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M A R I G O L D
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Below is an excerpt from an article on new shapes and pieces which appeared in The Pottery, Glass & Brass Salesman, August 16. 1934. It discusses some of the treatments found on the then new shape, Marigold.
The plate to the right (not shown in the original article) has one of the treatments mentioned.
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...The edge itself is slightly sunken while the frame -- if it may so be called -- in which the fan is set is also sunken. Beyond that, the edge is made slightly elliptical just outside of each fan and is notched on either side of the ellipse, making the latter seem even more pronounced than it actually is.
There is a classic simplicity about all of this save in the fan itself, which shows an embossment of a somewhat contemporaneous order. But the two treatments of such widely different nature are so cleverly blended as to make for a perfect unity.
Done on a rich ivory body, a choice of three underglaze color treatments is obtainable. The color work is confined exclusively to the fan. The colors inclued pink, green and blue, and the effect, for all its simplicity and comparative lack of color, is at once striking and very attractive.
Beyond the underglaze colors, overglaze treatments are also offered in coral and black [see image] and in blue and yellow. These overglaze numbers are further embellished by two narrow gold lines, one at the edge and the other following the inner line of the indentation. Prices, even on the overglaze, are very reasonable, and it is not astonishing that the Marigold has met with wide success despite the short time it has been on the market and has appealed to discriminating buyers all over the country...
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