This ink bottle is ‘boat’ shaped, which was a common design from the mid-1840s. It was crudely made; maybe it was rejected as a practice bottle or perhaps heat or pressure has distorted it. The bottle was recovered from the wreck of the Inverlochy and is part of the John Chance collection. Ink in the 1700s ink could be purchased in powdered or block form from apothecary shops, to be mixed with water as needed. Then in the mid-1800s chemists began selling ink in liquid form, in small, inexpensive and often attractive bottles. The small glass ink bottles were handmade, blown into a cup shaped mould, and sharply broken off from the blow-pipe at the neck, referred to as the English-made ‘burst-off’ finish. The neck was then filed, filled with liquid ink and sealed with a cork or wax. It was a quick, affordable container and made pen and ink writing available to the public. The name ‘penny ink’ bottles was a common title due to their low cost. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This boat shaped handmade ink bottle is historically significant for its association with communications and record keeping in the mid-to-late 19th century. The bottle is socially significant as an example of making a useful product affordable to every day people. This handmade glass ink bottle is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The ink bottle is significant through its connection with the barque, Inverlochy, The Inverlochy is significant for its cargo, which is a snapshot of the array of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The Inverlochy is historically significant and is registered on the Victorian Heritage Database, VHR S338. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Ink bottle, thick clear glass, rectangular base with small round mouth, long sides have have a U shaped groove along the shoulders (used for resting pen handles). The outside surface has a white clay-type reside over it. Bottle is very bent and distorted. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, boat ink bottle, cottage ink, penny ink, glass ink bottle, pen rest, writing accessory, victorian, antique, ink well, sheer lip, distorted body, handmade, mould blown, statoionery

This small handmade bottle possibly dates from the mid-1840s. It may have been used as a traveller's ink bottle, due to its wide mouth. It was recovered from the wreck of the Inverlochy and is part of the John Chance collection. Small glass ink bottles similar to this one were handmade, blown into a cup shaped mould, and sharply broken off from the blow-pipe at the neck and sealed with a cork or wax. The mouth of this bottle appears to have been added after it was blown. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This handmade bottle is historically significant for its association with being made and used during the mid-to-late 19th century. This handmade glass bottle is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The bottle is significant through its connection with the barque, Inverlochy, The Inverlochy is significant for its cargo, which is a snapshot of the array of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The Inverlochy is historically significant and is registered on the Victorian Heritage Database, VHR S338. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Bottle, clear glass, handmade, mould-blown. Small pill bottle has round mouth and neck, straight sides, rectangular base, no seams, shiny surface. Thickness of glass varies. Mouth is lop-sided and lip varies in width. Inscription of logo on both wide sides. Inscription embossed on sides [tear drop] logo. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, victorian, antique, handmade, mould blown, small glass bottle, rectangular glass bottle, pill bottle

This small knob has been manufactured to look like marble. It may have been used as a drawer or door handle, possibly part of the ship's furnishings because it appears to have been broken off its connecting shank. The encrustations on the surface are from being in the sea around 90 years. The knob was recovered from the wreck of the Loch Ard and is part of the John Chance collection. The Loch Ard was a clipper ship built in Scotland in 1873. In 1978 the ship was sailing to Melbourne with 54 people on board as well as a mixed cargo that included items for the 1880 International Exhibition in Melbourne. On June 1st 1878 it was not far from its destination when it crashed into Mutton Bird Island, east of Port Campbell. Only two people survived. The wreck was re-discovered in 1967 and the site is listed as a Historic Shipwreck. (See References and Significance for further information.)This knob is historically significant as it is an example of hardware fittings made and used during the mid-to-late 19th century. This knob is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The knob is significant through its connection with the clipper ship Loch Ard (1873-1878), which is historically significant to both Victoria and Australia. The loss of the ship has been described as one of the ‘worst shipwreck tragedies’ and is well known in Victoria for the tragic death of 52 out of the 54 lives on board. The Loch Ard wreck is historically significant as a large international passenger and cargo clipper ship. It is registered on the Victorian Heritage Database VHR S417. The wreck site is labelled as ‘one of Victoria’s most spectacular diving sites’ and the area is a popular tourist site. It is part of Victoria’s Underwater Shipwreck Discovery Trail. Knob or handle; ceramic (faux marble), dome with flat base, brown colour with orange and cream swirls through it, polished surface. Base has two embedded round, rough-edged metal fittings. Encrustations adhere to the polished surface in pleases. Clear tape keeps large broken chip intact. Another chipped area reveals the rough inner surface of the marble.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, knob, handle, door hardware, ceramic, faux marble, vintage, antique, cabinetry, door pull, drawer pull

