title: California Art Club

abstract: The California Art Club (CAC) is one of the oldest and most active arts organizations in California. Founded in December 1909, it celebrated its centennial in 2009 and into the spring of 2010. The California Art Club originally evolved out of The Painters Club of Los Angeles, a short-lived group that lasted from 1906–09. The new organization was more inclusive, as it accepted women, sculptors and out-of-state artists. Most of the major early California painters belonged to the CAC, including Franz Bischoff, Carl Oscar Borg, Edgar Payne, Julia Bracken Wendt, and William Wendt. As the members of the first generation of California Plein-Air Painters aged and died, the membership was filled by younger professional painters, including Millard Sheets, Mabel Alvarez, Emil Kosa Jr., and watercolorist Rex Brandt, along with amateur painters and commercial artists. Other notable members include Sir Winston Churchill, Dean Cornwell, Nicolai Fechin, Sam Hyde Harris, Alfredo Ramos Martinez, and Richard Neutra. Today its membership consists of representational artists and sculptors, but it is broadly inclusive and includes many women painters as well as painters and sculptors who emigrated to the United States from Europe and Asia. The CAC hosts an annual Gold Medal Exhibition each year along with a number of other smaller public and special museum exhibitions. Headquartered in one of the large bungalows that was part of the historic Vista del Arroyo Hotel in Pasadena, the California Art Club has a number of chapters throughout California.

text:
# California Art Club

The **California Art Club** (**CAC**) is one of the oldest and most active arts organizations in California. Founded in December 1909, it celebrated its centennial in 2009 and into the spring of 2010. The California Art Club originally evolved out of The Painters Club of Los Angeles, a short-lived group that lasted from 1906–09. The new organization was more inclusive, as it accepted women, sculptors and out-of-state artists.

Most of the major early California painters belonged to the CAC, including Franz Bischoff, Carl Oscar Borg, Edgar Payne, Julia Bracken Wendt, and William Wendt. As the members of the first generation of California Plein-Air Painters aged and died, the membership was filled by younger professional painters, including Millard Sheets, Mabel Alvarez, Emil Kosa Jr., and watercolorist Rex Brandt, along with amateur painters and commercial artists. Other notable members include Sir Winston Churchill, Dean Cornwell, Nicolai Fechin, Sam Hyde Harris, Alfredo Ramos Martinez, and Richard Neutra. Today its membership consists of representational artists and sculptors, but it is broadly inclusive and includes many women painters as well as painters and sculptors who emigrated to the United States from Europe and Asia. The CAC hosts an annual Gold Medal Exhibition each year along with a number of other smaller public and special museum exhibitions. Headquartered in one of the large bungalows that was part of the historic Vista del Arroyo Hotel in Pasadena, the California Art Club has a number of chapters throughout California.

## Origins

The history of the California Art Club begins with an earlier organization, The Painters' Club of Los Angeles. On the evening of March 10, 1906, a number of painters who lived in the Los Angeles area met together with the purpose of forming a club. Soon afterward, on the evening of March 17, eleven of these same men met at the studio of William Swift Daniell (1865-1933). After some discussion, it was unanimously decided to form a club then and there, and the Painters’ Club of Los Angeles was born with the goal to arrange exhibitions and further the fine arts in Southern California. The eleven founding Charter Members included Antony E. Anderson (1863-1939), Carl Oscar Borg (1879-1947), William Henry Cole (1870-1955), Albert Clinton Conner (1848-1929), Frank C. Conner, William Swift Daniell, David H. Dunn, Frank Elwin Evans, Frank Rennsselear Liddell (1864-1923), Hanson Duvall Puthuff (1875-1972), and George Thomas Winterburn (1865-1953). According to the membership roster, the Painters' Club grew and eventually numbered around 42 members. After several years and a number of exhibitions it became apparent to the members that the scope of the organization, which was open only to male painters, was too limited and a consensus arose to dissolve the organization in order to form one that was wider in scope. The Painters' Club of Los Angeles was disbanded in December 1909, but there would be a new group to follow, "to be called the California Art Club." A core group of members from the Painters' Club - Charles Percy Austin (1883-1948), Franz Bischoff (1864-1929), Carl Oscar Borg, Benjamin Chambers Brown (1865-1942), Frank Rennsselear Liddell, Hanson Puthuff, and William Wendt (1845-1946) - would be instrumental in laying the groundwork for the nascent California Art Club, as well as supplying its first three Presidents.

## Founding

The California Art Club was founded in December 1909, immediately after The Painters' Club of Los Angeles was disbanded. Although the date and location of the first club meeting is unknown, the second was held February 5, 1910 in Franz Bischoff's Studio, located at 320 Pasadena Avenue, South Pasadena. Among its founding and earliest members were Hector Alliot (1862-1919), Antony E. Anderson (1863-1939), Charles Percy Austin, Franz Bischoff, Carl Oscar Borg, Benjamin Chambers Brown, Mauritz DeHaaff (1877-1948), Allen Durand (1865-1939), Aaron E. Kilpatrick (1872-1953), Frank Rennsselear Liddell, Everett Carroll Maxwell, William A. Matern (1867-1923), Frederick Roland Miner (1876-1935), John Hubbard Rich (1876-1954), Rob Wagner (1872-1942), Jack Wells \[or Welles\], William Wendt, and most likely Wendt's wife, sculptor Julia Bracken Wendt (1868-1942).

One of the main objectives behind the founding of the new club was to expand its membership and encourage others to participate - "No longer limited to male painters based in L.A., the Club opened its membership to women, sculptors and artists living as far away as New York." By the time of the club's Second Annual Exhibition in 1911, membership had increased by about thirty members, including nine women: Helena Adele Dunlap (1876-1955), Helma Heynsen Jahn (1874-1925), Mary Ann Van Alstine Bartow (1848-1924), Alma May Cook (1884-1973), S. Henrietta Dorn Housh (1855-1919), Helen Hutchinson (1866-?), Louise Elizabeth Garden MacLeod (1857-1944), Lydie G. Price, and Elizabeth Waggoner. By early 1912 Xarifa Hamilton Towner (1881-?) would also join.

Frank Renssellear Liddell served as the first club President from 1909-10. Liddell was succeeded by William Wendt who filled the office of President twice: from 1911-14 as the second President, and from 1917-18 as the fourth. Wendt's terms bookended the club's third President, Benjamin Chambers Brown, who held that office from 1915-16. The organization grew quickly in prestige under Wendt and Brown, connecting itself with the newly formed Museum of History, Science and Art in Exposition Park. The Art Committee of the new museum's Gallery of Fine Arts included at least four CAC members, including Everett C. Maxwell, who was both an Honorary CAC Member as well as Curator of the County Museum Art Gallery. The club began holding its annual exhibitions in the new space less than a year after the new museum was founded and would continue to do so for more than two decades.

As the CAC was being founded, California Impressionism was just beginning to emerge in Southern California. Many club members had studied overseas in European ateliers like the Académie Delécluse, the Académie Julian, and the École des Beaux-Arts. Benjamin Brown studied at the Académie Julian with Jean-Paul Laurens (1838-1921) and Jean-Joseph Benjamin-Constant (1845-1902); Rob Wagner was also a student at Académies Julian and Delécluse. John Hubbard Rich spent four years at the Art Students League in New York City, then spent time at the School of the Boston Museum as well as two years studying in Europe. Along with classical atelier painting, the influences of French Impressionism were starting to be felt. Helena Dunlap studied with William Merritt Chase (1849-1916) in New York City and André Lhote (1885-1962) in Paris, and Charles Percy Austin was a pupil of John Twachtman (1853-1902). Others like Julia Bracken Wendt, William Wendt, and Edgar Payne studied at schools like the Chicago Art Institute. Through the work of its artists and its annual exhibitions, the CAC was greatly responsible for popularizing the Impressionist style in California. Authorities like Professor William Gerdts have long identified California Impressionism as a regional variation of American Impressionism which was a very broad movement that was loosely bound to the French style. Most American and California Impressionists adopted the painterly brush work, brighter palette and colored shadows of French Impressionism and the elementary practice of sketching outdoors, directly from nature or *en plein air*.

