These days, what with open-concept home layouts and modern-style sliding and other doors, we don’t have much use for doorstops anymore – except of course – as a collectible! As the name implies, doorstops, which were usually made of iron to make them heavy enough, were made to keep doors open when breezes or just the weight of the door would tend to make them close automatically. Sometimes, people just used a big rock for the purpose. In fact, the most expensive “doorstop” in the world is a 3.5-kilogram (more than seven pounds) piece of amber, millions of years old, dug up by an elderly woman from a stream bed in Romania and that she used as a doorstop. It’s valued at over $1 million! After she died, the piece was sold to the Romanian state and is currently being kept at the Provincial Museum of Buzau.

The first doorstops actually made as such came into vogue in the late 18th century, which is when doors began to be designed with hinges to close the door automatically. The earliest doorstops, made of brass in England, were used to keep doors open in order to freshen the air in rooms. Cast iron had replaced brass by the 19th century. Antique cast-iron doorstops were made in every conceivable form, both painted and unpainted: animals, baskets of flowers, houses, ships…You name it and there was probably a doorstop made in that form. Heavy cast-iron flat irons that were actually used in pre-electric days to iron clothes after the metal was heated over a stove have also been used as doorstops.

Perhaps the best known among antique doorstops were those made by Hubley, founded in Lancaster, PA, in 1894. Hubley’s earliest productions were cast-iron toys, but it began making doorstops early in the 20th century. One of its most popular forms was a Boston bulldog on a stand.
The oldest Hubley doorstops have a maker’s mark on the bottom and a mold number on the hollow inside (although later Hubleys had a paper label on the back instead of the earlier engraving). Depending on the form, some doorstops (such as the full-form bulldog and other animals) have a middle seam, which will be very tight in a Hubley.

Many of the cast-iron doorstops found today are reproductions. Antique doorstops in a three-dimensional form usually have a screw to keep the two sides together. The most important clue to antique status is the screw head. This will be a straight, slotted screw, not a Phillips-head screw seen on later imitations (kellyelko.com/antique-cast-iron-doorstops). Antique doorstops also have a very smooth surface, whereas later versions have a rougher or “pebbly” feel. These authenticity factors are important to know in order to distinguish old Hubleys and other antique doorstops from later imitations. Some doorstops, e.g., in floral forms, are figural on only one side and are forged in one piece.

Hubley wasn’t the only maker of doorstops that have achieved antique status today. Some other companies included National Foundry, Albany Foundry, Greenglatt Studio, and Bradley and Hubbard.

When I began collecting mid-century American-made kitchen and dinnerware sets, I quickly learned that even items made by entirely different manufacturers could be pleasingly matched on the same table. Fast-selling dinnerware sets were imitated by competing companies. My first discovery of this phenomenon was in Brown Drip pottery dinnerware, made by Hull (from the 1960s to ‘80s) and McCoy potteries (from 1968), both no longer in production. These are so closely aligned in color and foam treatment that they are virtually indistinguishable from one other without flipping the items over to check the mark. What this allows one to do is mix and match the items so as to make complete sets despite their not all being in the same brand (Such is not the case with Pfaltzgraff brown foam from the 1940s, where the brown in the body is so dark as to be nearly black that tends to clash with the lighter brown of the other two brands. As with the other two companies, though, Pfaltzgraff is no longer in production).

Then I found a hen on nest casserole dish that looked very much like my brown foam sets. It turned out to be made of glass rather than pottery, but its mix of brown and tan colors displays quite nicely among my Hull and McCoy. The hen on nest has a Westmoreland mark.

Fiesta is a pottery dinner and kitchenware brand known for its colorful mix and match sets, whose earliest colors, beginning in 1936 and into the 1950s, have become very collectible: red, yellow, cobalt blue, green, and ivory and (added in 1937) turquoise. With a gap during World War II, the red continued in production through 1972. Other colors, e.g., rose and gray, are more recent. The earliest Fiesta pieces have an inked backstamp on the bottom that says GENUINE (in caps) and fiesta (in lower case). The Homer Laughlin Co. dates from 1877 and is still in business.

