528:. It is in book form, 22 and 16 pages in English and Chinese, respectively, and is bound in leather. (see photo) Mr. Wood's article deciphers the long journey of this copy and the location of the original Chinese document. Collen's copies were taken to China, but by 1877 the original could not be located. It seems that when in the very last few days of June in 1997, as Hong Kong was passed back to the People's Republic of China, a(n)....announcement was made to reveal that Chiang Kai-shek's Chinese Nationalist forces had secretly taken the original Treaty of Nanking when they retreated to Taiwan from China in 1949. And the documents have been hidden in a sealed vault of the Taiwan Foreign Ministry. (Wood)
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on the possibility of the production of photographs in colour." Henry Collen's words: "...obtain a negative sensitive to blue rays only, obtain a second sensitive to red rays only and a third sensitive to yellow rays only. There will thus have been three plates obtained for printing in colours......Although the idea I have endeavored to express in word may be utterly worthless, I am unwilling to let it slip away without notice, as it may, on the other hand, contain a germ which may grow and bear fruit in due season."
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percent of Collen's takings for his use of the process" (Marshall). Henry received favourable responses from his colleagues about the quality of his portraits. He took approximately one thousand portraits using the calotype process. "Collen's photographic miniatures were a compromise between the old art of miniature painting and the new art of photography – they were overpainted paper photographs. The earliest extant photograph of Queen
Victoria was almost certainly taken by Collen in 1844 or 1845." (Bill Jay)
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to do so. Meanwhile, Talbot patented his calotype process in the UK and the US, but he was unable to get a patent in France which also limited its growth. Also, Marshall states, "In general, most professional photographers used the daguerreotype process in the 1840s, while the calotype was generally favored by those who were not attempting to earn an income." (A chart describing the differences between calotypes and daguerreotypes is included in the
Appendix (What appendix? Was this stolen from some book?).
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and energy into this work. He wanted patent protection rights from Talbot because of this. Talbot stalled in this area. As mentioned earlier, Talbot had the scientific knowledge and Collen the artistic, but for some reason, Talbot did not pursue the business possibilities attendant to the caloytype process. When Collen was asked to photograph the Treaty of
Nanking, Talbot's wife later lamented about why Talbot himself hadn't done the job "for her Majesty." (Schaaf).
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Daguerre's method had the "ability to record the fine detail" but would have supplied "only a small metal plate as a facsimile of the rice paper." Talbot's process was far more suitable for copying the original treaty, and so authorities turned to the first man licensed to practice in London" and the man who had the know-how to make the photographic copy of the 4-foot-long (1.2 m) treaty.(Schaaf)
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214:. One is another watercolour on ivory, painted in 1824. The other is a mezzotint published in 1826 but is not on display. Another piece that is not on display is a stipple engraving of Jane Elizabeth, Countess of Ellenborough, published in 1829. So, in all, six portraits that hang in the NPG are "associated" with Henry Collen.
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The relationship between Henry Collen and Henry Talbot seems quite complex. They were probably good friends. Talbot originated the calotype process and licensed Collen to practice it. Henry paid Talbot a fair share of his profits. Collen worked to perfect the process and invested considerable time
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describes the distinction between daguerreotypes and calotypes. "The daguerrotype spread rapidly around the world...There were some limitations on the spread." Daguerre's process was somewhat limited by his prior patent in the UK, and so only those professionals who could afford a license were able
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The
British Journal of Photography: 27 October 1865. This was an article written and submitted by Henry Collen entitled, "Natural Colour in Photography." The introduction states, "Henry Collen, miniature painter to the Queen and first to take a photograph on paper professionally has some thoughts
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Schaaf also states that Talbot for some reason did not share all of his expertise with Collen, and at some point Henry's lack of scientific know-how limited his ability to experiment further. Henry Collen had taken over one thousand calotype portraits but had received payment for only 265 of them.
