2021 Experimental Print Prize : Catalogue for the exhibition held at Castlemaine Art Museum 20 November 2021-28 February 2022.*, Castlemaine Art Museum, ISBN 9780645128437
* Tyndall, Peter (2021). *Peter Tyndall : Sinclair+gallery. Catalogue for Peter Tyndall's exhibition 'SINCLAIR+GALLERY', Castlemaine Art Museum 2021-2022*. Castlemaine: Castlemaine Art Museum. ISBN 9780645128413.

## InfoBox

Castlemaine Art Museum
| 1931 Art Deco facade of the Castlemaine Art Museum photographed in 2017 | |
| --- | --- |
| CastlemaineLocation within Victoria | |
| Former name | Castlemaine Art Gallery and Historical Museum |
| Established | 9 July 1913 (1913-07-09) |
| Location | 12–14 Lyttleton Street, Castlemaine |
| Coordinates | 37°03′53″S 144°12′50″E / 37.0647°S 144.2138°E / -37.0647; 144.2138 |
| Type | Art gallery and historical museum |
| Accreditation | Australian Museums and Galleries Association |
| Key holdings | Frederick McCubbin, *Heath Paddock, Hawthorn* 1886 & *Golden Sunlight* 1914; Tom Roberts, *Reconciliation* 1886-87; E. Phillips Fox, *Bathing Hour* c.1909; Dora Meeson, *In a Chelsea Garden* 1913; Penleigh Boyd, *Winter Calm, Frankston* 1920; Russell Drysdale, *Desolation* 1945 |
| Collections | Tonal Realism; Bookplates; Black and White Illustration; Women Artists; Modernist Prints; Castlemaine History, Places and People |
| Collection size | 2,000+ artworks and 4000+ historical artefacts |
| Visitors | 5,713 (2021–2022) |
| Founder | Anna Mary Winifred Brotherton (1874–1956) |
| Executive director | Naomi Cass |
| Director | Naomi Cass |
| President | Craig Mutton |
| CEO | Sarina Meuleman |
| Chairperson | Craig Mutton |
| Curator | Livia Kenney, Jenny Long |
| Architect | Percy Meldrum |
| Historian | Peter Perry, David J. Golightly |
| Owner | Castlemaine Art Gallery and Historical Museum Trust |
| Employees | 1 full-time, 3 part-time, 50 volunteers |
| Public transit access | VLine Melbourne–Bendigo–Swan Hill Line, Castlemaine Railway Station, 300m |
| Website | https://castlemaineartmuseum.org.au |


abstract: The Year-End charts for the Regional Mexican Albums chart in the 1990s are published in the last issue of Billboard magazine every year. The chart was based on information provided by Nielsen Broadcast Data Systems, which collected a survey from music retail shops and one-stop sales in the United States until May 1991 when the methodology was changed to include point-of-sale data compiled from Nielsen SoundScan. The Year-End charts represent aggregated numbers from the weekly charts that were compiled for each artist, album and record company. Mexican group Bronco had the best-selling album of 1990 with A Todo Galope. Beginning in 1992, Tejano music musicians dominated the year-end chart for five consecutive years; with La Mafia having the best-selling album of the year with their critically acclaimed recording Estas Tocando Fuego. Selena had the best-selling album of the year from 1993 to 1996 with Entre a Mi Mundo and Amor Prohibido (1994–96). The former became the only recording in the 1990s to have been named the best-selling Regional Mexican Album of the year for three consecutive times. The singer became the only female musician to have a year-end best-seller in the 1990s. Selena continued her streak of best-selling year-end albums with Anthology (1998) and All My Hits/Todos Mis Exitos (1999) following her death in March 1995. Other female singers to have appeared on the year-end chart includes Mexican singer Ana Gabriel whose album Mi Mexico was the second best-seller of 1992, while Gabriel's Con Un Mismo Corazon ranked fifth in 1998. Linda Ronstadt's double diamond certified album Canciones de Mi Padre ranked eighth and third on the year-end charts in 1993 and 1994, respectively. Grupo Límite's previous work, Por Puro Amor peaked at number one on the Regional Mexican Albums chart in 1996, it was replaced from the top with their album Partiendome el Alma; which became the best-selling album of 1997. In 1995, Tejano musicians dominated the year-end chart with eight best-selling albums in the top ten; most of these were Selena. Seven different Tejano singers ranked within the top ten of the best-selling albums of 1996. Following this, the only performers of Tejano music that appeared in the top ten were Selena and Intocable; whose albums IV (1998) and Contigo (1999) ranked tenth in their respective years. Los Tigres del Norte placed a total of eight albums within the top ten including Jefe de Jefes, which is one of the best-selling Latin albums in the United States.

text:
# Billboard Regional Mexican Albums Year-end Chart, 1990s

The Year-End charts for the Regional Mexican Albums chart in the 1990s are published in the last issue of *Billboard* magazine every year. The chart was based on information provided by Nielsen Broadcast Data Systems, which collected a survey from music retail shops and one-stop sales in the United States until May 1991 when the methodology was changed to include point-of-sale data compiled from Nielsen SoundScan. The Year-End charts represent aggregated numbers from the weekly charts that were compiled for each artist, album and record company.

Mexican group Bronco had the best-selling album of 1990 with *A Todo Galope*. Beginning in 1992, Tejano music musicians dominated the year-end chart for five consecutive years; with La Mafia having the best-selling album of the year with their critically acclaimed recording *Estas Tocando Fuego*. Selena had the best-selling album of the year from 1993 to 1996 with *Entre a Mi Mundo* and *Amor Prohibido* (1994–96). The former became the only recording in the 1990s to have been named the best-selling Regional Mexican Album of the year for three consecutive times. The singer became the only female musician to have a year-end best-seller in the 1990s. Selena continued her streak of best-selling year-end albums with *Anthology* (1998) and *All My Hits/Todos Mis Exitos* (1999) following her death in March 1995. Other female singers to have appeared on the year-end chart includes Mexican singer Ana Gabriel whose album *Mi Mexico* was the second best-seller of 1992, while Gabriel's *Con Un Mismo Corazon* ranked fifth in 1998. Linda Ronstadt's double diamond certified album *Canciones de Mi Padre* ranked eighth and third on the year-end charts in 1993 and 1994, respectively. Grupo Límite's previous work, *Por Puro Amor* peaked at number one on the Regional Mexican Albums chart in 1996, it was replaced from the top with their album *Partiendome el Alma*; which became the best-selling album of 1997.

