Set of 4 Original Prints – 1994 Intaglio & Woodcut, Signed, Fresh Finds Collection by Kenney Mencher (Set #7)
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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 set of four original prints is from my 1994 graduate school series, now released as part of my Fresh Finds collection. These works—Greta’s, Rear Window, Back Room, and Avoidance—are all early experiments with narrative, character, and urban space that shaped the way I approach painting and storytelling.
At the time, I was working through themes of film noir and emotional tension in everyday moments. I’d been watching a lot of Hitchcock and reading Raymond Chandler. These prints use intaglio and aquatint processes (plus a reduction woodcut for Avoidance), so they involve multiple steps of biting and printing the plates by hand. Each one is an editioned print or artist’s proof pulled on high-quality paper, many with deckled edges. All of them are unframed and in very good condition.
These are realistic in terms of proportion and space, but also stylized—especially in the use of light and line. The faces are simplified and a bit geometric, which heightens the drama. Each figure is rendered naturally with clear anatomy, but exaggerated gestures or shadows add emotional weight. The compositions are asymmetrical and structured to guide the eye—usually using the rule of thirds with figures pushed toward one side of the frame, suggesting narrative tension or unresolved relationships.
In Greta’s, a woman stands with her back to us, looking out a window next to a glowing lamp—this kind of setup was a key part of my development, where mood and gesture had to carry the story. Rear Window uses two figures in separate spaces—one observing the other—highlighting themes of voyeurism and detachment. Back Room places four figures around a table in tight quarters under a single hanging light, like a bar or interrogation room, referencing noir lighting setups. And Avoidance, a reduction woodcut, shows two men in close quarters but turned away from each other, using bold, angular cuts and contrasting colors to push emotional distance.
These were all part of the groundwork for how I started building layered, cinematic narratives into my work. This batch also includes rare artist’s proofs, which are the test impressions I pulled while checking how the image printed before completing the edition. These are usually kept in the studio, so it’s rare for them to leave my flat files.
Details:
Titles: Greta’s, Rear Window, Back Room, Avoidance
Mediums: Intaglio with aquatint (Greta’s, Rear Window, Back Room); reduction woodcut (Avoidance)
Paper size ranges: approx. 5x7 in. to 11x15 in.
Year: 1994
Condition: Excellent, unframed, printed on high-quality paper with deckled edges
Edition Info: Mix of numbered prints and artist’s proofs
Ships flat, protected in archival sleeve
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 set of four original prints is from my 1994 graduate school series, now released as part of my Fresh Finds collection. These works—Greta’s, Rear Window, Back Room, and Avoidance—are all early experiments with narrative, character, and urban space that shaped the way I approach painting and storytelling.
At the time, I was working through themes of film noir and emotional tension in everyday moments. I’d been watching a lot of Hitchcock and reading Raymond Chandler. These prints use intaglio and aquatint processes (plus a reduction woodcut for Avoidance), so they involve multiple steps of biting and printing the plates by hand. Each one is an editioned print or artist’s proof pulled on high-quality paper, many with deckled edges. All of them are unframed and in very good condition.
These are realistic in terms of proportion and space, but also stylized—especially in the use of light and line. The faces are simplified and a bit geometric, which heightens the drama. Each figure is rendered naturally with clear anatomy, but exaggerated gestures or shadows add emotional weight. The compositions are asymmetrical and structured to guide the eye—usually using the rule of thirds with figures pushed toward one side of the frame, suggesting narrative tension or unresolved relationships.
In Greta’s, a woman stands with her back to us, looking out a window next to a glowing lamp—this kind of setup was a key part of my development, where mood and gesture had to carry the story. Rear Window uses two figures in separate spaces—one observing the other—highlighting themes of voyeurism and detachment. Back Room places four figures around a table in tight quarters under a single hanging light, like a bar or interrogation room, referencing noir lighting setups. And Avoidance, a reduction woodcut, shows two men in close quarters but turned away from each other, using bold, angular cuts and contrasting colors to push emotional distance.
These were all part of the groundwork for how I started building layered, cinematic narratives into my work. This batch also includes rare artist’s proofs, which are the test impressions I pulled while checking how the image printed before completing the edition. These are usually kept in the studio, so it’s rare for them to leave my flat files.
Details:
Titles: Greta’s, Rear Window, Back Room, Avoidance
Mediums: Intaglio with aquatint (Greta’s, Rear Window, Back Room); reduction woodcut (Avoidance)
Paper size ranges: approx. 5x7 in. to 11x15 in.
Year: 1994
Condition: Excellent, unframed, printed on high-quality paper with deckled edges
Edition Info: Mix of numbered prints and artist’s proofs
Ships flat, protected in archival sleeve
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 set of four original prints is from my 1994 graduate school series, now released as part of my Fresh Finds collection. These works—Greta’s, Rear Window, Back Room, and Avoidance—are all early experiments with narrative, character, and urban space that shaped the way I approach painting and storytelling.
At the time, I was working through themes of film noir and emotional tension in everyday moments. I’d been watching a lot of Hitchcock and reading Raymond Chandler. These prints use intaglio and aquatint processes (plus a reduction woodcut for Avoidance), so they involve multiple steps of biting and printing the plates by hand. Each one is an editioned print or artist’s proof pulled on high-quality paper, many with deckled edges. All of them are unframed and in very good condition.
These are realistic in terms of proportion and space, but also stylized—especially in the use of light and line. The faces are simplified and a bit geometric, which heightens the drama. Each figure is rendered naturally with clear anatomy, but exaggerated gestures or shadows add emotional weight. The compositions are asymmetrical and structured to guide the eye—usually using the rule of thirds with figures pushed toward one side of the frame, suggesting narrative tension or unresolved relationships.
In Greta’s, a woman stands with her back to us, looking out a window next to a glowing lamp—this kind of setup was a key part of my development, where mood and gesture had to carry the story. Rear Window uses two figures in separate spaces—one observing the other—highlighting themes of voyeurism and detachment. Back Room places four figures around a table in tight quarters under a single hanging light, like a bar or interrogation room, referencing noir lighting setups. And Avoidance, a reduction woodcut, shows two men in close quarters but turned away from each other, using bold, angular cuts and contrasting colors to push emotional distance.
These were all part of the groundwork for how I started building layered, cinematic narratives into my work. This batch also includes rare artist’s proofs, which are the test impressions I pulled while checking how the image printed before completing the edition. These are usually kept in the studio, so it’s rare for them to leave my flat files.
Details:
Titles: Greta’s, Rear Window, Back Room, Avoidance
Mediums: Intaglio with aquatint (Greta’s, Rear Window, Back Room); reduction woodcut (Avoidance)
Paper size ranges: approx. 5x7 in. to 11x15 in.
Year: 1994
Condition: Excellent, unframed, printed on high-quality paper with deckled edges
Edition Info: Mix of numbered prints and artist’s proofs
Ships flat, protected in archival sleeve
