Paraffin lamp with clear glass oil reservoir and stand. Oil reservoir is spherical in shape and has a bird pattern embossed while stand has a fluted base with decorative rivets and turns. On top of oil reservoir is a brass wick holder. It seems to be missing the chimney."An Qing China" is imprinted on interior of base along with an "A" in a circle. Chinese characters/letters are also imprinted on base interior and can be translated to the same as the English.lighting, kerosene & oil, light, lamp, paraffin, oil, birds, glass.

Sheet metal vitreous enamel candle holder, of similar style to others. White with blue rim, shallow curved base with raised, flanged holder. Handle rounded and attached to both sides of base. Currently holding pink candle.No visible markingslighting, accessories, candle, holder, enamel

Stella Dunn played Nanny, a senile old woman, in 'Gamma Rays' in April 1976 when she was a sprightly 82 year old.1. - Program - Jade coloured card with dark blue typeface, 2. - Photos -photographic paper. 3. - Review - photocopy paper. 4. - Roneod duplicate on foolscap paper.2. - Typed information on Stella Dunn glued onto the back of the photo, reverse side of photo has typed paper glued on as well as remnants of masking tape 3. - Photocopy of a review of The Effects of Gamma Rays on Man-in-the-Moon Marigolds on page 6 of the VDL (Victorian Drama League) newsletter 'Theatrecraft' April 1976. Includes photo of Sue Lukis as Tillie. 4. - Prompts Newsletter No 2 19th March, 1976. – Typed. Includes information on next production, reminders of happenings and forthcoming events and the Moomba Drama Festival results 1976, 170, bill cherrey - director, fred merryweather - set construction, michael bond - lighting, george bugge - sound, max brooks - photography, cast - stella dunn

2019, heidelberg theatre company inc, directed by gayle poor, 429, artspace artist - anne lucas, artspace curator - teresa schipano, arty played by henry smith, jay played by robbie nicholson, bella played by aimee sanderson, gert played by cat jardine, louis played by liam gillespie, eddie played by seth kannof, grandma played by lindy yeates, ass director catherine christensen, production coordinator maureen mcinerney, stage manager melanie belcher, ass. stage manager and rehearsal prompt bobby parish, stage assistant janine kerwood, lighting design emma fox, sound design rob wanless, set design gayle poor & owen evans, costumes wendy drowley, costumes assistant catherine christensen, props melanie belcher & maureen mcinerney, set decor mal cother, lighting operator jarrod catt, sound operators rob wanless & harry gravell, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review cheryl threadgold, htc 2018 awards: best performances in a main role claire benne (private lives) & claire abagia (blue stockings): best performances in a supporting role libby kaye (private lives) & juliet hayday (blue stockings), vdl awards: gold award for an actress in a minor role – venetia macken (angustias in the house of bermuda alba), 2018 bill cherrey award bob tyres

2019, heidelberg theatre company inc, directed by chris mclean, 430, artspace artist - liz gridley, arts space coordinator teresa schipano, eddie carbone played by mark tregonning, beatrice played by catherine christensen, catherine played by ruby duncan, alfieri played by ian mcmaster, marco played by nick wright, rodolpho played by jack kenny, mr lipari/tony played by laurie jezard, mrs lipari played by lynne mcgregor, mike played by luke styles, louis played by anthony edward, officer 1 played by david peters, officer 2 played by siobhan larkin, submarine played by harry gravell, production coordinator karen wakeham, lighting design michael rowe, set design chris mclean, sound design john rowe, stage manager melanie belcher, ass. stage manager and rehearsal prompt bobby parish, costume design wendy drowley, costumes assistant catherine christensen, dance choreography christian del'olio, fight choreography robert shook, special props warren lane, props melanie belcher & chris mclean, scenic artists gaye billing and mal cother, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, sound and lighting operator john rowe, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review by beth klein

