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Bud McCaulley(1932-2014) Listed Texas Artist Native American Portrait. Bud was a veteran in the United States Marines. He was a successful artist in Commercial art, fine art, and Cowboy cartooning. He is best known for his Caricature cartoons portraying western scenes in the 1970's. There were table mats and so many things made from his art. 14" x 17" framed 9" x 12" canvas. No issues with painting or frame. B4

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Buddha's Necklace pattern Famille rose saucers (4). Very nice painting on these, I believe they are Chinese, last half of 19th century but I'm not 100% sure, 4.5" wide. TW221

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Butterscotch Amber Sterling Art Nouveau Style Bangle Bracelet. Hallmarks on bottom of bracelet shown in last pic. Marked and tested sterling. Very high quality Natural amber bracelet with no issues. 7" inside diameter 1 1/8" wide in center. 28.3 grams.

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C 1815 Samuel behere, Edward Wigan British Sterling Buckle. Hallmarked SG EW a<br>pin added later to wear as a brooch. 3 3/8" x 2 5/8" 68.4 grams, Amazing piece<br>with incredible workmanship, no damage. Hallmarked all over the place with an<br>early engraved I.S. on reverse side, articulating hinges to work however it's<br>supposed to work. This is from a collection of antique Highlander/Scottish<br>silver. I went around in circles with the hallmarks longer than I could afford<br>to, it's from 1800-1820's.

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c.1780 Antique Chinese Plate Blue/White 9.25". Many small glaze frits and Flakes on rim. No cracks, large chips, or restorations.

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Antique Derby Figures Boy and Girl Holding Lamb and Dog c.1810. Wonderful,<br>whimsical pair. Boy is 9" tall x 4.25" wide. No cracks or chips. The lamb may<br>have a very good professional restoration to both ears. No other possible<br>restorations.

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C.1810 Derby Porcelain Hand Painted Gold and Florals Lot 9pc. All pieces have the expected crazing of 200 year old earthenware. No heavy staining, just a few small spots. Sugar lid is missing finial. Sugar base and creamer are immaculate and damage free. The three small 5.75" bowls or saucers have some wear to Gilding and painting. The two 8 5/8" soup bowls and 7.5" underplate show no noticeable wear. No chips or restorations on any piece, one small bowl has a crowsfoot, no other cracks. All pieces have the same mark.

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c.1820 British Porcelain Pattern 346 Shallow Bowl 8.5" or deep plate. No cracks, chips, restorations, or crazing. Very minimal signs of use. Unsure of manufacturer, but guaranteed British and approximately 180-210 years old. b43

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c.1830 Antique British Porcelain Hand Painted oval vegetable bowl. 11" x 9.5" x 2" deep with no cracks, chips, restorations, or stains. Factory underglazed chip on footrim, expected crazing, and minor wear to decoration in center. tw146

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c.1830 Minton Amherst Japan Stone China Chinoisiere Imari style Tea cups and saucers pair Saucers 6" wide, cups 3 7/8" wide without handles x 2.25" tall. Selling both of the cups and saucers shown 190 years old and in near mint condition with no cracks, chips, restorations, crazing, or stains. TW148

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C.1840 British Porcelain Fruit Compote hand Painted Clean gold, some wear and scratches on top. Very attractive. Hand painted. 10.25"wide x 2.25" real

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12.25" wide x 7.5"wide Guaranteed staffordshire earthenware from mid 19th<br>century. Very i tight old stable hairline on base shown in pics. No other<br>cracks, chips, or restorations.

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c.1850 Old Paris Porcelain Covered Pokal with Stand Hand Painted Children Flowers 15.25" tall with base x 8" wide. One very small chip on handle, large chip on top corner of base and hairline in open work on base. No other damage, no restorations.

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C.1880 Carlsbad Austria 8.5" Hand Painted plate on cream ground no cracks, chips, restorations, minor Gilding wear on rim

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c.1880 Japanese Cloisonne Pumpkin Shaped Teapot. No dings, restorations, or<br>significant loss. 6" handle to spout x 3.5" tall.

