This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. However, this bottle is rare, in that the base has been embossed then over-embossed with the same text, letters overlapping. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is a rare find, in that the base has been over-embossed with the same lettering, letters overlapping one another. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, over embossed, brown glass, handmade, rare. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has sealing tape remnants around top. Mould seam around shoulder. Body tapers inwards to push-up base. Top edge of lip has application faults. There is also a rectangular indent in the upper edge of lip. Base is embossed and over embossed, with the letters overlapping each other. Embossed on base "6 TO THE GALLON", then over-embossed with the same "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable, over embossed, rare

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

Bendigo Advertiser ''The way we were'' from 2000. Modern Style: a collage of contemporary Bendigo homes from 1937. The clip is in a folder.newspaper, bendigo advertiser, the way we were

A pink book titled 'The Life of Gustavus Adolphus the Heroic King of Sweden. The greatest character of the Thirty Years' War. The champion of an oppressed people; called by his contemporaries The Lion of the North, and the Bulwark of the Protestant Faith.' London : Ward, Lock & Co., Salisbury Square, E.C. 641 - 656 pgs.This booklet is one of a series of 53 ' Ward & Lock's Penny Books for the People.' 'Biographical Series.' Price one penny. There are also advertisements of notes.books, biography, gustavus adolphus, lydia chancellor, collection, sweden, swedish history, scandinavia, gustavus adolphus, ward & lock's penny biographies, ward & lock's penny books for the people, biographical series, biographies, male, individual, person, penny books, advertisements

One page printed ''Introduction to Collection'' - Bendigo Art Gallery (1972). Covers Buildings and Site; Paintings (''over 600''); Prints (''relatively small collection''); Sculpture; Porcelain; The Dresden Vase (Baron Von Mueller); Contemporary Ceramics. This appears to be a hand-out to visitors to the Gallery as it states that ''It is hoped that you enjoyed your visit''government, local, bendigo art gallery

Bendigo Central Bottle Club Newsletter - James Lerk Collection April/May??/ 1977. Article on ''Highlights on Breweries and Beer in Bendigo Area'' - spirits, sly grog and names of some of the early breweries in the area; article on Graytown with first para re history of the area; article on the life and work of George Duncan Guthrie - founder of the Bendigo Pottery (some details of contemporary situation of the Pottery); short article on the Ramage family and their business as tailors and mercers in Bendigo. One page has a copy of an advert which appeared in the 1862 Bendigo Mining Register -Mining Versus health offering Doctor consultation via mail for the price of one pound.

This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and image inquiries Talking Shop: Ballarat in Business and City Life was an exhibition and program of events held at Ballaarat Mechanics' Institute Between January and April 2019 the BMI hosted Talking Shop: a world of Peters Icecream cones, milk bars, vintage advertising, historic photographs and ephemera, and contemporary photographs and creative responses exploring Ballarat's shops and businesses. Community events invited the community to contribute their images and memories to the BMI collection, and engage in creative activities. This exhibition was curated by Amy Tsilemanis at the BMI who worked with artists Pauline O'Shannessy-Dowling and Margie Balazic, collector John Kerr and Ballarat businesses, council, and schools to create a 'generative' exhibition where material and collaborations could grow. ballarat, ballaarat mechanics' institute, talking shop, exhibition, event, artist in residence, reading room, 2019

Booknon-fictionMonograph on contemporary South Australian artist Annette Bezor.gender, oil painting, essay, sexuality, identity, digital art, portraiture, laser prints

Booknon-fictionCatalogue accompanying exhibition at National Gallery of Australia in 2001 with two essays interweaving Hester's life and art, 1920-1960.contemporary art society, angry penguins, painting, watercolour, gouache

Booknon-fictionFollowing an introduction from the editors of Art-Rite are 12 essays by Judy Chicago discussing feminist art history, academic perspectives, contested issues, projects and exhibitions, and 18 monographs on specific artists, plus two fictional pieces.art history, criticism, gender, contemporary, feminism, joan mitchell, judy chicago, faith ringgold, louise bourgeois, adrian piper, eva hesse, performance

Book

non-fictionA collection of essays on Indigenous art in mainstream Australia by international Indigenous and non-Indigenous academics, arts administrators and practising artists. fiona foley, fiona nicoll, regina ganter, ole maiava, louise martin-chew, anna haebich, franca tamisari, aboriginal art, indigenous architecture