In 1995, Tejano musicians dominated the year-end chart with eight best-selling albums in the top ten; most of these were Selena. Seven different Tejano singers ranked within the top ten of the best-selling albums of 1996. Following this, the only performers of Tejano music that appeared in the top ten were Selena and Intocable; whose albums *IV* (1998) and *Contigo* (1999) ranked tenth in their respective years. Los Tigres del Norte placed a total of eight albums within the top ten including *Jefe de Jefes*, which is one of the best-selling Latin albums in the United States.

## Regional Mexican Albums of the Year

| Contents |
| --- |
| 1990  1991  1992  1993  1994  1995  1996  1997  1998  1999 |

represents the best-performing single of the year.

| Year | Rank | Album | Performer |
| --- | --- | --- | --- |
|
| 1990 | 1 | *A Todo Galope* | Grupo Bronco |
| 1990 | 2 | *No Te Olvidare* | Mazz |
| 1990 | 3 | *Mi Buena Suerte* | Los Tigres del Norte |
| 1990 | 4 | *Por Tu Maldito Amor* | Vicente Fernández |
| 1990 | 5 | *A Tu Recuerdo* | Los Yonic's |
| 1990 | 6 | *Enter the Future* | La Mafia |
| 1990 | 7 | *Tristes Recuerdos* | Ramon Ayala |
| 1990 | 8 | *Mi Acordeon y Yo* | Ramon Ayala |
| 1990 | 9 | *El Que Más Te Ha Querido* | David Lee Garza |
| 1990 | 10 | *No Cantan Mal Las Rancheras* | Los Caminantes |
|
| 1992 | 1 | *Estas Tocando Fuego* | La Mafia |
| 1992 | 2 | *Mi Mexico* | Ana Gabriel |
| 1992 | 3 | *Salvaje y Tierno* | Bronco |
| 1992 | 4 | *LiveUna Noche Juntos* | Mazz |
| 1992 | 5 | *Mi Vida Eres Tu* | Los Temerarios |
| 1992 | 6 | *Entre a Mi Mundo* | Selena |
| 1992 | 7 | *Mas Canciones* | Linda Ronstadt |
| 1992 | 8 | *La Hielera* | Los Acuario |
| 1992 | 9 | *Romanticamente* | Yndio |
| 1992 | 10 | *Alejandro Fernández* | Alejandro Fernández |
|
| 1993 | 1 | *Entre a Mi Mundo* | Selena |
| 1993 | 2 | *Ahora y Siempre* | La Mafia |
| 1993 | 3 | *Live!* | Selena |
| 1993 | 4 | *Con Sangre De Indio* | Banda Machos |
| 1993 | 5 | *Lo Hare Por Ti* | Mazz |
| 1993 | 6 | *Por El Mundo* | Bronco |
| 1993 | 7 | *Casimira* | Banda Machos |
| 1993 | 8 | *Canciones de mi Padre* | Linda Ronstadt |
| 1993 | 9 | *Mas Canciones* | Linda Ronstadt |
| 1993 | 10 | *Que De Raro Tiene* | Vicente Fernández |
|
| 1994 | 1 | *Amor Prohibido* | Selena |
| 1994 | 2 | *Pura Sangre* | Grupo Bronco |
| 1994 | 3 | *Canciones de mi Padre* | Linda Ronstadt |
| 1994 | 4 | *Que Esperabas* | Mazz |
| 1994 | 5 | *Live!* | Selena |
| 1994 | 6 | *Tu Ultima Cancion* | Los Temerarios |
| 1994 | 7 | *Southern Exposure* | Emilio Navaira |
| 1994 | 8 | *Los Dos Plebes* | Los Tigres del Norte |
| 1994 | 9 | *En Grande* | Fama |
| 1994 | 10 | *Los Machos Tambien Lloran* | Banda Machos |
|
|
| 1995 | 1 | *Amor Prohibido* | Selena |
| 1995 | 2 | *12 Super Exitos* | Selena |
| 1995 | 3 | *Live!* | Selena |
| 1995 | 4 | *Entre a Mi Mundo* | Selena |
| 1995 | 5 | *Las Reinas del Pueblo* | Selena and Graciela Beltrán |
| 1995 | 6 | *Exitos en Vivo* | La Mafia |
| 1995 | 7 | *El Ejemplo* | Los Tigres del Norte |
| 1995 | 8 | *La Diferenzia* | La Diferenzia |
| 1995 | 9 | *Rompiendo Barreras* | Bronco |
| 1995 | 10 | *Soundlife* | Emilio Navaira |
|
| 1996 | 1 | *Amor Prohibido* | Selena |
| 1996 | 2 | *Unidos Para Siempre* | Los Tigres del Norte |
| 1996 | 3 | *Un Millon de Rosas* | La Mafia |
| 1996 | 4 | *Como Te Extrano* | Pete Astudillo |
| 1996 | 5 | *Por Puro Amor* | Grupo Límite |
| 1996 | 6 | *Pedro Fernández* | Pedro Fernández |
| 1996 | 7 | *Dulzura* | Jennifer Peña |
| 1996 | 8 | *En Concierto* | Michael Salgado |
| 1996 | 9 | *Llevame Contigo* | Intocable |
| 1996 | 10 | *Solo Para Ti* | Mazz |
|
| 1997 | 1 | *Partiendome el Alma* | Grupo Límite |
| 1997 | 2 | *Siempre Selena* | Selena |
| 1997 | 3 | *Jefe de Jefes* | Los Tigres del Norte |
| 1997 | 4 | *Tucanos de Oro* | Los Tucanes de Tijuana |
| 1997 | 5 | *Deseos y Delirios* | Pedro Fernández |
| 1997 | 6 | *Juntos Otra Vez* | Juan Gabriel and Rocío Dúrcal |
| 1997 | 7 | *Muy Dentro De Mi Corazon* | Alejandro Fernández |
| 1997 | 8 | *Tucanos de Plata* | Los Tucanes de Tijuana |
| 1997 | 9 | *La Última Huella* | Bronco |
| 1997 | 10 | *Por Puro Amor* | Grupo Límite |
|
| 1998 | 1 | *Anthology* | Selena |
| 1998 | 2 | *Sentimientos* | Grupo Límite |
| 1998 | 3 | *Como Te Recuerdo* | Los Temerarios |
| 1998 | 4 | *De Fiesta Con...* | Los Tucanes de Tijuana |
| 1998 | 5 | *Con Un Mismo Corazon* | Ana Gabriel |
| 1998 | 6 | *Asi Como Tu* | Los Tigres del Norte |
| 1998 | 7 | *Amor Platonico* | Los Tucanes De Tijuana |
| 1998 | 8 | *Partiendome el Alma* | Grupo Límite |
| 1998 | 9 | *Entre El Amor y Yo* | Vicente Fernández |
| 1998 | 10 | *IV* | Intocable |
|
| 1999 | 1 | *All My Hits/Todos Mis Exitos* | Selena |
| 1999 | 2 | *Nuestro Amor* | Los Tri-o |
| 1999 | 3 | *Herencia de Familia* | Los Tigres del Norte |
| 1999 | 4 | *Entre el Amor y Yo* | Vicente Fernández |
| 1999 | 5 | *15 Exitos Para Siempre* | Los Temerarios |
| 1999 | 6 | *Mi Verdad* | Alejandro Fernández |
| 1999 | 7 | *Con Mariachi* | Pepe Aguilar |
| 1999 | 8 | *Necesito Decirte* | Conjunto Primavera |
| 1999 | 9 | *Juan Gabriel Con Banda...El Recodo* | Juan Gabriel and Banda el Recodo |
| 1999 | 10 | *Contigo* | Intocable |
|

