John Hayls was a prominent English portrait painter, draughtsman, and miniaturist working during the tumult of the British Baroque period. He lived through two civil wars, Oliver Cromwell’s joyless Protectorate, and Charles II’s Restoration. A direct competitor of court-favourite Sir Peter Lely, he offered a pared-down alternative to the Dutchman’s grandiosity.
Scant details exist relating to his youth, but according to the antiquary, Richard Symonds (1617-1660), he probably trained under the portraitist Michiel van Mierevelt (1566-1641) at The Hague. Symonds documented how Hayls had mastered a technique of preparing vermilion following Mierevelt’s advice.
Very few examples of his early works are recorded but it’s possible that he was initially taken under the wing of a more established painter - in much the same way that Mary Beale (1633-1699), one of his contemporaries, is known to have assisted Lely. He was highly regarded for his convincing copies after Sir Anthony van Dyck (1599-1641) so it’s not beyond the realms of possibility that he was employed in his studio.
Towards the middle of the century, following the onset of Civil War, Hayls left for calmer shores. Arriving in Rome around 1651 before returning during the Cromwellian Commonwealth. Now into his 50s, his career gathered momentum and in 1658, he produced portraits of Lady Diana Russell and the particularly Rubenesque Lady Anne Russell, Countess of Bedford.
Here, in a three-quarter length work from around 1655, he’s depicted the Hon. Edward Russell, son of Francis Russell, 4th Earl of Bedford, wearing a buff jacket with gold sleeves, breastplate, and red sash. A helmet rests on a ledge alongside, with an imposing landscape beyond.
Edward Russell was the son of Francis Russell, 4th Earl of Bedford and Catherine Brydges. He married Penelope Hill, daughter of Sir Moyses Hill of Hillsborough Castle, and they had four children. One of these was Admiral Edward Russell, a Royal Navy officer and politician. Edward’s father Francis was an inventive pioneer, responsible for creating the iconic Covent Garden Piazza - together with Court architect, Inigo Jones.
It’s fascinating to consider how these portraits were conceived - with sitters adopting various stances, either inspired by a piece they admired or to convey various allegorical references. Usually, this is left to the imagination, but for Hayls, there’s first-hand evidence, thanks to the candid diary of naval administrator, Samuel Pepys. Pepys commissioned Hayls in 1666 and documented numerous meetings with the artist. Aside from a portrait of himself (wearing a rather ostentatious robe), he also requested portraits of his wife and father.
“Saturday 3 March 1666. Thence by coach to Hales’s, and there saw my wife sit; and I do like her picture mightily, and very like it will be, and a brave piece of work. But he do complain that her nose hath cost him as much work as another’s face, and he hath done it finely indeed. Thence home and late at the office, and then to bed.”
“Saturday 17 March 1666. This day I begun to sit, and he will make me, I think, a very fine picture. He promises it shall be as good as my wife’s, and I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by.”
“Friday 30 March 1666. Thence home and eat one mouthful, and so to Hales’s, and there sat till almost quite darke upon working my gowne, which I hired to be drawn in; an Indian gowne, and I do see all the reason to expect a most excellent picture of it.”
A particularly interesting entry refers to the removal of an unwelcome landscape.
“Wednesday 18 April 1666. Took coach and to Mr. Hales, where he would have persuaded me to have had the landskipp stand in my picture, but I like it not and will have it otherwise, which I perceive he do not like so well, however is so civil as to say it shall be altered.”
Hayls was partial to adding a sense of Baroque majesty via a background landscape but clearly with Pepys, he had to paint it out. And to compound the issue, two years later he was asked to redo the hand of Elisabeth Pepys.
“Up and all the morning at the office busy, and after dinner to the office again busy till about four, and then I abroad (my wife being gone to Hales’s about drawing her hand new in her picture).”
Given this rather casual approach to formal portraiture, it’s interesting to contextualise the decision-making process for the depiction of Edward Russell. Unusually, the head and shoulders are contained within an oval, which appears to be attached to the rest. Stylistically, the brushwork is apparently by the same hand, so perhaps it was originally intended as a smaller piece but extended shortly after completion. Presumably, the Russells were so enamoured with it that they asked for an upgrade.
Public Collections
British Museum, V&A Museum, National Portrait Gallery, Chequers Court, Christ's College at the University of Cambridge, Christ's Hospital, Cromwell Museum, Dumfries House, Herbert Art Gallery & Museum, Museum of the Home, National Trust, Attingham Park, Lacock Abbey, Fox Talbot Museum and Village, Lodge Park and Sherborne Estate, Lyme Park, Seaton Delaval, Wimpole Hall, Temple Newsam House, Leeds Museums and Galleries, The Royal Society, Weston Museum, Weston Park, Reading Public Museum, Museum of Somerset.