2019, heidelberg theatre company inc, directed by terese maurici, 431, artspace exhibitor textile art community art space, artspace curator - teresa schipano, freddie filmore/henry f potter & others played by liam gillespie, jack laurents/george bailey played by mark yeates, sally applewhite/mary bailey played by llaaneath poor, mycroft fry/clarence the angel played by tim camilleri, lana sherwood/violet bick & others played by paula mcdonald, harry heywood/harry bailey & others played by gavin baker, bobby b sharpe /pianist played by jack stringer, wally watson/foley artist played by phil holmes, dolores birdwhistle/floey assistant & others played by kadey mcintosh, musical director jack stringer, production coordinator jim thomson, lighting design emma fox, set design phil holmes, sound engineer andrea cole, stage manager karen dowling, pianist/vocal coach jack stringer, costume design wendy drowley, choreography llaaneth poor, foley props phil holmes, props jim thomson & phil holmes & terese maurici, set painter mal cother, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, sound and lighting operator emma fox, rehearsal prompt ryan purdey, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review by beth klein

2019, heidelberg theatre company inc, directed by karen wakeham, 432, artspace artist fred colla, artspace curator - teresa schipano, angus played by john cheshire, morgan played by andrew mcaliece, miles played by sam barson, production coordinator bruce akers, stage manager melanie belcher, lightening designer deryk hartwick, set designer lisa mcvilly, sound design john rowe, costume designer catherine christensen, composer david cheshire, props gaye billings & karen wakeham & melanie belcher, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, furniture warren lane, set painter mal cother, sound & lighting operators john rowe & chloe connolly, rehearsal prompt bobby parish, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review by beth klein

433, artspace exhibitors downstairs eddie dix & sharon chang & jan bottcher & ann martin & sue norris & jaclyn wong, artspace exhibitor upstairs susan garrett, artspace curator - teresa schipano, madame pernelle played by catherine christensen, monsieur orgon played by jim thomson, elmire played by veneita macken, damis played by broderisck mcdonald, mariane played by emma warner collins, valere plated by alexander dimitrovski, cleante played by sam howard, tartuffe played by chris mclean, dorine played by maree barnett, officer played by david ruunnalls, monsieur loyal/laurent played by laurie jezard, flipote played by rebecca bassett, ass director liam gillespie, production coordinator tim scott, stage manager rebecca bassett, ass stage manager tamsin mackie, lightning designer craig pearcey, set designers marie mackerell & owen evans, sound design rob wanless, costumes wendy drowley, costumes assistant catherine christensen, props karen wakeham & melanie belcher, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, set painters marie mackrell & gaye billing & mal cother, sound/lighting operators john rowe & margaret hassall, technical assistant tom agar, rehearsal prompt bobby parish, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review by ken barnes

2019, heidelberg theatre company inc, youth production, 434, david peters as scrooge, robbie nicholson as fred, christina savopoulos as abigail, ewan cocking as bob cracrchit, caitlyn bull as emily cratchit, alys nicklin as martha cratchit, gryff nicklin as timothy cratchit, annelise menna as mrs paradiggle, georgina topp as mrs jellby, callum corbett as the urchin, fergus greene as young ebenezer, melanie jackson as fan, nick mcinnes as ebenezer's father, sara burnham as fezziwig, abigail williams as bellle, maddison hill as mrs charr, miles glaspole as gridley/mr stagg, zuzanna wiech as esther/mrs dibler, pablo aguila as old joe, geordie corbet as the ghost of christmas past, josh fernandez as the ghost of christmas present, erich fordham as the ghost of christmas future, carl michelangeli as the ghost of jacob marley, morgan thomas connor costumes/makeup, harry gravell lighting design/operation, tasmin mackie sound design/operation, kara jaeger-pound stage manager, max nicholson stage crew, support from htc committee, set building and ticketing teams, verity adams, david belton, mal cother, anthony nickin, christian orkibi, emma jaeger-pound, jenni & noel purdey, will burgin stevenson, sean tessari and dolly’s school of dance studio