Sources: 1990, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999,


title: Verbal dictation

abstract: Verbal dictation describes a theory about how the Holy Spirit was involved with the people who first physically inscribed the Bible. According to this theory, the human role was a purely mechanical one: their individuality was by-passed whilst they wrote, and neither did their cultural background have any influence on what they wrote, because these writers were under the control of God. This may have been the original understanding of inspiration for the people of the Bible. According to James Barr this theory of inspiration was popular among Protestant theologians during the sixteenth and seventeenth centuries. According to Frederic Farrar, Martin Luther did not understand inspiration to mean that scripture was dictated in a purely mechanical manner. Instead, Luther "held that they were not dictated by the Holy Spirit, but that His illumination produced in the minds of their writers the knowledge of salvation, so that divine truth had been expressed in human form, and the knowledge of God had become a personal possession of man. The actual writing was a human not a supernatural act." Farrar says that John Calvin also rejected the verbal dictation theory. Today, according to T.D. Lea and H.P. Griffen, "[n]o respected Evangelicals maintain that God dictated the words of Scripture."

text:
# Verbal dictation

**Verbal dictation** describes a theory about how the Holy Spirit was involved with the people who first physically inscribed the Bible. According to this theory, the human role was a purely mechanical one: their individuality was by-passed whilst they wrote, and neither did their cultural background have any influence on what they wrote, because these writers were under the control of God. This may have been the original understanding of inspiration for the people of the Bible.

According to James Barr this theory of inspiration was popular among Protestant theologians during the sixteenth and seventeenth centuries. According to Frederic Farrar, Martin Luther did not understand inspiration to mean that scripture was dictated in a purely mechanical manner. Instead, Luther "held that they were not dictated by the Holy Spirit, but that His illumination produced in the minds of their writers the knowledge of salvation, so that divine truth had been expressed in human form, and the knowledge of God had become a personal possession of man. The actual writing was a human not a supernatural act." Farrar says that John Calvin also rejected the verbal dictation theory. Today, according to T.D. Lea and H.P. Griffen, "\[n\]o respected Evangelicals maintain that God dictated the words of Scripture."

## Further reading


title: Shrewsbury & Newport Canals Trust

abstract: The Shrewsbury & Newport Canals Trust is a waterway society and a registered charity which exists to promote the restoration of the Shrewsbury Canal and the Newport Arm of the Shropshire Union Canal. The trust was created in 2000.

text:
# Shrewsbury & Newport Canals Trust

The **Shrewsbury & Newport Canals Trust** is a waterway society and a registered charity which exists to promote the restoration of the Shrewsbury Canal and the Newport Arm of the Shropshire Union Canal. The trust was created in 2000.

## History

In 1964, reports appeared in local newspapers that the British Waterways Board intended to drain part of the Newport Branch which had been officially closed since 1944. The North-Western branch of the Inland Waterways Association suggested that a local group should be set up to campaign for the restoration of the canal and the Shrewsbury and Newport Canal Association was formed in December 1964 to pursue that aim. Following the rejection of their initial plans, the group became the Shropshire Union Canal Society and then spearheaded the restoration of the Montgomery Canal which had also been part of the Shropshire Union network.

Over 30 years later, the Shrewsbury and Newport Canals Trust revived the vision for the restoration of the Shrewsbury Canal and the Newport Arm. It was registered with Companies House on 21 September 2000 as a private company, limited by guarantee and with no share capital, and has the company number of 4075920. It is also a charity, number 1088706, registered with the Charity Commission. The aims are stated to be the restoration of the Shrewsbury Canal and the Newport Arm of the Shropshire Union Canal, including its structures and building, for the public good.

## Activities

In 2001, the Trust produced a document entitled *"The Shrewsbury and Newport Canals - A case for restoration"*, which they circulated to the five local authorities who manage the areas through which the canals run. The local authorities are the County Councils of Staffordshire and Shropshire, Stafford Borough Council, and Telford and Wrekin Council. They specifically asked that the councils should give support in principle to the aim of restoration, including working with the Trust and with the other affected local authorities, should support the production of a feasibility study into the restoration, and should use planning powers to protect the line of the canal. Stafford Borough Council's consideration of the report listed ten benefits to the community which would arise from the restoration.

The report was well received by the local authorities, all of whom gave their support in principle. The feasibility study was commissioned in 2003, and Alun Michael MP, the Waterways Minister, presented the findings in 2004, which concluded that full restoration was both technically possible from an engineering point of view, and economically viable. The estimated cost for full restoration is £86 million.

In 2007, the Wappenshall canal basin and warehouse were put up for sale. The Trust campaigned for it to be purchased and restored, rather than turned into flats, for which outline planning permission existed. In June 2008, Telford and Wrekin Council agreed to fund the purchase of the site, allowing the Trust to concentrate on its restoration, rather than trying to raise the money for its purchase.

## Bibliography

* Cumberlidge, Jane (2009). *Inland Waterways of Great Britain (8th Ed.)*. Imray Laurie Norie and Wilson. ISBN 978-1-84623-010-3.
* Squires, Roger (2008). *Britain's restored canals*. Landmark Publishing. ISBN 978-1-84306-331-5.