My parents were early collectors of Depression Glass, and when my mom was trying to clear out some collectibles (to make room for others!), she gave some Depression dinner sets to my three sisters and me. Luckily, we were each attracted to different sets! I had always loved the American Sweetheart Monax dinnerware, of which my mom had nearly a complete set. Monax is a white color that thins to an almost transparent opalescence around the edges. Mom also gave me her set of Monax Petalware made by MacBeth-Evans in the 1930s (making it nearly antique!), which features a similar opalescence and matches nicely to fill in empty spots in my American Sweetheart set – which was, incidentally, made by the same company in the same era. I have long been struck by the fact that Depression glass, cheaply made at manufacture, has lasted so well for nearly a hundred years!

Recently, I found in an antique shop a set of four stemmed tumblers in Fenton’s French Opalescent hobnail, which matches very nicely with my Monax dishes. This Fenton tableware was made between 1940 and the early 1950s. I confess I’ve never personally seen the dinner and other plates in this treatment, but they are listed in books such as Margaret and Kenn Whitmyer’s Fenton Art Glass Patterns, 1939-1980.

Candlelit fairy lights (AKA fairy lamps) were popular in the 19th century before access to gas and electrical lighting. George Miller Clarke invented fairy lights in England in 1844, just about the dawn of the Victorian era. These lights consisted of a base, into which a candle could be inserted, and a chimney or shade. They would provide light when placed at intervals in hallways or rooms.

Their appearance differed from kerosene lamps in that fairy lamps were more colorful and decorative but also smaller; typical kerosene lanterns were strictly functional, consisting primarily of a tall shade and oil reservoir made of clear glass.

After Clarke introduced the form, several other Victorian companies produced fairy lights, being careful not to infringe on Clarke’s designs. These included Pairpoint, Baccarat, Hobbs Brockunier, Central Glass, and Daum, among others (www.fairylampclub.com). Later producers included Indiana Glass, Westmoreland, and Fenton.

Even though it didn’t start making them until the 1950s, fairy lights made by Fenton Art Glass Co. have become popular with modern collectors. The company issued fairy lights to celebrate seasons from winter to spring and holidays from Easter to Halloween to Christmas to … well, you name it. Fenton was especially interested in celebrating Christmas as a Christian holiday, but it was also careful to make the decoration of most of its winter-themed lights generic so that they can be enjoyed by those of other faiths (or no faith affiliation at all). Let’s not forget, for example, that December also brings us Hannukah, the Jewish “festival of lights.”

This article focuses on fairy lights, of whatever maker, that were made to celebrate winter and its holidays, a time when these twinkling lights are especially welcome in the dark nights – and often sunless days – of the season. But first, some information about safe usage.

Safety First

The oldest fairy lights generally consisted of one solid piece of glass with a tall stem and a wide skirt. (It’s worth noting here that the first ones Fenton made had a candle access hole that was too narrow to accommodate a votive candle, the size of choice for fairy lights. The company subsequently widened their one-piece lamps just enough to accommodate a votive.) Other fairy lights come in several shapes and numbers of separate parts. Most consist of the base with a separately molded top (two-piece), others of the base, globe, and a separate candle base between them (three piece).

Glassmakers, including but not limited to Fenton, that made fairy lights for distributor LG Wright even made four-piece forms, in which the fourth piece was a clear glass cylinder to hold the candle that was inserted into the middle, recessed holder found in the three-piece models. Consequently, these lamps look like three-piece models when viewed from the outside.

The insert that was this fourth piece may have been Wright’s effort to protect the outer globe from flame damage, it having been discovered that votive lights can generate sufficient internal heat to crack the chimney part of the lamp. Consequently, today’s collectors of all fairy light forms prefer to use shorter tea lights that generate far less heat – or, better still, LED-battery votives that generate no heat at all.

Pilgrim forms made of cloth, straw, or ceramics are useful as decorations for Thanksgiving but not so much for the rest of the year. Broadening our focus, there are many Thanksgiving-appropriate collectible items, including some that can be used year-round and not just for that particular holiday.