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Since Larry Schaaf wrote his 1982 article about the Treaty of
Nanking, R. Derek Wood has written another article titled "Photocopying the Treaty of Nanking in January 1843." In it, Wood includes new information about the number of copies produced by Henry Collen and their whereabouts. It seems that
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The distinguishing feature of Henry Collen's photographic portraits was the fact that as an artist, he could touch up his portraits with paint. When he enhanced with paint, he was able to charge a bit more for them. Unfortunately, as time has passed, the silver of the photographs has faded, but the
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On
Christmas Day, Collen produced at least two photographic copies of the original 4-foot-long (1.2 m) document handwritten in ink. "Copying a four-foot -long document with delicate lettering out to the edges would be quite difficult, especially in 1842" (Schaaf). He goes on to state that he
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parameters using photography. Collen in fact published the first paper written on the instruments. Ronalds put on record that "Collen claims a share in my inventions unjustly"; his view was that Collen’s advice to him had concerned only photographic processing techniques. Ronalds went on to build
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The Duke of
Bedford has an oval miniature of a lady, about 35/8 in. × 27/8 in., signed in front with a scratched signature "H Collen 1840" (the H and C not forming a monogram) and inscribed at the back "1840/painted by Henry Collen/Miniature Painter to/ The Queen and H.R.H. the Duchess of Kent/29
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In the late 1970s, Larry Schaaf wrote about the contributions of Henry Collen to the field of photography in its early stages in London in the 19th century. Schaaf's premise was that Collen's work was indeed noteworthy, and had perhaps been overshadowed by the earlier work of
William Henry Fox
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He then set himself up as a calotype portraitist in August 1841, in what was probably the first calotype portrait studio, at 29 Somerset Street, Portman Square, London (between Oxford Street and
Manchester Square) near the present sight of Selfridge's. "Licenses were expensive. Talbot took 30
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British Journal of Photography: 2 September 1864. An article titled "'Good Old Times' of Photography and Modern Innovations," discusses the first stereoscopic portrait ever taken – by Mr. Collen of Mr. Babbage. Describes his transition from miniature portrait painter on ivory to making
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The British Journal of Photography: 21 July 1876. "Odic Photography" In this article Collen explains experiments he did to see if light emanating from magnets or crystals in darkness was capable of influencing the daguerreotype plate. His work was based on scientific research by Baron von
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The Treaty of Nanking was signed on 29 August 1842. The treaty signalled the end of the "Opium Wars" between China and England. It also ceded the island of Hong Kong to England and was of great commercial and psychological importance to the British Empire. Photography was in its infancy.
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At any rate, even after such seemingly important strides in the infant field of photography, Henry Collen still had unsurmountable hurdles to face in his attempts to make photography a financially viable profession. The problem, in part, was due to the nature of his relationship to Talbot.
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It was not profitable for Collen or Talbot to continue. He ended his calotype business in 1844 and retired to St. Albans in 1861. He had photographed some of the most important people of his day and his photographic work was respected enough to hang in Buckingham Palace.
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The British Journal of Photography: 24 November 1865. This article is titled "Photography in Natural Colours," by Henry Collen and is a letter to the editors regarding apparent response to the above article. It seems he may have received some criticism about
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Henry Collen made a fairly moderate living as a portrait painter in London in the mid-19th century. Between 1820 and 1872 he exhibited at least one hundred paintings at the Royal Academy and the SBA, and by 1821 he had won a silver medal at the Royal Academy.
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Schaaf states, "Henry Collen was in the unique position of both owning the patent rights and of having access to the circles of power. As miniature-painter to the Queen, he would have been in a position to discuss such a project with the proper people..."
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paint has not, so the portraits have an uneven, exaggerated, faded and sometimes splotchy look. It is thought that this is one reason why Collen's work in photography has not been recognised as it may have been if the portraits had remained intact.
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scientific experiments with Mr. Talbot's calotype. Includes much discussion and examination of his lens, which was made to his specifications by Mr. Andrew Ross, optician. Ends by saying Mr. Collen is now retired to the quiet town of St. Albans.