### References


title: Dinitia Smith

abstract: Dinitia Smith is an American author and filmmaker.

text:
# Dinitia Smith

**Dinitia Smith** (born December 26, 1945) is an American author and filmmaker.

## Early life

Smith was born in Cumberland, Maryland, and raised primarily in Great Britain, where her father was a journalist. She came to the United States in 1959, and lived in New York City and Westchester. After graduating from Smith College, she worked as a reporter for the Associated Press in New York. She enrolled in the New York University Film School, and in 1971 obtained a Masters of Fine Arts.

## Career

In 1971, she wrote and directed her first film, *Passing Quietly Through*, under her then-married name McCarthy. That film was one of the first films by a woman to be chosen for the New York Film Festival. Smith continued to make documentaries, including some with American documentary filmmaker, David Grubin, and also wrote several screenplays. Her films have been shown at the Whitney Museum and the Museum of Modern Art.

In 1975, Smith won an Emmy Award for a film she made for WNBC–TV. She published her first novel, *The Hard Rain*, in 1980. Her second novel, *Remember This*, won her fellowships from the National Endowment for the Arts and the Ingram Merrill Foundation. Her short fiction has been published in numerous literary journals.

Smith was also a contributing editor at *New York* magazine; from 1995 to 2006 she worked for *The New York Times*, where she wrote about arts and intellectual trends and ideas. Her third novel, *The Illusionist*, published in 1997, was a *New York Times* Notable Book of the Year.

*The Honeymoon*, her biographical novel about the 19th century writer George Eliot, was published in 2016. *The New York Times* wrote that "Smith's enchanting account humanizes a figure renowned as much for her refutation of conventional female stereotypes and social limitations as for her genius for story and language". A reviewer for *The Washington Post* called the book "the perfect example of when fictional storytelling about an eminent person is warranted".

Smith's fifth novel, *The Prince*, (Arcade Publishing, 2022) is a contemporary retelling of Henry James's *The Golden Bowl.* NPR called *The Prince* "a winner …a compelling story of sexual obsession and the expectations and tolerances of society.” Novelist Lee Child wrote *The Prince* is “Beautiful, elegant and delicate.” The National Book Review called the novel "deliciously satisfying."

Smith has taught at Columbia University and the Bread Loaf Writers' Conference.

## Personal life

Smith has been married to historian and author David Nasaw since 1978. It is a second marriage for both. They have two sons.

## Bibliography

* *The Hard Rain*, Dial Press (1980) ISBN 9780803734098
* *Remember This*, Henry Holt & Co (1989) ISBN 9780805010367
* *The Illusionist*, Scribner (1997) ISBN 9780684843292
* *The Honeymoon*, Other Press (2016) ISBN 9781590517789
* *The Prince*, Arcade Publishing (March 2022) ISBN 9781950994199

## InfoBox

| Dinitia Smith | |
| --- | --- |
|  | |
| Born | (1945-12-26) December 26, 1945<br>Cumberland, Maryland, U.S. |
| Other names | Dinitia McCarthy |
| Occupations | * Author * filmmaker |
| Years active | 1971–present |
| Spouse | David Nasaw (m. 1978) |
| Children | 2 |


title: Charlie Loudenslager

abstract: Charles Edward Loudenslager was second baseman in Major League Baseball who played in one game for the 1904 Brooklyn Superbas. He stood at 5 feet 9 inches (1.75 m) and weighed 186 pounds (84 kg).

text:
# Charlie Loudenslager

**Charles Edward Loudenslager** (May 21, 1881 – October 31, 1933) was second baseman in Major League Baseball who played in one game for the 1904 Brooklyn Superbas. He stood at 5 feet 9 inches (1.75 m) and weighed 186 pounds (84 kg).

## Career

Loudenslager was born in Baltimore, Maryland. He started his minor league baseball career in 1902 with the New York State League's Syracuse Stars. The following season, he won the NYSL batting title with a .327 average and also topped the circuit with 167 hits.

Loudenslager made the major leagues in early 1904 with the Brooklyn Superbas. He played in one game for them, on April 15, and went hitless in two at bats. He then played for Syracuse and the Eastern League's Baltimore Orioles for the rest of the season.

After spending 1905 in Baltimore, Loudenslager played for the Rochester Bronchos for three seasons and then for the Newark Indians for two. He batted just .194 in 1910 and subsequently went back down to the Class B New York State League.

From 1911 to 1917, Loudenslager was the second baseman for the Elmira Colonels. His batting average was .269 in his first season there, and he raised it to .316 in 1912. It was only the second time that he had achieved a .300+ average; he finished third in the league batting race and led all players with 166 hits.

Loudenslager hit over .300 twice more, in 1915 and 1917. He then played in the International League for two years before retiring from professional baseball.

Loudenslager died in Baltimore in 1933. He was buried in Loudon Park Cemetery.

## InfoBox

| Charlie Loudenslager | |
| --- | --- |
| **Second Baseman** | |
| **Born:** (1881-05-21)May 21, 1881
Baltimore, Maryland | |
| **Died:** October 31, 1933(1933-10-31) (aged 52)
Baltimore, Maryland | |
| **Batted:** Unknown**Threw:** Right | |
| MLB debut | |
| April 15, 1904, for the Brooklyn Superbas | |
| Last MLB appearance | |
| April 15, 1904, for the Brooklyn Superbas | |
| MLB statistics | |
| Games played | 1 |
| At bats | 2 |
| Hits | 0 |
|  | |
| Teams | |
|  | |


title: Slender-tailed squirrel

abstract: The slender-tailed squirrel is a species of rodent in the family Sciuridae found in Ivory Coast, Ghana, Liberia, and Sierra Leone. Its natural habitat is subtropical or tropical moist lowland forests.

text:
# Slender-tailed squirrel

The **slender-tailed squirrel** (***Protoxerus aubinnii***) is a species of rodent in the family Sciuridae found in Ivory Coast, Ghana, Liberia, and Sierra Leone. Its natural habitat is subtropical or tropical moist lowland forests.

## InfoBox

| Slender-tailed squirrel | |
| --- | --- |
| Conservation status | |
|
Near Threatened  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Order: | Rodentia |
| Family: | Sciuridae |
| Genus: | *Protoxerus* |
| Species: | ***P. aubinnii*** |
| Binomial name | |
| ***Protoxerus aubinnii***
(J. E. Gray, 1873) | |
|
| Subspecies | |
| * *P. a. aubinnii* * *P. a. salae* | |


title: Theodore B. Sachs

abstract: Theodore Bernard Sachs was an American physician and lawyer. He was elected president of the National Tuberculosis Association at the Eleventh Annual Meeting held in Seattle, Washington, in June, 1915. But his death on April 2, 1916 prevented his serving his full term. He had already served the Association as vice-president from 1913 to 1914.

text:
# Theodore B. Sachs

**Theodore Bernard Sachs** (May 2, 1868 – April 2, 1916) was an American physician and lawyer. He was elected president of the National Tuberculosis Association at the Eleventh Annual Meeting held in Seattle, Washington, in June, 1915. But his death on April 2, 1916 prevented his serving his full term. He had already served the Association as vice-president from 1913 to 1914.