2020, heidelberg theatre company inc, directed by catherine christensen, 435, art space exhibitor david belton, arts space coordinator teresa schipano, mrs bella manningham played by claire benne, mr jack manningam played by liam gillespie, elizabeth the housekeeper played by patricia alcock, nancy the maid played by elysia janssen, rough played by chris mclean, officers played by robert peel and charles field, production coordinator joan moriarty, stage manager melanie belcher, lighting design emma fox, sound design rob wanless, set design/decor costume design props wendy drowley, special props warren lane, scenic artists gaye billing and mal cother, ass. stage manager and rehearsal prompt bobby parish, sound/light operator tasmin mackie, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, set construction owen evens & doug mcnaughton & paddy moriarty & brett hunt &, des harris & norm munks & tim scott & bob tyres & david belton & noel purdey & dean christenssen & htc members, production review cheryl threadgold, foh helpers alicia curry & owen evans & diane dawson, 2019 agm christmas party and awards president john gilbert treasurer bruce akers represented by jim thomson awards adjudicators jill scott & leslie hardcastle & rodney charles, 2019 best male lead actor mark yeates as jake laurents in it's a wonderful life, 2019 best female lean actor catherine christensen as beatrice in a view from the bridge', 2019 best supporting male actor jack kenny as rodolpho in a view from the bridge, 2019 best supporting female actor aimee sanderson as bella in lost in yonkers, 2019 special award for body of work liam gillespie for louis in lost in yonkers & freddie filmore and others in it's a wonderful life, 2019 victorian drama league awards htc's nominated entry lost in yonkers: nominations: best actress in a minor role cat jardine as gert, best properties melanie belcher & maureen mcinerney: best costume design wendy drowley, best production: drama, best supporting actor in a drama liam gillespie as louis & best supporting actress in a drama lindy yeates as grandma, 2019 bill cherrey award john rowe, election of committee: returning committee all elected unopposed joan moriarty & jim tomson & ryan purdey & morgan thomas-connor & melanie belcher

Blue enamel candle holder with fluted edgelocal history, lighting, candle, candle holder, domestic item

The Southern Cross Organisation had its origin in a small Foundry in Toowoomba, Queensland, in 1871, and has grown into a Commonwealth-wide organisation with a selling network serving the whole of Australia and supplying Southern Cross Products as far away and Deccan, in India.This object is significant because it is complete and the pages are clean, straight & unmarked with the binding is in good condition.Soft Red CoverSouthern Cross Catalogue for 1939-40windmills, petrol engines, kerosine engines, pumps, milking machines, tanks, lighting plants, home light batteries

Donald Clark Collection. A monochrome photograph of star-shaped lights installed on the top of the Soldiers Memorial in Tarnagulla. This was done as part of Back To Tarnagulla in 1931. Copy photograph. tarnagulla, reunions, back to tarnagulla, soldiers memorial, lighting

Used in the early 20th CenturyAn early 20th Century glass and rusted tin "hurricane" lamp with three wire curved horizontal bands protecting the clear chimney glass. This is a portable lantern with an oil tank at the bottom that forms the base of the lamp. The tank is filled through a metal tube with a screw top lid and it also houses a wick and knob that increases or decreases the length of the wick.lantens, kerosene lamps, lighting equipment, lamps

Used in the early 20th CenturyAn early 20th Century glass and rusted tin "hurricane" lamp with curved wire protecting the clear chimney glass. This is a portable lantern with an oil tank at the bottom that forms the base of the lamp. The tank is filled through a metal tube with a screw top lid and it also houses a wick and knob that increases or decreases the length of the wick.lamps, kerosene lamps, lighting equipment, lanterns

Murray Comrie Collection. This is an original photograph.Monochrome photograph depicting an old, defunct gas lamppost in King Street, Tarnagullatarnagulla, lighting, gas, power, electricity

Murray Comrie Collection. This is an original photo-postcard. Sepia photo-postcard depicting a man standing outside Tarnagulla Post Office.Reverse is printed as standard postcard format (blank/unused). Handwritten on reverse in tiny lettering is 'Mrs Ison' probably referring to the person who gave this item to Murray Comrie.tarnagulla, post office, people, commercial road, lighting