Timeline
C. 1600
Born.
Probably studied under Michiel van Mierevelt (1566-1641) at The Hague as mentioned in the notebooks of Richard Symonds (1617-1660). Symonds refers to a recipe for preparing vermilion which Hayls had been shown by Mierevelt.
Left England during the Civil War.
1651
Travelled to Rome.
Returned to London.
C. 1658
Commissioned to paint portraits of Lady Diana Russell and Lady Anne Russell.
1666
Commissioned by Samuel Pepys to paint portraits of his father, wife as Saint Catherine, and himself.
1679
Died at Long Acre, London.
Extracts from the diary of Samuel Pepys
"Wednesday 14 February 1666. My Lord being gone, I took Mr. Hill to my Lord Chancellor’s new house that is building, and went with trouble up to the top of it, and there is there the noblest prospect that ever I saw in my life, Greenwich being nothing to it; and in every thing is a beautiful house, and most strongly built in every respect; and as if, as it hath, it had the Chancellor for its master. Thence with him to his paynter, Mr. Hales, who is drawing his picture, which will be mighty like him, and pleased me so, that I am resolved presently to have my wife’s and mine done by him, he having a very masterly hand."
"Thursday 15 February 1666. Before dined, called on by my wife in a coach, and so I took leave, and then with her and Knipp and Mercer (Mr. Hunt newly come out of the country being there also come to see us) to Mr. Hales, the paynter’s, having set down Mr. Hunt by the way. Here Mr. Hales’ begun my wife in the posture we saw one of my Lady Peters, like a St. Katharine. While he painted, Knipp, and Mercer, and I, sang; and by and by comes Mrs. Pierce, with my name in her bosom for her Valentine, which will cost me money. But strange how like his very first dead colouring is, that it did me good to see it, and pleases me mightily, and I believe will be a noble picture. Thence with them all as far as Fleete Streete, and there set Mercer and Knipp down, and we home."
"Monday 19 February 1666. I find my wife gone out to Hales, her paynter’s, and I after a little dinner do follow her, and there do find him at worke, and with great content I do see it will be a very brave picture."
"Saturday 24 February 1666. So abroad by coach with Mr. Hill, who staid for me to speake about business, and he and I to Hales’s, where I find my wife and her woman, and Pierce and Knipp, and there sung and was mighty merry, and I joyed myself in it; but vexed at first to find my wife’s picture not so like as I expected; but it was only his having finished one part, and not another, of the face; but, before I went, I was satisfied it will be an excellent picture. Here we had ale and cakes and mighty merry, and sung my song, which she [Knipp] now sings bravely, and makes me proud of myself. Thence left my wife to go home with Mrs. Pierce, while I home to the office, and there pretty late, and to bed, after fitting myself for tomorrow’s journey."
"Thursday 8 March 1666. After dinner I took coach and away to Hales’s, where my wife is sitting; and, indeed, her face and necke, which are now finished, do so please me that I am not myself almost, nor was not all the night after in writing of my letters, in consideration of the fine picture that I shall be master of."
"Saturday 10 March 1666. Thence to Hales’s to have seen our pictures, but could not get in, he being abroad, and so to the Cakehouse hard by, and there sat in the coach with great pleasure, and eat some fine cakes and so carried them to Pierces and away home."
"Wednesday 14 March 1666. And so to Hales’s, to see my wife’s picture, which I like mighty well, and there had the pleasure to see how suddenly he draws the Heavens, laying a darke ground and then lightening it when and where he will."
"Saturday 17 March 1666. At noon home to dinner and presently with my wife out to Hales’s, where I am still infinitely pleased with my wife’s picture. I paid him 14l. for it, and 25s. for the frame, and I think it is not a whit too deare for so good a picture. It is not yet quite finished and dry, so as to be fit to bring home yet. This day I begun to sit, and he will make me, I think, a very fine picture. He promises it shall be as good as my wife’s, and I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by. Thence home and to the office, and so home having a great cold, and so my wife and Mrs. Barbary have very great ones, we are at a loss how we all come by it together, so to bed, drinking butter-ale."
"Tuesday 20 March 1666. Up and to the office, where busy all the morning. At noon dined in haste, and so my wife, Mrs. Barbary, Mercer, and I by coach to Hales’s, where I find my wife’s picture now perfectly finished in all respects, and a beautiful picture it is, as almost I ever saw. I sat again, and had a great deale done, but, whatever the matter is, I do not fancy that it has the ayre of my face, though it will be a very fine picture."
"Friday 23 March 1666. I out by six o’clock by appointment to Hales’s, where we fell to my picture presently very hard, and it comes on a very fine picture, and very merry, pleasant discourse we had all the morning while he was painting."
