John Hoppner, R.A.

Thomas Hampden-Trevor, 2nd Viscount Hampden (1746-1824), Bromham Hall, Bedfordshire;
With Sackville Gallery, London, by 1930;
With Heim Gallery, London;
With Franco Zangrilli;
Private Collection, U.S.A.;
From whom acquired by Bernadette and William M.B. Berger, Denver, Colorado.

London, Royal Academy, 1785, no. 99;
Denver, The Denver Art Museum, 600 Years of British Painting, The Berger Collection at The Denver Art Museum, 10 October 1998 - 28 March 1999.

Morning Herald, 3 May 1785;
Morning Post, 7 May 1785;
A. Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904, Vol. IV, London 1906, p. 153, cat. no. 99;
W. McKay and W. Roberts, John Hoppner, RA, London 1909, p. 302;
J. H. Wilson, The Life and Work of John Hoppner (1758-1810), University of London, unpublished doctoral thesis, 1992, vol. I, pp. 49, 135, 142, 267-269, vol II, reproduced fig. 121;
600 Years of British Painting, The Berger Collection at The Denver Art Museum, Denver 1998, p. 171, reproduced.

ENGRAVED:
Valentine Green, in mezzotint, 1785 ("in the Possession of Lord Hampden").

The canvas has a modern and stiff glue relining. The paint surface has become a little pressed in the relining process, and there has been some resulting abrasion. Inspection under UV reveals extensive strengthening throughout, including some strengthening to the figures' faces and the female figure's hair and drapery. There is a large restored hole of approximately 25 by 10 cm in the purple drapery, and two further smaller restored losses in the background at upper center and upper right. Some of these restorations have discolored and are visible to the naked eye. Offered in a carved gilt wood frame.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Hoppner's Jupiter and Io, painted in 1785, is one of his earliest history paintings.  It was well received by contemporary critics who noted, in particular, the artist's debt to Correggio.  The Morning Herald, on 3 May 1785, reported that “This performance has great merit, the idea of annexing the features of the deity to the cloud originated, no doubt, in Correggio — but in justice we must add that the rapture of Io is described by Hoppner with the fullest evidence of human expression.”¹

The subject of Jupiter and Io is recounted in the Roman poet Ovid's Metamorphoses (Met. I: 588-663).  Jupiter, ruler of the gods, fell in love with the young maiden Io and came to her disguised as a cloud.  Juno, consort of Jupiter and jealous of his many infidelities, suspected he was up to more mischief and came to confront him, whereupon Jupiter disguised his lover by turning her into a white heifer.  Hoppner depicts the erotic scene showing the moment of Jupiter's seduction, with the young, semi-naked girl rapturously receiving him.  The figure of Io was thought to be a portrait of Lady Emma Hamilton.

This picture was in the collection of Thomas, 2nd Viscount Hampden, whose family were patrons of Hoppner.  The artist painted portraits of both Thomas's father, Robert, 1st Viscount Hampden and his wife, Katherine, Lady Hampden.  It seems likely, therefore, that he acquired the present painting directly from Hoppner at the Royal Academy in 1785.

1.  W. McKay and W. Roberts, under Literature, p. 302.