

















1994, Rear Window, 5x7 inches, intaglio and aquatint, (5 out of 6) by Kenney Mencher
FREE SHIPPING
Shipping takes 3-4 Weeks
This ships from Round Lake Beach, Illinois. A suburb outside of Chicago.
I use UPS and sometimes US Post.
This piece is part of my Fresh Finds project—where I’m digging into my archive and pulling out older work that hasn’t been available for years. These are pieces I’ve held onto, not because they weren’t good, but because they were part of my own artistic development and I didn’t feel ready to let them go. But now, I want to invite collectors—especially those who’ve followed me for a long time—into that history. These works are part of my legacy, and it feels right to make them available.
Rear Window is a small intaglio print I made in 1994. It’s based on a still from The Maltese Falcon—there’s this striking moment where Bogart is standing on a sidewalk, looking up at a figure in a window. Something about that scene stuck with me. I paused the VCR (this was way before high-res anything), and through the fuzz and static I managed to sketch out the composition. That original sketch is still in one of my old sketchbooks, which I’ve been thinking of offering for sale, too.
I liked the composition so much I decided to make a print from it—and eventually a woodcut as well. This print is the first state of the intaglio version. It’s one of just six impressions I made, and this one is number 5 of 6. I etched the plate myself and used aquatint to build up the tonal areas, giving it that gritty, shadowy texture that felt true to the source. The lines are scratchy and gestural—lots of quick, sharp hatching that give it a raw, cinematic edge. There’s a strong emotional contrast between the solid, silent figure below and the shadowy presence in the window above.
This work combines my love of film noir, printmaking, and figure drawing. The style blends realism with loose, abstracted mark-making—something I picked up from artists like Diebenkorn, Bischoff, and even Lucian Freud. That balance between solid form and expressive line is something I’ve chased throughout my career. Even early on, I was using cinematic moments as jumping-off points for more psychological or moody compositions.
Details:
Intaglio and aquatint print
5 x 7 inches (image size)
Printed on fine art paper
Titled Rear Window
Dated 1994
Edition 5 of 6 (1st state)
Hand-pulled and signed
Unframed
Original preparatory sketch still exists in my archive
Stored flat, excellent condition
FREE SHIPPING
Shipping takes 3-4 Weeks
This ships from Round Lake Beach, Illinois. A suburb outside of Chicago.
I use UPS and sometimes US Post.
This piece is part of my Fresh Finds project—where I’m digging into my archive and pulling out older work that hasn’t been available for years. These are pieces I’ve held onto, not because they weren’t good, but because they were part of my own artistic development and I didn’t feel ready to let them go. But now, I want to invite collectors—especially those who’ve followed me for a long time—into that history. These works are part of my legacy, and it feels right to make them available.
Rear Window is a small intaglio print I made in 1994. It’s based on a still from The Maltese Falcon—there’s this striking moment where Bogart is standing on a sidewalk, looking up at a figure in a window. Something about that scene stuck with me. I paused the VCR (this was way before high-res anything), and through the fuzz and static I managed to sketch out the composition. That original sketch is still in one of my old sketchbooks, which I’ve been thinking of offering for sale, too.
I liked the composition so much I decided to make a print from it—and eventually a woodcut as well. This print is the first state of the intaglio version. It’s one of just six impressions I made, and this one is number 5 of 6. I etched the plate myself and used aquatint to build up the tonal areas, giving it that gritty, shadowy texture that felt true to the source. The lines are scratchy and gestural—lots of quick, sharp hatching that give it a raw, cinematic edge. There’s a strong emotional contrast between the solid, silent figure below and the shadowy presence in the window above.
This work combines my love of film noir, printmaking, and figure drawing. The style blends realism with loose, abstracted mark-making—something I picked up from artists like Diebenkorn, Bischoff, and even Lucian Freud. That balance between solid form and expressive line is something I’ve chased throughout my career. Even early on, I was using cinematic moments as jumping-off points for more psychological or moody compositions.
Details:
Intaglio and aquatint print
5 x 7 inches (image size)
Printed on fine art paper
Titled Rear Window
Dated 1994
Edition 5 of 6 (1st state)
Hand-pulled and signed
Unframed
Original preparatory sketch still exists in my archive
Stored flat, excellent condition
FREE SHIPPING
Shipping takes 3-4 Weeks
This ships from Round Lake Beach, Illinois. A suburb outside of Chicago.
I use UPS and sometimes US Post.
This piece is part of my Fresh Finds project—where I’m digging into my archive and pulling out older work that hasn’t been available for years. These are pieces I’ve held onto, not because they weren’t good, but because they were part of my own artistic development and I didn’t feel ready to let them go. But now, I want to invite collectors—especially those who’ve followed me for a long time—into that history. These works are part of my legacy, and it feels right to make them available.
Rear Window is a small intaglio print I made in 1994. It’s based on a still from The Maltese Falcon—there’s this striking moment where Bogart is standing on a sidewalk, looking up at a figure in a window. Something about that scene stuck with me. I paused the VCR (this was way before high-res anything), and through the fuzz and static I managed to sketch out the composition. That original sketch is still in one of my old sketchbooks, which I’ve been thinking of offering for sale, too.
I liked the composition so much I decided to make a print from it—and eventually a woodcut as well. This print is the first state of the intaglio version. It’s one of just six impressions I made, and this one is number 5 of 6. I etched the plate myself and used aquatint to build up the tonal areas, giving it that gritty, shadowy texture that felt true to the source. The lines are scratchy and gestural—lots of quick, sharp hatching that give it a raw, cinematic edge. There’s a strong emotional contrast between the solid, silent figure below and the shadowy presence in the window above.
This work combines my love of film noir, printmaking, and figure drawing. The style blends realism with loose, abstracted mark-making—something I picked up from artists like Diebenkorn, Bischoff, and even Lucian Freud. That balance between solid form and expressive line is something I’ve chased throughout my career. Even early on, I was using cinematic moments as jumping-off points for more psychological or moody compositions.
Details:
Intaglio and aquatint print
5 x 7 inches (image size)
Printed on fine art paper
Titled Rear Window
Dated 1994
Edition 5 of 6 (1st state)
Hand-pulled and signed
Unframed
Original preparatory sketch still exists in my archive
Stored flat, excellent condition