## Early years

Born in Dinaberg, Russian Empire, May 2, 1868, the son of Bernard and Sophie Sachs, he was graduated from the Kherson High School. In 1891, he received his degree in law from the Odessa University. While at the University, he reported for military duty and was placed on the reserve list in 1887. His removal to America in 1891 was doubtless prompted by a winter's exile, imposed upon him and several fellow-students because of their participation in a debate which did not meet with the approval of the local authorities.

After his arrival in the U.S., Sachs determined to study medicine, and gave up his legal career to enter the University of Illinois College of Medicine, from which he graduated in 1895. After two years of work as an intern in the Michael Reese Hospital, he entered general practice, devoting himself particularly to diseases of the lungs.

## Career

In 1901, Sachs was appointed instructor in internal medicine at his alma mater, and in 1903 he was appointed attending physician to Cook County Hospital. Even in the earlier days of his medical career, as a struggling young practitioner endeavoring to gain a foothold, he saw how conditions were with reference to tuberculosis in Chicago at that time, and he could not refrain from doing something to help. At no little sacrifice and expense, he personally made an investigation of the prevalence of tuberculosis in some of the crowded quarters of the city, particularly in the districts where the Jewish population was in evidence. These studies, among the first of their kind, gave Sachs considerable prominence at the Sixth International Congress on Tuberculosis in 1908, and won for him special honorable mention from the jury of awards.

Sachs was greatly interested in the Chicago Tuberculosis Institute, which he helped to call into life, and of which he remained one of the most active and representative workers. He served as president of the Institute from January, 1913, until his death. In the early morning of April 2, 1916, he committed suicide by taking an overdose of morphine because "I am simply weary. I cannot bear this longer. It has been too much."

He was one of the most ardent advocates of the routine examinations of employees of large establishments. It was largely due to Sachs' influence that Mrs. Keith Spalding donated the funds for the Edward Sanatorium at Naperville, of which institution he became the director and physician in chief. Besides his activities in the Edward Sanatorium, he was attached to the Chicago Winfield Sanatorium, the West Side Dispensary, and the Chicago Municipal Tuberculosis Sanitarium. Concerning his interest in the latter, Dr. Philip P. Jacobs says:

> Of all the many activities in which he engaged, however, none claimed so large a share of Dr. Sachs' personality and skill as the Chicago Municipal Tuberculosis Sanitarium. In a very real sense the Sanitarium was and is Dr. Sachs. It breathes his personality and his genius from almost every ward and brick. Into it he put his very body and soul. He was active in the passage of the Glackin Law, which made the sanatorium possible. He was a prime mover in the monstrous referendum campaign when hundreds of thousands of people voted 'yes' for the municipal sanatorium. He was the chairman of the Building Committee which secured the site and conceived the sanatorium long before a brick or a stone had been laid, putting into this effort thousands of dollars' worth of time and sacrifice, and countless miles of travel to visit the best institutions that the world provided. Later he became president of the board and its chief administrative director. While the sanatorium was in construction he spent hours daily at no little sacrifice to his practice, so that the people of Chicago should have an institution which would be both of service for the purpose for which it was constructed and which would not squander one dollar of the people's money.

In the spring of 1915, a new administration came into office in the city of Chicago, which, it was universally admitted at the time, was responsible for Sachs' untimely death. He had made the Chicago Municipal Sanitarium an ideal institution, but the Thompson administration refused to reappoint him until practically forced to do so by the people of Chicago. Politics finally gained the upper hand, however, and Sachs was forced to resign; but even after his resignation, nefarious politics made life a burden for this brave pioneer who had unselfishly devoted the best years of his life to the welfare of the consumptive poor of the great city of Chicago.

In an article entitled "The Civic Martyrdom of Dr. Sachs," Dr. Graham Taylor, the distinguished social worker, says:

> No altar of civic patriotism ever held a more loyal offering than that on which Dr. Theodore B. Sachs sacrificed himself in life and death to save Chicago's Municipal Tuberculosis Sanitarium from ruthless partisan spoilsmen. In truth, many altars and offerings seemed to unite in that one costly sacrifice. Such supreme devotion to a cause as the Jewish religious spirit can beget, such self-sacrifice as the Russian oppression of the Jew incites, such idealism as only the Orient inspires, such sensitivity as the heritage of suffering weaves into the very texture of the soul, such humanitarian achievements as are possible only in America—all combined to make the achieving life and the tragic death of Dr. Sachs profoundly impressive.

His achievements as a clinician and specialist in tuberculosis are equal to his attainments as a propagandist and administrator. He founded the Robert Koch Society for the Study of Tuberculosis, and read before that body a number of interesting and valuable papers on the various phases of tuberculosis science. A few months before his death (February, 1916) he was elected a fellow of the Institute of Medicine in Chicago. His devotion to high ideals, his passionate love for humanity, his integrity and faithfulness to all things which he undertook, are best shown in a passage from his letter of resignation from the Municipal Sanitarium Board, wherein he said:

> My service to the Sanitarium during the last six years has been prompted by the earnest desire to give the best in me to this community in which I have resided during the last twenty-seven years. ... I have refused to betray the community that has given me confidence. I have great faith in the city of Chicago and its citizens. I have passed through ten months of continuous nightmare in trying to avert the politicalization of a great institution. But I find it impossible to continue. Single-handed at present I cannot fight a big political machine.

In this connection the following copy of a letter which Sachs received from his patients at the Edward Sanatorium a few months before his death is significant:

> We the undersigned patients of the Edward Sanatorium wish to take this privilege of expressing our admiration for the stand you have taken in regard to politics in connection with the Municipal Sanitarium of Chicago—your untiring and unselfish interest in humanity. None of the grossly unjust criticisms of you by anyone who does not know you or your methods will have the slightest influence on us who have implicit confidence in your ability as a practitioner and as a man. The past records of a man who possesses your international reputation cannot be easily tossed aside.