## Early years and California Impressionism

From its first exhibitions, the California Art Club became identified with Impressionism. In 1913, in the national magazine Arts Journal, the writer E.C. Maxwell wrote that "From a dozen different writers upon subjects pertaining to the development and trend of art in the west, the word has gone forth to the world that California, that land of golden light and purple shadows, is destined in the course of the next few years to give us a new school of landscape painting...Conditions seem right for a renaissance of art in California...If this art epoch of golden prophecy does not come to pass, it will not be the fault of the California Art Club." The activities of the California Art Club were chronicled in the pages of the *Los Angeles Times*, the *Herald Examiner* and the *Pasadena Star News*. The art columnist for the *Times*, Antony Anderson was a founding member of the club and he was lavish in his praise of its exhibitions and its leaders, men like William Wendt, Benjamin Chambers Brown and Jack Wilkinson Smith.

In the club's formative years, meetings were held at locations around Los Angeles, including members' homes and studios, various schools and galleries, and the Earl House, 2425 Wilshire Boulevard in Westlake Park. (now MacArthur Park). By the early 1920s, the club resolved to seek a more permanent location and laid out plans for a building fund with a goal to raise $150,000 primarily by exhibiting and selling artwork. CAC artist and Managing Director Walter Farrington Moses (1874-1947) led the effort of achieving their goal. A one-night exhibition was held at the Los Angeles Philharmonic Auditorium in 1923; included along with smaller donations was “$500 on the spot.”

Though the CAC as an organization is most often identified with California Impressionism, some CAC members worked in and experimented with other modes of painting and sculpting. Helena Dunlap (1876-1955), an early CAC member and exhibitor, also went on to found the Modern Art Society of Los Angeles in 1916 with five other CAC members: Bert Cressey (1883-1944), Meta Cressey (1882-1964), Edgar Keller (1868-1932), Henrietta Shore (1880-1963) and Karl Yens (1868-1945). At the CAC's Annual Exhibition at Exposition Park in 1931, members Ruth Peabody (1893-1966) and Phil Dike (1906-1990) won top honors for their work, which were dubbed "ultra modern." Another member, Stanton Macdonald-Wright (1890-1973), was a co-creator of Synchromism, an early abstract, color-based mode of painting which influenced artists like Donna Norine Schuster (1883-1953). In 1922 Mabel Alvarez became a member of the Group of Eight, along with Clarence Hinkle, Henri De Kruif, John Hubbard Rich, Donna Schuster, E. Roscoe Shrader, Edouard Vysekal, and Luvena Buchanan Vysekal. Organized largely by the Vyeskals, the group had a basis in the progressive art movement in California.

While the painters of the early California Art Club did not adhere to a stylistic code of any kind, they were all representational artists who worked from life, whether it was outdoors, from nature or in the studio from models. The California Art Club was part of a broadly representational movement that held sway in California long after more modern styles of painting became popular elsewhere. During the 1910s and the "Roaring 20s" when the American economy bounded back from the post-World War I recession, the California Art Club grew in membership and prestige, but it lacked a permanent clubhouse. That changed in 1926, when the wealthy heiress and art patron Aline Barnsdall (1882-1946) gifted her home Hollyhock House, designed by Frank Lloyd Wright, to the CAC to use as its headquarters as a fifteen-year loan. The club moved into the property atop Hollywood, known as Olive Hill, the following year. Gradually, during the 1930s, proponents of more modern movements also began to gain a foothold and younger patrons began to purchase their works instead of those of the California Impressionists.

## The Hollyhock House years (1927-42) and the Depression

By 1923, the idea of a new permanent home was gaining momentum. During “an animated meeting” at their temporary headquarters at 623 Park View, the CAC looked at two feasible options: Aline Barnsdall had offered the club use of Olive Hill, her estate in Hollywood; a second option comprised another location at “the southwest corner of Grand View and Third Street.” Two years later the idea of a permanent clubhouse was still enthusiastically discussed, but 1925 saw the Club forced to restructure their project due to its being “suspended temporarily on the resignation of the business manager.” Strong interest remained despite the fact that they hadn’t yet reached their fundraising goal. With the Club’s efforts stalled, Aline Barnsdall approached the City of Los Angeles about managing a section of her estate as a cultural arts center.

Overlooking Hollywood Boulevard to the east and presenting panoramic views west towards the Pacific Ocean, the 36-acre hilltop estate south of Griffith Park was originally slated to include multiple structures dedicated to the arts. An eventual rift between Barnsdall and architect Frank Lloyd Wright meant that only three buildings would be completed: Hollyhock House, named after Miss Barnsdall’s favorite flower, and two other structures referred to as “Residences A and B.”

Eventually in 1926 the City of Los Angeles agreed to take eight acres. The discussions between the City and Miss Barnsdall about how the property could be used included a stipulation that the California Art Club be given a lease on Hollyhock House lasting fifteen years. In the California Art Club Bulletin, the club’s monthly publication, CAC President Edwin Roscoe Shrader (1878-1960) wrote accepting the gift: “Aline Barnsdall has brought to fruition her plans to establish a cultural center amidst the beauty of Olive Hill. The California Art Club happily, gratefully, accepts its share in this great movement and opens on August 31 the palatial home granted to the Club for fifteen years as its new galleries and headquarters.” The club feted Miss Barnsdall at a dinner and made her an Honorary Member.

The new clubhouse allowed the CAC to present lectures, club meetings, and black tie exhibition receptions. By early 1929, the CAC had attracted some 5,000 visitors to events and exhibitions at Hollyhock House. In late 1929, the CAC hosted the first Black American art exhibition in Los Angeles. The exhibit included work by Henry Ossawa Tanner and renowned Los Angeles architect, Paul R. Williams.

The club initially maintained a semblance of normality during the Depression as monthly club meetings continued to attract members - a “Social Meeting” held on December 19, 1931, was attended by 175 members and guests. Prominent new members joined the club, such as Colin Campbell Cooper (1856-1937), Dean Cornwell (1892-1960), and Alfredo Ramos Martinez (1872-1946). CAC member Richard Neutra debated architecture with Rudolph Schindler, José Clemente Orozco visited a club meeting in April 1930 while working on his murals at Pomona College, and David Alfaro Siqueiros gave a lecture at a dinner in his honor on June 17, 1932.

A week before his CAC lecture, Siqueiros had unveiled his first Los Angeles mural, *Street Meeting*, done on an exterior wall at Chouinard Art School. The group assisting him included CAC members Henri Gilbert de Kruif (1882-1944), Robert Merrell Gage, Barse Miller, Paul Starrett Sample, and Millard Sheets. Gage was then the current CAC President, Sample having held the post in 1931; Miller was 1st Vice President. Siqueiros had consulted with Neutra about new approaches for *Street Meeting* that might better withstand the hot and dry Southern California climate. Shortly after his lecture at the Hollyhock House, Siqueiros would begin work on *América Tropical* with the help of 29 artists including CAC members Dean Cornwell, Karoly Fulop, and Frederick John Vrain Schwankowsky.

The stock market crash of 1929 was the big blow—it meant a decline in exhibition attendance and patronage. Then, as the Great Depression deepened, club membership gradually waned. This decline was somewhat inevitable as the founding members of the CAC aged, moved away or died throughout the 30s and 40s. William Wendt and Edgar Payne were living in Laguna Beach and had become active in the Laguna Beach Art Association. Membership fees for “Artists…and Lay Members” were reduced and it was noted in a bulletin that “a few more new members would enable us to join in the popular sport of ‘Balancing the Budget.’” Also, following the example of other groups, the Club “cancelled all unpaid dues prior to January 1932, providing the current dues \[were\] paid in full.” In addition, it created an Assistance Fund for any member needing financial aid. The deep impact of the Depression on the CAC was seen in “a dwindling membership,” and corroborated reports that “the \[Hollyhock\] house was in pretty bad shape towards the end of \[their\] tenure” when their fifteen-year lease with the Hollyhock House ended in 1942. After briefly giving the club an extension of their lease in January 1942, L.A. Parks Commission forced CAC to abandon Olive Hill by March of that year.