Index, ill, maps, p.376.non-fictionSigi Siegreich and his family were expelled from their home when the Germans invaded Poland in 1939. By the end of 1942, his parents and 167 members of his extended family had been exterminated in the death camps of Treblinka, Belzec and Auschwitz. Fifteen-year-old Sigi was first enslaved in the labour camp at Skarzysko-Kamienna and later at Czestochowa, where he met Hanka, a young girl and fellow prisoner who would eventually save his life. After the war ended, Sigi and Hanka married and began to rebuild their lives. Their daughter Evelyne was the first Jewish child born to Holocaust survivors in Katowice, Sigi's home town. Thanks to a chance meeting with a childhood friend in Munich, Sigi and his family eventually ended up in Melbourne, Australia, where he established a successful import business.holocaust survivors - australia - history, holocaust - poland - 1939-1945

Index, notes, ill, p.601.non-fictionTake a journey back to the front line with two Australian veterans as they retrace the footsteps of soldiers and politicians, villagers and the enemy in a meticulously researched new history of the Vietnam War. Thirty years after the end of the Vietnam war comes an objective analysis of Australia's involvement. The book shows the extent of Australia's engagement in the Vietnam war and its contribution compared to its allies. "For Australians, Vietnam remains one of the most difficult-and controversial-wars we have fought. On the fiftieth anniversary of Australia's first involvement comes Vietnam: the complete story of the Australian war, for anyone who wishes to understand why Australia went to war, and who wants to make sense of the intensely unrelenting warfare. For Bruce Davies and Gary McKay, the history of Vietnam-its wars, colonial domination, its search for freedom and its subsequent loss-speaks to an Australian anxiety of a very small population far away from the centre of an empire to which it was firmly committed. The rise of Japan, the war in the Pacific and the postcolonial independence of the peoples of southeast Asia, coupled with the mercurial influence of Ho Chi Minh and the rise of communism, form the background to the commitment of Australian forces. Vietnam takes the reader to the front line, describing the experiences of soldier, politician, villager, enemy; and into the war room to unpick the military and political strategies. We see the challenges the Australians faced against not only a dogged enemy, but also those by the allies in the quest to defeat a powerful counterinsurgency. ... Meticulously researched and marked with acute critical analysis and a deep understanding of the place and the war, Vietnam shows the experience of Australian soldiers as never before.vietnam war 1961-1975 – history, vietnam war 1961-1975 – australian involvement

Index, bibliography, notes, p.329.non-fictionPost-traumatic stress disorder increasingly afflicts veterans of modern warfare. To begin healing, says Edward Tick, we must see PTSD as a disorder of identity itself. War's violence can cause the very soul to flee and be lost for life. Drawing on history, mythology, and thirty years of experience, Dr. Tick reveals the universal dimensions of veterans' soul wounding. He uses methods from ancient Greek, Native America, Vietnamese, and other traditions to restore the soul so that the veteran can, at last, truly return home. His work is invaluable for veterans of any war as well as for their families and all who would help thempost traumatic stress disorder - treatment, veterans - mental health - united states

Index, bib, ill, maps, p.224.Within three months of the Japanese entering World War II on December 8, 1941 over 22 000 Australians had become prisoners-of-war. They went into camps in Timor, Ambon, New Britain, Java, Sumatra, Borneo, Singapore and Malaya, and a few were scattered to other points in what was briefly part of the Japanese empire. Later most of the prisoners were to be shifted further north into South-east Asia, Formosa, Korea, Manchuria and Japan itself. They were captives within lands and cultures and to experiences alien to those known to all other Australians. At the end of the war in August 1945, 14315 servicemen and thirty service women were alive to put on new, loose-fitting uniforms and go home. One in three of the prisoners had died. That is, nearly half of the deaths suffered by Australians in the war in the Pacific were among men and women who had surrendered. Another 8174 Australians had been captured in the fighting in Europe, the Middle East and North Africa: but of these men only 265 died as a result of wounds, disease or execution.By any quantitative measure the imprisonment of so many Australians is a major event in Australian history. For many soldiers it was living --and dying --in captivity which made World War II different from that of World War I. But the prisoners have received no permanent place in Australian history. Their story is not immediately recalled on celebratory occasions. In a general history of the nation in which a chapter is given to the war the prisoners might be mentioned in a sentence, or part of a sentence. Where the horror, stoicism and gallantry of Gallipoli have become part of a common tradition shared by all Australians, the ex-prisoners are granted just the horror. The public may be sympathetic; but the horror is for the prisoners alone. To make another comparison: in five months of fighting on the Kokoda Trail in 1942 the Australians lost 625 dead, less than the number who died on Ambon. Yet the events on Ambon are unknown to most Australians. There were no reporters or cameramen on Ambon and, for the 309 who defended Ambon's Laha airfield, no survivors. How many of them died in battle or died as prisoners will never be known. But there are more than just practical reasons why the record of the prisoners of war is so slight and uneven in the general knowledge of Australians. They have not tried to find out. No historian has written a book to cover the range of camps and experiences, and only in specialist medical publications has anyone investigated the impact of prison life on subsequent physical and mental health. The complexity of the experience and its impact on particular lives have not been expressed in a way to give them significance for other Australians.world war 1939 – 1945 - prisons and prisoners – japanese, world war 1939-1945 - personal narrativies - australia