The end came at the sanatorium of the Chicago Tuberculosis Institute in the quiet little town of Naperville. There, after his day's work in town, he sought rest all alone in the quiet of the library. And there they found him the next morning, at peace in his last sleep, which he had himself induced. The body of Sachs was interred on the grounds of the Naperville Sanatorium, and on the memorial tablet indicating the site, is the following inscription:

> In Memory of DR. THEODORE B. SACHS, whose life was spent in disinterested efforts to relieve the condition of the unfortunate, never indifferent to the distress of others, he labored unselfishly and untiringly in their behalf, and this Sanatorium in which ground he sleeps is a monument to his unusual greatness of heart and singleness of purpose. He loved his neighbor as himself and was in truth a good Samaritan.

Over the portals of that other monument to Sachs' genius, the Chicago Municipal Tuberculosis Sanitarium, which had become a part of his very life, is the following inscription: "Conceived in boundless love of humanity and made possible by years of toil."

*This article incorporates text from Sigard Adolphus Knopf's "A history of the National tuberculosis association: the anti-tuberculosis movement in the United States" (1922), now in the public domain.*


abstract: The 1900 United States presidential election in Vermont took place on November 6, 1900 as part of the 1900 United States presidential election. Voters chose four representatives, or electors to the Electoral College, who voted for president and vice president. Vermont overwhelmingly voted for the Republican nominees, incumbent President William McKinley of Ohio and his running mate Theodore Roosevelt of New York. They defeated the Democratic nominees, former U.S. Representative and 1896 Democratic presidential nominee William Jennings Bryan and his running mate, former Vice President Adlai Stevenson I. McKinley won Vermont by a landslide margin of 52.87% in this rematch of the 1896 presidential election. The return of economic prosperity and recent victory in the Spanish–American War helped McKinley to score a decisive victory. Four years earlier, McKinley had won Vermont with 80.08% of the popular vote, making it his strongest victory in the 1896 presidential election in terms of percentage in the popular vote as well as the best performance of any presidential candidate in Vermont to date. Vermont would once again be McKinley's strongest state in popular vote percentage, though with a slightly reduced margin of 75.73%. Bryan had previously lost Vermont to McKinley four years earlier and would later lose the state again in 1908 to William Howard Taft.

text:
# 1900 United States presidential election in Vermont

The **1900 United States presidential election in Vermont** took place on November 6, 1900 as part of the 1900 United States presidential election. Voters chose four representatives, or electors to the Electoral College, who voted for president and vice president.

Vermont overwhelmingly voted for the Republican nominees, incumbent President William McKinley of Ohio and his running mate Theodore Roosevelt of New York. They defeated the Democratic nominees, former U.S. Representative and 1896 Democratic presidential nominee William Jennings Bryan and his running mate, former Vice President Adlai Stevenson I. McKinley won Vermont by a landslide margin of 52.87% in this rematch of the 1896 presidential election. The return of economic prosperity and recent victory in the Spanish–American War helped McKinley to score a decisive victory.

Four years earlier, McKinley had won Vermont with 80.08% of the popular vote, making it his strongest victory in the 1896 presidential election in terms of percentage in the popular vote as well as the best performance of any presidential candidate in Vermont to date. Vermont would once again be McKinley's strongest state in popular vote percentage, though with a slightly reduced margin of 75.73%.

Bryan had previously lost Vermont to McKinley four years earlier and would later lose the state again in 1908 to William Howard Taft.

## Results

| 1900 United States presidential election in Vermont | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Party | | Candidate | Running mate | Popular vote | | Electoral vote | |
| | Count | | | % | Count | % |
|  | Republican | **William McKinley** of **Ohio** **(incumbent)** | **Theodore Roosevelt** of **New York** | **42,569** | **75.73%** | **4** | **100.00%** |
|  | Democratic | William Jennings Bryan of Nebraska | Adlai Ewing Stevenson I of Illinois | 12,849 | 22.86% | 0 | 0.00% |
|  | Prohibition | John Granville Woolley of Illinois | Henry Brewer Metcalf of Rhode Island | 383 | 0.68% | 0 | 0.00% |
|  | Populist | Wharton Barker of Pennsylvania | Ignatius Loyola Donnelly of Minnesota | 367 | 0.65% | 0 | 0.00% |
|  | N/A | *Others* | *Others* | 44 | 0.06% | 0 | 0.00% |
| **Total** | | | | **56,212** | **100.00%** | **4** | **100.00%** |

### Results by county

| County | William McKinley
Republican | | William Jennings Bryan
Democratic | | Various candidates
Other parties | | Margin | | Total votes cast |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | # | % | # | % | # | % | # | % | |
| Addison | 3,286 | 86.41% | 467 | 12.28% | 50 | 1.31% | 2,819 | 74.13% | 3,803 |
| Bennington | 2,666 | 74.57% | 871 | 24.36% | 38 | 1.06% | 1,795 | 50.21% | 3,575 |
| Caledonia | 2,957 | 76.79% | 817 | 21.22% | 77 | 2.00% | 2,140 | 55.57% | 3,851 |
| Chittenden | 3,907 | 67.26% | 1,822 | 31.37% | 80 | 1.38% | 2,085 | 35.89% | 5,809 |
| Essex | 758 | 67.50% | 358 | 31.88% | 7 | 0.62% | 400 | 35.62% | 1,123 |
| Franklin | 2,738 | 66.38% | 1,316 | 31.90% | 71 | 1.72% | 1,422 | 34.47% | 4,125 |
| Grand Isle | 356 | 68.86% | 146 | 28.24% | 15 | 2.90% | 210 | 40.62% | 517 |
| Lamoille | 1,742 | 79.15% | 418 | 18.99% | 41 | 1.86% | 1,324 | 60.15% | 2,201 |
| Orange | 2,515 | 75.32% | 740 | 22.16% | 84 | 2.52% | 1,775 | 53.16% | 3,339 |
| Orleans | 2,749 | 85.24% | 441 | 13.67% | 35 | 1.09% | 2,308 | 71.57% | 3,225 |
| Rutland | 5,901 | 74.66% | 1,874 | 23.71% | 129 | 1.63% | 4,027 | 50.95% | 7,904 |
| Washington | 3,819 | 68.94% | 1,622 | 29.28% | 99 | 1.79% | 2,197 | 39.66% | 5,540 |
| Windham | 3,948 | 79.02% | 1,014 | 20.30% | 34 | 0.68% | 2,934 | 58.73% | 4,996 |
| Windsor | 5,227 | 84.25% | 943 | 15.20% | 34 | 0.55% | 4,284 | 69.05% | 6,204 |
| Totals | 42,569 | 75.73% | 12,849 | 22.86% | 794 | 1.41% | 29,720 | 52.87% | 56,212 |

