The Midnight Oil Autumn 2016
The Magazine of the Historic Lighting Club
Issue 94
Featuring contributions from Dave Crow, Brian Eade, Phil Harris, Rob Isdale, Jason Kermeen, John Kidger, Harold Landin and Mike Parker
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THE HISTORIC LIGHTING CLUB To encourage interest in the collecting and restoration of lighting artifacts and the research into and study of the history of illumination
Website: www.historiclightingclub.co.uk
Committee
PRESIDENT Ian Caunter Tel: 01752 783565 caunteris@aol.com HONORARY PRESIDENT David Denny TREASURER & MEMBERSHIP SEC’Y
Dave Horrocks Whitewall Cottage Milbury Heath, Wotton-under-Edge, Gloucestershire, GL12 8QL Tel: 01454 281095 davidwhorrocks@gmail.com
CHAIRMAN
Mike Parker Tel: 01386 881863 mike@parkers-paraffinalia.co.uk VICE CHAIRMAN
Mike Bradley Tel: 01179530395 mike.bradley70@tiscali.co.uk PUBLICATIONS OFFICER John Kidger Tel: 01242 236794
johnkidger@talktalk.net
Committee: Ian Smith, Tel: 01279 651405. iansmith6666@btinternet.com Safety Advice: John White
Membership
Article Submissions
It was agreed at our 2015 AGM that there should be a proposal to raise the membership fee, due this November for 2016/2017, from £20 to £25 per annum. Overseas members have traditionally paid an extra £5 to cover for their higher postage costs. Because postage costs have increased over time, it was decided to review this, whilst accepting that every member wishing for hard copies of the Club’s publications should have some of their postage paid for out of their membership fee. It is now proposed that, after formal agreement at the next AGM, UK members receiving hard copies will pay £25 annually as their membership fee, European destinations will pay £5 on top of their membership fee (total £30) and USA, Australian and New Zealand members £10 on top of their membership fee (total £35). All publications will be available on our website, with restricted access, so any overseas member prepared to read online, and happy not to have a hard copy, could just settle on the membership fee of £25. Please send all material for inclusion in future issues of The Midnight Oil to Mike Parker. Editors for Issue No. 94: David Burnett and Mike Parker. All material © 2016 HLC Front cover: Candle Nightlight Clock – Bronze Statue with an 8 day escapement movement. Picture by Jason Kermeen. See article inside - Nightlight Clocks.
HLC meeting and lamp related dates for 2016–17 8/9 October: Black Country 27 November: Uffington (AGM) Museum 15 October: Wheels by Lamplight 12 March 2017: Wythal 16 October: Nth Tuddenham 25 June: Uffington
The Midnight Oil
Autumn 2016 Issue 94
CONTENTS A note from the Editor Mike Parker 4 A Tilley at Eardington Station Phil Harris 5 Nightlight Clocks Jason Kermeen 6 An 1860s Argand ‘Indicator’ Lamp Brian Eade 9 A distinctive Cherub Lamp Harold Landin 11 A Pewter Whale Oil Hand Lamp John Kidger 12 Melford in a Different Light Jason Kermeen 13 Table Talk Phil Harris 15 A Hermann Riemann Headlight Rob Isdale 16 A PL53 Tilley Phil Harris 19 A Chinese Opium Lamp Dave Crow 20 Chalice Lamp musings Rob Isdale 22 Notices & Special Events Mike Parker 23 Mini Hinks ‘table’ lamp. Matching cut glass fount & shade. 15 inches to top of Bijou chimney in threaded burner marked Hinks & Son Bham. Unsprung push in fitting between fount and the brass base marked Hinks on the ‘pseudo’ drip tray. Mike Parker’s collection. Brass smoke consumer, marked GM BREVETTE SGDG, was salvaged from a Victorian Tip.
