A personal reflection on 50s TV lamps. If we had one we were progressive—if not we’d go blind.

1950s TV Lamp
1950s TV Lamp

My mother’s parents, the Johnny Rielys, were a farm family until my grandfather retired and they “moved to town”—Council Grove, Kansas—in the late 1930s. In her new home, my grandmother Freda quickly became a midcentury modernist. She didn’t just adopt the style; she sought it out.

Her aluminum Christmas tree with a color wheel, pole lamps, low-back sectional sofas, and Jetson-esque Fiberglas® drapes made that clear. A suite of super-modern, light-gray Formica-clad bedroom furniture sealed the deal. She also bought one of the first large format, black-and-white console televisions in that part of Kansas.

James Theodore design, Jane Jetson pattern

Perched atop the big wooden TV box, above the screen, was a trophy: a sleek, crouched, hunting black panther. The ceramic cat had faceted amber eyes that glowed when the light bulb inside the shiny beast was switched on. She loved that piece.

1950s TV Lamp

Design

TV lamps served both a design purpose and, supposedly, a preventative one. From a design standpoint, they were expressive, often charmingly so, sometimes less so. Ceramic figures—colonial couples frozen mid-curtsy, serene Madonnas, wild animals, exotic seashells, sailing ships forever at sea—sat proudly atop TV consoles, illuminated from within or behind. Pastel glazes and glossy finishes reflected the optimism of the postwar years, when homes were filled with color, comfort, and confidence in the future. More abstract designs—geometric forms and atomic-age silhouettes—spoke to a culture eager to look modern and cutting-edge.

The eyes.

In magazine ads, televisions were presented as the new hearths of the midcentury home, with the TV lamp as their mantel centerpiece. Families were illustrated smiling in its glow. The lamp cast a warm light, signaling togetherness and the promise of shared time at day’s end.

Preventative

Great-Grandma Lowe had a TV lamp on her Sylvania set: a large conch shell with a bulb tucked inside. In the early ’50s, television picture tubes were fairly dim, and to see shows clearly, people often watched in the dark. Some believed that watching TV in a dark room could make you go blind. Newspaper and magazine ads articles reinforced that thought, most of them were selling … tv lamps.

In 1953, when my Mom was pregnant with my sister, Dad bought a super-deluxe Admiral television console with a radio and a turntable built in so mom would, as he said, “have something to do” while she was “waiting for the baby.”

One evening, Grandma Freda came by and said, “Oh, Patty. You don’t have a TV light? You’re going to ruin your eyes!”

Mom replied, “Dr. Essington and I talked about that, mother. He said TV lights are just a fad.”

“Oh honey,” Grandma said. “Dr. Essington is a dentist.”

I believe I grew up in a sitcom.

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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