Several versions of this miniature exist, including one in the National Gallery of Ireland, Dublin, and three at Woburn Abbey. Although the miniature in Dublin is catalogued as a self-portrait, the Woburn versions are said to be after the picture at Woburn Abbey by Frank Stone. However, Frank Stone's dates (1800 – 59) suggest that his oil version is more likely to be after the miniature that must date from c.1810. A version after the same image by John Haslem, also at Woburn, is signed and dated 1847. A self-portrait of the artist with her sisters in c.1805, together with a group of miniatures of the artist's family, in the National Gallery of Ireland, prove the Duchess to have been an exceptionally talented amateur miniaturist. The Marchioness of Tavistock was a valued Lady-in-Waiting to Queen Victoria who found her 'such a nice person, so good-natured and obliging, and very agreeable to have in the House' (RA QVJ: 19 September 1837). Her family was intimately connected with Lord Melbourne's Whig ministry, and she was one of the Queen's Ladies-in-Waiting whom Sir Robert Peel insisted should be replaced in the so-called 'Bedchamber Plot' of 1839, not least because she had played a central role in the damaging affair involving Lady Flora Hastings earlier that year. Melbourne himself was no great admirer of the Duchess, regarding her as a 'cunning woman' whose attendance at court was self-serving (RA QVJ: 21/23 October 1839). She eventually resigned from her position in August 1841.

Lady Anna Maria Stanhope, elder daughter of Charles Stanhope, 3rd Earl of Harrington, and Jane, daughter of Sir John Fleming, married, in 1808, Francis Russell, Marquis of Tavistock, later 7th Duke of Bedford (1839). She served Queen Victoria as Lady of the Bedchamber from 1837 to 1841.