A note from the Editor Mike Parker
Pair of cut glass drop-in founts, with bijou burners marked Hinks & Son Bham, in a double wall bracket with ruby etched shades. Courtesy of Mike Parker
Welcome to Midnight Oil magazine, issue 94. We are looking forward to seeing many of you during what will be the busiest months of the year for many of us early lighting enthusiasts. Club members will be displaying their lamps at the Historic lighting event at the Black Country Living Museum, Dudley on Sat 8th and Sun 9th October 2016, (see our March Newsletter). Do come along to see the museum and club lamp display on Saturday or Sunday. On Saturday evening fish and chips, a visit to the pub, and lamp demonstrations take place. Tickets must be booked in advance at £15 and are limited to 40 people (see http://www.bclm.co.uk). For further info, please contact: John Kidger, Tel: 01242 236794 or at johnkidger@talktalk.net. Many members will also be attending Wheels by Lamplight on the 15th October, followed next day by our North Tuddenham meeting on the 16th October. We have a good selection of fascinating articles for you again, spanning the darker days of whale oil to the potent power of Tilley outdoor railway illumination. Thanks to those members for sharing their interests and knowledge. So now a call for you to be championing your charms, those once elusive lighting artefacts that now grace your front room, shed, or are even tucked away in a cardboard box to escape a claimed overkill on the domestic display front. We need your contributions ... Linked to my appetite for quality articles, just a reminder to make sure you bring along a camera that you are familiar with to meetings, alongside your choicest items. That way you can be confident of good pictures. Whilst a camera that will fit on a tripod is ideal, Phil Harris has also shown that with a steady hand it is possible to achieve excellent results with a modern phone. It is also well worth familiarising yourself with camera exposure compensation settings so that your pictures are bright and clear. Two Meeting reminders: Do remember to sign in at meetings. It’s important for Health and Safety reasons. Raffle prizes are very welcome. Income from the raffle and catering really helps in meeting our hall hire costs.
Submitting Material Please don’t think that lamp information which you wish to share, or seek information about, is not suitable for publication. If 50p Parker’s stuff gets in there, your’s can. Even if you are worried about presentation, that’s what we have an Editor for. A gentle editorial nudge towards greater fluidity and use of the spell check can work wonders, if that is what you worry about. We want your personal take on historic lighting, whether it is recounting your lighting related experiences, about your collection, or even seeking to enlighten your ignorance - a regular feature for all of us at some time. Text and high resolution images are what we are after. Images should be sent separate from the text, but with a note showing roughly where you wish it to appear. Please check that your email program is not set up to automatically reduce image size when sent out. Image resolution should be 300dpi for printing so check your pixel count, ie a 900 x 600 dpi image will print at 3 x 2 inches. Any queries to Mike on 01386 881863, with whom you can also discuss the preparation of lamps for having them photographed at meetings.
A Tilley at Eardington Station Phil Harris The Tilley ‘doughnut’ series of hanging pressure lamps are amongst the holy grail of collectable vintage pressure lamps, so I was delighted to be asked to overhaul a 300 C.P. Tilley OL50 which had been recently acquired by my colleagues at Eardington Station at a very reasonable price from a fellow railway enthusiast. Tilley introduced this type of lamp, described by Jim Dick as the ‘lifebuoy’ style, as early as 1922. Our OL50 has the 14” diameter reflector and short socket for the control cock, and thus is a post1940 example. On arrival the lamp was found to be dusty but complete, including globe, described as ‘in working order’ and indeed was full of fuel. The mantle was present but damaged, and there was a fairly large dent in the tank. Rather than try to conceal the dent, we decided that it is a part of this lamp’s history - who knows which locomotive driver or fireman managed to clout the lamp sufficiently hard to dent it – and agreed to leave it in place. A quick pressure test with a bicycle pump showed that the pressure indicator was working and the tank was airtight. I dismantled the lamp to permit thorough cleaning, but came across a snag, in that two of the three bolts which secure the tank in position above the reflector were seized solid. The slotted bolt heads showed signs of having been damaged – or, more accurately, chewed up – by someone’s previous ham-fisted attempts at removal, so I soaked them in penetrating oil and tried again a week later. Sadly, this only resulted in one of the bolt heads shearing clean off. I didn’t attempt to remove the third bolt ... After some head-scratching, I managed to fabricate a small copper strap which fits around the support pillar and, with a small nut and bolt, clamps another thin copper strip soldered to a brass washer and passed through from the underside of the reflector. The existing soft lead washers were re-used either side of the reflector. It’s not an elegant solution but perfectly solid and invisible in normal operation. The remaining work on the lamp included replacement of all rubber washers with new Viton components, thorough cleaning of the burner, vapouriser and control cock, and a new mantle. The tank was washed out with clean paraffin, and a significant quantity of gritty debris was removed. Before reassembling the lamp, I test-burned the vapouriser with its control cock, burner and new mantle on another Tilley fount. Finally the lamp was
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A Tilley at Eardington Station lightly polished with Brasso, reassembled and tested. The final image shows the OL50 in-situ outside Eardington Station’s Lamp Room. No work was done on the hanging bracket, which allows the lamp to be wall-mounted instead of hung from a pulley or halyard. The bracket may have been a Tilley original, or possibly fabricated by the railway’s workshop. It is quite cleverly designed to support the lamp from above whilst securely locating the fuel feed tube from below, and stopping the lamp from swinging in the breeze. If anyone has ever seen anything similar, I would be very interested to know!
