This is not an oil sketch but one of a pair of incomplete portraits (see RCIN 400947) intended for George IV. They were exhibited in this condition at Gainsborough's studio in Schomberg House, Pall Mall, in July 1784, which suggests that the particular liveliness of Gainsborough's incompleteness was as much appreciated then as now. Reynolds praised Gainsborough for 'his manner of forming all the parts of his picture together'; he expressed amazement at how life-like Gainsborough apparently incomplete works were, though not entirely approving of their sketchiness (14th Discourse). It is easy to see how this widely-shared attitude could help people to appreciate the miraculous effects of genuine 'works-in-progress' like this portrait. That said there is no mundane explanation as to why they were not completed even after being exhibited.

This portrait is of the standard 'half-length' format (roughly 50 by 40 inches); its pair, depicting the Duke (RCIN 405947), started out the same size but was cut down.