E.” in the context of this portrait, readers knew her identity (Baetjer 39). However, she was famous enough that when the London Morning Post referred to her as “the beautiful Mrs. She certainly counted amongst Gainsborough’s notable and notorious clients: early Royal Academy catalogs only referred to royals and certain public figures by name, and this portrait was no exception. (later Sir) Elliott, “Dally the Tall” was known for her beauty and her height, and had liaisons with nobles such as the Earl of Cholmondeley, the Prince of Wales, and the Duke of Orléans (The Frick). Grace Dalrymple Elliott, a Scottish socialite closely connected to the Earl of Cholmondeley, who also commissioned the portrait. This full-length portrait was initially exhibited at the Royal Academy in 1778. As Baetjer says, “his eye for female beauty and capacity to capture it on canvas were legendary, as was his instinct for dealing with notable and notorious clients” (39). He also remained connected to London: he exhibited at the Society of Arts from 1761 and was a founding member of the Royal Academy in 1768 (Rosenthal, Grove). His style during this time was influenced by seeing paintings by Anthony van Dyck, the seventeenth-century painter (Rosenthal, Grove).
After short stays in London, Sudbury and Ipswich, Gainsborough moved to Bath in 1759 and achieved popularity there by painting wealthy visitors. Homas Gainsborough was a famous English painter, draughtsman, and printmaker of 18th century.
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