Nightlight Clocks Jason Kermeen In the hallway, on a relatively small corner shelf, stands a figure in solid bronze (made in approximately 1870) dressed in 18th century clothing and holding a staff. You may find yourself asking the question “what has this got to do with lighting”, a perfectly logical question, as this article is appearing in Midnight Oil. This Victorian Bronze statue has 2 unique features. First, it is an 8 day clock and secondly the clock can be read during the hours of darkness. In fact, the light that it emits through the use of a nightlight candle is sufficient to illuminate the hall. I have had the good fortune to own this Nightlight Clock for approximately six years having originally purchased it at an auction. This clock is often referred to as the Statue Nightlight Clock. As previously mentioned the Nightlight Clock has an 8 day movement which is housed in the base from which a set of bevelled gears turn a rod within the staff which is attached at the top to the nightlight candle and globe holder. The globe is in milk glass and marked with the hours 1 to 12. There is a static pointer and the present time is read by means of the said pointer as the globe rotates. Unfortunately, there are no marks whatsoever on the movement, or the body itself, to indicate the maker and should there be anyone who might be reading this who happens to know the maker it would be much appreciated if you could let me know. I have, as many of you also in the clock world may know, drawn a blank. However, what is known is that the movement is without doubt French and has a carriage clock platform type escapement. The shade/globe which as previously stated is in milk glass, which is original and in perfect condition and is very rare bearing in mind that it is approximately 140–150 years old. The bronze statue and movement are also
Nightlight Clocks in perfect condition and keeps excellent time. The spring runs for the full 8 days. The second of my Nightlight Clocks is some 40 or so years older and is sometimes used as a Bedside/Travel Nightlight Clock which points very much to their origin. Although this clock is extremely rare it is not like the first one in that the statue is thought be the only one of that size to exist. The Bedside/Travel Nightlight Clock is made from brass and alabaster – as an alternative these were made in Belgium slate and brass – it has a verge type escapement whereby it has a crown wheel as standard but the pallets have a slight similarity to anchor escapements. The movement is marked as being patented. However, the French patenting system, once introduced in 1791 and modified in 1844, did not work in the same fashion as found in Great Britain or other countries. The French system was more in a form of self-patenting but was not guaranteed by the French government. The movement is also not marked for a maker and as far as I am aware there is no known nightlight clock with any marking indicating a maker. Again if anyone should know to the contrary then I would be most interested to hear the details. As with the Statue Nightlight Clock this one was also purchased from an auction. I was aware, before purchasing, that it was generally in a poor state and missing its shade/globe. However, bearing in mind just how hard it is to find such a clock I felt it better to own an example, even if not working, than not to own such a clock at all, especially as I already had my Statue Nightlight Clock. Upon receiving, through the post the Bedside/Travel Nightlight Clock, I stripped it down and cleaned it carefully. I am glad to say it did not need or require re-bushing. I made a new pendulum and put the movement back together and it now works and keeps very good time. In regard to the hour marked shade/globe I set about searching for a suitable replacement. I was fully aware that I was not going to find an original one because it is believed that there are only approximately half a dozen undamaged hour marked shade/globes in existence and one of those I am fortunate enough to have on my
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Nightlight Clocks Statue Nightlight Clock. On searching the internet I found that a firm called Campingaz could supply a shade classed as a Medium round globe, which was ideal as it was heat resistant which was very important, as a nightlight candle was to be housed within the glass shade. When I received the glass shade I had to mark it with the hours, and this I did, but not the easiest of tasks trying to make sure that the hour markers were equi-distance apart. The end result being not quite as an original, but nonetheless the glass shade/ globe is functional and respectable in appearance. I placed the Bedside/ Travel Nightlight Clock on a base and under a glass dome in order to protect and keep it dust free. This was also as alabaster is such an absorbent material and of course