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c.1880 Meiji Period Japanese Kutani Geisha Figure 10 3/8" No cracks, chips, or<br>restorations.<br>Tw60

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c.1890 Coralene Glass Dresser Jar Bohemian. 4" wide x 3" tall. More attractive<br>than the pics suggest. The cabin is very prevalent in person, got washed out in<br>the pics. Minor loss to coralene, hinge is a little wobbly but will outlast all<br>of us.<br>Tw97

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c.1890 RS Prussia Porcelain Dresser Tray. No cracks, scratches, crazing, chips, or restorations, minor wear to gold. 11.75" x 7.75" TW134

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C.1900 Chinoiserie American Cast Iron Tilting Dresser Mirror. Some oxidation and Paint loss, some wear to mirror, but overall clean. 16.25" tall x 8" wide.

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c.1910 15" Bergman Austrian Cold Painted Bronze Sparrow Hawk Sculpture on Stone Base Signed with Bergman mark as shown. 12" wingspan, 12" beak to tail. slight bend on the tip of each wing with some paint wear. Incredible, rare, imposing figure that will liven up anywhere it is. Very heavy, will be a challenging packing and shipping job that i'm confident I'm capable of. It will take me hours but it will be done right and get there how it leaves here. Franz Bergman was an Austrian entrepreneur best known for his Viennese foundry which produced many patina- and cold-painted bronze sculptures of figures, animals, Orientalist scenes, and mythological creatures. Bergman is often misidentified as a sculptor, but he himself was not the original artist for the works—rather, he hired many anonymous sculptors to execute his ideas. He signed many of the works produced by his foundry with the pseudonym Nam Greb, so as to conceal his name from the authorities and avoid penalties for immorality. Born in 1861 in Vienna, Austria, he initially inherited a bronze factory from his father and later opened his own foundry. Bergman died in 1936 in Vienna, Austria

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Nice piece with clean paint with minimal wear shown in pics. Heavy for it's size as it's solid bronze, almost two pounds. 5' base x 3 1/8" tall. I couldn't find any markings but am certain it's turn of the century austrian bronze most likely bergman. Franz Bergman was an Austrian entrepreneur best known for his Viennese foundry which produced many patina- and cold-painted bronze sculptures of figures, animals, Orientalist scenes, and mythological creatures. Bergman is often misidentified as a sculptor, but he himself was not the original artist for the works—rather, he hired many anonymous sculptors to execute his ideas. He signed many of the works produced by his foundry with the pseudonym Nam Greb, so as to conceal his name from the authorities and avoid penalties for immorality. Born in 1861 in Vienna, Austria, he initially inherited a bronze factory from his father and later opened his own foundry. Bergman died in 1936 in Vienna, Austria

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c.1910 Northwood Ice Blue Carnival Glass bowl in Nippon Pattern. No cracks,<br>chips, flea bites, or scratches. Nice iridescence, 8 5/8" wide.

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c.1910 Northwood White Carnival Glass Three Fruits Stippled Bowl 9" No cracks,<br>chips, or scratches. Above average electric iridescence.

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c.1910 Tiffany Sterling Perpetual calendar and Memo paper Holder. Rare if not<br>one of a kind. All hand chased quality workmanship. Guaranteed late 19th to<br>early 20th century. Small monogram in front. Holds paper 3" x 5" or smaller.<br>Calendar pages measure 2 5/8", calendar window measures 2 1/8" tall x 2.5" wide.<br>Entire piece measures 5 1/8" x 3" x 1.25". Clean antique with no notable issues.<br><br>One one end is a hallmark which I didn't attempt to identify, Tiffany only put<br>their name on the best. Pieces from this era made for Tiffany are actually much<br>less common than pieces made by Tiffany themselves.<br>TW131

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C.1920 Vintage Mexico Pottery Figures Basket Seller Fish Vendor. Larger is 6.5" tall with damaged hand stamped made in Mexico, smaller is 5.25" with no damage, and better detail. Maybe not quite as old, it's been packed 30 years.

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60+ years young, l ike new, Noritake ' Azalea ' pattern #19322 Dolly Varden<br>Basket. Noritake red mark on bottom. All gold and paint is intact and perfect.<br>Measures 3 7/8" high and 4 3/8" wide. Looks like it was never used. PERFECT!

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c.1950 Heisey Lariat Glass Basket 10". No cracks, chips, scratches, or<br>cloudiness. 10"tall x 6.25" wide.<br>Tw60

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6.5" Hummel Full Bee Mark Boy In Stagecoach 6.5" long x 4 5/8" tall x 2 7/8" wide MINT No chips, cracks, restorations, scuffs, or crazing.