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in., signed H. Collen/1846, the H and C being separate. The National Portrait Gallery has a miniature of Baron Langdale by Collen, 1829. The Wallace Collection has a miniature of Sarah the Countess of Warwick by Collen, 1825, after Hayter. At
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141:, Sir George's younger brother, also a prolific painter. Henry Collen was the godfather of Sir George Hayter's third son Angelo Collen Hayter (1819–1898) who was an amateur painter and Sir George Hayter was the godfather of Henry's son
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By the 1840s, Henry Collen was established as a portrait painter of some note. It is also at this time that his photographic work became known. In March 1840 Collen became interested in experimenting with
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The Chemist: 28 April 1842. This article compliments his calotype portraiture and the improved color of the complexion. "Mr. Collen is the only person licensed by the patentee to take portraits by this
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Meanwhile, in 1952, the George Eastman House was offered for purchase one of Henry Collen's copies from a dealer of rare books in California. It was unknown how this dealer had obtained this copy.
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Henry Collen worked in the company of many respected artists in mid-19th century London, as well as important scientists of his day. He collaborated in the early 1840s with the famous astronomer,
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and describe various different photo-recording machines in a series of reports and papers, which were employed in observatories around the world until well into the 20th century.
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the original treaty was brought to London for the Queen's signature after Collen made the copy. At the last minute, it was decided that an extra copy should be made to hang at
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and see also R. D. Wood (1996), 'The Treaty of Nanking: Form and the Foreign Office, 1842–1843', Journal of Imperial and Commonwealth History (London) 24 (May 1996), 181–196
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are several miniatures by Collen, including portraits of the Duchess of Kent (1829) and Lady Catherine Vernon Harcourt (1838). One of them is a copy after Hayter.
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Robert A. Sobieszek: "British Masters of the Albumen Print: A selection of Mid-Nineteenth Century Victorian Photography," International Museum of Photography at
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In spite of an unfortunately shortened photographic career, Henry Collen is mentioned and published in various journals of photography and science (see appendix).
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who was a colleague of Collen's. Talbot supplied the photographic knowledge and Collen the artistic know-how. In an article titled "Photography in the 1840s,"
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The Journal of the Photographic Society: 21 April 1854. In this issue a letter from Henry Collen appeared regarding the earliest stereoscopic portraits.
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daguerreotype plates for printing purposes. By spring he was experimenting extensively with the calotype processes, the lenses, the paper, etc. (Schaaf)
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whose family had been, and remained close personal friends of the Collen family. In fact, in her letters, Ellen states that she met Henry at the home of
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and his wife. Besides being close to the Hayter family, who were already established artists, Henry and Ellen were also close friends of
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One of the four Henry Collen portraits was of a John Avery titled "Surgeon", which is a watercolour miniature on ivory, being only 8" × 5
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R. Derek Wood (1994 and 1997): "Photocopying the Treaty of Nanking in January 1843, Parts 1 (1994) and 2 (1997)", published online at
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Second, they were to communicate the "feeling, sentiment, or sensations of Nature" and be able to cause similar emotional reactions.
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and Henry Collen . . . are clear and certain applications of the above prescriptions to photographic picture-making. (Sobieszek)
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Talbot in the same field. The information on the following pages comes from Mr. Schaaf's article titled, "Henry Collen and the
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Third, and more vague, the artistic photograph was to record the romantic expressions and impressions of this same Nature.
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182:". This piece is on display at Bodelwyddan Castle, as are two other works, an oil painting on panel of Robert Vernon by
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and the Duchess of Kent. Later in life he turned to photography and was the first professional calotypist in London.
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Number 4, October 1982, an "Addenda to Henry Collen and the Treaty of Nanking," Volume 7, Number 2, April–June 1983.
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Ellen mentioned that Landseer sent a note and a gift at Edwin's baptism. She also mentions going to the funeral of
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Wood, R. Derek (1994). R. Erlandsen and V. Halvorsen (ed.). "Photocopying in January 1843: the Treaty of Nanking".
