Portraits such as ‘The Hon. Christopher O'Brien’ (1766; Dromoland Castle) and ‘A gentleman of the La Touche family with a gun and a dog’ (1775; NGI) demonstrate his competence in the modelling of the figure and the creation of a convincing sense of space. The sporting context of the latter example seems to have been a form introduced by Hunter to Irish portraiture. Attribution of paintings to Hunter is hampered by the variety of styles in which he worked, which reflect both contemporary and earlier influences. The influence of English artists such as Arthur Devis, Thomas Hudson, and Francis Cotes may be detected. Such examples would have been available to him in the collections of his patrons as well as through engravings. Most unusually for artists in Ireland at this period, Hunter himself had a considerable collection of old-master paintings, which was sold in Dublin in 1792.
According to one writer, ‘Hunter was a mild and amiable man, liberal in communicating what he knew, and generous in estimating the works of his brother artists’ (Taylor, 284). The date of his death remains unknown; he is last documented in 1803. By this time his once ‘large and profitable practice’ (Taylor, 283) had declined, most probably by choice with the onset of old age. He may be seen as having been the leading artist in Ireland from c.1750 to 1780. His daughter Marianne Hunter (1752?–1777) married the portrait painter John Trotter (d. 1792) in December 1774. She herself was an artist, as were her two daughters, Elizabeth and Mary. She is first recorded as exhibiting a self-portrait at the Society of Artists in 1765 when aged 13. She was awarded four premiums by the Dublin Society for her portraits and history paintings.