Index, ill, maps, p.378.non-fictionBased on the notebooks in which Vasily Grossman gathered the raw material for his newspaper articles, A Writer at War depicts the crushing conditions on the Eastern Front during World War II and the lives and deaths of infantrymen, tank drivers, pilots, snipers, and civilians. Deemed unfit for service when the Germans invaded the Soviet Union in 1941, Grossman became a special correspondent for The Red Star, the Red Army newspaper. A portly novelist in his mid-thirties with no military experience, he was given a uniform and hastily taught how to use a pistol. Remarkably, he spent three of the next four years at the front, observing with a writer's eye the most pitiless fighting ever recorded.". "Grossman witnessed almost all the major events on the Eastern Front: the appalling defeats and desperate retreats of 1941, the defense of Moscow, and the fighting in the Ukraine. In August 1942 he was posted to Stalingrad, where he remained during four months of brutal street fighting. Grossman was present at the battle of Kursk (the largest tank engagement in history), and, as the Red Army advanced, he reached Berdichev, where his worst fears for his mother and other relatives were confirmed. A Jew himself, he undertook the faithful recording of Holocaust atrocities as their extent dawned. His report "The Hell of Treblinka" was used in evidence at the Nuremberg tribunalworld war 1939-1945 - campaigns - eastern europe, soviet union - german occupation - 1941-1944

Mark Jury was sent to Veietnam in July 1969. This was not one of the military's wisest decisions. Drafted into the Army, he was eager not to fight in the war but to document it. For the next twelve months, armed with a trio of bruised and battered Nikons (one would eventually be retrieved from where it had been dropped - the bear pit in the Saigon Zoo) and supplied with thirty-six-exposure rolls of Tri-X by his aunt in Pennysylvania.vietnam war, 1961-1975 - pictorial works, saigon, saigon zoo

At 7.53 on the morning of 30 April 1975, the last helicopter took of from the United States embassy compound in Saigon, bound for a waiting aircraft-carrier in the South China Sea. After thirty years - more that ten thousand days - the Vietnam War was over.vietnam war, 1961-1975, vietnam - history - 1945-1975, saigon, south china sea, united states embassy

A battle by battle analysis of more than thirty years of open warfare in Southeast Asia, featuring the horrific, but fascinating, variety of conflict on land, at sea and in the air. vietnam war, 1961-1975

This volume is an excellent introduction for anyone interested in learning about the Vietnam War, especially strong in its coverage of French and American motivations.indochinese war, 1946-1954., vietnam war, 1961-1975, vietnam - history - 1945-1975, president j f kennedy

Over the thirty years of his career as commander in chief (of Communist forces in Vietnam). Giap not only frustrated the designs of two nations far stronger that his own both militarily and technologically, but also continually built up the strength and capabilities of his own military forces, seamlessly integrating them into a resilient political infrastructure that he himself had no small hand in creating.generals -- vietnam -- biography, vietnam (democratic republic). qua^n do ^i -- biography

In three straight years he was a paratrooper, an army seaman, and a LRRP - and he lived to tell about it.vietnamese conflict, 1961-1971 - personal narratives, american, 1961 - 1975, personal narratives, american, lrrp, charile company, tet offensive, 173rd airborne brigade, fng paratrooper

A battle by battle analysis of more than thirty years of open warfare in Southeast Asia, featuring the horrific, but fascinating, variety of conflict on land, at sea and in the air.vietnam war, 1961-1975

fictionthe official body count: thirty-seven. All shot, most burned beyond recognition - had there been any next-of-kin around to do the recognising.vietnam war, 1961-1975 - fiction

On April 30, 1975, tanks of the North Vietnamese Army rumbled into Saigon and brought to an end a war thirty years old. vietnam war, 1961-1975 - pictorial works

On April 30, 1975, tanks of the North Vietnamese Army rumbled into Saigon and brought to an end a war thirty years old. vietnam war, 1961-1975 - pictorial works

At 7.53 on the morning of 30 April 1975, the last helicopter took of from the United States embassy compound in Saigon, bound for a waiting aircraft-carrier in the South China Sea. After thirty years - more that ten thousand days - the Vietnam War was over.vietnam war, 1961-1975, vietnam - history - 1945-1975, saigon, united states embassy, south china sea

At 7.53 on the morning of 30 April 1975, the last helicopter took of from the United States embassy compound in Saigon, bound for a waiting aircraft-carrier in the South China Sea. After thirty years - more that ten thousand days - the Vietnam War was over.vietnam war, 1961-1975, vietnam - history - 1945-1975, saigon, united states embassy, south china sea

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

The photograph was taken on a rise overlooking the early settlement of Sunbury with Mount Holden and other hills across the skyline. The five arch railway bridge is visible in the distance on the RHS of the image. Two of Sunbury's early hotels, the John Franklin and the Ball Court are across the middle distance. Craiglee Vineyard with the vines growing is in the foreground. A black and white photograph with a white border.Written across the bottom: VIEW OF JACKSON CREEK SUNBURYsunbury, vineyards, jackson creek, craiglee vineyard

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