Edward Marshall Boehm American Figurative Expressionsit Porcelain Sculptor of the 1950s.

According to Marilyn Stokstad, the art historian:
"Expressionism (is) the manipulation of formal or representational elements to convey intense feelings."

Edward Marshall Boehm explained his choice of porcelain as the medium for his art as follows:                               
"Porcelain is a permanent creation. If properly processed and fired, its colors will never change; and it can be subjected to extreme temperatures without damage. It is a medium in which one can portray the everlasting beauty of form and color of wildlife and nature."

Frank J. Cosentino commented on the art of Edward Marshall Boehm: 
"Its grandeur is in its perfection. It is a disciplined art, mastering the demands of the ancient and distinguished craft of porcelain making."

Edward Marshall Boehm was a pioneer American figurative expressionist porcelain sculptor. He created porcelain sculptures between 1950 until his death in 1969 in Trenton, New Jersey. During his lifetime the introduction and closing dates of his limited edition sculptures were well documented.


After the death of his wife Helen who functioned as his manager the Studio has changed ownership several times. Today the name Boehm is being used to create porcelain by The Boehm Porcelain Company of Trenton, NJ. It reopened  August 15, 2016. It is using the name "Boehm" along with a modified hallmark of Edward Marshall Boehm. 

The exceptional sculptures of Edward Marshall Beohm as an American figurative expressionist porcelain sculptor of the 1950s remains unequaled.

Edward Marshall Boehm, Percheron Mare and Foal on base, 1950 glazed, decorated Black Foal-possibly unique glazed, decorated Dapple Gray Foal-2 made9 1/2 x 14 inches. This is the first piece of sculpture ever modeled by Edward Marshall Boehm. 

Edward Marshall Boehm, Hereford Bull, on base with presentation plaque,
1950-1959 
10 1/2 x 5 1/2 inches, glazed, decorated.
Boehm Studiomark Number 301.
Collection of the Metropolitan Museum of Art, NY. 

Edward Marshall Boehm, Percheron Stallion, Dapple Gray with Roses
with blue finish, 1951-1959
12 x 91/4 inches, glazed, decoratedBoehm Studiomark Number 201.
Collection of the Metropolitan Museum of Art, NY.

Edward Marshall Boehm, Canvasback Ducks, on Cattails (pr.), 1951-1958
4 inches, glazed, decorated found with makers mark D
Decorated bisque has been found with makers mark F
Boehm Studiomark Number 401

Edward Marshall Boehm, Song Sparrows With Tulips, (pr.) 1956-1960
17 x 9 inches, bisque, decorated.
Boehm Studiomark number 421.

Edward Marshall Boehm, Goldfinches, 1961-1966
11 1/2 x 5 inches, bisque, decorated
Boehm Studiomark number 457

Edward Marshall Boehm, Sugarbirds, 1961-1966
25 1/2 x 11 inches, bisque, decorated
Boehm Studiomark number 460

Edward Marshall Boehm, Robin with Daffodil, 1964-1966
13 x 8 inches, bisque, decorated.
Boehm Studiomark Number: 472
Presented to Queen Elizabeth II of England
Presented to Pope Paul VI by President Nixon

Edward Marshall Boehm, Ivory-Billed Woodpeckers, 1964-1966
Hight: 54 inches, bisque, decorated.
Boehm Studiomark Number 480

Edward Marshall Boehm, Parula Warblers, 1965-1973
14 1/2 x 9 x 7 3/4 inches, bisque, decorated.

Boehm Studiomark Number: 484

Edward Marshall Boehm, Crested Flycatcher on Sweet Gum, 1967-1974
18 1/2 x 14 x 11 inches, bisque, decorated.
Boehm Studiomark number 488

Edward Marshall Boehm, Hooded Mergansers, (pr.) 1968
Female: 10 1/2 x 6 3/4 x 7 inches
Male: 10 1/2 x 11 x 12 inches, bisque, decorated.
Boehm Studiomark number 496

Edward Marshall Boehm, Common Tern, 1968-1974
16 x 12 x 14 inches, bisque, decorated.
Boehm Studiomark number 497

Edward Marshall Boehm, Young American Bald Eagle, 1969-1974
9 1/2 x 6 inches, bisque, decorated. 
It was designed for the incoming President.
Boehm Studiomark number 498

Edward Marshall Boehm, Western Bluebird with Wild Azaleas, 1969

17 1/2 x 20 x 10 inches, bisque, decorated.