"Monday 25 March 1667. Having seen his house, we away, having in our way thither called at Mr. Lilly’s, who was working; and indeed his pictures are without doubt much beyond Mr. Hales’s, I think I may say I am convinced: but a mighty proud man he is, and full of state."
"Wednesday 28 March 1666. So by coach to Hales’s, and there sat again, and it is become mighty like. Hither come my wife and Mercer brought by Mrs. Pierce and Knipp, we were mighty merry and the picture goes on the better for it."
"Wednesday 4 April 1666. After done several businesses at the ’Change I home, and being washing day dined upon cold meate, and so abroad by coach to Hales’s, and there sat till night, mightily pleased with my picture, which is now almost finished."
"Friday 6 April 1666. Thence to Mr. Hales and there sat, and my picture almost finished, which by the word of Mr. and Mrs. Pierce (who come in accidently) is mighty like, and I am sure I am mightily pleased both in the thing and the posture."
"Saturday 7 April 1666. Thence took her by coach to Hales’s, and there find Mrs. Pierce and her boy and Mary. She had done sitting the first time, and indeed her face is mighty like at first dash. Thence took them to the cakehouse, and there called in the coach for cakes and drank, and thence I carried them to my Lord Chancellor’s new house to shew them that, and all mightily pleased, thence set each down at home, and so I home to the office, where about ten of the clock W. Hewer comes to me to tell me that he has left my wife well this morning at Bugden, which was great riding, and brings me a letter from her."
"Wednesday 11 April 1666. After having done with the Duke of Yorke, I to Hales’s, where there was nothing found to be done more to my picture, but the musique, which now pleases me mightily, it being painted true."
"Friday 13 April 1666. So back and waited on the Duke and received some commands of his, and so by coach to Mr. Hales’s, where it is pretty strange to see that his second doing, I mean the second time of her sitting, is less like Mrs. Pierce than the first, and yet I am confident will be most like her, for he is so curious that I do not see how it is possible for him to mistake."
"Friday 20 April 1666. Thence to Mr. Hales’s, and there, though against his particular mind, I had my landskipp done out, and only a heaven made in the roome of it, which though it do not please me thoroughly now it is done, yet it will do better than as it was before."
"Monday 23 April 1666. Dined at home and took Balty with me to Hales’s to show him his sister’s picture, and thence to Westminster, and there I to the Swan and drank, and so back again alone to Hales’s and there met my wife and Mercer, Mrs. Pierce being sitting, and two or three idle people of her acquaintance more standing by. Her picture do come on well. So staid until she had done and then set her down at home, and my wife and I and the girle by coach to Islington, and there eat and drank in the coach and so home, and there find a girle sent at my desire by Mrs. Michell of Westminster Hall, to be my girle under the cooke-mayde, Susan."
"13 June 1666. Thence with Balty to Hales’s by coach, it being the seventh day from my making my late oathes, and by them I am at liberty to dispense with any of my oathes every seventh day after I had for the six days before going performed all my vowes. Here I find my father’s picture begun, and so much to my content, that it joys my very heart to thinke that I should have his picture so well done; who, besides that he is my father, and a man that loves me, and hath ever done so, is also, at this day, one of the most carefull and innocent men, in the world."
"Saturday 18 July 1668. Thence to the office, and then with my wife to the ’Change and Unthanke’s, after having been at Cooper’s and sat there for her picture, which will be a noble picture, but yet I think not so like as Hales’s is."
"Wednesday 27 June 1666. Thence home to dinner, and after dinner carried my wife to her sister’s and I to Mr. Hales’s, to pay for my father’s picture, which cost me 10l. the head and 25s. the frame."
"Friday 28 August 1668. Thence; with much ado, by several coaches home, to supper and to bed. My wife having been this day with Hales, to sit for her hand to be mended, in her picture."
"Tuesday 1 September 1668. Up and all the morning at the office busy, and after dinner to the office again busy till about four, and then I abroad (my wife being gone to Hales’s about drawing her hand new in her picture) and I to see Betty Michell, which I did, but su mari was dentro, and no pleasure."
"Saturday 5 September 1668. Up, and at the office all the morning. At noon home to dinner, and to the office to work all the afternoon again till the evening, and then by coach to Mr. Hales’s new house, where, I find, he hath finished my wife’s hand, which is better than the other; and here I find Harris’s picture, done in his habit of 'Henry the Fifth;' mighty like a player, but I do not think the picture near so good as any yet he hath made for me: however, it is pretty well, and thence through the fair home, but saw nothing, it being late, and so home to my business at the office, and thence to supper and to bed."