Pre-Marshall Studios Gordon Martz 'GLM' mark on a whiteware or porcelain P-11 shape. Jane told me that a few of the production shapes were designed while they were at Alfred. Pre-Marshall Studios Jane Martz Signature from late 1950, found on a small handthrown pitcher. A quick "JM," on an early 1950's Marshall Studios piece. Early Jane Martz cipher, where the 'J' is abstracted into a line with a circle at the top. This cipher is also seen in the cover of catalog #4. Early Jane Martz cipher and date on one of my favorite lamps Gordon Martz 1952 signature on a heavy slab tray which was either unique, or short-run as it has not been found in catalogs. All-caps probably Jane Martz on an early 311 two-spouted pitcher. Notice the cruciform lower-case t which positively identifies this signature. The most common Gordon Martz mark. Notice how the z trails off, which is a common characteristic of Gordon's signature. Gordon Martz document signatures. Jane Marshall Martz document signatures. "LL" - signed by Leon Lowe, an employee. "Marshall" and "Marshalls" signatures not by Jane or Gordon, probably post-1989. Notice the light-colored stoneware. An unusual mark probably by Jane. As this is obviously a unique sculpture, perhaps she was trying a new cipher. Date uncertain, perhaps 1960's-early 70's. Genesis Wood and Stoneware mark, probably 1991-93. Post-Marshall Studios Martz signature, 1992 Post-Marshall Studios Martz signature, 1994 Identification, Signatures and Dating: Here are a few common characteristics to help you identify Marshall Studios ware: STONEWARE LAMPS - will almost always have a signature where the electrical cord comes into the pottery base; will almost always have a wooden finial cap; will occasionally have a paper UL label on the socket which says Marshall Studios; will often have 3-way switches; if patterned, will have either an 'incised' design which scratches through to the clay, a 'colored brushing' design, or a 'majolica dots' or 'trailing' design (refer to catalog 22). WOOD LAMPS - will almost always have a wooden finial cap; have never been found with a signature; often look 'staved' as they are stacked walnut or other woods; will occasionally have a paper UL label on the socket or cord which says Marshall Studios. TILE TABLES - are infrequently found with a Marshall Studios mark underneath; are almost always walnut, oak or teak; almost always have matte tile on the top; have a few common patterns - refer to catalog 25. STONEWARE ACCESSORIES - will almost always be signed (about 98% of my collection is signed) with a signature and often an item number; will almost always be unglazed stoneware on the bottom; will occasionally have a paper label (see below); will occasionally have a linen texture on the bottom; will occasionally have finger marks where the stoneware meets glaze (vases & cups especially); will never have pontil marks. Signatures: Like many potters, Jane and Gordon Martz used a variety of signatures throughout their careers. The most common are script signatures with a catalog number, such as "Martz p138," but as one can see from the signatures below, there are many ciphers and styles: Paper Labels and Tags: Many Marshall Studios items are found with paper labels intact, and on a rare occasion, tags are found attached by string to lamp harps or pitcher handles. If lamps have original hardware, they often have paper UL labels glued to the socket. Occasionally, these are also found on electrical cords. These labels are a quick way to positively identify unsigned wood lamps. Clay Color and Texture: The stoneware clay used at Marshall Studios varied somewhat over time and allows for a general period identification of most stoneware items. The photograph of tumbler bottoms below illustrates this. The dark bottom on the left dated 1953 represents a period from 1952-54 where Marshall Studios experimented with a local brick clay to produce their wares. This clay often looks inconsistent in tone on the bottoms. The center tumbler represents the most common stoneware color. While always a warmer tan stoneware color, there is quite a bit of variation in the lightness/darkness of this stoneware and in the amount of black fleck visible in the clay. This stoneware recipe was used in 1951-2, and from 1954 through the late 1970's. Generally speaking, the clay from the 1950's seems slightly darker and includes more black fleck. I believe that there were inconsistencies in the mixing of this stoneware recipe over the long period of time that it was used which cause us to be unable to more specifically date items just based on the clay color. The tumbler on the right is from 1989 or later and illustrates how light the clay color became. There is no black fleck remaining, and the finished clay feels very smooth to the touch, unlike the sandy feel of the earlier stoneware. Through the 1980's the stoneware transitioned from the tan stoneware to the lower-quality light buff stoneware, probably to reduce the cost of materials in a business with waning sales. Above: Marshall Studios Tags Right: Lamp socket UL Marshall Studios paper label Below: A variety of paper labels often found on stoneware accessories. The item designations are [shape-pattern-glaze color]
The Clay Ingredients card below shows how the stoneware ingredients changed through the years. Notice that the original recipe (1951) was provided from East Liverpool, Ohio - home to hundreds of historically relevant potters and potteries in the 19th and 20th centuries (for more information, visit themuseumofceramics.org).http://www.themuseumofceramics.org/shapeimage_22_link_0
Another way to date trays and pressed pieces is by observing the texture on the bottom of trays. From 1952- early 1960's most of the pressed trays were pressed into a mold with a burlap or linen liner to lift the wet clay out when formed. The earlier pieces from the mid-1950's have a heavy texture and the pieces from the late 1950's-60's have a light texture. After acquiring a RAM-press in the early or mid-1960's, the stoneware bottoms became smooth.