Eugène Burney’s etching, “Portrait de Monseigneur de Ségur”, after Ferdinand Gaillard

Eugène Burney (aka François Eugène Burney) (1845–1907)

“Portrait de Monseigneur de Ségur” (Louis-Gaston de Segur), 1882, after a painting by Ferdinand Gaillard (1834-87), printed by Alfred Salmon (1863–1894; fl.)

Etching on fine cream laid paper

Size: (sheet) 41.6 x 29.4 cm; (plate) 32.9 x 23.5 cm; (image) 29.7 x 21.5 cm

Lettered below the image edge: (lower left) "Claude Ferdinand Gaillard pinx / L’Art"; (lower centre) “PORTRAIT DE MONSEIGNEUR DE SÉGUR”; (lower right) "E. Burney, sc. / Imp. A. Salmon."

The British Museum offers the following information about this print:

“Portrait of Louis Gaston de Ségur, half-length to front, hands folded, against a dark background; published in "L'Art"

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3719123&partId=1&searchText=E.+Burney+&page=1)

Condition: superb well-inked and well-printed impression in near pristine condition—there is a tiny mark towards the top-left of the margin.

I am selling this luminous print in superb condition that reflects the highest order of technical skill for a total cost of AU$198 (currently US$142.07/EUR125.72/GBP108.65 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this strong image of a man clenching his fist in determination—perhaps in dealing with his debilitating blindness—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

The British Museum offers the following information about Monseigneur de Ségur:

“Priest; envoy to Rome but had to return to France after becoming blind, 1856, and devoted his life to charity; son of novelist Sophie Rostopchine, Countess of Ségur.”

(http://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=214686)

Although I may be wrong, the clenched fist of Louis-Gaston de Segur (1820–81) in this portrait is not an insignificant detail. For me, knowing that the Monseigneur had become blind twenty-six years earlier, suggests that it is a symbol of this strong-willed person's resolute battle with his affliction.