should the use of a nightlight candle be employed the glass dome would have to be left off. In the photograph you will note that the dome is in place and the lamp alight – I cheated and used one of these new battery powered nightlights – these are effective but at the end of the day just not the same as the real thing. On researching Nightlight Clocks I did come across a shorter version of the Statue Clock in spelter with an unusual bronze type finish. This was for sale in an auction in Norfolk. I have in fact since then discovered 3 others, one of which was in America and this example was mounted on a reasonably large Belgium slate base with 2 figures. As I have said previously if anyone should have any information relating to these or similar Nightlight Clocks I would be most interested to hear about them and would be especially interested should anyone know of a manufacturer. Both of my previously described Nightlight Clocks will be on display at Melford Hall for the last weekend in October – please see separate article. Should you wish to view these in person and you are in the Suffolk area or visiting Melford Hall on that weekend please come along and join us.
An 1860s Argand ‘Indicator’ Lamp Brian Eade (continued from Midnight Oil 93) My new theory now, is that this is possibly evidence of a quick method of cleaning out thick oil deposits from the pump. If the lamp were filled with fresh oil, primed and then a hole made in the base plate, any thicker oil settling in the bottom would be forced out of the hole first. I also have in my collection a pair of moderators with large brass drain plugs fitted into the base, which seems such a sensible, necessary development because the Colza oil solidifies and eventually clogs up the mechanism. It is precisely because of this problem that I now use liquid paraffin in my lamps, which doesn’t thicken! Apart from surface rust around the bottom flange, the pump was in very good condition and once dismantled, its components were all complete and appeared serviceable. The lower piston plate turned out to be fully embossed with the manufacturers name and address, “J. Schlossmacher. Rue Vendome 19 Paris.”, a nice detail, positively identifying this lamp as imported and possibly providing a clue to the approximate year of manufacture. * See notes. The pump washer, although in good condition, felt too hard to re-use but after scraping away the solid layer of colza it was coated with and soaking it, first in white spirit overnight and then in liquid paraffin, it was as good as new. Sadly, no trace of the, ‘indicator’ mechanism was found inside the pump and as researches drew a blank, I decided to rebuild the lamp without this feature. After careful cleaning of all the parts, using wire wool and white spirit, I reassembled the pump using the original reconditioned washer and then tested it with the complete burner I had. It worked very well indeed, in fact, after being fully wound it pumped for over 8 hours! After making the new wick retainers and brass wick tubes (the originals were also made from brass, instead of the usual tin plate ones found on most moderators, indicating a high quality lamp!) I fitted them to the burner and made a new leather seal for the feed tube gland. A tight fit here is essential for the lamp to function correctly. Next I tested the burner for leaks using a large syringe filled with water (surprisingly, I only found one leak and soon had it sealed!). Once
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An 1860s Argand ‘Indicator’ Lamp the burner had dried, I fitted a new round wick (‘unpicked’, from a flat one!). Lastly, I reassembled the whole lamp back into its brass casing and was even lucky enough to find an original mineral glass moderator chimney that was a perfect fit, for that finishing touch! To think that this lamp, 150 years from new, is now back in working order and about to start a journey, to its proud new owner in America, that will be by far the longest it has ever made. I shall be very sorry to see it go but I have certainly enjoyed the voyage of discovery! * Notes On my other JS lamp the address on the piston plate (right) .is different, given as “J. Schlossmacher Rue Beranger 19, Paris” (in fact, the company never moved, the street name was changed in 1864, in honour of Pierre-Jean de Beranger, a French songwriter!). J. Schlossmacher and Co, along with the Vendome address, appears in the London Gazette business listing of 1854, the same address is also given in the 1862, Annuaire et Almanach du Commerce,de l’Industrie, de la Magistrature et de l’Administration, however by the time of the 1867 publication, Catalogue General Public par la Commission Imperial, J. Schlossmacher and Co are listed at the Beranger address, along with the description, Appareils d’Eclairage en bronze (Bronze Lighting Devices). After consulting Lothar Spaniol’s fascinating and informative website, Antik Öllampen (www.antik-oellampen.de), I found that Joseph Schlossmacher first listed moderator lamps in his catalogue of 1843 but by his 1885 catalogue, moderators were no longer listed. They also state that this model of burner, with a seamless brass wick tube, first appeared in 1850 and that when a company merger took place in 1860, (the address, once again given as, “Vendome 19, Paris”), it included the opening of a London sales office that year. So we may conclude that this lamp would have been manufactured post 1850 or possibly even 1860, after the
