Segard. Émilien (dit Segard Fils). 18 ans, né à Saloüel (Somme). Peintre en voitures. Anarchiste. 2/7/94. 1894

This is a mugshot of Émilien Segard, taken in Paris by Alphonse Bertillon in 1894, using photography and inscription. Bertillon was the father of modern police identification, and his approach involved standardizing images to categorize criminals. Segard’s photo is mounted on card, with his details inscribed by hand. He was just 18, a car painter, and an anarchist. Now, consider the context of late 19th century France: cars were a new technology, and coachbuilding was a skilled trade. His occupation connects him to industrial progress, but also to the tradition of craft. The inscription reveals Segard's political affiliation, at a time when anarchism was associated with bombings and unrest. Bertillon’s methods, including photography, became a way to categorize and control individuals like him. This image therefore functions not just as a portrait, but as a tool of social and political power, capturing a moment of tension between individual identity and state control. By understanding the materials, making, and context of this photograph, we can challenge traditional distinctions between fine art and craft.