Oil painting, 'Mrs Townsend, née Frend', George Alsop, 1722

Given by Miss Anna Newton

Given by Miss Anna Newton, 1905

Historical significance: This portrait is of Mrs Townsend, of Ellerton Hall, Staffordshire. In this portrait she is shown turning to her right to look out at the viewer. This composition suggests that it was made as a pendant, intended to be hung with the portrait of the sitter's husband, Richard Townsend (V&A, inventory number 312-1905), to show the sitters facing each other. The portrait of Richard Townsend (1682-1729) is dated 1722. This is four years before he became High Sheriff for Staffordshire. Little is known of the artist George Alsop. He worked as a portrait painter in England between 1722 and 1730. The date on the painting of Richard Townsend makes it one of the earliest known works by the artist. The Portrait of the Wolryche Fool by Alsop (Inventory number 90515) is at Dudmaston Hall in Shropshire. This suggests that the artist was working predominantly in the West Midlands.

Alsop has used similar colours to those in the portrait of Richard Townsend. This palette of dark subdued colours is typical of portraiture between 1690 and 1730. As in the painting of Richard Townsend, the sitter is shown against a plain dark background. The contrast of the deep red and cream of the sitter's clothes draws our eye into the painting.

Mrs. Townsend is shown in a low cut gown of black cloth. Over the bodice and sleeves is a layer of cream gauze, which is attached to the neckline with gold braid. This is worn over the sitter’s chemise, which can be seen below the neckline of the dress. The gown is ornamented at the centre with a broach. The sitter holds a stem of orange blossom in her hands. This flower may explain why the portraits were commissioned. The Orange tree flowers and produces fruit at the same time and for this reason it has traditionally been used by brides as a symbol of abundance. This custom can be traced back to ancient China. The tradition was brought over to Europe in the middle ages when the first Crusaders returned from the East. Considering that this work was painted as a pendant to the portrait of Richard Townsend and that the sitter is shown holding a stem of orange blossom it is likely that these works were commissioned to commemorate the wedding of the couple.

This portrait was given to the museum with the portrait of Richard Townsend (museum number 312-1905). Two other early eighteenth-century portraits, attributed to Sir Geoffrey Kneller (1646-1723), museum number 314-1905 and 315-1905 were given to the museum as part of the same gift.

313-1905