An 1860s Argand ‘Indicator’ Lamp opening of the London sales office (as the lamp was originally retailed in England), and no later than 1864. Of course, it may have taken time to use up the old address plates! My plain brass lamp is of later manufacture, between 1864 and 1884. Last and best of all; I also have a smaller tin plate J.S. lamp in my collection, with the earlier seamed burner, that I can now fairly accurately date between 1843 and 1849.
A distinctive Cherub Lamp Harold Landin This sculptural lamp is an 8 line Kosmos Burner, Basket Cherub Lamp, with a base made at the famous Meissen Pottery which measures 5” x 8 1/2” high. The Meissen crossed swords are on the underside and it dates to circa 1900. Bought from a boot sale for £35. Harold reassured himself of the lamp’s authenticity by consulting a ceramics expert – members are warned that there have been many reproductions introduced from the Far East. Editor
This photo was taken at the June 2016 meeting at Uffington using the club’s newly purchased photographic light tent.
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Photographs for this article by Sarah Ramm.
A Pewter Whale Oil Hand Lamp John Kidger This lamp is 8 ½ inches tall, has a 5 inch base, with a ½ inch burner and handle, and was made in France, circa 1825. These were contemporaries of the French pewter pump lamps. The top of the lamp – the font – was badly bent over when I bought it. I immersed it in boiling water for 10 minutes, then pulled it through about 5 degrees before repeating the process until straight. I then made a burner in brass to replicate those I have seen on similar lamps. These lamps can also be in brass, glass, bronze and tole. The burners are sometimes cast, and I read that they are in brass as pewter would burn away. The burner is made from brass sheet and flattened brass tube then soft soldered together. It is running on Liquid paraffin (Mineral oil) and a dash of paraffin. There are no maker’s marks on the lamp.
Melford in a Different Light Jason Kermeen
I have had the pleasure and good fortune to be a house and room guide as well as being part of the conservation team at Melford Hall, a National Trust property, for the past 5 years. For each of those years for the last weekend in October we have held an event called ‘Melford In a Different Light’. ‘Melford In A Different Light’ is where the house, including all room guides, are dressed for dinner. The clocks are moved forward so it appears as 7pm. The curtains are drawn, the dining table set for an intimate dinner party and the rooms are bathed in a mellow light given by the lamps and
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Melford in a different light
wall lights. The grand chandelier, now electrically lit, but once gas lit, graces the boudoir at the end of the grand processional staircase. The room guides explain how the room may have been lit over the centuries. As each year passes the event has grown. The last year I had the opportunity to display a couple of my Victorian oil lamps and associated parts in the library and explain their role in how they might have been used within such as a house as Melford. This year’s ‘Melford In A Different Light’ gives me an even greater opportunity to display 15 oil lamps (four of which are nursery lamps) most of which are produced by Hinks, Messenger and Youngs. My favourite lamp, which is part of a garniture set (above), is by Minton and fitted with a Messenger burner with an elliptical shade lifter. It would give us all at Melford Hall the greatest of pleasure if any of you were to join us for the last weekend in October 29th and 30th. Also take part in the evening atmosphere and perhaps indulge in the passion which we all enjoy that being oil lamps and historic lighting. Melford Hall is the ancestral home of the Hyde Parkers (a great naval family) who are still in residence in Melford Hall, which is just outside Sudbury in Suffolk and is on the edge of the village of Long Melford. I hope to see some of you there. To view the Hall’s website and for more information go to: www.nationaltrust.org.uk/melford-hall
TABLE TALK - Uffington, 26/06/16 Phil Harris
John White’s display at Uffington, including the Art Deco oil lamp (below right) and the pole screen candle lamp (below left).
