I also believe this is an artist’s concept. I haven’t been able to find the artist, but I found a similar painting by Don Connolly:
Concorde 001 races the the moon’s umbra on June 30, 1973, achieving an amazing 74 minutes of shadow time.
(c) 1999 Don Connolly. All Rights Reserved. Concept by Bob Morris,
Research and composition by Don Connolly and Bob Morris, coronal shape
from Wendy Carlos’ image of the 1973 eclipse, corona orientation and
“bead” location calculated by Fred Espenak, NASA.
The artist and the researcher mentioned above have also written an article (pdf) about the ‘making of’ of the painting. They describe how they took a photo of a scale model of the Concorde at a specific angle, to use as a starting point for the painting.
We chose to create a view of the eclipse as if photographed by a 35 mm
camera with a 1000 mm lens. As per Fred Espenak’s NASA eclipse
bulletin diagrams, this gives a corona nearly filling the film frame,
and thus our picture frame. The one photo known to exist of the 1973
corona is that by Wendy Carlos (shown at left).
The angle of the corona and the placement of the bead of sun at Concorde’s “exit point”
from the umbra were calculated by Fred Espenak, of NASA.
the view of Concorde against the sun must be from below. To portray
Concorde as roughly the same width as the sun, which we had
anticipated would be aesthetically pleasing, the SST’s wingspan must
subtend about 0.5 degrees. The distance to the “camera” below Concorde
must therefore be its half-wingspan (12.75 m) divided by tan(0.25
degrees), half the angle subtended by the sun. That is, (12.75
m)/(0.00436) = 2924 m – about 3000 m.
Light is required on Concorde’s
underside in order to “visualize” it! Where do you get this light?
Well, on the edge of the umbra, from the penumbral region – and at
17,000 m, from outside the penumbral region as well!
That gives two
choices: Concorde has just entered the umbra, or Concorde is about to
exit the umbra. At these two positions, you will also have the
formation of a diamond ring. To see Concorde enter the umbra, a west
African observer would be facing the eclipsed sun – some 63 degrees
above the horizon, just north of east – his back to the SST’s flight
path. Thus, Concorde would appear to dive down from above and behind
the observer, and disappear into the umbra. To see Concorde leave the
umbra, an observer in east Africa would be facing the eclipsed sun –
about 74 degrees above the horizon, just north of west – his front
facing the SST’s flight path. An invisible Concorde would rise up over
the horizon and exit the umbra. Now a plane “diving down” looks like
it is about to crash, while one rising up is “triumphant”. So it had
to be Concorde exiting the umbra.
The only location which was within
totality, but also had light on the underside of the SST, the
beginning of a diamond ring, and an aesthetically pleasing
composition. Concorde, with its multiple curves, is an incredibly
difficult aircraft to visualize from any specific angle. We attached a
Concorde plastic model to a ceiling, dropped a thread down to the
floor at 74 degrees, and then photographed the model along the thread
with long lens. That photo was the starting point for the artist’s
accurate portrayal of the aircraft.
This painting is also used on the cover of the book Racing the Moon’s Shadow with Concorde 001 by Pierre Léna.
On the acknowledgments page of that book, we find a bit more info:
So, if the photo in the original question is indeed a real picture, then this gives us already a very specific timeframe and location from where this photo would have been taken, with at least a 1000mm lens.