Lamps standards 46/- Lamps 30/- Purchased November 1968, and first lit Wed 26th 1869. Murray Comrie Collection.Monochrome photograph of the historic lamppost outside the Presbyterian Church in Tarnagulla. This is an original photograph probably taken in the 1960s. tarnagulla, buildings, churches, church, presbyterian, religion, lighting, lamppost, power, energy

Owned by Mrs. Almeda BellRound cream lace covered lamp shade with floral design. Ribbon trimming.lampshades, lighting equipment

During the Victorian goldrushes of the 1850s thousands of Chinese migrants arrived to seek their fortunes. At that time many came to the lucrative gold fields of Northeast Victoria. After the Gold rush, many Chinese migrants returned home. However, a number settled in the area as merchants, hawkers and market gardeners in surrounding towns including Wodonga, the Ovens, King, Buffalo River and Kiewa Valleys. They also rented lands and established themselves in the hops and tobacco farming industries. Items of Chinese origin made their way into many households. Importation of Chinese mass produced items such as this lantern continued well into the 20th century and were common domestic items across Australia before households were connected to electricity.This item is representation of kerosene / paraffin lamps used throughout Australia to provide lighting inside and outdoors prior to the widespread availability of electricity.A small hurricane lamp with a rounded tank and small carry handle attached to the top. A larger handle is also attached at the top of the frame. It has a lever to open the glass tank. It has a metal base which is filled with kerosene. It has a screw knob to open the kerosene receptacle. The metal hood also has vents. The Chinese characters around the base translate to "Shanghai Guanghuaheng".Around base : Chinese characters. On top : "Made in China KWANG HWA"kerosene lamp, domestic appliances, chinese artefacts

Lamp belonged to Leigh Davies grandmotherGlass kerosene lamplighting, kerosene, oil

from April Hamer Dredgegrey metal with a handle, glass lens housing on frontlighting, batteries

This late 19th century maritime lamp is an example of lighting on ships, wharfs and other outside areas around docks and shipyards as well as on vessels.Lamp; grass and glass, with flat metal back and three glass windows. Has metal handle and wood hand piece. A brass lug on the back makes provision for attaching to a socket on a wall. The chimney lid flips upwards. The right-side door frame has a sliding latch, and the edge behind has a sliding panel to allow air flow. Made in Birmingham by Alderson & Gyde Limited in 1886."Alderson & Gyde LTD 1886 Birmingham" flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, maritime museum, maritime village, alderson & gyde ltd, birmingham, lamp, lantern, wall lamp, marine equipment, maritime light, wall light, 1886, ship lighting

This late 19th century maritime lamp is an example of lighting on ships, wharfs and other outside areas around docks and shipyards as well as on vessels.Lamp, brass plated copper, with three flat glass panes, one side panel hinged for access, wooden grip on handle. The chimney lid flips upwards. The right-side door frame has a sliding latch, and the edge behind has a sliding panel to allow air flow. Ca. 1886.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, ship lighting, maritime equipment, lamp, wall lamp, lantern