There were many excellent exhibits at the meeting, and I spoke to regular exhibitor and Club stalwart John White about his display. John is particularly interested in candle lighting, but his table also contained a very attractive Art Deco oil lamp of Belgian origin. “I purchased the lamp in Brussels about ten years ago”, said John, “and Brussels is well renowned as an Art Deco centre - in those days, they had the wealth.” The burner is probably French, as the wick winder carries
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Table Talk the legend ‘Paris’. John said that the shape of the chimney has invited some debate, as it should probably be of the Kosmos type, but as it is the second lamp of its type that he has bought on the continent with this style of chimney, he has no reason to doubt its originality. The bulge chimney certainly does give a balanced appearance, and provides good combustion. The cream floral decoration on the green glass fount has been painted on, rather than etched or engraved. The base may be pewter, judging from its colour. John has also purchased lamps in Bruges and northern France. The next item was a ‘pole screen candle lamp’ with an articulated extending arm. “When ladies sat by the fire, the heat increased the toxic effects of their 18th century makeup on their skin, so a screen on a pole was often used to reduce the radiant heat. However, the screen also reduced the available light, so an extending candle holder was designed to be clipped onto the pole to provide light for work, reading, sewing etc. The gilded brass lamp is English and dates from the mid-18th century. Finally, John was displaying a heavy solid brass engraved candlestick with hexagonal base (right). “It’s engraved ‘Bedford Burial Society, Founded AD 1859’ and carries the maker’s name ‘J Smythe’. The candlestick is moulded in two halves, and the seam can be seen running up the length of the shaft.” The history of this candlestick is interesting in that it would have been issued to a person who had paid for their funeral in advance. On death, the candlestick would be handed in to the Undertaker as confirmation of the deceased’s right to a proper funeral and burial.
The Resurrection of a Hermann Riemann Headlight Rob Isdale I have always been impressed with the output of illumination from the carbide/acetylene headlight lamps for bicycles, and I said to a fellow enthusiast, one day, that I would like to see a functioning example of those magnificent headlights in vintage and veteran cars. The next time I met him, he produced a cardboard box containing a completely dismantled 10 inch diameter head light that he had bought at an auction many years ago, and had relegated to the ‘too hard basket’ ever since. Why anyone would completely un-solder all the pieces of a headlight, is a mystery that neither of us can fathom. It didn’t help that one of the pieces didn’t belong to it and needed to be put aside as irrelevant. The Hermann (abbreviated to Herm.) Riemann name-plate was missing (removed as a souvenir?) but the company logo was stamped into the metal parts. This headlamp is the type that maintains the generated acetylene within the body of the unit, and has a stop-cock that releases the flow of acetylene to the burner when required. As the acetylene gas is used, more is generated automatically. This system is very ‘user-friendly’ and achieving an instantly operating headlight is
The Resurrection of a Hermann Riemann Headlight
a simple matter of turning on the stop-cock and touching a flame to the burner jet. Is there a correct term for describing this system? I chased around the Internet for Herm. Riemann information about this headlight, which seemed to be of a more modern streamlined design than the usual acetylene headlights, and it was a surprise to find that they were a special order for the Australian agent for Herm. Riemann, a firm called Zwicker, Tod, and Company at 205-207 William Street, Melbourne. They advertised as being the ‘Sole agents for the Commonwealth’, which is a very broad sweeping statement, I would have thought. I could sit the components together and I could see that I had about 90% of the parts required. The missing bits I could imagine and reproduce with reasonable accuracy. The major problem was the repairs that were required on some of the components, and then soldering it all together again. Again, you have got to wonder why it was totally dismantled. There was one very concerning problem that became evident after I cleaned the internal gas producing cylinder, which was made of thin sheet brass. There were myriads of hair-line cracks, probably caused by the continuous heating and cooling when gas is being produced from the carbide/water interaction. I would appreciate comments as to what the cause might be. In practice, every one of those cracks was a potential acetylene gas leak, and that is very alarming. Acetylene is a beautiful gas and extremely efficient and useful – providing you are in control of it. I was able to make up a new cylinder out of solid brass tubing. It was