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This Patch is from the Knights of Dunamis . This was a national honor society for Eagle Scouts of the Boy Scouts of America. Started in 1925 it as made up of local chapters and in 1972 became the National Eagle Scout Association NESA. Comes with frame and plaque.

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C.S. Lonjose, Hustito Zuni Sterling money clips. Selling both Zuni money clips with sterling channel inlay fronts mounted to nickel alloy money clips for durability, largest 2" x .8" 39.3 grams total. Selling both for one price.

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c1730's 18th Century Brass Candlesticks. Exceptional pair of extremely heavy<br>brass candlesticks from the first half of the 18th century. 9 1/8" tall x 5 1/8"<br>wide at base, Very solid with very old stable repairs to base on both<br>candlesticks not easily detectable from above.<br>isshelf

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c1750's Battersea box Frog and Deer. Two English 18th century boxes one in the form of a frog, the other a deer. I can't be 100% sure it was made at the Battersea factory, it could be a Bilston box from 20-30 years later. It's 18th century and guaranteed so, both rare boxes. The frog is 1.5" tall x 1.5" wide with some crazing inside and out mainly on the base and bottom of the frog, one chip to the enamel shown in last two pics. The deer 2.25" wide x 1 3/8" tall crazing on top interior and inside and outside of bottom, , small restoration just below the figure on the base and on opposing side of interior. Selling both boxes, if you are interested in only one please have an offer in mind. Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co. tw239

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c1750's Battersea snuff box. 3 5/8" wide x 1.6" tall. Some overall crazing and very minor overpainting at bottom rim inside and out. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's.Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house.Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or religious scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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c1750's Battersea snuff box. 2 5/8" wide x 1.6" tall. Some overall crazing and some overpainting on base and two spots on side of base. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's. Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house. Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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c1750's Battersea snuff box. 2 5/8" wide x 1.6" tall. Some overall crazing and some overpainting on base and two spots on side of base. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's.Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house.Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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c1750's Battersea snuff box. 2.75" wide x 1 3/8" tall. Some overall crazing, no restorations. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's.Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house.Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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c1760 Derby Allegorical Figure Musicians 10" tall 5.25" base. Uncommon and large figure from the third quarter of the 18th century. Under UV examination, I observe that there is professional restoration overall, particularly to the all figures and horn, the figural group is intact with hairline from cape through to pedestal, typical small chips and losses to applied foliates and flowers. B38

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c1765 Royal Worcester Dr Wall period 3 pieces cup, Saucer, and soup bowl mixed<br>patterns. Selling the three pieces shown, no cracks, chips, or restorations, the<br>bowl does have some slight wear on the rim in the spot shown in the last pic. I<br>don't consider it deep enough to call chips on a 250 year old bowl but it is<br>wear. The bowl is 7.25", saucer is 5 1/8", cup is 2 13/16"wide x 1.75" tall.<br>selling the lot.<br><br>tw179

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c1765 Royal Worcester Dr Wall period Cup and Saucer. Saucer is 4.5" deep, cup is<br>3" wide x 1.75" tall. No cracks, chips, or restorations, minor wear to gilding<br>on sharp edges.<br><br>tw179

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c1780 Antique Chinese Famille Rose Jar with lid. Great little hand painted Chinese Jar from the last half of the 18th century. One chip underneath lid, .5" long tight hairline on rim of base, no other damage or restorations. 5.75" tall.

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c1785 Royal Worcester Flight period Cup and Saucer. Coffee can and Saucer, smaller than typical modern teacup, a little larger than today's demitasse cup. 4.75" saucer, cup is 2.5" tall x 2 3/8" wide at rim. No cracks, chips, or restorations. Gilding on cup is near mint, some wear to gilding on exterior of saucer. TW179

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c1790 Battersea Box with Ship. Late 18th to early 19th century. 2" x 1 5/8" lid<br>snaps shut and stays shut, minor damage to enamel on base, no damage to lid.<br><br>Battersea boxes developed in the mid 18th century as tiny decorative containers<br>covered with enamel or porcelain and decorated with pleasing designs. Originally<br>the boxes were made of copper covered with white enamel, decorated with<br>classical or scenes or portraits. They evolved over time to become more<br>sentimental.<br>The Battersea box got its name from a firm under the tutelage of Sir Stephen<br>Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The<br>boxes were decorated by transfer printing, which took an impression from an<br>engraved plate painted with enamel and printed on to the box which was then hand<br>painted and fired. The firm existed only from 1753 to 1756 however other firms<br>producing similar boxes, especially those in the village of Bilston, took up<br>this technique. Battersea became the collective name for all such boxes.<br>With advancements in the pottery industry due to the Industrial Revolution,<br>Battersea boxes gradually fell from favour. Allowing small boxes to be produced<br>at less cost than the enameled competitors made Battersea boxes decline<br>significantly by the mid 19th century. They became popular again in the second<br>half of the 20th century with the development of commemorative boxes produced<br>for such well known firms as Tiffany & Co.