This pair of brass candlesticks feature a internal candle stubb pusher that is pressed from underneath the base of the candlestick to push up the used candle stubb from inside the hollow candlestick. It once belonged to David and Alice Ellis, a young couple married in Dublin in 1855, possibly a wedding present. It has been handed down in the Ellis family until it was donated, together with other personal effects, in 2004 by David and Alice’s granddaughter, daughter of David Ellis Junior. On 6th October 1855 newlyweds David and Alice Ellis set sail for Australia in the brand new Schomberg, considered the most perfect clipper ship. She was built as an emigrant ship in Aberdeen and set sail from Liverpool on her maiden voyage, bound for Melbourne, Australia. She was loaded with 430 passengers plus cargo that included iron rails and equipment intended for building the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. On 27th December 1855, only one day from her Melbourne destination, the Schomberg was grounded on a sand-spit on the Victorian coast near Peterborough. The passengers and crew were all safely rescued by a passing small steamer, the SS Queen, which traded between Melbourne and Warrnambool, and taken to Melbourne. The passengers had been told, when leaving the sinking Schomberg, that all they could take with them was a small basket or handbag. A newspaper article later mentioned that one of the things Alice made space for in her basket was her Bible. (It is unclear whether Alice took any possessions with her onto the SS Queen, but a note accompanying the donation of the Bible and basket states that the items were “left on deck and salvaged as Schomberg went down”.) Another steamer was despatched from Melbourne to retrieve the passengers’ luggage from the Schomberg and Alice was reunited with all of her boxes of belongings. Other steamers helped unload the cargo until the change in weather made it too difficult. Although the Schomberg was wrecked there were no lives lost. At that time David was 23 years old (born in Wales, 1832) and his new bride Alice was 26 (born in Dublin, 1829). They had been given letters of introduction to people in Tasmania so they travelled there from Melbourne. However the couple only stayed on that island for about a year before they returned to the Western District of Victoria. David worked for Mr Neil Black as a gardener for a while then, when the land in the area was made available by the Victorian government, David and Alice claimed a selection of land on Noorat Road in the Terang district. They settled there for the remainder of their lives, expanding their property “Allambah” as opportunities arose. A document accompanying the donation lists the names of six children; William, Grace (c. 1859-1946), Thomas (c. 1866 – 1939), David (c. 1962 – 1953), James and Victor. David died on 13th April 1911, aged 79, at their property. Alice passed away the following year, November 1912, aged 83. Alice’s obituary described her as “a very homely, kindly-natured woman, who was highly esteemed by a large circle of friends; and she was also a firm adherent of the Presbyterian Church”. At the time of Alice’s death she left behind three sons and one daughter. Her daughter Grace Ellis was also a very active member of the Terang Presbyterian Church and a member of the PWMU (Presbyterian Women’s Missionary Union). She was also involved in the Red Cross and other charities. Grace passed away in 1946, aged 87. David and Alice Ellis were amongst the very earlies pioneers of the Terang district of Western Victoria. Their donated possessions are a sample of the personal effects of emigrants to Australia. The donated items are a sample of the personal goods carried aboard a significant migrant ship in 1855. They are also significant for their association with the Schomberg. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Candlestick holders, brass; pair of two candlestick holders each incorporating a candle pusher inside the stem (used to push up and eject the candle stump). Candlestick holders were amongst the possessions of David and Alice Ellis, passengers on the Schomberg when wrecked in 1855.schomberg, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, candlestick, candlestick with stubb pusher, 1855 shipwreck, peterborough shipwreck, ss queen, david ellis, alice ellis, allambah terang, dublin emigrants, terang presbyterian church, western district victoria, lighting, candlestick holders

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Whalebone The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The bone of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as whalebone. Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale bone Vertebrae with advanced stage of calcification as indicated by deep pitting. Off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale jaw bone one side, long & curved with advanced stage of calcification off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Memorandum - yellow paper titled "Visibility of tramcars at Night" .1 - foolscap sheet from the Designing Engineer Mechanical and Electrical to the Chief Engineer, dated 23/3/1960 outlining four proposals for improving the visibility of trams at night, signed by B. J. Roberts. .2 - half foolscap sheet - from Chief Engineer to the Chairman, forwarding report and asking what further action to be undertaken - signed D. Eakins and dated 25/3/1960.Has number "102553" and "6704" on original memo.trams, tramways, mmtb, tramcars, lights, tramcar equipment, night lighting

Photo shows extensive track lights on the left side of the single-track Nicholson St East Coburg tram line with W2 class tram 473? inbound on route 1 just to the north of Grant St. This section of track was considered dangerous and to alleviate the problem of inbound or southbound tramcars not being visible well in advance to northbound motorists, the MMTB installed the track lights. The Chief Engineer at the 24/3/1960 meeting of the Board advised of the scheme that the track lights would be progressively switched on in advance of a southbound tram. The line was eventually duplicated in Dec. 1966.Yields information about a track lighting system to improve safety on a single line of tramway in East Coburg.Black and white photo, plain backnicholson st, single line, track lights, east coburg