The club established a temporary headquarters at Plummer Park until about August 1942, after which they met at the Women’s Club of Hollywood for a year. After the Women's Club, monthly meetings were held at the Masonic Temple from October 1943-February 1945. At the January 26, 1945, meeting at this location, Los Angeles Mayor Fletcher Bowron and Supervisor John Anson Ford were guests.

## Postwar years

In 1946 the California Art Club partnered with the Veterans Administration to present the First Annual G.I. Art Exhibit at the Museum of History, Science and Art in Exposition Park. "First prize winners are given membership in the art club for one year with all fees and dues waived." There were forty-one exhibiting G.I. artists in all.

In 1947, the CAC (along with other art clubs that exhibited there, including the Painters and Sculptors Club of L.A.) abruptly lost the museum venue where they had held their Annual Exhibitions since 1914. The new museum director, James H. Breasted Jr., wanted to open the venue up to more artists, not just those in the clubs. It didn't go over well, and the headlines made it to Life Magazine: “The outraged artists set up their own canvasses on the museum’s steps and terrace and along the walls as examples of what should have been shown inside. Then they marched around the museum demanding that the director resign. Instead…\[Director\] James H. Breasted Jr. remained in his oak-doored office and quietly called police. Three radio patrol cars rolled up to the museum’s entrance and a swarm of police waded through canvasses of sunsets, mountain landscapes, pretty nudes and Chinese vases."

Without headquarters or an exhibition venue to exhibit their work, meetings and exhibitions were held in less prestigious venues and patronage became a secondary concern. Annual exhibitions were held at venues such as the Greek Theater in Griffith Park (1949–66), Brand Library in Glendale (1979, 1982, 1990), and even a short-lived California Art Club Gallery located at 1309 Westwood Boulevard for a handful of years. Meeting places during this period included Channing Hall at United Methodist Church (March 1945-February 1947) and Rexall Square (September 1947-May 1949), with the group eventually settling into Rancho Golf Club House for two decades (September 1949 – 1969). Victor Matson was President of the California Art Club in 1961 and 1962. He was a landscape painter and an able organizer who had been active in many of the Southland art organizations. By the late 1960s and 1970s, the ranks of the California Art Club consisted primarily of amateur artists, but there was still a small group of professional painters that were active, such as Sam Hyde Harris.

## The California Art Club Bulletin 1925-1994

In November 1925, CAC President Shrader wrote in the foreword of the inaugural issue of The California Art Club Bulletin, "The Bulletin will fill a long-felt want in the activities of the Club." Published monthly for nearly 70 years, it reported on club activities, exhibitions, member news, meetings, lectures, and more, both within the club and around greater Los Angeles. After the July 1994 issue, the Bulletin was redesigned and renamed the California Art Club Newsletter, starting with the Summer 1994 issue. It continues to be printed for the Club membership on a quarterly basis and includes articles written by art historians and scholars.

## California Art Club Newsletter 1994-present

Published by the California Art Club, the Newsletter is a quarterly journal that documents California's traditional arts heritage, both historic and contemporary. Each issue contains unique essays about artists and art movements written by art historians, museum curators, art writers, and artists. The publication includes "news briefs," club activities, membership news, book reviews, and exhibition listings.

Although the California Art Club was established in 1909, the first issue, Volume 1, No. 1, was printed in December 1925 and originally named "The California Art Club Bulletin" with artist Ralph Holmes (1876-1963) as its first editor. The "Bulletin" was published as a monthly periodical to keep members informed of fellow members and the goings-on of the local burgeoning Los Angeles art scene. The publication operated as a volunteer effort and was managed by several editors who were members of the club. However, after the Great Depression, Modernism, and World War II, the California Art Club fell on hard times, but still managed to exist, howbeit on a much smaller and scale.

With the 1990s resurgence of representational art forms, the California Art Club experienced a revival that was launched in 1993. The organization began to re-brand itself as a prime leader in the contemporary-traditional art movement and recognized the need for a scholarly publication to help further their mission. Under the newly named editor-in-chief Elaine Adams, the June 1994 issue was renamed the "California Art Club Newsletter." Over the years, the Bulletin has expanded from its single front-and-back 8-1/2 x 11 page to its present 36-page quarterly journal printed by Typecraft in Pasadena, California.

### List of editors

Artist Ralph Holmes (1876–1963) served as the first editor of the "California Art Club Bulletin" from December 1925 to January 1927. From February 1927 to December 1931, artist Louise Everett (1899–1959) served as editor; and from January to December 1932 John Coolidge was the editor. For ten years the Bulletin took a hiatus until 1942 when Edward Lanser became its editor and changed the publication's name to "C.A.C. Bulletin: The Voice of the California Art Club." Lanser served as its editor until April 1948. Then, under Mary Jarrett who served as the new editor until 1954, the publication was renamed as "The Art Bulletin." Next, artist Vic Carl Houser (1895-1972) served as editor until May 1958; followed by artist Horace "H.E." Edmund Huey until March 1959, and in April 1959 Mary Jarrett returned to serve as editor, and then in June 1960 Vic Carl Houser returned as editor until April 1965. The Bulletin went into hiatus again until April 1968 when it published only one issue that year under Edris N. Baker as the editor. The next issue came out in October 1969 with artist Kaffy Reinhardt as the editor. Ruth Jones served as editor of the Bulletin until May 1994. Elaine Adams became editor-in-chief and renamed the publication as the "California Art Club Newsletter," which continues today in 2017 under her management.

## Revival of the CAC

By the early 1990s the membership of the California Art Club had been severely reduced. Peter Seitz Adams, a member in earlier years (he exhibited in the 68th Annual Gold Medal Exhibition in 1977), was contacted by longtime patron member Verna Gunther and 43rd CAC President Charles I. Harris (1922-2012) to take over the helm of the neglected California Art Club; Adams was elected the 44th President of the California Art Club in October 1993. His wife, Elaine Adams, managed the business of the organization, eventually becoming the Executive Director and CEO. In June 1994 Elaine Adams became editor-in-chief of the CAC Bulletin and immediately changed its name to the California Art Club Newsletter and soon expanded the publication to include scholarly articles about art history and profiles on contemporary artists of the CAC. The first wave of painters to join the reorganized California Art Club included Dan Goozeé, Steve Huston, Stephen E. Mirich, William Stout and Tim Solliday (December 1993), (January 1994), Alexey Steele and Jove Wang (February 1994), Daniel W. Pinkham and Sunny Apinchapong-Yang (June 1994), Meredith B. Abbott, John Budicin, Marcia Burtt, Karl Dempwolf, Richard Rackus, Roy Rose, and Leonid Steele (July 1994). A number of these artists consisted of students of Theodore Lukits (1897-1992) or the Russian landscape and figurative painter Sergei Bongart (1918–1985), both of whom had been CAC members themselves.

## Gold Medal Exhibition

The Gold Medal Exhibition is held each spring. Previous locations include: the Autry Museum of the American West, Pasadena Museum of History, USC Fisher Museum of Art, Pasadena Museum of California Art, and Luckman Fine Arts Complex at California State University, Los Angeles. Works are juried into the exhibition. Previously, at least two Gold Medals were awarded at each exhibition, but sometimes numbered as many as five per exhibition. The medals were voted on by the participating artist members of the organization. However, in 2016 the practice of presenting awards was discontinued.

The look and design of the medals changed throughout the years and were created by various club members. Along with the award medals given out at the Annual Exhibitions, the practice of which dates back at least to 1926, there were a number of Memorial Medals, Silver Medals, and Medals of Honor that were given to members to honor their services and special contributions to the Club. In particular is the Medal of Honor created by Philip Paval around 1953. This medal was awarded in 1954 to Sir Winston Churchill when the statesman was invited by Paval to join the Club as an Honorary CAC Member. Churchill accepted and the medal is presently on display in the Collection of Chartwell House in the U.K.