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c1790 Chinese Export for American Market 13 Star flag Plates. 8.5" wide with no<br>cracks, chips, or restorations. Selling both plates.

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c1790 Chinese Export for American Market 13 Star flag tray. 14" wide with no<br>cracks, chips, or restorations. I'm offering two plates from this service in a<br>separate listing.

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c1790 Derby Figure Group Pair "The Welsh Tailors" Woman Breastfeeding guy with tongue out. Selling the pair late 18th century. Interesting pair with the Tailor sticking his tongue out at his wife that's breastfeeding, strange. Tallest is a hair under 6". Minor losses and some old restorations, woman is missing part of one leg. TW162

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c1790 Shagreen Travelling perfume Necessaire. French Shagreen Scent Case with Miniature Scent Bottles, 18th Century, with Parke-Bernet paper label, with some areas of the shagreen glued, occasional losses, and areas lifting, one bottle broken at mouth and lacking cover 3 3/8 by 1 3/4 by 1 3/8 inches. I couldn't remove the broken bottle but didn't want to force it.Parke-Bernet Galleries was an American auction house, active from 1937 to 1964, when Sotheby's purchased it. The company was founded by a group of employees of the American Art Association, including Otto Bernet, Hiram H. Parke, Leslie A. Hyam, Lewis Marion and Mary Vandergrift.

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c1790 Hepplewhite/Chippendale Inlaid Knife Box. Guaranteed late 18th to early<br>19th century piece, I'm not 100% sure if it is American or British. 14.25" tall<br>x 9" wide x 10.5" deep. Some minor loss to marquetry, a few old stable splits,<br>and one piece missing from base. Stable, strong, and very presentable piece.<br>There is a hallmark on the silver hardware that could possibly give clues to<br>it's origin to someone with more time than me.

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c1790 Pewter Coffee Urn with First Prize at Los Angeles County Fair Ribbon. Great piece from the 18th to every early 19th century. Small fractures towards top rim on right side, a few expected dents. I could find no identifying marks. Making this particularly important is this ribbon that was fixed to the top of the lid where it won first prize at the Los Angeles county fair in probably the 1920's-50's. I could find no date on the ribbon it's obviously very old and from a much simpler time than we live in today. Selling the pot and the ribbon it won. Pot is 16" tall.This piece and ribbon it won really takes me back to such a pleasant time in my mind. A time of different societal values. isshelf

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c1790-1800 Antique Sterling Filigree Thimble/Tape/Scent Bottle, English. Very<br>rare and desirable item over 200 years old with no significant issues. Cotton is<br>in the bottle intended to be filled with a small amount of perfume to saturate<br>the cotton and keep things smelling good. Little knob turns on the top to reel<br>in the silk tape.<br><br>perfumedrawer

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c1799 Richard Crossley Georgian Sterling silver Berry Spoon. Fancy hand<br>engraved/chased, somewhat worn armorial crest on top. 9" long x 1 7/8" wide bowl<br>73.3 grams.

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c1800 2 Antique Delft Lidded Jugs. Selling the two jugs 18th-19th century. The larger is 10" to top of thumbrest x 5 7/8" wide smaller is 7" to thumbrest x 3.25" wide. Smaller jug has some small chips on footrim and one inside lid, no restorations or cracks. Larger has crazing but no chips or cracks. B38

