1994, Greta's, 11x15 inches, intaglio and aquatint, (off white 4 out of 8) by Kenney Mencher
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This ships from Round Lake Beach, Illinois. A suburb outside of Chicago.
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This etching is called Greta’s, and I made it in 1994. It’s the first state of the plate, number 4 in an edition of just 8, and I printed it on warm-toned, off-white printmaking paper to create a soft, monochromatic feel. The image was inspired by a moment in the film Ninotchka, starring Greta Garbo. I was so taken with her performance and presence that I went to the library, found a book of film stills, and used one of the images as the basis for this print.
The scene shows a woman seen from behind, standing at a window in what looks like a hotel or apartment. A lamp sits on the table next to her. You can just make out lights outside the window, hinting at a nighttime cityscape or skyline. I wanted this piece to feel quiet and a little lonely—just someone caught in a thoughtful moment.
This print is part of my Fresh Finds series—a group of hand-pulled works from my early studio years that I’ve been keeping in my archive. These were made during a formative time in my career, and I’m releasing them now so collectors can own part of that story. Each print is original, signed, and part of a very limited edition.
The technique I used here is etching and aquatint, a classic printmaking process. Etching involves coating a metal plate with a waxy ground, then drawing into it with a needle. The plate is dipped in acid, which bites into the exposed lines. Aquatint is used to create tonal shading—by dusting the plate with fine resin particles, heating it, and then submerging it in acid, the surface gets a soft, speckled texture. Goya used aquatint in much of his work. It’s not an easy process—you have to carefully time each acid bath to get just the right values without overdoing it.
Stylistically, this print mixes naturalism with simplification. The anatomy is believable, but the figure is shown only from behind, letting gesture and outline tell the story. I left out most detail in the face, keeping the focus on posture and light. The space is defined by a few key elements—the lamp, curtains, and window panes—rendered in muted, simplified tones that keep the mood soft and introspective.
The composition is asymmetrical but stable. The figure is placed slightly to the right, with the lamp balancing the left side. The vertical curtains and horizontal window lines create a quiet structure, and the warm-toned paper helps tie it all together.
This piece reflects my ongoing interest in mid-20th-century film, personal memory, and the subtle emotional power of stillness. Like much of my work, it also shows the influence of the Bay Area Figurative artists like Richard Diebenkorn and Elmer Bischoff—artists who used light, form, and mood to explore human experience.
Details:
Title: Greta’s
Year: 1994
Medium: Etching and aquatint
Paper: Warm-toned printmaking paper
Dimensions: approx. 11 x 15 inches
Edition: 4 of 8 (1st State)
Signed and numbered
Unframed
Part of the Fresh Finds archive release
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 etching is called Greta’s, and I made it in 1994. It’s the first state of the plate, number 4 in an edition of just 8, and I printed it on warm-toned, off-white printmaking paper to create a soft, monochromatic feel. The image was inspired by a moment in the film Ninotchka, starring Greta Garbo. I was so taken with her performance and presence that I went to the library, found a book of film stills, and used one of the images as the basis for this print.
The scene shows a woman seen from behind, standing at a window in what looks like a hotel or apartment. A lamp sits on the table next to her. You can just make out lights outside the window, hinting at a nighttime cityscape or skyline. I wanted this piece to feel quiet and a little lonely—just someone caught in a thoughtful moment.
This print is part of my Fresh Finds series—a group of hand-pulled works from my early studio years that I’ve been keeping in my archive. These were made during a formative time in my career, and I’m releasing them now so collectors can own part of that story. Each print is original, signed, and part of a very limited edition.
The technique I used here is etching and aquatint, a classic printmaking process. Etching involves coating a metal plate with a waxy ground, then drawing into it with a needle. The plate is dipped in acid, which bites into the exposed lines. Aquatint is used to create tonal shading—by dusting the plate with fine resin particles, heating it, and then submerging it in acid, the surface gets a soft, speckled texture. Goya used aquatint in much of his work. It’s not an easy process—you have to carefully time each acid bath to get just the right values without overdoing it.
Stylistically, this print mixes naturalism with simplification. The anatomy is believable, but the figure is shown only from behind, letting gesture and outline tell the story. I left out most detail in the face, keeping the focus on posture and light. The space is defined by a few key elements—the lamp, curtains, and window panes—rendered in muted, simplified tones that keep the mood soft and introspective.
The composition is asymmetrical but stable. The figure is placed slightly to the right, with the lamp balancing the left side. The vertical curtains and horizontal window lines create a quiet structure, and the warm-toned paper helps tie it all together.
This piece reflects my ongoing interest in mid-20th-century film, personal memory, and the subtle emotional power of stillness. Like much of my work, it also shows the influence of the Bay Area Figurative artists like Richard Diebenkorn and Elmer Bischoff—artists who used light, form, and mood to explore human experience.
Details:
Title: Greta’s
Year: 1994
Medium: Etching and aquatint
Paper: Warm-toned printmaking paper
Dimensions: approx. 11 x 15 inches
Edition: 4 of 8 (1st State)
Signed and numbered
Unframed
Part of the Fresh Finds archive release
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 etching is called Greta’s, and I made it in 1994. It’s the first state of the plate, number 4 in an edition of just 8, and I printed it on warm-toned, off-white printmaking paper to create a soft, monochromatic feel. The image was inspired by a moment in the film Ninotchka, starring Greta Garbo. I was so taken with her performance and presence that I went to the library, found a book of film stills, and used one of the images as the basis for this print.
The scene shows a woman seen from behind, standing at a window in what looks like a hotel or apartment. A lamp sits on the table next to her. You can just make out lights outside the window, hinting at a nighttime cityscape or skyline. I wanted this piece to feel quiet and a little lonely—just someone caught in a thoughtful moment.
This print is part of my Fresh Finds series—a group of hand-pulled works from my early studio years that I’ve been keeping in my archive. These were made during a formative time in my career, and I’m releasing them now so collectors can own part of that story. Each print is original, signed, and part of a very limited edition.
The technique I used here is etching and aquatint, a classic printmaking process. Etching involves coating a metal plate with a waxy ground, then drawing into it with a needle. The plate is dipped in acid, which bites into the exposed lines. Aquatint is used to create tonal shading—by dusting the plate with fine resin particles, heating it, and then submerging it in acid, the surface gets a soft, speckled texture. Goya used aquatint in much of his work. It’s not an easy process—you have to carefully time each acid bath to get just the right values without overdoing it.
Stylistically, this print mixes naturalism with simplification. The anatomy is believable, but the figure is shown only from behind, letting gesture and outline tell the story. I left out most detail in the face, keeping the focus on posture and light. The space is defined by a few key elements—the lamp, curtains, and window panes—rendered in muted, simplified tones that keep the mood soft and introspective.
The composition is asymmetrical but stable. The figure is placed slightly to the right, with the lamp balancing the left side. The vertical curtains and horizontal window lines create a quiet structure, and the warm-toned paper helps tie it all together.
This piece reflects my ongoing interest in mid-20th-century film, personal memory, and the subtle emotional power of stillness. Like much of my work, it also shows the influence of the Bay Area Figurative artists like Richard Diebenkorn and Elmer Bischoff—artists who used light, form, and mood to explore human experience.
Details:
Title: Greta’s
Year: 1994
Medium: Etching and aquatint
Paper: Warm-toned printmaking paper
Dimensions: approx. 11 x 15 inches
Edition: 4 of 8 (1st State)
Signed and numbered
Unframed
Part of the Fresh Finds archive release
