To contact us about the art please site the category and name of the image. We will get back to you on size, pricing and all details of the work.
Original Paintings are all done on either canvas, linen, paper or wood. All are painted in oil and vary in sizes, some up to six feet. Most are signed and titled by Maria.
Reproduction Prints are generated from high resolution digital scans and printed with archival quality inks onto various substrates including canvas, fine art and photo based papers. The giclee printing process provides better color accuracy and rivals traditional silver halide and gelatin printing processes found in museums and galleries.
Reproduction prints are limited editions on paper or canvas and available for purchase in the given sizes indicated on each image.
Original Etchings are limited editions on paper, signed and titled by Maria, and available for purchase in the given sizes indicated on each image.
Maria Henle on the etching process:
“From 1980-1991, I was a printmaker. I spent my days in New York’s Printmaking Workshop obsessively working on color etching, a demanding and painstaking technique involving the use of acids, solvents and heavy machinery to arrive at a complex, subtle and icy result: the fine art print.
In my asphaltum-splattered and ink-smeared work dress, gloved hands swishing the bubbles in the acid bath, sweating over the hot plate on the ink stand or groaning as I cranked the plates through the tremendous pressure of the etching press, I would declare there was no filthier, more arduous means to achieve a delicate and beautiful work of art.
These elegant images may not belie what their creation entailed. Each of my multiple image etchings demanded an average of four weeks, working full days, sometimes seven days a week to create the three zinc plates from which each impression was pulled. Countless “working proofs” would be pulled from the plates as I crafted them: etching, sanding, scraping, adjusting the tones, until they would at last print to my satisfaction.
The printing of each impression, done entirely by hand by myself, sometimes with the blessed assistance of colleague Esther Light, or my brother Martin helping to prepare the yellow and red plates, took an average of fifty minutes. Then they would have to dry under weights for several days before they could be signed, numbered and added to the edition.
It’s no wonder the patron saint of printmakers is the martyred San Sebastian who we adopted in a moment of solvent-induced punchiness.
Each artist gravitates toward a medium through which he can best express himself. Why I chose such a challenging and often tedious means of expression I can’t quite say, but for fifteen years etching was the only means of creating art that truly excited me.
It is a wonderful process to those of us mad enough to pursue it, engendering a deep dialogue between vision and materials and a tremendous sense of triumph and elation when the final, successful proof is pulled.” -Maria Henle