Hurricane Lamps
Thousands of years ago, lamps were made of pottery, carved shells, and other materials. They contained oil derived from animal fat or plants. A fiber, linen, or papyrus wick floated in the oil, providing longer periods of light.
In 1780 Aime Argand developed an oil lamp that contained a wick in a cylinder housing surrounded by a glass chimney. Containing the flame within the confines of the glass shade was a vast improvement over the earlier versions which were simply flames, not shielded, surrounded, or protected. Various oils were used, including rapeseed oil, whale oil, and later kerosene—known as “coal oil,” which is extracted from petroleum. Wick lamps consisted of burners attached to a fuel tank with the wick leading from the tank through the burner into a glass chimney. Lighting the wick and adjusting the air flow within the chimney determined how bright and for how long the lamp provided light.
Over time, more refined and innovative lamps were designed. Some mixed fresh and heated air through side tubes to the flame. Later designs used tall cylinders or round shades to contain the flame.
With the flame encased in glass, it could withstand strong drafts even in a hurricane, hence the name “hurricane lamp,” although I suspect the lamp would prove useless in hurricane-force winds. Now, a purely functional lamp could reside in everyone’s home as sizes and designs evolved to fit demand. Initially, the shades were made of clear glass, with more expensive types using thicker glass with finely etched or hand-painted decorations. These commanded a higher price. The lamps continued to evolve, as the bases were no longer justmetal, but brass, often embossed with intricate designs.
During the Victorian era, a multitude of styles were designed strictly for the affluent. Colored glass became popular. Hanging above their homes’ main entrances were exquisite chandeliers, as well as wall sconces to illuminate grand staircases. Intricately designed chandeliers with etched glass shades were used in the dining room. Hand-blown globe-shaped parlor and hand-painted boudoir lamps were common. All were lit by kerosene that household staff maintained daily.
Popular glass companies in the United States were Keystone Flint Glass, Excelsior, and Atterbury. In England, F & C Osler, a prestigious glass company, and in France, with its famous black glass, were Lissuate and Cosson’s Glass Works of Paris. This black glass was often decorated with pearl and colored glass. Humbler homes contained functional kerosene lamps. If they could afford it, some chose lamps with shades made of opaque white “milk” glass instead of clear glass.
Like any technology, with time there came more innovations. Victor Johnson began the Aladdin Lamp Company in 1907. This Aladdin lamp, developed in 1908, was a mantle lamp with a center draft burner, casting a brighter but softer light.
The Victorian appetite for illuminating every room in their homes with stunning lamps drew glass companies like Fostoria and Federal Glass to innovate and manufacture unique shades. They supplied various types of shades to lamp companies that produced fancy and intricate brass, china, or etched crystal lamps. Some lamps had mother of pearl bases, two-tone glass like amberina (deep gold and red), rich cranberry, and more. Many were hand-painted and contained landscape scenes, flowers and the like.
Art glass oil lamps created by Louis Comfort Tiffany were produced at the same time as their electric lamps, beginning in 1893. A team of women known as the “Tiffany Girls” designed and conceptualized the lamps. Although electricity was in use, electric lamps were used in specific interior design assignments. Tiffany worked with Edison to design a stunning chandelier and wall sconces for New York’s Lyceum Theater. In private homes, electricity was limited, so Tiffany oil lamps were used. That’s where the ladies’ hard work became apparent. Flowers and organic designs populated their work.
Today, an authentic Tiffany oil lamp most certainly will cost upwards of $13,000.00 but would be a rare treasure indeed. They will have an exquisite, detailed glass shade. The lamp itself will be hand crafted with a colored glass chimney, all brass parts including a brass tank for the oil and adorned with glass mosaics.
At the Antique Doorknob in West Cape May, I discovered several oil lamps. Some were electrified, particularly the more elegant lamps. No charm was lost due to the conversion unlike with simpler designs, as in a metal oil lamp. Utilitarian lamps were scattered about the shop, like a late 1800s hurricane lamp with its original glass shade. The opaque white glass shade and shade ring is original to the lamp. The base is made of white metal, an inexpensive one that may include tin, zinc, and other metals.
I particularly liked a large brass lamp that was indicative of the Victorian era. It was an ornate brass one with a cherub playing the flute, converted to electric. Cherubs became popular in Victorian art, interior and exterior design, representing pureness and beauty. Many fine lamps such as this one used hand-blown glass globes often themed to the corresponding base. This lamp with the cherub adornment has a corresponding hand-blown cherub face shade, a nice find. Although both types served utilitarian purposes, it’s understandable why particular lamps were modified when electricity was in use.
If you’re lucky enough to find an ornate lamp such as this brass one and want to convert it yourself, there are a few tricks of the trade you can use. First, unscrew the top where the wick tube and gallery are located, above the fuel tank. Then add an electric lamp adapter, feeding the wire towards the back. Voila, a usable lamp! Not all lamps are the same but if the workings of the original are located at the center, this method should work. If the wire proves unsightly and it’s not a particularly valuable lamp, then drilling the bottom of the fuel tank and running the wire down the center (if the brass post is hollow) would give you a lamp that could very well appear as a reproduction. You can go for it, but personally I’d not recommend this because if the lamp held any value, it certainly won’t now.
If you find an authentic lamp minus the shade, don’t despair. Keep in mind that an original shade might cost more than the lamp is worth. Search eBay or other sites to locate an antique glass shade, but this may prove to be a difficult task. Another option is to search for online companies that make shade reproductions at a fraction of the price of an original.
Values fluctuate like all fine antiques due to popularity and demand. When inspecting your find, naturally look for chips not only in the glass but if the lamp is hand-painted, chips in the painted application. Damage like this will greatly decrease the value. If you’re searching for a completely original lamp, it may not have the original shade, although you can somewhat determine through internet searches if yours is comparable. For example, take globe measurements and inspect the shade placement and how it sits on the lamp. Does something look off? Often, it’s blatantly obvious but if it’s a reproduction of a high-end lamp like a Tiffany and the seller is calling it authentic, buyer beware. Do your homework. When in doubt, it’s probably best to move on in your search. Happy hunting!
