This rare 18th-century wrought iron double crusie (or "phoebe") grease lamp features elaborate folk art cut-out backplates with stylized bird/rooster motifs, pierced geometric heart/teardrop openwork, and stamped ring-and-dot punched decorations. The lamp consists of two nested, hand-hammered boat-shaped iron fat/grease fonts. The upper font held tallow, lard, fish oil, or whale oil with a twisted wick resting in the channel, while the lower font catches any overflowing hot oil drippings.

The piece retains its original hand-forged hanging spike hanger with a twisted rod body and wick pick mechanism attached to the reverse loop. The lower reservoir features a hand-cut slotted backplate tongue where the upper font's notched hanging tongue locks into place.

Origin Continental Europe / Pennsylvania Dutch Settlement (Flemish or Scottish influence)

Age 18th Century (Circa 1740–1780)

Material Hand-forged Wrought Iron

Dimensions & Weight

• Dimensions: 7.75" H x 3.0" W

• Weight: 263 grams (9.28 oz)

Condition Very good, authentic early museum-grade condition. Features untouched original surface oxidation and rich dark patina across all wrought iron components. The hand-hammered fonts show light pitting, minor surface rust, and historical charing appropriate to 18th-century lighting use. Minor original forge variations throughout. All structural components—including the twisted hanging rod, wick pick, and notched tongue joiner—remain intact and fully functional.

Reference

• Book Title: Flickering Flames: A History of Domestic Lighting through the Ages

• Author: Leroy Thwing

• Page / Plate Reference: Chapter III ("Open Fat Lamps & Crusies"), Plate 8 & 9 (discussing double-cup iron crusie/phoebe construction and folk art backplate motifs)

Authenticity Assessment

This double crusie lamp exhibits key authentic markers of 18th-century blacksmithing. Examination of the joint reveals a hand-chiseled slot in the lower backplate strip through which the upper font's square-tapered iron tongue passes. The cut-out bird motifs and openwork shapes display hand-punched ring-and-dot stamps and hand-filed bevels along the cut edges rather than modern machine stamping. The lower and upper pans show uneven wall thickness consistent with hand-penned sheet iron work. The dark iron oxidation shows multi-layered surface patination without synthetic lacquers or artificially induced rust paste.

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