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The Resurrection of a Hermann Riemann Headlight
fiercely expensive and has a slightly heavier wall section than I would have preferred, but the over-kill was a welcome safety factor. The gas outlet pipe from the generator passes back through the water compartment, and comes out at the pedestal stand for the burner, and yes that tricky bit just had to be one of the things missing. I have some maritime safety acetylene flasher units manufactured by AGA – exotic and marvellously efficient acetylene equipment, and I just happened to have a spare 25 litres per hour burner. No longer a spare, it is now installed and functioning in the headlight. The reassembly of the various components was a tedious soldering process, with no water or gas leaks allowable. New seals everywhere followed by much testing with soapy water down the back yard. I still have all my fingers and eyebrows in place, and I would like to keep it that way. But the moment of truth finally arrived, and after a final check for leaks, I opened the stop-cock and applied a flame to the burner. WOW! Who needs quartz halogen. That volume of white illumination with a polished reflector behind it must have been a staggering advancement for headlights, compared to what was alternatively available in those early 1900’s years. The disadvantages of carbide/acetylene lighting were the servicing and maintenance, and the penalty for not keeping seals and taps in totally correct working order was instantaneous and spectacular. If the rules were correctly adhered to, acetylene headlights were brilliant in every way.
A PL53 Tilley Lamp Phil Harris In the auction at Uffington in September 2015, I bought a poorlylooking old-style Tilley lamp. I felt rather sorry for it, especially as it had received extensive repairs to the base of the steel tank. After some research and debate, particularly on the Classic Pressure Lamps online discussion forum, taking advice from Neil Macrae, and initially thinking that it may have been an EX100, this lamp eventually turned out to be a ‘cheap’ or utility model PL53, probably manufactured in the early 1940s. As such, it was missing its white enamelled reflector, but I managed to obtain a very high quality stove enamelled replica from a regular eBay advertiser. The non-folding handle was quite badly out of shape, so this was re-shaped carefully by hand, using the illustration of the EX100 on page 40 of Jim Dick’s book as a guide. I removed the surface rust from the handle with wire wool and freed off the two knurled hand nuts. One had a tendency to slip off the end of the handle; I cured this by carefully squashing the end of the wire in a vice. When I pressure tested the original tank, remarkably the base appeared to be sound, but small leaks were apparent at both framefixing studs. Coincidentally, I spotted an identical tank being offered on e-Bay which I was able to acquire for a few pounds. The new tank was in perfect condition and had been carefully stripped. I refinished it by rubbing down thoroughly with 00-grade wire wool, wiping down with white spirit, masking off the studs and threaded connections, then spraying with three coats of Rustoleum aerosol grey primer followed by four coats of Rustoleum aerosol satin-finish paint in a suitable colour. These lamps were originally released in a military version coloured in a sort of RAF blue-grey, but this was the nearest I could find. A full set of new seals and washers, plus a good clean of the hood and burner and a new mantle, have produced an excellent and unusual working lamp. It is also very similar to the PL53 ‘Ballast Train Lamp’ illustrated on page 66 of Jim Dick’s book. As the lamp will be used at Eardington Station on the Severn Valley Railway, where I work as a volunteer lampman, my long term aim is to fabricate a replica ‘special frame type TF1’ to enable the lamp to be demonstrated in its designed mode of operation illuminating the ballast wagons stored in the station’s siding.