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Wood's article also includes copies of bills for production costs and copies of the treaty (included in Appendix).
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And, fourth, the final photograph was to be formally and spiritually perfect, reflecting Nature's perfections.
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The largest collections of his photographic works are in the George Eastman House in Rochester, N.Y. and
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https://www.webarchive.org.uk/wayback/archive/20100311230213/http://www.midley.co.uk/Nanking/Nanking.htm
730:"The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution"
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The Literary Gazette: 12 March 1842. Mentions his patent of the calotype with regards to portraiture.
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In August 1841, Fox Talbot licensed Henry Collen as the first professional photographer or calotypist.
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Collen, H. (1846). "On the Application of the Photographic Camera to Meteorological Registration".
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Catchers of the Light: The Forgotten Lives of the Men and Women Who First Photographed the Heavens
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Articles about Henry Collen. London Electrical Society: 14 June 1841. Collen wrote a letter to
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Somerset St /Portman Square/London." It is broader in treatment than many of his earlier works.
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During the Victorian period, 'artistical' photographs were customarily judged on four points:
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Robert A. Sobieszek had this to say about photography and Henry Collen in Victorian England:
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thinks Collen merits a great deal more study than he had been given to that date.
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Henry Collen: self-portrait, miniature painting, 1825. (Courtesy of A.H. Stanton.)
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in London as well as the Fox Talbot Museum and the Royal Photographic Society.
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In the eighteen-thirties, Henry Collen was personally acquainted with young
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First, that they were exact replicas of Nature's form and appearance.
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and Henry Collen, painted in 1848 and a portrait of Henry Bickersteth,
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describing some experiments made in electrotyping Daguerreotype plate.
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Photocopying the Treaty of Nanking in January 1843, R. Derek Wood
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Third Portion of a Catalogue of Pictures.... Duke of Bedford,
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Queen Victoria's Family: A Century of Photographs 1840–1940
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Queen Victoria With Daughter, taken by Henry Collen in 1844
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Queen Victoria with her daughter, Victoria, Princess Royal
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Darkness and Light – the Proceedings of the ESHP Symposium
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Larry Schaaf: "Henry Collen and the Treaty of Nanking,"
145:(1843–1911), who was baptised Edwin Henry Hayter Collen.
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Calotype was an early photographic process developed by
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In the 1844-46 period, Collen interacted with inventor
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Sir Francis Ronalds: Father of the Electric Telegraph
895:John George Children, English scientist, c 1841.
994:Photographers from the London Borough of Camden
734:European Society for the History of Photography
639:Encyclopedia of Nineteenth-Century Photography
625:. Oslo, Norway: Norsk Fotohistorisk Forening.
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913:Queen Victoria's Second Passion, by Bill Jay
518:International Museum of Photography and Film
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110:Henry Collen was born on 9 October 1797 and
839:Leopold I, King of the Belgians (1790–1865)
447:. Unsourced material may be challenged and
396:. Ronalds was developing machines to make
989:Painters from the London Borough of Camden
934:The Painted Photograph by Heinz K. Henisch
927:China and the Chinese in Early Photographs
467:Learn how and when to remove this message
281:. He may have associated with the artist
71:Learn how and when to remove this message
274:has some engraved portraits by Collen.
34:This article includes a list of general
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768:and the University of Chicago Press,
445:adding citations to reliable sources
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969:19th-century English painters
578:The Examiner, Iss.934, Pt.87
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580:. London: John Hunt. 1826
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667:. ArtDeCiel Publishing.
602:. Royal Collection Trust
918:12 October 2020 at the
759:History of Photography,
663:Hughes, Stefan (2012).
295:Letters from my Mother,
55:more precise citations.
874:PhotoLondon, Biography
860:Henry Collen on ArtNet
728:Ronalds, B.F. (2016).
703:Ronalds, B.F. (2016).
690:Philosophical Magazine
636:Hannavy, John (2008).
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