In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

This Kerosene lamp was made in a similar design to marine lamps of the late 19th and early 20th centuries. The Kerosene lamps were one of the most common oil lamps used and manufactured until the 1980s. The lamp is an example of 19th and early 20th-century kerosene lamps used on board ships. The design was still made in the 1980s. Kerosene lamp; metal framed cylindrical lamp with a hinged top lid with a chain-locking device. A swinging metal handle on top pivots on two side lugs and a loop in its centre. Another similar handle is on the base. Four thin rods join the base to the top. The tank at the base has evenly distributed formed holes around it. flagstaff hill, warrnambool, shipwrecked-coast, maritime-museum, modern reproduction, flagstaff hill maritime museum and village, kerosene lamp, lighting, mantle lamp, marine lamp, lantern, maritime lamp, lighting equipment, marine technology, ship's lighting

"Rangoon" Wooden three mast barque of 379 tons, built Sunderland, England, wrecked 22nd March 1870 at the mouth of Minnamurra River between Kiama and Shellharbour NSW AustraliaThe donor's grandfather was Master of the shipLamp - Candle Holder supported by brass bracket, screw cap and spring missingbarque, rangoon, lighting equipment

Before electricity, candles were a primary source of light. They were used to light dinner tables, grand dining halls, and other formal settings. Tapers were essentially wax-coated wicks used to light gas or kerosene appliances or candles. Price's developed its 'Ship Brand' trademark in the 1870s, featuring the image of a clipper ship under sail. Price's candle tapers were made between 1880 and 1910. Price's Candles was founded in 1830 by William Wilson. A long thin vintage rectangular cardboard box of three pieces of used thin Price's Dropless White Tapers Medium, for lighting candles, gas etc. The lid is heavily patterned with blue and white product name and information. The base and the sides have no writing. Manufactured in Great Britain. Inside a patterned circle on the right is 'Price's Patent Candle Company. Limited London & Liverpool.'candles, lighting equipment, tapers, gas lighters

Tilley lamps, famously known for their bright white light and reliance on kerosene pressure, originated from John Tilley’s 1813 invention of the hydro-pneumatic blowpipe. Developed as a portable paraffin (kerosene) lamp in 1915, the Tilley Lamp Company became iconic for durable lighting in the railways, military, and households before moving to Northern Ireland in the 1960s. The 1940's and 50's were the golden age of matchbook art, where the covers acted as miniature canvases for marketing, often featuring art deco or commercial designs.A small red cardboard matchbook style Set of Washers No 498 for Tilley Lamps and Radiators. There are five types of washers sealed in a cellophane bag stapled to the base of the folder. Inside the foldout section are instructions for use of the washers, with illustrations. On the back of the folder is a black and white outline of a stylised owl next to the text, Tilley Lamps, I always use them, and a lamp. 'Set of Washers No 498 for Tilley Lamps and Radiators' There is a black and white outline of an owl with the moon behind it. Inside the foldout section are instructions for use of the washers, with illustrations. On the back of the folder is a black and white outline of a stylised owl next to Tilley Lamps, 'I always use them!' 'KCR TYPE 2287' is printed at the top of the card.lighting equipment, lamps, kerosene lamps

Early mantles were made of cotton mesh, which would burn away upon first use to leave behind a fragile mesh of thorium and cerium oxides.Tilley lamp mantles, crucial for the kerosene pressure lamp's intense white light, evolved from delicate, early cotton-mesh designs to durable, modern materials. Two small white paper packets containing one silk double-tie mantle for all Tilley Lamp types with directions for use and manufacturing details printed in red print on the front. There is a blue shield at the top of the front of the packet underneath 'The Shields' brand. The silk mantle has a fine lace type appearance.'The Shields One Silk Double- Tie Mantle for all Tilley Type Lamps.' Directions are included below as well as manufacturing information.lighting equipment, lamps, kerosene lamps

Tilley lamps, famously known for their bright white light and reliance on kerosene pressure, originated from John Tilley’s 1813 invention of the hydro-pneumatic blowpipe. Developed as a portable paraffin (kerosene) lamp in 1915, the Tilley Lamp Company became iconic for durable lighting in the railways, military, and households before moving to Northern Ireland in the 1960s. They were used in homes and outdoors.Four vintage Tilley Lamp Vapourisers ( three new and one sealed in a plastic wrap). 1. Tilley Vapouriser Part No. 606. in a red and yellow long rectangular cardboard box complete with a cleaning wire part. 2.Tilley Vapouriser Part No.No. 606. in a red, black and white long rectangular cardboard box, complete with a cleaning wire part. 3. Tilley Vapouriser Part No.169. in a black and yellow long rectangular cardboard box, complete with a cleaning wire part. They all have patent numbers. 4. One loose vapouriser encased in plastic without a box.Each box has full details of parts and manufacturing.lighting equipment, lights, lamps, kerosene lamps

