Henry Collen

Henry Collen (1797-1879) was a miniature portrait painter to Queen Victoria and the Duchess of Kent. Later in life he turned to photography and was on the cutting edge in photography in the mid nineteenth century in London. He had great technical expertise and ability to transfer his ideas and data that he had gathered to new and different fields, such as painting and studies of light, optics, and the science of photography.

Portrait painter

Henry Collen was born on 9 October 1797 and baptized at St. Pancoras, Middlesex. When he was 29, he married Ellen Dison who was born in 1805 and had spent her childhood in Ireland. They were married on 12 August 1826 in Maghera, Ireland.

The Collen Family Tree says this of Henry: “...sometime of Somerset Street in the parish of St. Marylebone, Middlesex but now of St. Albans Co: Hartford. 2nd son. Miniature Painter to Queen Victoria.”

Henry Collen learned to paint at the Royal Academy and under the tutelage of Sir George Hayter whose family had been, and remained close personal friends of the Collen family . In fact, in her letters, Ellen Collen states that she met Henry at the home of John Hayter, 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 Edwin (1843-1911), who was baptised Edwin Henry Hayter Collen (later Lieutenant General G.C.I.R., C.B.)

Henry was the editor of "DeBrett’s Peerage" from 1844-1879 which may have afforded him very useful contact with nobility. “In the eighteen-thirties, Henry Collen was personally acquainted with young Princess Victoria, being her drawing teacher and her miniature portrait painter.” Also, “For her fourteenth birthday on 24 May 1833 Victoria received a ‘little painting for my album’ from Collen, and on at least two occasions she sat for her portrait by him.” (R. Derek Wood)

Henry Collen made a fairly moderate living as a portrait painter in London in the mid nineteenth 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. Some of his portraits hang in the National Portrait Gallery at Boddwyddan Castle, in the library, along with “other portraits displayed in the room (which) show some of the greatest writers and thinkers of the Victorian period.” (site: www.npg.orguk/bodlibp.htm)

One of the four Henry Collen portraits was of a John Avery titled Surgeon, which is a watercolour miniature on ivory, being only 8” x 5 3/4”. This piece is on display at Bodelwyddan Castle, as are two other works, an oil painting on panel of Robert Vernon by George Jones and Henry Collen, painted in 1848 and a portrait of Henry Bickersteth, Baron Langdale, painted in 1829, entitled Master of the Roles. This piece is also a watercolour miniature on ivory and only 4 7/8”x 3 7/8.”

There are two pictures of Charles Mayne Young. 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.

Henry Collen is mentioned in a number of books and journals written about British miniatures. Basil Long, in "British Miniaturists," writes:

Collen, Henry: Pupil of Sir George Hayter (q.v.) (of 78, Wimpole Street). Studied at the Royal Academy Schools. Worked in London and in 1861-1872 at St. Albans, or at least resided there. Exhibited at the Royal Academy from 1820 - 1872. Painted portraits of royal and titled persons. In 1835 he was miniature painter to the Duchess of Kent and later miniature portrait painter to the Queen.”

According to Leo R. Schidlof in "The Miniature in Europe":

Henry Collen exhibited at the SBA from 1820 - 1872. He was a painter of miniatures to Queen Victoria and the Duchess of Kent. ‘Collen was a good miniaturist, but rather inconsistent in his productions. In general, the faces are finely executed and often highly coloured, which sometimes gives his miniatures the effect of enamels broadly painted. He executed the hair well, on the other hand the clothes sometimes lack relief.

Graves and Williams, in "British Miniaturists" are less complimentary: “Collen’s work is very uneven; at its best it is good, but sometimes it is very labored. He frequently scratched to obtain highlights on the hair. His signature is usually scratched on the background, sometimes parallel with the edge of the miniature; the H and C often form a monogram.”

(If he was good enough to paint for the queen....)

The passage from British Miniaturists continues:

I have seen a large rectangular miniature signed ‘H. Collen 1820’ on the collar of the sitter. The face was very well finished, and the portrait could be considered a good one; but the dress was not so well painted.

The Victoria and Albert Museum has a regular miniature of a man, which is 4 7/8 in. x 3 3/4in., 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 Windsor Castle 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.

The Duke of Northumberland has a miniature of Lady Margaret Percy by Collen.

