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Chesebrough Manufacturing Company (/ ˈ tʃ iː z b r oʊ /) [3] was an oil company, founded in 1859, which produced petroleum jelly under the brand names Vaseline [4] and Luxor. [5] Robert Augustus Chesebrough, a chemist who started the company, was interested in marketing oil products for medicinal use.
Petroleum jelly. Petroleum jelly, petrolatum (/ ˌ p ɛ t r ə ˈ l eɪ t ə m /), white petrolatum, soft paraffin, or multi-hydrocarbon, CAS number 8009-03-8, is a semi-solid mixture of hydrocarbons (with carbon numbers mainly higher than 25), [1] originally promoted as a topical ointment for its healing properties. [2]
He then trade-named the jelly as Vaseline. In 1875, he founded the Chesebrough Manufacturing Company, a leading manufacturer of personal-care products. Chesebrough patented the process of making petroleum jelly (U.S. patent 127,568) in 1872. By 1874, stores were selling over 1,400 jars of Vaseline a day. [3]
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Vaseline in container. Produced in USSR. Vaseline (/ ˈ v æ s ə l iː n /) [1] [2] [note 1] is an American brand of petroleum jelly-based products owned by British multinational company Unilever. [3] Products include plain petroleum jelly and a selection of skin creams, soaps, lotions, cleansers, and deodorants.
Like "Vaseline", the terms "custard" and "jad(e)ite" are often applied on the basis of superficial appearance rather than uranium content. Conversely, "Depression glass" is a general description for any piece of glassware manufactured during the Great Depression regardless of appearance or formula.
A jar's age and rarity can be determined by the color, shape, mold and production marks of the glass, and the jar's closure. Mason jars usually have a proprietary brand embossed on the jar. Early jars embossed with "Mason's Patent November 28th 1858" that date from the late 1850s to early 1860s closely match the illustrations of Mason's 1858 ...
In 1987, Serrano's Piss Christ was exhibited at the Stux Gallery in New York and was favorably received. [13] The piece later caused a scandal when it was exhibited in 1989, with detractors, including United States Senators Al D'Amato and Jesse Helms, outraged that Serrano received $15,000 for the work, and $5,000 in 1986 [14] from the taxpayer-funded National Endowment for the Arts.
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