Wall-mounted kerosene lanterns revolutionized home lighting in the mid-19th century, following Ignacy Łukasiewicz’s 1853 invention of the modern kerosene lamp. They provided a bright, safe alternative to whale oil, using glass chimneys and metal reflectors (often on wall brackets) to illuminate rooms and railway guard’s vans until rural electrification in the 1940s. A vintage cream coloured tin wall mounted kerosene lamp for use to light the home in the 1900's. It has a shaped back support with a mounted circular reflector attached to a slide in slot. At the front there is a kerosene container with an adjustable turning wick. A glass chimney would have covered the wick to stop the flame from blowing out. There are four metal clips to support the chimney.lamps, lighting equipment, argand lamps, kerosene lamps, wall lamps

Wall-mounted kerosene lanterns revolutionized home lighting in the mid-19th century, following Ignacy Łukasiewicz’s 1853 invention of the modern kerosene lamp. They provided a bright, safe alternative to whale oil, using glass chimneys and metal reflectors (often on wall brackets) to illuminate rooms and railway guard’s vans until rural electrification in the 1940s. A vintage tin wall mounted kerosene lamp for use to light the home in the 1900's. It has a shaped back support without a mounted circular reflector. At the front there is a kerosene container with an adjustable turning wick. A glass chimney would have covered the wick to stop the flame from blowing out. There are four metal clips to support the chimney.lamps, lighting equipment, argand lamps, kerosene lamps, wall lamps

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

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

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

Memorandum, half foolscap sheet, on Tramway Board Melbourne letterhead, dated 8/1/1920 to all line managers titled "Car Lighting" advising the Mr T Dawe will give instructions to Batterymen in the operation of the motor generator equipment and car lighting equipment. Signed by the Secretary, W. Strangward using a stamp. Two copies pinned together.trams, tramways, tramway board, cable trams, batterymen, depots, tram equipment

Signal light from a Wellington Bomber consists of the light section circular blue colour. Attached to is a plate holds a plastic handgrip black with trigger and button from the base of the handgrip is an electric lead brown in colour with a section of black protectiv cord. “Lamp electrical Signalling Daylight Mark M1918 65686 CAV”lighting-electric, military equipment, wellington

Report - three foolscap sheets, titled "1041 Prototype Tram" outlining the basis of the construction of the prototype tram. Gives information on the trucks, control equipment, body frame, interior, doors and windows, heating and ventilation, lighting, destination equipment and other equipment. Notes the construction of the new trams by Commonwealth Engineering and the basis for the design from those of Gothenburg Sweden. Dated 21/3/1974trams, tramways, mmtb, prototype tramcar, 1041, new tramcars

8 NBH - Excursion Car (28) In Active Service - Belgrave Station Yard 8NBH - Excursion carriage. This car has been restored to original condition with white canvas weather blinds,Full carriage length side steps, timber tongue and groove boards,coupling centering springs and some pinch gas lighting equipment. NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History : *NBH 8.VA - 8/12/1919 NWS Built new - / 1/1929 - Modified AC Malco BO circa 1955 - Condemned Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car 8NBH - Passenger Carriage - Excursion Car made of steel and timber8NBHpuffing billy, victorian railways, 8 nbh, passenger carriage, excursion car, narrow gauge

Alfred Frederick Samuel Genton was born in Switzerland around 1869 and arrived in England, date unclear. By 1901, the Kelly’s Directory of Birmingham had listed the Genton & Kessler company as manufacturers of all kinds of ship and railway lamps, fog horns and general ship fittings, with their factory listed as the Bingley Works, King Edward Place, Birmingham, UK, which is listed in 1896 as being owned and run by J E & H Player. Then in February 1905 it appears the partnership of Alfred F S Genton & Julius Rudolf Kessler was dissolved and Alfred F S Genton continued to carry on the business on his own. The company continued to be managed by family members until 1961, when it ceased trading.A marine lamp made by a significant maker in Birmingham, England, in the early part of the 20th century. This item is now regarded as a collector's item. Brass lamp marked 'Port', with two small chains and hook locking mechanisms, and a hinged lid. It has a clear ribbed glass front with a red lens filter. The fuel tank and wick burner were removed. Inscriptions marked on the lamp. Manufacturer: Seahorse in Great Britain.Stamped: "Seahorse GB trade mark" "No. 54987" "PORT"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred frederick samuel genton, birmingham, genton & kessler, ship lamp, bingley works, j e & h player, alfred f s genton, navigation lamp, port lamp, bow side lamp, lighting device, navigation, seahorse, great britain, genton & kessler ltd.