John Hoppner, R.A. (British, 1758-1810), "Portrait of a Gentleman Identified in the Dillon Collection as Hon. James William Dillon (1792-1812), Son of Charles Dillon, the 12th Viscount", ca. 1808, oil on canvas, indistinctly signed lower left, 30" x 25". In an ornate carved giltwood period frame. Provenance: The "Dillon Collection", Estate Sale of Harold Arthur Dillon, 17th Viscount, Ditchley Manor, Enstone, Oxfordshire, Sotheby's, London, May 24, 1933; C. E. Dix, British Collector; Howard Young (Galleries), New York, New York; Houston, Texas collection. Published: McKay, William and W. Roberts. John Hoppner Catalogue Raisonne. London: P & D Colnaghi & Co., 1909, p. 67. John Hoppner was one of the most celebrated English portrait artists of his time, rivaled only in prestige by King George III’s painter Thomas Lawrence, who succeed Sir Joshua Reynolds as "painter-in-ordinary to his majesty". Hoppner, a decorated member of the Royal Academy, painted at least three portraits of the illustrious Dillon family. In addition to the one offered here of the Honorable James William Dillon, son of the 12th Viscount Dillon by his second marriage, Hoppner also painted portraits of the Viscount’s eldest son Henry Augustus Dillon, 13th Viscount, and his brother-in-law by his first marriage, the Honorable Augustus Phipps. After the young James William died shortly after earning the rank of ensign in the Grenadier Guards, the portrait remained with his father and descended through the Viscount’s heir apparent until 1933, when it was sold with the Estate of Harold Arthur Dillon. The 17th Viscount had an extraordinary collection of art that he amassed over a lifetime as an antiquarian, curator of the Tower Armories, trustee of the British Museum and National Portrait Gallery.

In generally very good professionally restored condition. Scattered abrasions especially at upper left with accompanying small losses to paint surface. Small loss to paint at upper-mid right, approx. 1/16" dia. Faint cloudy white accretions along bottom and left edge, visible under raking light. Shadow of old stretcher marks along left and right edges. Evidence of past restoration, but difficult for UV light to completely penetrate varnish layer. Painting has been re-lined. Re-varnished and cleaned some time ago. Faint scattered craquelure.