According to G. Scharf’s "Third Portion of a Catalogue of Pictures.... Duke of Bedford," 1878, p.109:

The Duke of Bedford has an oval miniature of a lady, about 35/8 in. x 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 Somerset St /Portman Square/London.” It is broader in treatment than many of his earlier works.

And “The British Museum has some engraved portraits by Collen.”

In addition to the works listed above by Basil Long, Schidlof also mentions a painting found in Brussels called “Child in a white Dress,” which was signed by Collen.

The Collen family is in the possession of a small watercolor portrait of “Miss Ronzi Vestris,” painted in 1825.

Henry Collen worked in the company of many respected artists in mid-nineteenth century London, as well as important scientists of his day. He collaborated in the early 1840s with the famous astronomer, Herschel. He may have associated with the artist Thomas Sully and his wife. Besides being close to the Hayter family, who were already established artists, Henry and Ellen were also close friends of Edwin Landseer, the well-known painter of animals and pastoral English landscapes as well as the designer of the four bronze lions at the base of Nelson’s Column in Trafalgar Square, London. Landseer was the godfather of Henry’s only son, Edwin. In the book of printed correspondence between Ellen and Edwin Collen, titled "Letters from my Mother," Ellen mentioned that Landseer sent a note and a gift at Edwin’s baptism. She also mentions going to the funeral of Charles Landseer. It is probable that Henry’s son, Edwin Collen was named after Edwin Landseer (or perhaps after Henry’s grandfather, Edwin Eichhorn).

Portrait photographer

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 of 1840 Collen became interested in experimenting with electrotyping daguerreotype plates for printing purposes. By spring he was experimenting extensively with the calotype processes, the lenses, the paper, etc. (Schaaf)

Calotype was an early photographic process developed by W.Henry Fox Talbot 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 1840’s,” Peter Marshall 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 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 photgraphers used the daguerreotype process in the 1840’s, while the calotype was generally favored by those who were not atttempting to earn an income.” (A chart describing the differences between calotypes and daguerreotypes is included in the Appendix).

“In August, 1841, Fox Talbot licensed Henry Collen as the first professional photographer, or calotypist.” (source: BHMS - www.terramedia.co.uk/Chromomedia/years/1840-1844.htm)

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 percent of Collen’s takings for his use of the process” (Marshall). Henry received favorable responses from his colleagues about the quality of his portraits. He took approximately one thousand portraits using the calotype process.

Robert A. Sobieszek had this to say about photography and Henry Collen in Victorian England:

During the Victorian period, ‘artistical’ photographs were customarily judged on four points:

First, that they were exact replicas of Nature’s form and appearance.

Second, they were to communicate the “feeling, sentiment, or sensations of Nature” and be able to cause similar emotional reactions.

Third, and more vague, the artistic photograph was to record the romantic expressions and impressions of this same Nature.

And, fourth, the final photograph was to be formally and spiritually perfect, reflecting Nature’s perfections. The landscapes of Roger Fenton and Francis Frith, and the portraiture of Antoine Claudet and Henry Collen . . . are clear and certain applications of the above prescriptions to photographic picture-making. (Sobieszek)

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 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 recognized as it may have been if the portraits had remained intact.

Photocopier

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 1800s. Schaaf’s premise was that Collen’s work was indeed noteworthy, and had perhaps been overshadowed by the earlier work of William Henry Fox Talbot in the same field. The information on the following pages comes from Mr. Schaaf’s article titled, “Henry Collen and the Treaty of Nanking,” which appeared in The History of Photography, an international quarterly, October 1982.

The Treaty of Nanking was signed on 29 August 1842. The treaty signaled 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. 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 four foot long treaty.(Schaaf)

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...”

The treaty consists of 22 pages handwritten in English in ink and sixteen sheets of Chinese characters. On Christmas day, Collen produced at least two copies of the four-foot long document. “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 thinks Collen merits a great deal more study than he had been given to that date.

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 1843–1.” In it, Wood includes new information about the number of copies produced by Henry Collen and their whereabouts. It seems that 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 Buckingham Palace, which is why Collen was working on it on Christmas Day. Wood believes that three copies were made in all. The copy that hung at the palace is thought to have been discarded but there is a copy at the International Museum of Photography at the George Eastman House in Rochester, NY. It is in book form 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 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)

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. It is Wood’s contention that this copy was brought to California by a member of Chiang Kai-shek’s forces who fled from Taiwan to California just before February, 1952.