## InfoBox

1900 United States presidential election in Vermont
| --- | |
| --- | --- |
|  | |
| Nominee **William McKinley** William Jennings Bryan   Party Republican Democratic  Home state Ohio Nebraska  Running mate **Theodore Roosevelt** Adlai E. Stevenson  Electoral vote **4** 0  Popular vote **42,569** 12,849  Percentage **75.73%** 22.86% | |
| --- | |
| ---  **President before election**
William McKinley
Republican **Elected President**
William McKinley
Republican | |


title: Space Future

abstract: Space Future is a 1979 board game published by Family Pastimes.

text:
# Space Future

***Space Future*** is a 1979 board game published by Family Pastimes.

## Gameplay

*Space Future* is a cooperative game in which players are involved in peaceful space exploration.

## Reception

Eric B. Paperman reviewed *Space Future* in *The Space Gamer* No. 31. Paperman commented that "Overall, the game is very simple one \[...\] which will probably only be of interest to those people who have children (or gamer friends) who scream and throw things when they lose. It might be fun for those gamers who wish to play a game where they can without beating their friends."


title: Shane Wynn

abstract: Shane C. Wynn is an American former professional football wide receiver. He was signed by the Atlanta Falcons as an undrafted free agent. He played college football at Indiana. He has also been a member of the Cleveland Browns, New York Jets, San Diego Chargers, New Orleans Saints, Jacksonville Jaguars, Ottawa Redblacks, and BC Lions.

text:
# Shane Wynn

**Shane C. Wynn** (born November 15, 1992) is an American former professional football wide receiver. He was signed by the Atlanta Falcons as an undrafted free agent. He played college football at Indiana. He has also been a member of the Cleveland Browns, New York Jets, San Diego Chargers, New Orleans Saints, Jacksonville Jaguars, Ottawa Redblacks, and BC Lions.

## Early life

Wynn attended Ginn Academy in the Glenville area of Cleveland, Ohio, where he was teammates with Ohio State quarterback Cardale Jones. He played wide receiver and also returned kicks and punts. As a senior, he was all-district selection and named third-team All-Ohio. In addition to football, Wynn was a stand-out track athlete, winning Ohio state title in 2009 and 2010 in the 4 × 200 m relay and the 4x400 indoor relay.

Considered a three-star recruit by all major rating services, Wynn was ranked as the No. 62 wide receiver nationally in 2011. He chose Indiana over Penn State and Toledo on National Signing Day.

US college sports recruiting information for high school athletes
| Name | Hometown | High school / college | Height | Weight | Commit date |
| --- | --- | --- | --- | --- | --- |
| **Shane Wynn**
*WR* | Cleveland, OH | Glenville HS | 5 ft 7 in (1.70 m) | 147 lb (67 kg) | Feb 2, 2011 |
| | **Recruiting star ratings:** Scout:   Rivals:   247Sports:    ESPN: | | | | | | |
| **Overall recruiting rankings:** Scout: *91 (WR)*   Rivals: *62 (WR)*  247Sports: *55 (WR)*  ESPN: *41 (WR)* | | | | | | |
| * *Note*: In many cases, Scout, Rivals, 247Sports, and ESPN may conflict in their listings of height and weight. * In these cases, the average was taken. ESPN grades are on a 100-point scale.  *Sources:*
* "Indiana Football Commitment List". Rivals.com. Retrieved May 2, 2015. * "2011 Player Commits". ESPN.com. Retrieved May 2, 2015. * "2011 Team Ranking". Rivals.com. Retrieved May 2, 2015. | | | | | | |

## College career

As a freshman, Wynn lead the Hoosiers with 1,249 all-purpose yards. Most of his production was on kick returns, as he returned 48 kicks for 1,015 yards and a touchdown. His kick return and all-purpose yardage totals were Indiana true freshman records. He was named Big Ten Freshman of the Week after returning the opening kickoff for a 99-yard touchdown against Illinois.

In 2012, Wynn received honorable mention All-Big Ten from the media. He returned only eight kicks all season, but led the Hoosiers in receptions (68) and was second on the team in yardage (660).

in 2013, Wynn finished second in the Big Ten (and 19th nationally) with 11 receiving touchdowns. In the season opener against Indiana State, Wynn scored two touchdowns on receptions and a third score on a punt return. He scored three receiving touchdowns to close out the season in a rivalry win over Purdue. His fourteen total touchdowns are tied for sixth most in school history.

Prior to his senior season, Wynn was elected one of the team captains (alongside Tevin Coleman, Collin Rahrig, and Bobby Richardson). He recorded a career-high 708 receiving yards, scoring three touchdowns and adding two more scores on the ground. He averaged 96.6 all-purpose yards per game, which ranked second on the team behind All-American Coleman. Wynn capped off his college career with another win over Purdue in the Old Oaken Bucket Game. He was once again named honorable mention All-Big Ten, this time by both the coaches and media.

## Professional career

### Atlanta Falcons

Wynn was not selected during the 2015 NFL draft, but shortly after the close of the seventh round, it was announced that he had signed as a free agent with the Atlanta Falcons. On June 18, 2015, he was waived by the team.

### Cleveland Browns

On June 19, 2015, Wynn was claimed off waivers by the Cleveland Browns. In his second preseason game with the Browns, Wynn caught a 21-yard touchdown pass from Johnny Manziel. He was released by the Browns on August 31, 2015.

### New York Jets

Wynn was signed to the New York Jets practice squad on November 4, 2015. On November 16, 2015, Wynn was released by the team.

### San Diego Chargers

On December 2, 2015, the San Diego Chargers signed Wynn to their practice squad, replacing wide receiver Donte Foster. On December 11, 2015, the San Diego Chargers waived Wynn from their practice squad.

### New Orleans Saints (first stint)

On December 16, 2015, the New Orleans Saints signed Wynn to their practice squad. On May 15, 2016, the Saints released Wynn.

### Jacksonville Jaguars

Wynn signed with the Jacksonville Jaguars on June 16, 2016. On September 3, 2016, he was released by the Jaguars and was signed to the practice squad the next day. He was promoted to the active roster on December 3, 2016. On September 2, 2017, Wynn was placed on injured reserve. On September 1, 2018, Wynn was waived by the Jaguars.

### New Orleans Saints (second stint)

On October 17, 2018, Wynn was signed to the Saints practice squad.

