Contemporary Fairy Wands

We love the traditional materials used for fairy wands, but who says you have to stick with convention? Creative artists have taken fairy flight with new approaches for wandmaking.

This Gorgeous Wish Keeper Flourite Magic Wand from Darlene of Queenie88 is great for both collecting and play. Fluorite, an isometric mineral known for its fluorescent quality, connotes its root etymology meaning “to flow”. What could be better for directing positive energy inward and outward with this exquisite wand. The artist added a special feature: when the acorn end (pictured below) is turned, it reveals a secret opening just large enough for a small scroll. We love that!

Contemporary materials chosen for wands can be as easy as paper and ordinary household items. Probably not of interest to the collector, but definitely appropriate for festivals, parties, and play, this whimsical Paper Doll Ornament Fairy wand, (at right), from Dora Haymond of Avalon Steampunk. With ribbon and sparkle accents, the fairy can be removed from her wand (via her clothespin body) and pinned as an adornment or tree ornament.

Laurel Kotewicz of Wire Princess fashions sweet treatments in twisted copper like this Pink Pointed Stone Centre Princess Fairy Wand (below). A pink stone bead centers the regal yet “girly-girl” aspect of this wand. (And we hurrah the usage of this metal for wandmaking — we devoted a whole article to copper wands!)

DIY options:



There never was a merry world since the fairies left off dancing, and the Parson left conjuring.

~ John Selden, “Parson,” Table Talk, 1689


Ariel’s Song: Come unto these yellow sands

Ariel’s song, with its dreamy allusions to water, flight, music, and affection, was taken as an open invitation to artists to depict this magical scene visually, especially among the pre-Raphaelites.

Come unto these yellow sands,
And then take hands:
Curtsied when you have, and kiss’d
The wild waves whist,
Foot it featly here and there;
And, sweet sprites, the burthen bear.

These are the lines from The Tempest in which the airy spirit Ariel guides Ferdinand from his ship wreck to her through song.

Robert Huskisson, Richard Dadd, and Thomas Maybank all created masterful paintings depicting these lines, each titled with the graceful opening line, “Come Unto These Yellow Sands.”

Richard Dadd’s (pictured above) and Robert Huskisson’s (pictured below) pieces are  similar in content, each depicting a group of fanciful, mostly-nude adult fae-people, some in flight (the pattern the figures make is strikingly similar as well), and some mid-kiss, prancing through the center of a stone bridge. However, Dadd’s piece, rich in pinks and reds, appears quite a bit naughtier than Huskisson’s, which utilizes a more classic color scheme and is stiffly bordered.

Thomas Maybank’s piece (pictured below), painted a half-century after the Dadd and Huskisson pieces, depicts winged children in play. Water plays a much larger role in this piece, taking up at least half of the canvas. Though winged, the flight of these fairies is not a focal point, as the only fairies in flight are obscured by their surroundings, and are much less visible than the fairies on the sand and in the water.

The second stanza of Ariel’s song, beginning with the classic “Full fathom five” has also been the source of inspiration for many artists, writers and musicians, many of whom have appropriated this first line for use as a title.

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Hark! now I hear them—Ding-dong, bell