This is one half of a piece of period bottle glass recovered from Chorlton Ees. My aim this time was to make a larger point and maintain some of the lettering on the dorsal surface (see Foraging for early 20th Century glass and ceramics). I used a glass cutter to score the inner concave ventral surface of the larger piece of glass, and then tapped the dorsal convex surace with a hard hammer. The large piece split cleanly into two useful preforms, one of which you see here. I then started to work on the ventral surface of the margins to produce a steep edge angle. This would allow me to flip it over and start using the newly created steep edge as a platform for penetrative flakes. The aim of this penetrative flaking was to flatten the convex curvature on the ventral face. I was able to straigten and steepen the margins but was not as systematic as I could have been. Working around a thick area semi-disaster struck!
I called it a day in the lab and took both pieces home, and the following day finished it off. The ‘A’ is a useful landmark on all three photos and gives an insight into the degree of reduction. I am getting a feel for this thicker and uneven material and was able to avoid a large internal bubble, which is why the base has remained relatively unworked. The end result isapproximately 76x26x7mm and pretty well flattened on the ventral side.
After the above photograph was taken I serrated the margins. My main learning from this piece is to be systematic in my reduction sequence. If my edge steepening had been more consistent I would have achieved a longer point. I am making some points for Eleanor Casella’s teaching collection and I think this can be one of them as it has an interesting provenance and biography, as well as being an aestheically pleasing example.
Yesterday I had a foraging expedition with Nick Overton, Kelsey Lindstrom, two disinterested teenagers and dog. It was an eventful trip to Chorlton Ees in that we met a couple of guys dismantling a really well made shelter they had constructed in the woods. To add to the Australian Kimberley Points theme, we then saw some wild parrots! But the main event was an area close the the River Mersey where a tremendous amount of early 20th Century material had been exposed.
Kim Akerman advised me that early glass Kimberley Points (1880s onward) were made on beer bottles, Lea and Perrin sauce bottles, blue poison bottles and milk glass from medicine bottles. Eleanor Casella is a historic period archaeologist and has a good knowledge of bottle types and periods. She highlighted how the differing early production methods resulted in bottles with thicker bases and walls. Modern bottles certainly have thinner walls, probably to reduce weight and transport costs. The bottles recovered here are really useful because many can be dated, and because they are already broken we can use them with a clear conscience. We came away with over 20 of these thick and heavy bottles and many useful fragments. If the dates correspond then we will be using analogue materials with similar, if not the same, problems and opportunities dealt with by the aboriginals themselves. Nick and myself have a preliminary experimental session booked in for Tuesday evening.
Obviously I was not able to wait until Tuesday and so had a go with a largish piece of curved and patterned porcelain. The resulting point is good in that it has the needle like tip and serrated margins. Size wise it is 87mm long, 30mm wide and 7mm thick. An interesting phenomenon that is emerging seems to be that all the original dorsal or ventral surface is not necessarily obliterated. Wayne Harris on the Australian Antique Bottle Forum told me that:
“many years ago I saw some large [Kimberley Points] from the N.T. in the Melbourne Museum. Parts of the embossing on both made identification certain. One was from the side of an A. van Hoboken gin & one was from the front of a Hartwig Kantorowicz milk glass Bitters bottle”.
This remnant lettering allowed him to date the points to between late 1880s and 1900. I wonder if this leaving on some embossing was ‘expedient’, or ‘aesthetic’? Or perhaps allowing the point to retain a connection to the material source, an aspect that seems to have been important for the stone points.