Churchill Island has a large photograph collection dating from the late nineteenth century. This series shows the previous owner of the Island - Sister Campbell - with two other women and was probably taken in the 1950s. This is a contemporary reprint.Photograph of three women wearing red cardigans standing in a garden with a smaller blonde boy in the background.EASTER 1957/SISTER CAMPBELL/JOAN EVAN/ALMA TIMBLER(?)[written on reverse in pen] [catalogue number on reverse in pencil]churchill island, photograph, sister campbell

Churchill Island has a large photograph collection dating from the late nineteenth century. This series shows the previous owner of the Island - Sister Campbell - with another woman and was probably taken in the 1950s. This is a contemporary reprint.Photograph of two women wearing red cardigans standing in a garden in front of Amess HouseEASTER 1957[written on reverse in blue pen] EASTER 1957[written on reverse in red pen] [catalogue number on reverse in pencil]churchill island, photograph, sister campbell

Churchill Island Heritage Farm has a large photograph collection.Colour photograph of a small line of market stalls with green marquee roof, with a group of people in a blend of contemporary and historic dress assembled to the left of the frame and a small tree surrounded by four hay bales in the foreground.KODAK PROCESSING/JAN.82 [stamped in middle on reverse] Catalogue number written on reverse in pencil churchill island, photograph

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century.Colour photograph of a group of people in a mix of historical and contemporary dress. Some are standing, some seated on chairs, and some seated on haybales. In the background, a green, white, and blue marquee is set up, and is emblazoned with the Victorian Farmers Insurance Agency logo and the Victorian Farmers Federation.catalogue number on reverse in pencilchurchill island, photograph

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century.Colour photograph of a group of people wearing a mix of contemporary and historical dress, gathered to the right side of the frame. In the centre, two small girls stand in historical dress in front of Amess Cellar.catalogue number on reverse in pencilchurchill island, photograph

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century.Colour photograph of a group of people wearing a mix of contemporary and historical dress, gathered to the right side of the frame. In the centre, a girl in a purple dress chases a boy wearing contemporary clothing in front of two people in red. They stand in front of Amess Cellar.catalogue number on reverse in pencilchurchill island, photograph

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century.Colour photograph of a group of people in a mix of historical and contemporary dress, some standing and some sitting. They are gathered together, looking to the left of the frame, with a partially visible marquee on the right.catalogue number on reverse in pencilchurchill island, photograph

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around the Phillip Island area.Photograph of an exhibition display inside a corrugated steel shed showing four large black and white photographs of working horses and farm machinery. The corkboard has been mounted on wooden beams in front of farm machinery.catalogue number written on reverse in pencilphotograph, exhibition display

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of Amess Barn machine display taken from the inside. Photograph shows machinery and information plaques.catalogue number written on reverse in pencilphotograph, exhibition display

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of section of the Churchill Island Souvenir Shop showing a number of displayscatalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a souvenir plate with a monochromatic painted scene of Lieutenant Grant on the Lady Nelson naming Portland Bay. catalogue number written on reverse in pencilphotograph, churchill island, grant, lady nelson, souvenir

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of an exhibition display of items involving the exploration of Phillip Island and Churchill Island established by the Phillip Island & District Historical Society Displaycatalogue number written on reverse in pencilphotograph, churchill island, grant, lady nelson, souvenir

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a kneeling Tibetan monk folding clothes into a trunk surrounded by items. Taken in front of Amess Barn with prayer flags in the background.catalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a kneeling Tibetan monk sitting in front of a trunk with stalls and other monks and visitors in the background.catalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a Tibetan monk and a teenage boy posing for the camera. The monk is holding a white camellia and they stand in front of a canvas display mount.catalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a Tibetan monk holding a white camellia and posing with a woman. They are standing in front of a canvas mounting board. catalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a Tibetan monk wrapping a yellow piece of fabric around a large wooden tent-polecatalogue number written on reverse in pencilphotograph, churchill island

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series shows more contemporary photographs taken from around Churchill Island.Photograph of a Tibetan monk standing at a table, unwrapping a wooden item covered in bubble wrap. catalogue number written on reverse in pencilphotograph, churchill island