“This small, intimate portrait of Nicolaas Henneman is a rare glimpse into the very early days of photography, showcasing the experimental beauty of the salted paper print process.”
In this early photograph, a man named Nicolaas Henneman is captured in a stark profile, his gaze directed beyond the frame. The image, a salted paper print, showcases the innovative techniques of early photography, where light itself drew the portrait. The soft focus and subtle tonal shifts are characteristic of the medium's nascent stage, a far cry from the crisp detail of later photographic processes. Henneman, an assistant to the photographer, becomes a quiet subject, his features rendered with a painterly quality by the texture of the paper negative. This intimate scale and the contemplative mood highlight the experimental nature of the work, as the artist explored how to harness light to create enduring images. It’s a testament to the pioneering spirit of the time, capturing a moment in the development of a revolutionary art form.
- Artist
- William Henry Fox Talbot
- Date
- 1843
- Medium
- Salted paper print from paper negative
- Location
- The Metropolitan Museum of Art
- Dimensions
- Image: 3 3/16 × 2 1/2 in. (8.1 × 6.4 cm)
- Collection
- Photographs
- Credit line
- Bequest of Maurice B. Sendak, 2012
What to Notice
Four details hide in plain sight. Here’s where to look.

The soft, almost blurry edges, typical of early paper negatives.
The subtle variations in tone, from light to shadow, defining Henneman's profile.
The texture of the paper itself, visible beneath the image.
Henneman’s slightly upward gaze, suggesting contemplation or a pose held still.
Stand in front of it and listen
The full narration walks you through Nicolaas Henneman in Profile — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
William Henry Fox Talbot
1800–1877 · Kingdom of Great BritainThe man who invented the negative-positive process, making every photograph ever printed possible.
Further Works by Talbot
1. Aglio. 2. Cestro. 3. Poa.
1839 · The Metropolitan Museum of Art
Bowood
1839 · The Metropolitan Museum of Art
Bromus Maximus, Genoa
1839 · The Metropolitan Museum of Art
Cordella o Nastro a velo
1839 · The Metropolitan Museum of Art
Felce
1839 · The Metropolitan Museum of Art
Sisymbrium Cumingianum
1839 · The Metropolitan Museum of Art
Tavola parecchiata per colazione a Thè
1839 · The Metropolitan Museum of Art
Villaggio
1839 · The Metropolitan Museum of Art
More works to explore
Beyond Talbot: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Snow Storm: Steam-Boat off a Harbour's Mouth
J. M. W. Turner · 1842 · National Gallery
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
Porträt der Elizaveta Mazurina Vladimirona
Vasily Andreevich Tropinin · 1844