## Special exhibitions

In 1996, the California Art Club organized the California Wetlands Exhibition at the Natural History Museum in historic Exposition Park in Los Angeles. In May through August 1998, the CAC mounted Treasures of the Sierra Nevada at the Natural History Museum of Los Angeles County. The Carnegie Museum in Oxnard, California, hosted a large exhibition of works by painters from the California Art Club in 1994, entitled, "The California Art Club: 85 Years of Art". In 1997, a traveling exhibition which contrasted the work of American Impressionists and Classical Realist painters from the East and Midwestern United States along with the California Impressionists titled, "East Coast Ideals West Coast Concepts," traveled from the Carnegie Museum in Oxnard to the Springville Museum of Art in Springville, Utah to the Academy of Art College in San Francisco. The California Art Club also organized and sponsored a traveling exhibition entitled, "Theodore Lukits, An American Orientalist," dedicated to the Asian-themed works of Thedore Lukits, who had first been a member of the California Art Club in 1922 and was later made a Life Member. This exhibition of colorful still lifes and figurative works originated at the Pacific Asia Museum in the fall of 1998 and traveled to the Carnegie Art Museum in the winter of 1998 and 1999, then concluded at the Muckenthaller Cultural Center in Fullerton, California, in the Spring of 1999. Later in 1999, the California Art Club began a relationship with the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu with the exhibition entitled, "On Location in Malibu".

## Membership

The California Art Club membership is broad, with fewer than 2,000 members in a number of categories of membership. Signature Members are the most established painters who have been approved for membership by their peers from the ranks of Artist Members. Artist Members are juried into the organization from new applicants and the ranks of the Painting Patron Members. There is a category for out of state artist members, enabling the group the benefit of having the work of some of America's best traditional painters. There is also a large membership of Patron Members and also a Collector's Circle, which requires a donation to the organization.

## Exhibitions

* Altadena Town & Country Club
* Annual Gold Medal Exhibitions (1911–present)
* CAC Gallery at the Old Mill, San Marino, CA (1999–present)
* Frederick R. Weisman Museum of Art, Pepperdine University, Malibu (2000, 2003, 2006, 2009, 2012, 2015)
* Marston's Restaurant, Pasadena (2005–present)

### Selected past exhibition venues

* Autry Museum of the American West (2012, 2014, 2016-2017)
* Bakersfield Museum of Art (2011)
* Barker Brothers, Los Angeles (1946)
* Barnsdall Park (1927-1942)
* Bloomingdale's, New York City (1944)
* Bullock's, Los Angeles (1944)
* The Historic Blinn House, Pasadena (2001-2011)
* The Bowers Museum of Cultural Art (1997-2003)
* CAC Gallery, 1309 Westwood Blvd, Los Angeles (1974)
* CAC Gallery, 1027 West Seventh St, Los Angeles (1922)
* CAC Gallery, No. 424 Copp Building, Los Angeles (1914)
* Cathedral of Our Lady of the Angels (2014, 2010)
* Carnegie Museum of Art, Oxnard (2014)
* The Ebell of Los Angeles (various 1950s-1970s)
* Judson Gallery and Studios, Los Angeles (1997)
* Greek Theater, Los Angeles (1949-1966)
* Long Beach Museum of Art (2010)
* Muckenthaler Cultural Center, Fullerton (1998)
* Mission San Juan Capistrano (1995-2003)
* Museum of History, Science, and Art, Exposition Park, Los Angeles (Annual Gold Medal Exhibitions, 1914-1938)
* Occidental College (1946)
* Oceanside Art Museum (2011)
* Olaf Wieghorst Museum (2014, 2015)
* Pasadena Museum of California Art (Annual Gold Medal Exhibitions, 2003-2011)
* Pasadena Museum of History (2000-2002)
* Phippen Museum, Prescott, AZ (2000)
* San Diego Museum of Fine Arts (1920)
* San Luis Obispo Museum of Art (2011)
* Santa Paula Art Museum (2014)

Sources:

## Members

Sources:

### Notable current members

* Morseburg, Jeffrey, *The Return of the California Impressionists*, Art of California, Unpublished Manuscript
* Trenton, Patricia & Gerdts, William, California Light: 1900–1930, Laguna Beach Museum of Art, Exhibition Catalog, Chronicle Books, San Francisco, 1992
* Morseburg, Jeffrey, Theodore Lukits: The Jonathan Art Foundation Collection, Johnathan Club, Los Angeles, 2010
* Morseburg, Jeffrey, *Theodore Lukits: An American Orientalist*, Exhibition Catalog, Foreword by David Kamansky, Pacific Asia Museum, Pasadena, California, 1998
* Adams, Peter & Adams, Elaine, *East Coast Ideals, West Coast Concepts*, Carnegie Museum, Oxnard, California Introduction by Suzanne Bellah, Exhibition Catalog, 1997
* Stern, Jean, *Treasures of the Sierra Nevada*, Natural History Museum of Los Angeles County, Exhibition Catalog, 1998
* Susan Landauer, Ph.D., "The California Art Club, A History", *American Art Review*, March 1996, p. 44–51


title: Reed family

abstract: The Reed family is an American business family that focuses on owning land. The family currently controls Simpson Investment Company, established 1890, and its spin-off Green Diamond Resource. The family owns 1.37 million acres across California, Washington and Oregon, and is as of 2017 the fifth-largest private landowner in the United States.

text:
# Reed family

The **Reed family** is an American business family that focuses on owning land. The family currently controls Simpson Investment Company, established 1890, and its spin-off Green Diamond Resource. The family owns 1.37 million acres across California, Washington and Oregon, and is as of 2017 the fifth-largest private landowner in the United States.

## History

The Reed family was established by patriarch Mark Edward Reed (1866–1933).

In 1897, Reed, a failed logger was hired by Sol Simpson to manage the Simpson Logging Company, Simpson's family-owned store, in the town of Shelton, Washington. Reed married Simpson's daughter, Irene, in 1901. After Simpson died in 1906, Reed assumed control of Simpson Logging. At that time the company employed approximately 300 people working out of five separate camps. By 1914, Reed had full control and transformed the company into a forest-products corporation. In 1925, the company opened its first sawmill, the Reed Mill, and entered the hemlock lumber manufacturing business.

In 2014, the Reed family purchased 600,000 acres of Oregon timberland, putting them fifth on the largest US landowners list. In 2015, the family was estimated to have a net worth of $1.7 billion.

As of 2017, the Reed family remains the fifth-largest private landowner in the United States, owning 1.37 million acres across California, Washington and Oregon

## InfoBox

| Reed | |
| --- | --- |
| Current region | California
Washington
Oregon |


title: Catawba, Wisconsin

abstract: Catawba is a village in Price County, Wisconsin, United States. The population was 110 at the 2010 census. The village is located within the Town of Catawba.

text:
# Catawba, Wisconsin

**Catawba** is a village in Price County, Wisconsin, United States. The population was 110 at the 2010 census. The village is located within the Town of Catawba.

## Geography

Catawba is located at 45°32′9″N 90°31′49″W / 45.53583°N 90.53028°W / 45.53583; -90.53028 (45.535969, -90.530445).

According to the United States Census Bureau, the village has a total area of 4.46 square miles (11.55 km2), all of it land.

## History

Before the railroad was built around 1884, the area that would become Catawba was a forested wilderness cut only by rivers and Indian trails. The federal government surveyed that wilderness in 1847 and 1855. In the final years before the railroad, a little pine was logged along the river and some Swedish immigrants settled near where highway 86 crosses the south fork of the Jump River.

The name *Catawba* is said to come from the wine \- perhaps from a crew of railroad gandy dancers who overindulged on the stuff, or perhaps from local lumberjacks who partook at a saloon in Kennan.

With the railroad came more lumber camps, more settlers, and a sawmill. The first school was operating by 1892, expanded to two rooms in 1902. By 1902 Peter Hammer's Red Birch Lumber Company had a sawmill running. He and his wife Isabelle also operated the Commercial Hotel, which largely served men working in the lumber business. Hammer also operated a company store called the ACA store. Other early businesses included a lath mill, the Bendixon butcher shop, the Hamm's Brewing Company saloon and pool hall, Stevens' barber shop, Swanson's soda fountain, and Gruber's store and opera house. A Lutheran congregation was organized in 1903 - the cemetery around 1909. The Catholic church was built around 1908. The Catawba State Bank started in 1916.

