Dedicated to the research and advancement of information related to Victorian-era fairy lamps.
When you hear the term Fairy Lamp, it is generally referring to a candle-burning light that has a glass cover, or dome, over the flame. Even though they are still being produced today their origins are from the Victorian era. Some of the best-known Fairy Lamps of this period were the lamps that were marketed as Clarke Fairy Lamps from the United Kingdom. Samuel Clarke was a candle maker who realized he could sell more candles if he could market them as decoration as well as lighting. Clarke had agreements with other manufacturers to make the lamp parts and art glass shades for his company. Samuel Clarke granted licenses to many glass, porcelain, and pottery manufacturers in the UK, Europe, and the United States to manufacture the lamp parts and art glass shades for his company. Clarke collaborated with well-known companies such as Thomas Webb, Stevens & Williams, Taylor & Tunnicliff, Royal Worcester, and Doulton Burslem. These Clarke patented lamps came in three sizes (fairy, pyramid and wee) and each had at least a dome and a clear or matching lamp cup. The clear glass cups often were embossed with Clarke’s logo – a fairy holding a wand. Hence the name – "fairy lamp." Other fairy lamps came on stands, pottery bases, wall plaques, chandeliers, and epergnes, often with nosegay type flower holders. In the late 1890’s Clarke also patented the "Cricklite" style of candle lamp which were offered with a clear dome to go with changing decorator tastes and to compete with more modern types of lighting. These clear domes could be covered with shades made of paper or silk and were often added to enhance the decorative effect. These larger Cricklite lamps were often used in formal dining settings and would provide ample candle lighting to enhance a formal or festive occasion.
Fairy lamps were both functional (providing a little bit of light into dark areas) and highly decorative (used to elevate the most elaborate table setting or gala). They were produced in seemingly endless designs and were made from a broad range of art glass including Burmese, Cameo, Peachblow, Verre moiré (Nailsea-type), cut crystal, satin glass, and even lithophane.
Samuel Clarke was a marketing genius and protected his patents fiercely. However, several other glass and candle companies in Europe and America made fairy lamps in similar styles during this same period such as Pairpoint, Baccarat, Hobbs Brockunier, Central Glass, Daum and others that produced similar "fairy lamps" with clever design differences to avoid infringing on his patents.
As you explore this website you will find many examples of Victorian era Fairy Lamps from private collections which contributed different examples to the publications of the Fairy Lamp Club and Newsletter (1996-2014) as well as numerous recent discoveries. Also available on the website are many of the Fairy Lamp advertisements, patents, price lists, and articles that will hopefully aid in the research and understanding of fairy lamp manufactures and production.
Even though the popularity of Fairy Lamps peaked towards the end of the Victorian era, these early lamps continue to be sought after today by avid collectors.
Finally, even after 50 years of collecting Victorian-era fairy lamps, researching, and publishing several books about these fascinating little lamps, there is still much to learn. I welcome the opportunity to pass along what I have managed to learn along the way and welcome new information from others who wish to expand our knowledge of Victorian-era fairy lamps.
Brian
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