Jennie Brownscombe & Henry Pruett Share

Memories

Jennie Brownscombe’s large, original etching, "Memories", was published in New York in 1887. This is a scarce, artist proof impression and is thus signed in pencil by both Jennie Brownscombe and the etcher, Henry Pruett Share.

In her art Jennie Brownscombe concentrated upon sentimental and genre themes. She became one of the most successful American female artists of the nineteenth century and the National Museum of Women in the Arts has termed her as “a kind of Norman Rockwell of her era.”

Memories

View other original works of art by Jennie Brownscombe.

Jennie Augusta Brownscombe (Honesdale, Pennsylvania, 1850 - New York, 1931)
#	Image	Title & Artist	Medium	Date	Notes	-
01-		Memories by Jennie Brownscombe & Henry Pruett Share	Original Etching on Japon Paper	1887	Artist Proof Impression before letters and bearing the publisher’s address. Signed in the plate by both artists, and also signed in pencil by Jennie Brownscombe and Henry Pruett Share.	Sold
02.-		Young Womanhood by Jennie Brownscombe	Original Engraving & Etching	1889	Artist Proof Impression, Signed by the artist in the plate and in pencil by Jennie Brownscombe	Sold

View other works of art by Henry Pruett Share.

Henry Pruett Share (New York, 1853 - 1905)
#	Image	Title & Artist	Medium	Date	Notes	-
01-		The Path by the Shore by Henry Pruett Share & Albert Fitch Bellows	Original Etching	1886	Remarque Proof Impression, bearing the publisher's address in the upper left corner and signed in the plate by both Albert F. Bellows and Henry Pruett Share and signed in pencil along the lower margin by Henry Pruett Share.	Available

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Title:	Memories
Engraver:	Share, Henry Pruett (New York, 1853 - 1905)
Designer:	Brownscombe, Jennie Augusta (Honesdale, Pennsylvania., 1850 - New York, 1931)
Date:	1887
Medium:	Original Etching on Japon Paper
Note:	Jennie Augusta Brownscombe 'Jennie Brownscombe': A fine American genre artist of the late nineteenth century, Jennie Brownscombe began her career as a teacher in 1868. At the same time she supported herself by designing Christmas cards and calendars as well as providing illustrations for such national magazines as Harper’s and Scribner’s. Several years later (1871) Jennie Brownscombe moved to New York and studied art techniques at the Cooper Institute School of Design for Women, under Victor Nehlig, and at the National Academy of Design. She was a founding member (1875) of the Art Students League, New York, and later taught there as a faculty member.
	In 1882, Jennie Brownscombe moved to France where she studied art techniques under Henry Mosler (1841-1920) in his studios in Paris and Brittany. Later in her career (1886-1895) she resided in Rome during the winters.
	Jennie Brownscombe gained wide recognition both for her sentimental genre scenes and figurative subjects and her work was frequently exhibited at major venues in Philadelphia, Boston, Chicago and New York, and internationally in Rome and London. Her fine art is now housed in many major collections, including the Pennsylvania Academy of Fine Art, the Newark Museum and the Museum of Pilgrim Hall, Plymouth, Massachusetts. Jennie Augusta Brownscombe was a full member of the Municipal Art Society and the National Arts Club, New York.
	"Memories" is one of Brownscombe’s largest and most accomplished works of etched art. It clearly showcases her abilities as both a landscape artist and as a delineator of figure studies. It was created by the artist shortly after her return to New York from France and thus the scene may have been based upon the countryside of the upper Hudson River.
	Henry Pruett Share: "Memories" was etched by the well known engraver, Henry Pruett Share (New York, 1853 - 1905). A talented etcher as well as an illustrator, he was a full member of the influential New York Etching Club and contributed a number of fine etchings to national exhibitions before the turn of the century.
	The Large Victorian Era Engraving: Perhaps the most technically demanding form of original printmaking, the Victorian era engraving reached its summit during the late nineteenth century. Highly skilled engravers would often devote more than a full year’s work to one large engraving, using such complex methods as etching, engraving, stippling, aquatinting and mezzotinting to produce remarkable tones and hues. During this time these large engravings became the driving force of the Victorian art world.
	Unfortunately, surviving examples of this unique art form are now very scarce. Because of their large size most of these engravings were framed and nineteenth century framers knew next to nothing about archival conservation. Thus the majority of these engravings have been unalterably ruined. Thankfully, apart from some minor creasing, this important example is in good condition.
Edition:	It should also be noted that this particular impression of Memories is a signed artist’s proof before letters. During the Victorian era only the first nine or ten impressions would be printed before the title letters were added to the bottom margin. A separate miniature etching called a remarque (in this case a floral design) would be created by the artist for these initial proof impressions. Only these early impressions would be hand-signed in pencil by both the artist and etcher.
Size:	22 1/2 X 31 1/2 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Framed and Matted with 100% Archival Materials
	View larger Framed Image

Condition:	Printed upon Japon paper and with full margins as published in New York in 1887. Bearing the publisher’s address in the upper left corner and signed in the plate by both Brownscombe and H. Pruett Share and also signed in pencil along the lower margin. Apart from some minor creasing within the image it is a beautifully printed, sepia impression and in good condition throughout. Memories is a most valuable, original example of both the art of Jennie Brownscombe and of the large Victorian era engraving and etching.
Subject:	Jennie Brownscombe, Jennie Augusta Brownscombe, Memories, Original Etching, signed artist’s proof before letters, Henry Pruett Share, successful American female artists of the nineteenth century, sentimental genre scenes and figurative subjects, American genre art of the late nineteenth century.
Price:	Sold - The price is no longer available.
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