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c1800 Antique Chinese Imari Barber's Bowl. 11" wide x 2 5/8" tall. A Barber’s<br>Bowl is a shaving dish which is usually made in ceramic, it was used by barbers<br>in the 17th, 18th and 19th centuries. By the 19th century, barbers were commonly<br>using this semi-circular bowl to not only cut hair, but also beards. Thus the<br>barber became very popular as well as servicing a new need, and a new profession<br>was created.<br><br>A wonderful 18th century Chinese Imari Barber’s Bowl with a vibrant Imari<br>design. This name is used for both a pattern and colors which were for a<br>specific type of Chinese porcelain. The Chinese got their inspiration from the<br>earlier colors and designs of Japanese Imari porcelain. Chinese Imari is<br>typically characterized by a combination of dry iron red enamel highlighted with<br>gilt which is then applied as the underglaze on blue and white porcelain. In<br>general, the Chinese Imari pieces have a brighter white and more purple-toned<br>blue than the Japanese pieces. The red over-glaze is also thinner and closer to<br>orange than in Japanese pieces.<br><br>This Barber’s Bowl is in pristine condition and has two holes at the top of the<br>piece. This was done in order to put cords through the holes so that it could be<br>hung on a wall. This 18th century Chinese Imari Barber’s Bowl is an exquisite<br>piece, has wonderful vibrant tones and is in lovely condition.

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c1800 Cobalt Blown Bristol Glass Decanter set with faceted stoppers. Selling the<br>extremely rare and gorgeous set shown, blown glass bottles with ground pontils,<br>faceted stoppers, hand painted gilt decoration on each. All three bases are<br>perfect with no damage, Rum stopper has one tiny chigger bite on facet, Brandy<br>stopper is broken and reglued at the skinny part where faceted top meets the<br>ground part that fits in the bottle, Hollands has a chip as shown. No other<br>issues, amazing set. 8 5/8" tall.<br>tw272

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c1800 Chinese Export for American Market Patriotic plate with Great seal and<br>Chinese/American flags. Rare plate from the late 18th-mid 19th century. 10 5/8"<br>one tiny nick on back side shown in last pic. No other damage or restorations.

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C1800 Colonial American Foot Warmer Punched Tin Hearts, Mortised Columns. 7.5" x 8 5/8" x 5.5" tall. Original liner to hold coals. Replaced handle on front and old damage to each top corner. Strong and stable, looks great. B52

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c1800 Crown Derby Cup and saucer cobalt and gold hand painted. Saucer is 5 3/8" saucer is 3 1/8" wide without handle x 2 5/8" tall. No cracks, chips, or restorations, some wear to gilding. TW179

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c1800 Hand Forged colonial betty lamp. Great lamp from the 18th to first half of 19th century, functional with no damage. 10.5" tall with hook extended, 4.75" x 4 1/8" wide. Nice no brainer patina. This early betty lamp burned grease for lighting in the 19th century. It is called a 'betty lamp' which comes from the word 'besser' in German (meaning better). Far superior to the rushlight or splint lamp, it evolved from the crusie lamp with the addition of a cover and a wick support which ensured that any oil/grease drippings from the wick flowed back into the reservoir. The betty lamp was probably the most widely used means of lighting among people of middle or lower income until refined whale oil became common. It burned any fat or oil that was available virtually without smell or smoke, using a twisted cotton wick. B70

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Nice Heavy forged iron betty lamp. Very minor loss to tip of door, no other issues, no holes. 3 3/8" x 4.25" , 10.5" tall with hanger extended. This early betty lamp burned grease for lighting in the 19th century. It is called a 'betty lamp' which comes from the word 'besser' in German (meaning better). Far superior to the rushlight or splint lamp, it evolved from the crusie lamp with the addition of a cover and a wick support which ensured that any oil/grease drippings from the wick flowed back into the reservoir. The betty lamp was probably the most widely used means of lighting among people of middle or lower income until refined whale oil became common. It burned any fat or oil that was available virtually without smell or smoke, using a twisted cotton wick. B70

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Nice Heavy forged iron betty lamp. Appears to be missing insert that holds the<br>wick, and minor loss off the tip of the door. Still a really great example, I<br>love the twisted hanger. 3.5" x 4.75", 10.5" tall with hanger extended.<br><br>This early betty lamp burned grease for lighting in the 19th century.<br>It is called a 'betty lamp' which comes from the word 'besser' in German<br>(meaning better). Far superior to the rushlight or splint lamp, it evolved from<br>the crusie lamp with the addition of a cover and a wick support which ensured<br>that any oil/grease drippings from the wick flowed back into the reservoir. The<br>betty lamp was probably the most widely used means of lighting among people of<br>middle or lower income until refined whale oil became common.<br>It burned any fat or oil that was available virtually without smell or smoke,<br>using a twisted cotton wick.<br>B70

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