The town hall was built in 1921 and the village incorporated in 1922. At some point Wisconsin Highway 14 joined the railroad passing through town. It was eventually upgraded to U.S. Route 8, and paved in 1949.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1930 | 282 |  |  |
| 1940 | 290 |  | 2.8% |
| 1950 | 233 |  | −19.7% |
| 1960 | 230 |  | −1.3% |
| 1970 | 215 |  | −6.5% |
| 1980 | 205 |  | −4.7% |
| 1990 | 178 |  | −13.2% |
| 2000 | 149 |  | −16.3% |
| 2010 | 110 |  | −26.2% |
| 2019 (est.) | 100 |  | −9.1% |
| U.S. Decennial Census | | | |

### 2010 census

As of the census of 2010, there were 110 people, 60 households, and 31 families living in the village. The population density was 24.7 inhabitants per square mile (9.5/km2). There were 78 housing units at an average density of 17.5 per square mile (6.8/km2). The racial makeup of the village was 100.0% White. Hispanic or Latino people of any race were 0.9% of the population.

There were 60 households, of which 13.3% had children under the age of 18 living with them, 41.7% were married couples living together, 5.0% had a female householder with no husband present, 5.0% had a male householder with no wife present, and 48.3% were non-families. 41.7% of all households were made up of individuals, and 16.7% had someone living alone who was 65 years of age or older. The average household size was 1.83 and the average family size was 2.45.

The median age in the village was 52 years. 13.6% of residents were under the age of 18; 2.7% were between the ages of 18 and 24; 21% were from 25 to 44; 45.5% were from 45 to 64; and 17.3% were 65 years of age or older. The gender makeup of the village was 51.8% male and 48.2% female.

### 2000 census

As of the census of 2000, there were 149 people, 68 households, and 48 families living in the village. The population density was 33.4 people per square mile (12.9/km2). There were 79 housing units at an average density of 17.7 per square mile (6.8/km2). The racial makeup of the village was 99.33% White, and 0.67% from two or more races. 38.1% were of German, 15.9% Irish, 7.1% Czech, 6.2% Norwegian and 5.3% Polish ancestry according to Census 2000.

There were 68 households, out of which 26.5% had children under the age of 18 living with them, 48.5% were married couples living together, 10.3% had a female householder with no husband present, and 29.4% were non-families. 26.5% of all households were made up of individuals, and 13.2% had someone living alone who was 65 years of age or older. The average household size was 2.19 and the average family size was 2.58.

In the village, the population was spread out, with 18.1% under the age of 18, 6.7% from 18 to 24, 28.9% from 25 to 44, 25.5% from 45 to 64, and 20.8% who were 65 years of age or older. The median age was 44 years. For every 100 females, there were 109.9 males. For every 100 females age 18 and over, there were 117.9 males.

The median income for a household in the village was $26,250, and the median income for a family was $28,125. Males had a median income of $29,063 versus $22,361 for females. The per capita income for the village was $18,319. There were 4.3% of families and 6.0% of the population living below the poverty line, including 12.0% of under eighteens and 5.4% of those over 64.

1. "2019 U.S. Gazetteer Files". United States Census Bureau. Retrieved August 7, 2020.
2. "U.S. Census website". United States Census Bureau. Retrieved November 18, 2012.
3. "Population and Housing Unit Estimates". United States Census Bureau. May 24, 2020. Retrieved May 27, 2020.
4. "US Gazetteer files: 2010, 2000, and 1990". United States Census Bureau. February 12, 2011. Retrieved April 23, 2011.
5. "US Gazetteer files 2010". United States Census Bureau. Archived from the original on July 2, 2012. Retrieved November 18, 2012.
6. "Field Notes for T35N R1W". *Original Field Notes and Plat Maps, 1833-1866*. Board of Commissioners of Public Lands. Retrieved June 18, 2023.
7. *Memories of Catawba, Wis*. Phillips, Wis.: Catawba Bicentennial Committee. March 1, 1976. pp. 1–2, 43.
8. Memories, p. 2.
9. Memories, p. 24-25.
10. Memories, p. 4, 8-13, 16, 18.
11. Memories, p. 25.
12. Memories, p. 30.
13. "Census of Population and Housing". Census.gov. Retrieved June 4, 2015.
14. "U.S. Census website". United States Census Bureau. Retrieved January 31, 2008.

## InfoBox

| Catawba | |
| --- | --- |
| Village | |
| Facing west on 8, with town hall/museum on right | |
| Location of Catawba in Price County, Wisconsin | |
| CatawbaLocation within the state of Wisconsin | |
| Coordinates: 45°32′9″N 90°31′50″W / 45.53583°N 90.53056°W / 45.53583; -90.53056 | |
| Country | United States |
| State | Wisconsin |
| County | Price |
| Area | |
| Total | 4.44 sq mi (11.49 km2) |
| Land | 4.44 sq mi (11.49 km2) |
| Water | 0.00 sq mi (0.00 km2) |
| Population (2010) | |
| Total | 110 |
| Estimate (2019) | 100 |
| Density | 22.54/sq mi (8.70/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| Area code(s) | 715 & 534 |
| FIPS code | 55-13175 |


title: Charles Maurice Cabart-Danneville

abstract: Charles Maurice Cabart-Danneville was a French politician.

text:
# Charles Maurice Cabart-Danneville

**Charles Maurice Cabart-Danneville** (14 June 1846, Paris – 24 July 1918, Paris) was a French politician.

## Works

* 1895: *La Défense de nos côtes*. Paris: Hachette
* 1913: *Les Poudres de la guerre et de la marine en France et à l'étranger*. Paris: Berger-Levrault

## InfoBox

| Charles Maurice Cabart-Danneville | |
| --- | --- |
|  | |
|  | |
| **In office**
1895–1918 | |
|  | |
| Personal details | |
| Born | (1846-06-14)14 June 1846
Paris, France |
| Died | 26 July 1918(1918-07-26) (aged 72) |
|  | |


title: Regional Council of Murcia

abstract: The Regional Council of Murcia was the governing body in the Region of Murcia in the pre-autonomous process. His mandate was from the end of 1978 until the creation of the autonomous community in 1983.

text:
# Regional Council of Murcia

The **Regional Council of Murcia** was the governing body in the Region of Murcia in the pre-autonomous process. His mandate was from the end of 1978 until the creation of the autonomous community in 1983.

## Creation

The Regional Council arises from Royal Decree-Law 30/1978, signed by King Juan Carlos I on September 29, 1978. Created on November 10, 1978. It met for the first time on November 20, being officially established on the 24th. Its work is defined in coordination and collaboration with the Provincial Council of Murcia and was created in the process of drafting the Spanish Constitution of 1978. It was therefore created as a pre-autonomous entity or transitional body.

## Composition

It was initially formed with twelve parliamentarians, twelve representatives of the territory, and a representative of the Provincial Council; its president was Antonio Pérez Crespo. After the local elections of 1979, it was constituted with the elected regional deputies, so it is made up of 39 members: twelve parliamentarians and 27 deputies. Its president was Andrés Hernández Ros.

## Functions

The functions defined for this council were:

* Carry out the management and administration of the functions and services transferred to it by the State Administration.
* Coordinate with the Provincial Council.
* Propose to the central government any measures that affect the interests of the region of Murcia.
* Prepare and approve your own internal operating rules.

In the exercise of these functions they request to adhere to the autonomous process according to article 143 of the Constitution on June 14, 1980, in a session held in the Town Hall of Totana.

The activity of this pre-autonomous entity was recorded in the Official Bulletin of the Regional Council of Murcia, which was published for the first time on December 31, 1979.

Provisionally, this Regional Council was constituted as Regional Assembly on July 15, 1982, exercising its functions until May 28, 1983, when the chamber was constituted after the elections of May 8. 1983.

1. .es/buscar/doc.php?id=BOE-A-1978-25507 Text of the decree-law
2. "EL MUNDO - Diario online líder de información en español". *ELMUNDO* (in Spanish). 2024-04-15. Retrieved 2024-04-15.
3. Muñoz, Manuel (1978-11-21). "El día 24 se constituye oficialmente el Consejo Regional de Murcia". *El País* (in Spanish). ISSN 1134-6582. Retrieved 2024-04-15.
4. bol&id=37519 Cover of the first issue, page 7172.
5. "Portada del Archivo Histórico Nacional". *censoarchivos.mcu.es* (in Spanish). Retrieved 2024-04-15.


title: Cayuse language

abstract: Cayuse is an extinct unclassified language once spoken by the Cayuse people of Oregon.

text:
# Cayuse language

**Cayuse** is an extinct unclassified language once spoken by the Cayuse people (autonym: *Liksiyu*) of Oregon.

## Classification

The first written vocabulary of the Cayuse language was published by Horatio Hale in 1846. As a member of the United States Exploring Expedition, he had visited the Pacific Northwest in 1841. Missionary Marcus Whitman was credited for providing "much valuable information" about the Cayuse people and other natives nearby Waiilatpu. In his Waiilatpuan language family, Hale put Cayuse and the Molala language as the sole members.

