When Lady Constance Malleson, aged 35, sat for a portrait by celebrated artist William Conor, she had already lived an extraordinary life. Born Constance Mary Annesley at Castlewellan Castle in 1895, she later became a popular West End actress, star of silent film, social reformer and writer, frequently travelling throughout Europe meeting royalty, dignitaries and philosophers. Her open marriage and divorce at the age of 27 scandalised society, challenging expectations placed upon women of her class and thrusting her further into the spotlight.
In 2022, with the generous support of the Esme Mitchel Trust, Down County Museum acquired Lady Constance’s full-length portrait by Conor. This is a rare example of his work that skilfully captures the personality of its sitter. The painting was professionally conserved through a kind donation from the Friends of Down County Museum.
It was this acquisition that inspired the theme for 2025’s fine art exhibition at Down Arts Centre. In its second year, this partnership seeks to showcase the museum’s exceptional art collection in a new environment whilst highlighting some of its lesser-known pieces.
Entitled “Expressions of Down: Portraits from the Down County Museum Collection”, the 2025 exhibition focused on portraits in a range of different styles and mediums. From oils to bronze, watercolours to plaster, this post takes a closer look at some of the pieces and the individuals they represent.
Unlike Conor’s painting of Lady Constance which stands at over five feet tall, the museum’s smallest portrait is only 9.7cm in length and is an excellent example of the 18th and 19th century fascination with the miniature (‘Portrait of a Lady’ c.1788, by John Miers, DOWM:1985_104). Originally popular with the wealthy upper classes, they later became a more affordable form of portrait. Often worn as brooches or necklaces, miniatures were given as gifts of affection or as memorials to those who had passed.
Another famous sitter from the museum’s collection is Ellen Constance, Countess of Kilmorey (1862-1920) who was painted by Austrian artist Adolf Pirsch (1858-1920) (DOWDM:2004_168). From Mourne Park, Newry, she took a keen interest in local affairs including the Newry District Nursing Society which may explain why she has been painted in nurse’s uniform. Around 1901, it became widely known that she was the mistress of Prince Francis of Teck, younger brother of the future Queen Mary. Upon his death, he left the Teck family jewels to the countess. Queen Mary was forced to purchase these back for £10,000, much to the embarrassment of the royal family.
Historically, portraits were only accessible to those who could afford to commission them. As a result, many of the surviving examples originate from large stately homes owned by the aristocracy. However, the museum holds a collection of portraits capturing local people whose stories deserve to be told. A painting by William J. McCormick, for example, captures Ivor Ray who managed the radar station at Killard Point, Co. Down before spending most of his life in Ardglass (DOWDM:1999_471). Another piece, entitled ‘Chimney Sweep’ by local artist Nell Pedlow depicts Hugh Mullan, a chimney sweep who lived on Church Street, Downpatrick (DOWDM:1986_348).
While the museum holds a number of pieces by female artists, it is an area that remains underrepresented in the collection. Prior to the 20th century, women were not afforded the same access to education as their male peers. Those who were able to gain an education were often from the wealthy classes and their work not regarded as highly. Thankfully, this began to change and examples of these can be seen in the portrait collection.
The earliest example dates to 1899 and was completed by Emily C. Way (DOWDM:1996_34). Little is known about her as an artist, but she has successfully captured the private and reserved nature of Robert Perceval Maxwell who inherited the Finnebrogue estate, Downpatrick in 1869. Another example, albeit a more recent one, is a self-portrait by Rita Duffy (b.1959) entitled ‘Stomache Ache’ (DOWDM:1997_660). Duffy’s work explores issues of gender, segregation, religious extremes and the Troubles. With a distorted and Expressionistic style, she uses exaggeration to convey her message in a dramatic way. The museum’s example depicts the artist suffering the discomfort of pre-menstrual tension.
It is not only the canvas that has been used to capture individuals across the centuries but also through sculpture. One of the museum’s most important pieces is by County Down-born artist F.E. McWilliam (1909-92). Entitled ‘Girl and her Shadow’ (DOWDM:2009_197), this bronze sculpture belonged to the ‘girl’ series of bronzes completed by McWilliam between 1969 and 1971 which depicted young women in a variety of situations.
Since it was established in 1981, Down County Museum has been collecting works of art relating to the district and the people who live here. Almost half of these have been donated by local people, and many are of international significance. With a diverse mix of coastline, mountain ranges, countryside and urban spaces, the region and its people have attracted artists for centuries. By focusing on portraits, the 2025 showcase exhibition took a closer look at some of the faces of Down as well as the artists who captured them. With the generous support of our visitors, we will continue to collect, conserve and interpret these important works of art for future generations.