A Chinese Opium Lamp Dave Crow An article in Collectors Weekly explored by member David Crow gives some idea of the background to these pictures of an Opium Lamp in his collection. In the early 1800s Britain’s imports of Chinese tea were being hindered by China’s reluctance to accept anything other than silver as payment, which was depleting London’s silver coffers. Britain’s solution was to trade their readily available opium which, being scarce in China, quickly became popular. This created an unwelcome spike in addiction that the Chinese authorities eventually sought to control, leading to the Opium Wars of 1839-1860 and the foundation of the British colony in Hong Kong. Originally the use of scarce opium amongst elite Chinese had become popular, after a Chinese inventor discovered that vaporising opium limited its more extreme and worst side effects and enabled it to be used as a recreational drug. Wherein lay the lamp’s importance in providing the necessary heat, leading to some beautifully crafted and ornate examples befitting the high status of many users. They were designed specifically to facilitate the vaporization and inhalation of opium. They differ from conventional lamps for lighting in that they are designed to channel an exact amount of heat upward through their funnelshaped chimneys. Given the eventual clampdown on opium use in China, original opium lamps are not common. Peter Lee in his book Opium Culture: The Art and Ritual of the Chinese Tradition states that: “in
A Chinese Opium Lamp
21 India and Indochina, pure coconut oil is the preferred fuel for opium lamps. Coconut oil burns at just the right temperature and produces a steady flame without smoke or smell. In China lard is often the fuel of choice, and it too burns at just the right temperature with a smokeless flame free of odour. However, virtually any common vegetable oil that is sufficiently refined for cooking food may be used to fuel an opium lamp, although some, such as sesame oil and peanut oil, produce a slight odour.”
Patent Law in France A link between the Contents page lamp & Nightlight Clocks When preparing text describing the Hinks mini table lamp featured on the contents page I realised that, by displaying it with the smoke consumer I had added to it ages ago, I really needed to discover more about its markings. I had often wondered what the French words on it meant. I thought it would be a manufacturer’s mark. To my surprise Wikipedia revealed that BREVETTE SGDG stands for ‘patented without government guarantees’ and that it was in France a legal statement releasing the State from liability on the good effective operation of the device patented. The statement was apparently in the law of 1844 which says that patents are granted ‘without prior examination’ at the risk of the applicants, and ‘without warranty or of reality, novelty or merit of the invention or fidelity or accuracy of the description.’ This mention disappeared in 1968. ‘In Belgium, according to Art. 22 of the Act of invention patents of 28 March 1984, the principle is still applicable’, Wikipedia said. Another surprise was to see that Jason Kermeen in his article on Nightlight Clocks also touches on French patents, revealing an in-built doubt that, as they are effectively self-patenting, there is little positive we can conclude from patent claims. Has any member studied the French patent system and is able to reveal for us more about how the system works and what level of detail about an actual patent was accessible? Editor
Chalice lamp musings ... Rob Isdale
Ian Caunter‘s article in the last issue of Midnight Oil magazine (No. 93), inspired me to think that I really should have one of those Chalice Lamps. Beverley gave me the pewter goblet some years ago, and the other bits were in the ‘come-in-handyone-day’ box. There is no particular religious significance in the goblet, but it has been known to convey an offering of heavenly Pedro Ximinez Spanish sherry twix the bottle and appreciative lips. Could that be a form of Intercession do you think? And if the worship is to the Blessed Trinity, three lights will be more suitable ...
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Notices and Special Events • HLC LAMP EXHIBITION – The Black Country Living
Museum, 8–9 October 2016 • MEMBERS BOOK SERVICE – The list of publications will appear twice a year in the Newsletter and copies can be ordered by post from John Kidger. Email: johnkidger@talktalk.net or call on 01242 236794 Two copies of the publications are brought to each HLC meeting. • FIND OUT MORE – below are links to some of the institutions that we have worked with to promote research into, and study of, the history of illumination. BLACK COUNTRY LIVING MUSEUM – www.bclm.co.uk GEFFRYE MUSEUM – www.geffrye-museum.org.uk LEAMINGTON SPA ART GALLERY & MUSEUM – www.warwickdc.gov.uk/royalpumprooms THE MEDIEVAL FREE COMPANY – www.medievalfreeco.org.uk
A classic tin Hinks Premier Duplex Wall Lamp with a best quality burner and original chimney embossed HINKS. A real workaday lamp, you might expect it to feature a standard quality duplex, or slip burner. It would be interesting to know the commercial thinking behind this at that time, as five out of the nine Hinks wall lamps in my collection have top quality burners. Mike Parker Picture by Peter Loomes