When I think of Thanksgiving, my first thoughts don’t go to the pilgrims but to the Native Americans who welcomed them. There are many Native American arts, antique and newer, that are especially apt for Thanksgiving and beyond. Think, for instance, of indigenous baskets that can be used to display direct-from-the-garden squash, potatoes, carrots, and gourds. Since many families break out the simple, non-figural nutcracker for this holiday, smaller examples of native basketry can be used to display the nuts in shells (And among the more decorative – but not necessarily edible – nuts for the season, we also have the humble acorn!).

Old Thanksgiving postcards and greeting cards can also be used to decorate a table centerpiece or the walls of the dining room in celebration of the November holiday.

Turkeys are ubiquitous at this time of year – and not just the ones with feathers! Serving pieces and planters in turkey form have been made of pottery and other ceramics, metal, and glass. Glass covered turkeys can be found in which the top lifts away; these have been made by LE Smith and Mosser Glass. Turkey displays have been made of every conceivable raw material, from pine cones to cloth to yarn. You can even find “stuffed” turkey doorstops.

Pumpkins are a popular Thanksgiving collectible, real ones right from the garden or decorative examples, old and new, made of glass, stuffed cloth, or other material. Non-edible ears of corn made of ceramics and three-ear gatherings of natural Indian corn (with multi-colored kernels), usually made for display rather than eating, make great door decorations.

I’m especially fond of decor-ating with gourds, non-edible as they may be, because they grow in so many colorful shapes and forms. And they last a long time as well, so you can get them at harvest at the end of summer and still have them for decorating at Thanksgiving and for weeks afterward.
Small bundles of natural wheat can also be used as harvest décor, but wheat shocks have also been rendered in non-edible forms. Among these are the wheat vases first made in Czechoslovakia and later popularized by Fenton Art Glass, in which the vase flares at the top and is surrounded by glass roping and lobes sculpted on the body of the vase to simulate the shocks of wheat.

Custard glass is creamy ivory or pale-yellow pressed glass that was popular in the late 19th and very early 20th centuries. It was used in tableware made by some English and Czech/Bohemian companies but is generally found here in the U.S. made by American companies, including Dithridge, Northwood, Heisey, Jefferson Glass, and Fenton. Custard glass was made with elements including uranium and sulfur and will glow under blacklight. The oldest glass was unmarked and identified primarily by pattern though one will occasionally find a piece with the maker mark on the base.

The glass itself usually had molded designs of florals and borders that were painted. The painting has had variable longevity. The more a set was used, the more susceptible the paint would be to wear. In some cases, the paint has deteriorated to such an extent that it is better to remove it so that the underlying glass form can show to its best advantage.

The color accent on the oldest custard glass is a brown or green wash such as seen in Northwood and Fenton, and this has usually survived to better advantage than the more multi-colored painted varieties that came along just a bit later. Sometimes decoration on painted glass was done just in enameled gold paint.

One of the painted custard glass patterns that survives in best condition was Northwood’s Chrysanthemum Sprig. It was made in a variety of tableware and serving forms, of which I’ve been able to identify the following (though more forms may have been produced): pitcher and glasses, sugar and creamer, spooner, toothpick, round covered butter, jelly compote, and berry bowl set. The spooner and sugar are essentially the same size and shape, but the sugar bowl will have a rim on the inside to accommodate its fancy lid. Chrysanthemum Sprig was also made by Northwood in a blue glass, likewise painted, primarily in gold with green painting in the border whereas the custard versions also included pink accents in the borders.

Online prices for Chrysanthemum Sprig are mostly in the $50-$75 price range with a few going higher. Complete or near-complete sets of table centerpiece pieces will sell for more. Northwood also made custard glass in other patterns, including Argonaut, Fan and Feather and Grapes and Leaves.
It should be noted that the Chrysanthemum Sprig pattern has been imitated in at least the toothpick form. Northwood examples will have tops that are flared to the same diameter as the base. The top of the late-20th century copy by Summit Glass is pulled in narrower than the base.