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Genuine Fragment from the Livingston Tree at Kuruman
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General Details
Description
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These prints were issued by the Chalcographie du Louvre, one of the oldest still-operating print workshops in the world. It was founded in 1797 to preserve, publish, and distribute engravings from the French national copper-plate collection.
These prints are pulled directly from historic copper plates held by the Louvre, using traditional intaglio methods (typically etching, engraving, aquatint, or combinations), often printed on high-quality rag paper. Many plates date from the 17th–19th centuries.
These are hand-colored intaglio etching/aquatints, probably late 19th or early 20th century in origin, but printed later as part of the Louvre’s authorised posthumous impressions. The color appears to be applied with light hand-tinting, which was a common practice for these Louvre editions in the 20th century. Chalcographie du Louvre authorized impressions of some of Védard’s etchings. This means:
The Louvre owns the original copper plate (or acquired it after Védard’s death).
Prints were pulled directly from this plate by the Louvre’s print studio.
The embossed Louvre seal confirms this as a legitimate, museum-issued impression.
The soft watercolor-style tones are almost certainly hand-tinting, typical of 20th-century Louvre editions.Authenticity indicatorsEmbossed Louvre Seal
The blind stamp (a classical head in a laurel wreath) is the official mark of the Chalcographie. This is the strongest authenticity marker.
Wide Margins / Deckled Edges
Characteristic of prints pulled from copper plates using traditional dampened rag paper.
Plate Impression Visible
The sunken plate mark around the image strongly suggests an authentic intaglio print, not an offset reproduction.
Hand-tinted Colors
Still common in 20th-century Louvre prints of architectural subjects• These prints are most likely 1950s–1970s,• printed on high-quality rag paper with deckled edges,
• hand-colored in the museum workshop.Védard sits in a favorable tier of collectible but accessible artists. The Louvre provenance adds credibility and stability to the value.Even when the original artist is not famous, the Chalcographie imprimatur gives the work a kind of “museum-certified” pedigree: it is a legitimate fine-art intaglio print produced by the Louvre from its copper-plate archives.
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Jacques Stenvert