### Ottawa Redblacks

On April 12, 2022, Wynn signed with the Ottawa Redblacks of the Canadian Football League (CFL). He was released by the Ottawa Redblacks two days before the team's first preseason game.

### BC Lions

On July 16, 2022, Wynn was signed to the practice roster of the BC Lions. He was promoted to the active roster on August 18. He was released on October 20, 2022.

## InfoBox

Shane Wynn
| Wynn with the Cleveland Browns in 2015 | |
| --- | --- |
| No. 85 | |
| Position: | Wide receiver |
| Personal information | |
| Born: | (1992-11-15) November 15, 1992
Cleveland, Ohio, U.S. |
| Height: | 5 ft 6 in (1.68 m) |
| Weight: | 166 lb (75 kg) |
| Career information | |
| High school: | Glenville (Cleveland, Ohio) |
| College: | Indiana |
| Undrafted: | 2015 |
| Career history | |
|  | |
| * Offseason and/or practice squad member only | |
|  | |
| Career NFL statistics | |
| Receptions: 1  Receiving yards: 19  Rushing attempts: 2  Rushing yards: 5 | |
|  | |


title: Bill Carroll (musician)

abstract: Bill Carroll is an American singer, songwriter, record producer, bassist and guitarist. He has been a professional musician since the mid-1980s, and has been a member of the groups No Such Thing, Doubting Thomas, and The Real Underground. As solo artist, he scored a Rate-A-Record appearance on Dick Clark's American Bandstand program on April 2, 1988, with "When We're Apart", shortly after being signed to Hollywood-based Aardvark Records. Carroll's musical styles have ranged from serious orchestral arrangements to television, sitcom, and film scores, with themes like The Mecklenburgers, to what he is best known for: rock and roll power pop. He is heavily influenced by The Beatles, The Who, The Jam, REM, Jellyfish, and less mainstream artists such as Bruce Foxton, Lee Mavers, Kevin Gilbert and John Wetton. Carroll joined Doubting Thomas as vocalist/bassist in 1997, contributing songs to the band's last two albums, Who Died and Made You King (1998) and their eponymous live recording, Doubting Thomas (1999). He remained with the group until it disbanded in 2001, but as of 2009, Doubting Thomas had reformed for limited performances, and began recording a new album in 2023. In 2004, Carroll composed and performed the theme for the PBS program The Mecklenburgers. He was nominated for a regional Emmy Award for the song in late 2005. In 2019, he received a Gold Telly Award as part of the international Telly Awards for music he composed for a recycling awareness campaign in Mecklenburg County, NC. He was nominated for another regional Emmy Award in late 2019. In March 2023, Carroll announced that he was working on an album of new material with co-producer Greg Endy.

text:
# Bill Carroll (musician)

**Bill Carroll** (born December 29, 1966, in Wilmington, Delaware) is an American singer, songwriter, record producer, bassist and guitarist. He has been a professional musician since the mid-1980s, and has been a member of the groups No Such Thing, Doubting Thomas, and The Real Underground. As solo artist, he scored a Rate-A-Record appearance on Dick Clark's *American Bandstand* program on April 2, 1988, with "When We're Apart", shortly after being signed to Hollywood-based Aardvark Records.

Carroll's musical styles have ranged from serious orchestral arrangements (*Dune I* from 1994's *Kohoutek*) to television, sitcom, and film scores, with themes like *The Mecklenburgers*, to what he is best known for: rock and roll power pop. He is heavily influenced by The Beatles, The Who, The Jam, REM, Jellyfish, and less mainstream artists such as Bruce Foxton, Lee Mavers, Kevin Gilbert and John Wetton.

Carroll joined Doubting Thomas as vocalist/bassist in 1997, contributing songs to the band's last two albums, *Who Died and Made You King* (1998) and their eponymous live recording, *Doubting Thomas* (1999). He remained with the group until it disbanded in 2001, but as of 2009, Doubting Thomas had reformed for limited performances, and began recording a new album in 2023.

In 2004, Carroll composed and performed the theme for the PBS program *The Mecklenburgers.* He was nominated for a regional Emmy Award for the song in late 2005. In 2019, he received a Gold Telly Award as part of the international Telly Awards for music he composed for a recycling awareness campaign in Mecklenburg County, NC. He was nominated for another regional Emmy Award in late 2019.

In March 2023, Carroll announced that he was working on an album of new material with co-producer Greg Endy.

## Albums

* *Summer of Light/Get Away*, 1986, Alpha Records
* *When We're Apart/So Lonely*, 1987, Aardvark Records
* *Lonely Stories From The One-Horse Town*, (with No Such Thing) 1991, Aardvark Records
* *Kohoutek*, 1994
* *Cut It Out* (with Doubting Thomas), 1998, Oh Very Records
* *Who Died and Made You King?* (with Doubting Thomas), 1998, Oh Very Records
* *Live* (with Doubting Thomas), 1999, Indievision Records
* *City of Peace Soundtrack* (with Gina Stewart and Brenda Gambill), 2001
* *The Mecklenburgers Soundtrack*, 2005
* *F.T.W. A Tribute To Gideon Smith* (contributed one song, "Outerspace Girl") 2010, Scorpius Triangle Records
* *Forever Changed* (with Doubting Thomas), 2023

## Production credits

* *Lonely Stories From The One-Horse Town* (with No Such Thing and Kevin H. Short), 1991
* *Kohoutek*, 1994
* *Concrete Mary*, (Concrete Mary, w/ Joe Dorn and Rick Dior) 1999
* *Right in the Nuts: A Tribute to Aerosmith* (with Gideon Smith & the Dixie Damned), 2000, Small Stone Records
* *Sad Stories*, (T&A), 2000
* *The Mecklenburgers Soundtrack*, 2005

## Trivia

1. American Bandstand, April 2, 1988
2. The Mecklenburgers Official Site
3. Telly Awards

## InfoBox

| Bill Carroll | |
| --- | --- |
| Carroll performing live in Charlotte, North Carolina | |
| Background information | |
| Born | (1966-12-29) December 29, 1966<br>Wilmington, Delaware United States |
| Genres | Rock and roll, Power pop |
| Occupation(s) | Musician, songwriter, record producer |
| Instrument(s) | Vocals, bass guitar, guitar |
| Years active | 1980s – |
| Labels | Aardvark Records, Oh Very Records, Indievision Records, Alpha Records |
|  | |
| Website | billcarroll1.bandcamp.com/releases/ |