Wood’s article also includes copies of bills financial costs and copies of the treat (included in Appendix).

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.

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 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).

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. 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.

The largest collections of his photographic works are in the George Eastman House in Rochester, N.Y. and The Science Museum in London as well as the Fox Talbot Museum and the Royal Photographic Society.

In spite of an unfortunately shortened photographic career, Henry Collen is mentioned and published in various journals of photography and science (see appendix).

It was at the very end of Henry’s life that the book of compiled letters, titled "Letters from My Mother," by Edwin Collen, began.

References

*Larry Schaaf: “Henry Collen and the Treaty of Nanking,” "History of Photography," Number 4, October 1982, an “Addenda to Henry Collen and the Treaty of Nanking,” Volume 7, Number 2, April–June 1983.
*Robert A. Sobieszek: “British Masters of the Albumen Print: A selection of Mid-Nineteenth Century Victorian Photography,” International Museum of Photography at George Eastman House and the University of Chicago Press,
*R. Derek Wood: “Photocopying the Treaty of Nanking in January 1843 -1 and 2” Only online at http://www.marillier.nom.fr/collodions/dwNanking2Uk.html Chicago and London. 1976
*Daguerreotypes vs. Calotypes from an article by Peter Marshall entitled “Photography in the 1840s: Part 1: Odious Comparisons” published only on-line: http://photography.aboutcom/library/weekly/aa061702a.htm
*Articles about Henry Collen. London Electrical Society: 14 June 1841. Collen wrote a letter to Mr. Gassiot describing some experiments made in electrotyping Daguerreotype plate.
*The Literary Gazette": 12 March 1842. Mentions his patent of the calotype with regards to portraiture.
*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 process.”
*The Journal of the Photographic Society": 21 April 1854. In this issue a letter from Henry Collen appeared regarding the earliest stereoscopic portraits.
*The 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 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.
*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 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.”
*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 it.
*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 Reichenbach.

External links

Portraits

* " [http://www.royalcollection.org.uk/egallery/object.asp?category=ABMINIATURES&object=420884&row=87&detail=about Victoria, Duchess of Kent (1786-1861)] "
* " [http://www.npg.org.uk/live/search/person.asp?LinkID=mp06806&role=art=about National Portrait Gallery, 7 portraits] "
* " [http://www.royalcollection.org.uk/egallery/maker.asp?maker=COLLENH The Royal Collection, 3 portraits] "
* " [http://www.portraitminiatures.co.uk/portraitminiatures_detailpage.php?StockID=654 A lady with ringlets and wearing a black gown, 1840] "

Photography

* " [http://www.museumoflondon.org.uk/photolondon/pages/details.asp?pid=1679 PhotoLondon, Biography] "
* " [http://imagesvr.library.upenn.edu/cgi/i/image/image-idx?type=boolean&q1=Queen+Victoria+with+her+daughter,+Victoria,+Princess+Royal+&cat1=Uniform+Title&op1=And&q2=Collen,+Henry&cat2=Primary+Artist+or+Studio&thsz=12&txsz=50&slsz=1&c=fisher&sstrt=1&res=thumbnail Queen Victoria with her daughter, Victoria, Princess Royal] "
* " [http://www.midley.co.uk/Nanking/Nanking.htm Photocopying the Treaty of Nanking in January 1843, R. Derek Wood] "
* " [http://www.scienceandsociety.co.uk/results.asp?
] "
* " [http://www.amazon.co.uk/review/product/0750930594?showViewpoints=1 Queen Victoria's Family: A Century of Photographs 1840-1940,by Charlotte Zeepvat (Author) (Hardcover book review)] "
* " [http://www.billjayonphotography.com/QnVictoria2ndPassion.pdf Queen Victoria's Second Passion, by Bill Jay] "
* " [http://museum.icp.org/museum/exhibitions/china_early/intro.html China and the Chinese in Early Photographs] "
* " [http://findarticles.com/p/articles/mi_m1026/is_n4_v154/ai_21218085 The Painted Photograph by Heinz K. Henisch] "
* " [http://albumen.stanford.edu/library/monographs/masters/fiche-1-f1.jpgYoung Boy, 1863] "
* " [http://albumen.stanford.edu/library/monographs/masters/fiche-1-f2.jpgYoung Girl, 1863] "