John Hayls Sold at Auction Prices

b. 1679 -

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  • ATTRIBUTED TO JOHN HAYLS (1600-1679)
    Jun. 14, 2023

    ATTRIBUTED TO JOHN HAYLS (1600-1679)

    Est: £1,000 - £1,500

    ATTRIBUTED TO JOHN HAYLS (1600-1679) PORTRAIT OF LADY ELIZABETH BERTIE (1640-1683) bears inscription Lady Elizabeth Bertie daughter of Montague Earl of Lindsey 4th Wife of Baptist 3rd Viscount Cmpden [sic] oil on canvas 122 x 98cm; 48 x 38 1/2in 147 x 124cm; 58 x 49in (framed) Property from a Private Collection, London Provenance: Charles Noel, 3rd Earl of Gainsborough (1850-1926) The Hon. Charles and Mrs May Noel (son and daughter-in-law of the above) Colonel Archibald Noel (son of the above) Thence by descent to the present owner (son of the above) Lady Elizabeth Bertie (1640-1683), was the daughter of Montagu Bertie, 2nd Earl of Lindsay and his first wife Martha Ramsay (née Cockayne), Dowager Countess of Holderness. She married Baptist Noel, 3rd Viscount Campden when she was just 15 and bore him nine children, including Martha Penelope (1666-1692) (see lots 12 & 13). Sir Peter Lely also painted her portrait. She died a year after her husband and is buried with him near the Noel family seat Exton Park in the church of St Peter and St Paul, Rutland.

    Olympia Auctions
  • ATTRIBUTED TO JOHN HAYLS | Portrait of a nobleman and a noble lady
    Feb. 02, 2018

    ATTRIBUTED TO JOHN HAYLS | Portrait of a nobleman and a noble lady

    Est: $10,000 - $15,000

    a pair, both oil on oval-shaped canvas

    Sotheby's
  • Attributed to John Hayls (London active c.
    Sep. 14, 2016

    Attributed to John Hayls (London active c.

    Est: £2,000 - £3,000

    Attributed to John Hayls (London active c. Portrait of Charles Bertie (1678-1730), Rector of Uffington, bust-length, in a... oil on canvas 30 x 25 in. (76.1 x 63.4 cm.)

    Christie's
  • ATTRIBUTED TO JOHN HAYLS | Portrait of Miss Middleton, bust-length, in a brown dress with a blue cape
    Oct. 27, 2015

    ATTRIBUTED TO JOHN HAYLS | Portrait of Miss Middleton, bust-length, in a brown dress with a blue cape

    Est: £4,000 - £6,000

    oil on canvas

    Sotheby's
  • Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, oil on canvas
    Jun. 19, 2014

    Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, oil on canvas

    Est: £2,000 - £3,000

    Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, in a red jacket and gold cloak inscribed to the right of the sitter "AET [? 23]" oil on canvas h:74 w: 62 cm Provenance: By descent to The Manor House, Chatteris, and thence in the Dunn Gardner collection from there to Denston by 1908. The sitter is possibly a Johnstone of Pontefract, a Cudworth, or a Hake of Chatteris and Pilsgate.

    Cheffins
  • Attributed to John Hayls (active c. 1645-1679 London)
    Sep. 13, 2011

    Attributed to John Hayls (active c. 1645-1679 London)

    Est: £4,000 - £6,000

    Attributed to John Hayls (active c. 1645-1679 London) Portrait of a gentleman, traditionally identified as John Evelyn (1620-1706), diarist and writer, three-quarter-length, in a brown satin coat and a red cloak holding a letter, seated in a landscape oil on canvas 49 x 39 in. (124.5 x 99.1 cm.)

    Christie's
  • JOHN HAYLS (BRITISH ?-1679) THREE-QUARTER LENGTH PORTRAIT OF THE FOURTH VISCOUNT OF KILMOREY 127cm x 102cm (56in x 40in)
    Dec. 01, 2010

    JOHN HAYLS (BRITISH ?-1679) THREE-QUARTER LENGTH PORTRAIT OF THE FOURTH VISCOUNT OF KILMOREY 127cm x 102cm (56in x 40in)

    Est: £10,000 - £15,000

    JOHN HAYLS (BRITISH ?-1679) THREE-QUARTER LENGTH PORTRAIT OF THE FOURTH VISCOUNT OF KILMOREY Oil on canvas 127cm x 102cm (56in x 40in)

    Lyon & Turnbull
  • Caspar Netscher (? Heidelburg 1639-1684 The Hague)
    Apr. 11, 2002

    Caspar Netscher (? Heidelburg 1639-1684 The Hague)

    Est: $28,600 - $42,900

    Portrait of a gentleman, three-quarter-length, seated, in a japonsche rock ; and Portrait of a lady, three-quarter-length, in a blue- and gold-embroidered dress both signed and dated 'CNetscher. fec./1679.' (CN linked, the first lower right; the second lower left) oil on canvas 191/2 x 153/4 in. (49.5 x 40 cm.) a pair (2) PROVENANCE Anonymous Sale; Mak van Waay, Amsterdam, 2 April 1973, lot 243 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-13). NOTES The son of a German sculptor, Johann Netscher (d. c. 1641), Caspar received his intial training in Arnhem, under Hendrik Coster, a still-life and portrait painter. In circa 1654 Netscher moved to Deventer, where he completed his training in the workshop of Gerard ter Borch (for whom see lot 553). A number of signed and, occasionally, dated copies by Netscher after Ter Borch survive from this period, such as the copy (1655; Gotha, Schloss Friedenstein) after Ter Borch's Parental Admonition (c. 1654; Amsterdam, Rijksmuseum). Netscher's first independent compositions, for example a pair of small pendants Portrait of a man and Portrait of a woman (both 1656; Utrecht, Centraal Museum), were strongly influenced by Ter Borch. Shortly after leaving Ter Borch's studio, Netscher moved to The Hague, where he joined the painters' society Pictura on 25 October 1662. During his early years in The Hague he painted mostly small genre scenes, for example the Chaff cutter with a woman spinning and a young boy (Philadelphia, Museum of Arts) and The Kitchen (Berlin, Gem„ldegalerie), however, after circa 1667 portraits gradually became Netscher's main interest, and the number of genre pieces decreased. In his portraits he followed the elegant, aristocratic court style of The Hague followers of Anthony van Dyck: Adriaen Hanneman, Jan Mijtens and Jan de Baen. However, Netscher's portraits tend, as with the present pair, to have the same small format as his genre pictures, and are set against backgrounds that include luxurious elements such as parks, fountains and sculptures. From the 1670s until his death Netscher was the most sought-after portrait painter in The Hague. The male sitter is shown wearing a japonsche rock, a type of kimono that became fashionable in Holland during the last quarter of the seventeenth century, in response to ceremonial gifts of kimonos given to Dutch East India Company officers by the Japanese shoguns. Their desirability, as an item of prestige as much as of fashion, spread through Europe during the eighteenth century. A popular costume for portrait subjects, Frans Hals painted a sitter in a slightly earlier garment (see S. Slive, catalogue of the exhibition, Frans Hals, London, Royal Academy, 1989, pp. 358-360), and Pepys mentions his 'Indian gowne' hired for his portrait by John Hayls (London, National Portrait Gallery).

    Christie's
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