In 1910 or 1911, Stephens Savage, a Molala speaker, had told Leo Frachtenberg that the following five words were identical in both Cayuse and Molala:

| sorrel horse | *qasqasi tasiwitkwi* |
| --- | --- |
| spotted horse | *yuꞏk tasiwitkwi* |
| black horse | *múkimuki tasiwitkwi* |
| comb | *taꞏsps* |
| spoon | *ƚúꞏpinc* |

In 1929 Edward Sapir grouped Cayuse with Molala as part of the *Waiilatpuan* branch of the Plateau Penutian languages.

Bruce Rigsby reexamined the Cayuse-Molala lexical pairs provided by Hale in 1969 and found only a tenth to be potentially related terms. Whitman was credited as the origin of the Waiilatpuan linguistic family. The words presented by Savage were concluded by Rigsby to likely be loanwords. Upon his review of extant Molala and Cayuse linguistic data, Rigsby concluded "I do not see how the two languages could have possibly been mutually intelligible."

## Pronouns

Cayuse pronouns listed by Hale:

| I | iniŋ |
| --- | --- |
| you (sg.) | nikí |
| you (du.) | nkímiš |
| he | nip |
| we | námək |
| you (pl.) | mkímiš |
| they | nípik |

Cayuse pronouns listed by McBean:

| I | in ning |
| --- | --- |
| you (sg., pl.) | in kai |
| he | neepe |
| we | nung naw naw |
| they | cap pick |

## Verbs

Cayuse verb paradigms documented by Henry W. Henshaw:

'hungry'

| I am hungry. | wi-tu-tŭnt |
| --- | --- |
| I was hungry. | kler-ka-wĭ-tu-tŭnt |
| I will be hungry. | wí-tu-näk-sŭnt |
| You and I are hungry. | swi-tu-ter-yìk |
| You and I were hungry. | swi-tu-te-lì-kai-ĭk |
| You and I will be hungry. | nĭng-i-li-pʔl-swi-tu-nak-stunk-a-wak |
| You are hungry. | tu-swi-tu-tuñg-a |
| You were hungry. | swi-tu-til-kutla |
| You will be hungry. | swi-tu-nak-stung-at-la |

'thirsty'

| I am thirsty. | nĭs-ka-mu-tiñg |
| --- | --- |
| I was thirsty. | nĭs-ka-mu-til |
| I will be thirsty. | nĭs-ka-mu-näk-skĭn |
| You are thirsty. | tu-mĭs-ka-mu-tĭñg |
| You were thirsty. | mĭs-ka-mu-til-hă |
| You will be thirsty. | mĭs-ka-mu-na-stĭnk-la |

## Vocabulary

Limited lexical items in Cayuse have been collected by Rigsby, Melville Jacobs, Verne Ray, and Theodore Stern. Their Cayuse informants had highly limited knowledge of the language and were more fluent in either Sahaptin or Nez Perce.

### Hale

A word list of Cayuse with nearby 200 lexical items was documented by Hale. The word list has been reproduced below.

#### Nouns

| gloss | Cayuse |
| --- | --- |
| man | yúant |
| woman | pintχlkaíu; watχlóa |
| boy | láutlaŋ |
| girl | staítχləŋ; staítlaŋ |
| infant; child | skútχla |
| father | pintét; títʃa |
| mother | penín; nínʃa |
| husband | ináiu |
| wife | inχlkaío |
| son | wái |
| daughter | wái |
| brother | pnákən; pənátaŋ |
| sister | pənátiaŋ; pənwaíəq |
| Indian; people | - |
| head | talʃ; táəlʃ |
| hair | tχlókomot |
| face | léequkʃ |
| forehead | penátχliʃ |
| ear | takʃ |
| eye | hăkaməʃ |
| nose | pitχlóken |
| mouth | səmqakʃ |
| tongue | puʃ |
| teeth | tenif |
| beard | ʃimkéməʃ |
| neck | yet |
| arm | tiélaq |
| hand | épip |
| fingers | épip |
| nails | ʃíŋiʃ |
| body | ʃilăməʃ |
| leg | maúwət |
| foot | tiʃ |
| toes | tiyəyáu |
| bone | pápət |
| heart | - |
| blood | tiwéə̈ʃ |
| town; village | - |
| chief | iatóiaŋ |
| warrior | lotéwa |
| friend | enlápoit |
| house | niʃt |
| kettle | tχlípaniʃ |
| bow | hífoit |
| arrow | lalχ |
| axe; hatchet | yeŋgókinʃ |
| knife | ʃekt |
| canoe; boat | tχláap |
| shoes | täítχlo |
| pipe | iptnχlónʃ |
| tobacco | hanʃ |
| sky; heaven | ndjălawaía, tíŋpap |
| sun | huéwiʃ |
| moon | hátχltóp |
| star | tχlítχliʃ |
| day | ewéiə̈ |
| night | ftalp |
| light | notawásim |
| darkness | ʃilímtiŋk |
| morning | tétχlpəna |
| evening | wəχaía |
| spring | ʃuatoluŋátntiŋ; kiátim |
| summer | ʃqáätim |
| autumn | təŋ |
| winter | wit |
| wind | húntilχp |
| thunder | tiŋtululutéʃin |
| lightning | ʃniktawíŋtiŋ |
| rain | tiʃtkitχlmítiŋ |
| snow | pói |
| hail | puŋiós |
| fire | tetʃ |
| water | iʃkáiniʃ |
| ice | tók |
| earth; land | liŋʃ |
| sea | yamué-iʃkaíniʃ |
| river | luʃmi |
| lake | fuŋʃ |
| valley | paniákp |
| hill; mountain | téit |
| island | liŋtkaíli |
| stone | ápit |
| salt | kamtiʃímpen |
| iron | qauqauítχliínik |
| tree | laúik |
| wood | hútiʃ |
| leaf | qaisós |
| bark | pétimi |
| grass | tχleft; qə́ïʃt |
| pine | laúikʃ |
| flesh; meat | pítχli |
| dog | náapaŋ |
| buffalo | - |
| bear | liméakʃ; nokoláo |
| wolf | tχlaíu; tsóilaχs |
| deer | aitχléwa |
| elk | yútiŋʃ |
| beaver | pīeká |
| tortoise | atsík |
| fly | tqaínʃiʃ; katχlísaŋ |
| mosquito | píŋkii |
| snake | waíimaʃ |
| bird | tianíyiwa |
| egg | lópitχl |
| feathers | tiaqaímutχl |
| wings | haŋ |
| duck | əʃimtχl |
| pigeon | súuku |
| fish | wiaíiʃ |
| salmon | milóqli |
| sturgeon | - |
| name | peʃp |
| affection | atíŋp; tiʃktaʃewetáuŋko |

#### Adjectives

| gloss | Cayuse |
| --- | --- |
| white | tχlaktχláko |
| black | ʃkupʃkúpu |
| red | lakaítlakaítu |
| blue | yotsyóts |
| yellow | qəʃqə́ʃu |
| green | yotsyóts |
| great | yaúmua; yiyímu (pl.) |
| small | etsáŋua |
| strong | ntáloa; naantáloa |
| old | kuiátsu |
| young | itsáŋu |
| good | suaíu; sasuáiu (pl.) |
| bad | luastu; laluástu (pl.) |
| handsome | hapútsu; suaíu |
| ugly | huástu |
| alive | wióko |
| dead | úwaa |
| cold | ʃúŋa |
| warm | lokóia |

