Online Encyclopedia

PETER SCHEEMAKERS (1691–1770)

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Originally appearing in Volume V24, Page 315 of the 1911 Encyclopedia Britannica.
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PETER SCHEEMAKERS (1691–1770)  , Flemish sculptor, was born in Antwerp, and learnt his
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art from his
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father and from Delvaux . After visiting Denmark and walking thence to Rome for purposes of study, he returned on
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foot to the
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port of embareation for England, but stayed in
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London but a short while . From 1728 to 1735 he again sojourned in Rome and then settled in England, where he remained from 1735 to 1770, returning in the latter
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year to his native city where he died a few months afterwards . He worked for a time with Francis
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Bird, the pupil of Grinling Gibbons . Fifteen of his works—monuments, figures and busts—are in Westminster Abbey, two executed in collaboration with his master Delvaux: the "
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Hugh Chamberlen " (d . 1728, and therefore perhaps produced during his first visit to London) and " Catherine, duchess of Buckinghamshire." He is best, though not most creditably, known to fame by his monument to Shakespeare (1740), but as this
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work was designed by Kent the blame for the errors of taste therein displayed must not be laid to Scheemakers' account . In addition to these may be mentioned the monuments to
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Admiral
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Sir Charles Wager,
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Vice-Admiral Watson, Lieut.-General Percy Kirk, George Lord Viscount Howe, General Monck, and Sir Henry Belasye . His busts of John Dryden (1720) and Dr Richard Mead (1754), also in the Abbey, are among the best of his smaller
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works . The most important of his monuments elsewhere, as mentioned by Walpole, are those to the 1st and 2nd dukes of Ancaster at Edenham,
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Lincolnshire; Lord Chancellor Hardwicke at Wimpole, Cambridgeshire; the duke of Kent, his wives and daughters, at Fletton, Bedfordshire; the
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earl of Shelburne, at Wycombe, Bucks; and the figure on the sarcophagus to Montague Sherrard Drake, at
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Amersham . Although less esteemed as an artist than Rysbrack and Roubiliac, Scheemakers was a very popular and widely-employed sculptor in his day, whose influence was considerable; he was the master of Nollekens, and
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left a son, Thomas Scheemakers, who produced a considerable amount of work, and exhibited in the Royal Academy from 1782–1804 . See Walpole's Anecdotes of
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Painting, vol . 3 (ed .

1876), and ,

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Dictionary of
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National Biography .

End of Article: PETER SCHEEMAKERS (1691–1770)
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