Boehm Studiomark number 400-01

Please view:Edward Marshall Boehm American Expressionist in Porcelain Sculpture  

  

Art and Individuality

“What the superior man seeks is in himself; 

what the small man seeks is in 

others.” ― Confucius

Following World War II the relevance of 

individual identity in art has been 

disregarded. This blog intends to shed light on 

the continued expression of individuality by 

artists. 

Karl Zerbe (1903 – 1972) 

[All modern artists have] "the desire to give to 

the object a functional beyond its naturalistic 

aspect to free it from its accidental 

surroundings, to develop and organize it within 

the frame of the picture into an emotional 

potential. In other words, the object is 

elevated to a symbol." 

Karl Zerbe, Self Portrait with Clown, 1945. Encaustic, 19 1/2 x 15 1/4 inches.

Karl Zerbe, THE MASK OF HER FACE, 1948. Tempera on board, 20 x 25 3/4 inches.

Karl Zerbe, Cyprus II, 1955. Encaustic on board, 39 x 24 inches.

Balcomb Greene (1904 – 1990)

"I do not believe that art should be explicit," .... It should be suggestive and ambiguous so that the viewer has to enter in." 

Balcomb Greene, Gertrude III, 1958. Oil on canvas, 62 1/4 x 50 inches.

Balcomb Greene, Two figures,1970. Oil on canvas, 56 x 46 inches.

Balcomb Greene, Shadows and Sea, 1970. Oil on canvas, 61 x 55 inches.

Albert Kotin (1907 – 1980)

"As long as there are people such as Al Kotin, 

there is no danger to art." - Alexander Calder

Albert Kotin, Untitled, 1950. Oil on canvas, 36 x 30 inches.

Albert Kotin, Untitled, 1954. Oil on canvas, 70 x 58 inches

Albert Kotin, Party IV, 1964. Oil on canvas, 36 x 30 inches.

Albert Kotin, Testigos, 1968,  Quadriptych. Oil on canvas, 104 x 63 inches.

Albert Kotin, Modesty... The Scientist, 1968, Oil on canvas, 39 3/4 x 48 inches.

Ezio Martinelli (1913-1980) 


"For myself I venerate all of that which I am 

forced to call , for the sake of clarity, the past, 

my own Western Heritage and the even older 

and brilliant past of the Far East and Near East 

and their multiple cultures. In this way I feel I 

pay homage to the Titan's, both anonymous 

and known."

Ezio Martinelli, Untitled (Abstraction), 1949. Oil on canvas, 71 x 39 inches. 

Ezio Martinelli, Untitled, 1950. Oil on canvas, 79 1/2 x 23 1/2 inches.

Ezio Martinelli, Grief, 1951. Oil on canvas, 60 x 25 inches.

Leon Golub (1922 – 2004) 

The ART news writer Amei Wallach once wrote: "Golub was a righteous monster who reconciled painting with the unpalatable realities of his time."

Leon Golub, The Orator IV, 1962. Oil on canvas, 37 x 30 3/4 inches

Robert Nathans (1955 – 2016)  


"I bring all my memories with me as I stand in 

front of my canvases. Here my intuition comes 

into play. It will sometimes take me months of 

working. Then, somewhere in this process of 

painting and observing. I would inextricably 

disappear. Unaware of body, time, and space 

when I become painting."

Robert Nathans, The Distractive Character, 1986. Oil on wood and tree stumps, 36 x 14 inches.

Anki King (1970 – )   


"Emotions are the base of the work I make and 

I use paint and brushstrokes to express what I 

want to say, and the feeling I wish to convey. 

Painting to me is a collaborative process. Oil 

paint is a live medium and if you do something 

with it, it does something back that you again 

can respond to; it is a communication. Every 

work I create contains figures or figurative 

elements. I always enjoyed the figure and I 

have a love relationship with it as form. It is 

also the most direct way I can convey my own 

experience and it is ultimately this experience 

I create out of."

Anki King, Broken Mannequin, 2002. Oil on canvas, 39 x 36 inches.

Anki King, Fall, 2012. Oil on canvas, 54 x 74 inches.