#### Pronouns

| gloss | Cayuse |
| --- | --- |
| I | íniŋ |
| thou | nikí |
| he | nip |
| we | námək |
| ye | mkímiʃ; nkímiʃ (dual) |
| they | nípik |
| this | qe, qă, ke |
| that | qá, ká |
| all | naŋináo |
| many (much) | yíphea |
| who |  |

#### Adverbs and others

| gloss | Cayuse |
| --- | --- |
| near | piáfi |
| today | páməŋ |
| yesterday | iétin |
| tomorrow | tetχlp |
| yes | i |
| no | téehu |

#### Numerals

| gloss | Cayuse |
| --- | --- |
| one | na |
| two | lépli |
| three | mátnin |
| four | pípiŋ |
| five | táwit |
| six | nōiná |
| seven | nóilip |
| eight | nōimát |
| nine | tanáuiaiʃímʃim |
| ten | niŋítelp |
| eleven | nántetχle |
| twelve | leplin-ntétχle |
| twenty | lépuik |
| thirty | mátuík |
| one hundred | niŋítalpuík |
| one thousand | - |

#### Verbs

| gloss | Cayuse |
| --- | --- |
| to eat | pitáŋa |
| to drink | pasqunstáŋa |
| to run | pqíntuql |
| to dance | iókseak |
| to sing | tuŋséaql |
| to sleep | ʃpíʃiŋql |
| to speak | úlipkin |
| to see | miskaléntənt |
| to love | ktáʃo |
| to kill | piaíitχltiŋ |
| to sit | ifníql; ifníkta |
| to stand | laútsiŋ |
| to go | wintúkstaŋa; wintúql (imp.) |
| to come | wintúkum |

### Bibliography

* Aoki, Haruo (1998). *A Cayuse Dictionary based on the 1829 records of Samuel Black, the 1888 records of Henry W. Henshaw and others*. Mission, OR: Confederated Tribes of the Umatilla Indian Reservation.
* Hale, Horatio (1846). *Ethnography and Philology*. Philadelphia: C. Sherman  via Internet Archive.
* Rigsby, Bruce (Spring 1969). Sprague, Roderick; Goss, James A. (eds.). "The Waiilatpuan Problem: More on Cayuse-Molala Relatability". *Journal of Northwest Anthropology*. **3** (1): 68–146  via Google Books.
* Sapir, Edward (1929). "Central and South American Languages". *Encyclopedia Britannica*. Vol. 5 (14th ed.). pp. 138–141.
* Atlas of the World's Languages in Danger (Report) (3rd ed.). UNESCO. 2010.

## InfoBox

| Cayuse | |
| --- | --- |
| *Liksiyu* | |
| Native to | United States |
| Region | Oregon |
| Ethnicity | Cayuse |
| Extinct | 1930s |
| Language family | unclassified<br>(Plateau Penutian?) * Waiilatpuan?     + **Cayuse** |
| Language codes | |
| ISO 639-3 | `xcy` |
| Linguist List | `xcy` |
| *Glottolog* | `cayu1241` |
| Pre-contact distribution of the Cayuse language | |
| Cayuse is classified as Extinct by the UNESCO Atlas of the World's Languages in Danger | |


title: Ōyamazaki Tile Kiln Site

abstract: Ōyamazaki Tile Kiln ruins The Ōyamazaki Tile Kiln ruins is an archaeological site with the ruins of an early Heian period kiln, located in the town of Ōyamazaki, Otokuni District, Kyoto Prefecture in the Kinai region of Japan. It was designated a National Historic Site of Japan in 2006.

text:
# Ōyamazaki Tile Kiln Site

The **Ōyamazaki Tile Kiln ruins** (大山崎瓦窯跡, *Ōyamazaki kawara gama ato*) is an archaeological site with the ruins of an early Heian period kiln, located in the town of Ōyamazaki, Otokuni District, Kyoto Prefecture in the Kinai region of Japan. It was designated a National Historic Site of Japan in 2006.

## Overview

*Kawara* () roof tiles made of fired clay were introduced to Japan from Baekche during the 6th century along with Buddhism. During the 570s under the reign of Emperor Bidatsu, the king of Baekche sent six people to Japan skilled in various aspects of Buddhism, including a temple architect. Initially, tiled roofs were a sign of great wealth and prestige, and used for temple and government buildings. The material had the advantages of great strength and durability, and could also be made at locations around the country wherever clay was available.

The Ōyamazaki Tile Kiln was located in the southwestern tip of Kyoto Prefecture, at a strategic point for water and land transportation. Its existence was discovered during the construction of a residential are. The kiln was in operation during the early Heian period and fired roof tiles for the palaces and other governmental structures of Heian-kyō. At that time, many tile kilns around Heian-kyō produced large quantities of roof tiles to support the construction of the new capital of Japan, and this tile kiln was one of those government-run tile kilns. During archaeological excavations conducted in 2006, six flat kilns and numerous pits were confirmed, and subsequent excavations found six more kilns.Groups A and B consist of five kilns each, and group C consists of two kilns. Groups A and B are located in an “L” shape, and groups A and C are located in a straight line. The kilns were spaced approximately 6 meters apart. Each kiln was divided into a combustion chamber for burning firewood and a firing chamber for baking tiles, and in front of the combustion chamber was a vestibule that served as a workshop. In the front, there was a field of ash where ashes from firing and failed roof tiles were discarded. The scale of all kilns is unified and standardized to ensure a constant production volume. It took around five days to produce the roof tiles, after which the kiln needed repairs. The reason for the uniform arrangement of kilns is thought to have been to ensure seamless production by firing tiles and repairing kilns in groups.The Ōyamazaki kilns produced round and flat roof tiles with lotus and arabesque patterns for decorating the eaves, flat tiles for the ridgeline and *Onigawara* tiles for the ridge ends. .To the northwest of the tile kiln ruins is the temple of Yamazaki Shoten (Kannon-ji), a scenic spot with views to the east, northeast, and southwest, overlooking the ruins of Nagaoka-kyō, the Yodo River, and Otokoyama.

The remains have been backfilled for protection, but the area has been developed as a park, and reconstruction of kilns are displayed. The site is about 15 minutes walk from Yamazaki Station on the JR West Tokaido Main Line.

## InfoBox

Ōyamazaki Tile Kiln ruins
| 大山崎瓦窯跡 | |
| --- | --- |
| Ōyamazaki Tile Kiln ruinsŌyamazaki Tile Kiln Site (Japan) | |
| Location | Ōyamazaki, Kyoto, Japan |
| Region | Kinai region |
| Coordinates | 34°53′47″N 135°41′00″E / 34.89639°N 135.68333°E / 34.89639; 135.68333 |
| History | |
| Periods | early Heian period |
| Site notes | |
| Public access | Yes (public park) |
| National Historic Site of Japan | |


title: The Hierophant (album)

abstract: The Hierophant is the fourth studio album by the noise metal band Will Haven. It was released on June 19, 2007 on Bieler Bros. The album release was six years after Carpe Diem, their previous full-length. Vocalist Grady Avenell contributed to the writing of the album on several songs, but not to the recording process. Instead, he was replaced by Jeff Jaworski.

text:
# The Hierophant (album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| SonicFrontiers.net | (8.3/10) |

***The Hierophant*** is the fourth studio album by the noise metal band Will Haven. It was released on June 19, 2007 on Bieler Bros. The album release was six years after *Carpe Diem*, their previous full-length. Vocalist Grady Avenell contributed to the writing of the album on several songs, but not to the recording process. Instead, he was replaced by Jeff Jaworski.

## Track listing

All songs written by Will Haven.

1. "Grey Sky at Night" – 1:16
2. "King's Cross" – 4:37 (Jaworski)
3. "Helena" – 2:34 (Jaworski)
4. "Hierophant" – 3:41 (Jaworski/Avenell)
5. "Caviar with Maths" – 4:07 (Jaworski)
6. "Landing on Ice" – 5:31 (Jaworski)
7. "Skinner" – 4:50 (Jaworski)
8. "Handlebars to Freedom" – 3:53 (Jaworski/Avenell)
9. "A Day Without Speaking" – 4:28 (Jaworski)
10. "Singing in Solitary" – 3:35 (Jaworski/Avenell)
11. "Sammy Davis Jr.'s One Good Eye" – 3:35 (Jaworski/Avenell)
12. "Firedealer" – 5:05 (Jaworski)
13. "Dark Sun Sets" – 4:42

## Personnel

### Band members

* Jeff Irwin – guitar
* Jeff Jaworski – vocals
* Mike Martin – bass guitar
* Mitch Wheeler – drums and additional vocals

### Other personnel

* Grady Avenell – songwriting
* Mike Fuller – mixing
* Lance Jackman – additional vocals
* Shaun Lopez – production and additional vocals
* Chino Moreno – production
* Gerri Robinson – art coordinator
* Magnus Sandberg – photography
* Antony Sarti – programming and samples
* Jared Shaltes – photography and design
* Alice Verlant-Jacq – additional vocals

## InfoBox

| The Hierophant | |
| --- | --- |
|  | |
| Studio album by Will Haven | |
| Released | June 19, 2007 |
| Studio | Pus Cavern Studio (Sacramento, California)
The Airport (Burbank, California)
The Hangar (Sacramento, California) |
| Genre | Alternative metal, sludge metal, noise rock, experimental rock |
| Length | 51:54 |
| Label | Bieler Bros
(874007001724) |
| Producer | Shaun Lopez, Chino Moreno and Will Haven |
| Will Haven chronology | |
| *Carpe Diem*
(2001) ***The Hierophant***
(2007) *Voir Dire*
(2011) | |


title: Lake Bulow Campbell

abstract: Lake Bulow Campbell is an artificial reservoir, 9.1 miles south of Covington, Georgia, United States. The lake is the primary body of water for BSA Atlanta Area Council's Bert Adams Scout Reservation. The stoppage of the flow of water that creates the reservoir is created by Bert Adams Dam. The lake provides a space for swimming, kayaking, small boat sailing, and canoeing for those staying at the camp. The lake's surrounding woods also provide many hiking trails that are available to both campers and non-camper visitors. The lake is also home to several species of freshwater fish and aquatic fauna, and hosts a large amount of fishing on a catch-and-release basis.

text:
# Lake Bulow Campbell

**Lake Bulow Campbell** is an artificial reservoir, 9.1 miles south of Covington, Georgia, United States. The lake is the primary body of water for BSA Atlanta Area Council's Bert Adams Scout Reservation. The stoppage of the flow of water that creates the reservoir is created by Bert Adams Dam. The lake provides a space for swimming, kayaking, small boat sailing, and canoeing for those staying at the camp. The lake's surrounding woods also provide many hiking trails that are available to both campers and non-camper visitors. The lake is also home to several species of freshwater fish and aquatic fauna, and hosts a large amount of fishing on a catch-and-release basis.

## J. Bulow Campbell

**J. Bulow Campbell** (1870–1940) was a businessman, philanthropist, and an early supporter of the building of Bert Adams Scout Reservation. He is attributed as the namesake of Lake Bulow Campbell.

Campbell was born on December 15, 1870. He founded and headed the Campbell Coal Company, an Atlanta area based company that delivered both ice and coal. Campbell also served as a director of The Coca-Cola Company (similar to many of the early supporters of Boy Scouts in the Atlanta Area) and the Trust Company of Georgia. He also was a member of the Atlanta Rotary Club (also similarly to many early supporters of Boy Scouts in Atlanta). In the 1920s, he acted as a major advocate for the construction for a new permanent summer camp for Boy Scouts in the Atlanta Area Council. This advocation aided in the ultimate building of the Bert Adams Scout Reservation. For this advocation, and other work he completed in the early attempts to build the camp, in 1960, when the camp moved to its current location south of Covington, Georgia, the new reservoir lake that was constructed was named after Campbell.

## Recreation

Lake Bulow Campbell's primary use is that of recreation for campers and visitors to Bert Adams Scout Reservation. The lake is often used for swimming, sailing, canoeing, kayaking, and fishing, for campers and visitors. Trained members of the aquatics staff of the camp act as lifeguards for those using the lake for recreation.

## InfoBox

| Lake Bulow Campbell | |
| --- | --- |
| Lake Bulow CampbellLake Bulow Campbell | |
| Location | 9.15 Miles (14.72 kilometers) South of Covington, Georgia |
| Coordinates | 33°27′52″N 83°52′08″W / 33.464467°N 83.868838°W / 33.464467; -83.868838 |
| Type | Reservoir |
| Etymology | J. Bulow Campbell |
| Part of | Bert Adams Scout Reservation |
| Primary outflows | An unnamed tributary creek of the Yellow River |
| Basin countries | United States |
| Managing agency | Boy Scouts of America Atlanta Area Council |
|  | |
| Surface elevation | 584 Feet (178 Meters) |
|  | |
| Islands | **2** (Both Unnamed) |


title: Saskatchewan doctors' strike

abstract: The Saskatchewan doctors' strike was a 23-day labour action exercised by medical doctors in 1962 in the Canadian province of Saskatchewan in an attempt to force the Co-operative Commonwealth Federation government of Saskatchewan to drop its program of universal medical insurance. The strike was from July 1, the day the Saskatchewan Medical Care Insurance Act took force, to July 23.

text:
# Saskatchewan doctors' strike

The **Saskatchewan doctors' strike** was a 23-day labour action exercised by medical doctors in 1962 in the Canadian province of Saskatchewan in an attempt to force the Co-operative Commonwealth Federation government of Saskatchewan to drop its program of universal medical insurance. The strike was from July 1, the day the Saskatchewan Medical Care Insurance Act took force, to July 23.

## Background

The Medicare plan was announced by Premier of Saskatchewan Tommy Douglas in 1959 at a speech he made during the Birch Hills by-election campaign. It was the main issue of the 1960 provincial election, which was won by his Co-operative Commonwealth Federation government. A commission was struck by the government to make recommendations for the plan's implementation and was met with opposition by the Saskatchewan College of Physicians and Surgeons, which testified that doctors would not co-operate with a compulsory, government-run plan.

The Saskatchewan Medical Care Insurance Bill was introduced in the Saskatchewan legislature on October 13, 1961, and was passed and given royal assent in November. By then, Douglas had stepped down as premier in order to assume the leadership of the newly formed federal New Democratic Party and was replaced as provincial premier and CCF leader by Woodrow Lloyd who was to face enormous pressure to withdraw the plan. In an attempt to reach a compromise, Lloyd delayed the implementation of Medicare from April to July 1962.

## Strike

In May 1962, a meeting of the College of Physicians and Surgeons of Saskatchewan passed a resolution vowing that physicians would close their practices when Medicare came into force. "Keep Our Doctors" committees were established throughout the province and a campaign, backed by the *Regina Leader-Post* was undertaken, with warnings that most doctors would leave the province if socialized medicine were introduced. On July 1, 1962, the doctors strike began and approximately 90% of the province's doctors shut their offices.

During this time, anonymous letters signed by "the Swift Current citizens safety committee" accused doctors of rebelling against the people, and gave doctors until the morning of July 6 to return to normal practice or suffer harm to them and their families. This led to the death by heart attack of threat recipient Dr. Emil John Kusey of Canora, on July 5.

## Response of government

The government brought in doctors from Britain, the United States, and other provinces to staff community clinics that were set up to meet demand for health services. A July 11 rally in support of the doctors in front of the Saskatchewan legislature in Regina attracted about 4,000 people, one tenth the number hoped for by the organizers. By mid-July some of the striking doctors returned to work. Lord Taylor, a British physician who had helped implement the National Health Service in the United Kingdom, was brought in as a mediator and the "Saskatoon Agreement" ending the strike was signed on July 23, 1962. As a result of the agreement, amendments to the Act were introduced allowing doctors to opt out of Medicare and raising fee payments to doctors under the plan and to increase the number of physicians sitting on the Medical Care Insurance Commission. By 1965, most doctors favoured the continuation of Medicare.

## Outcome and legacy

The strike was a significant test for Medicare. Its failure allowed the program to continue and the Saskatchewan model was adopted throughout Canada within ten years. The political divisions within the province aggravated by the strike contributed to the Lloyd's government defeat in the 1964 provincial election. However, even though the Saskatchewan Liberal Party of Ross Thatcher had opposed the plan, Medicare's popularity was such that by the election the Liberals promised to not only leave it in place, but expand it even more.