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See also: born in See also: Antwerp, and learnt his See also: art from his See also: father and from Delvaux
.
After visiting See also: Denmark and walking thence to See also: Rome for purposes of study, he returned on See also: foot to the See also: port of embareation for See also: England, but stayed in See also: London but a See also: 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 See also: year to his native city where he died a few months afterwards
.
He worked for a See also: time with See also: Francis See also: Bird, the pupil of Grinling Gibbons
.
Fifteen of his works—monuments, figures and busts—are in See also: Westminster Abbey, two executed in collaboration with his master Delvaux: the " Hugh Chamberlen " (d
.
1728, and therefore perhaps produced during his first visit to London) and " See also: Catherine, duchess of Buckinghamshire." He is best, though not most creditably, known to fame by his monument to See also: Shakespeare (1740), but as this See also: work was designed by Kent the blame for the errors of taste therein displayed must not be laid to See also: Scheemakers' account
.
In addition to these may be mentioned the monuments to See also: Admiral See also: Sir See also: Charles Wager,
See also: Vice-Admiral See also: Watson, Lieut.-General Percy See also: Kirk, See also: George See also: Lord Viscount See also: Howe, General Monck, and Sir See also: Henry Belasye
.
His busts of
See also: John
See also: Dryden (1720) and Dr See also: Richard Mead (1754), also in the Abbey, are among the best of his smaller See also: works
.
The most important of his monuments elsewhere, as mentioned by Walpole, are those to the 1st and 2nd See also: dukes of Ancaster at Edenham, See also: Lincolnshire; Lord Chancellor See also: Hardwicke at Wimpole, See also: Cambridgeshire; the duke of Kent, his wives and daughters, at Fletton, See also: Bedfordshire; the See also: earl of Shelburne, at Wycombe, Bucks; and the figure on the sarcophagus to Montague Sherrard Drake, at See also: Amersham
.
Although less esteemed as an artist than Rysbrack and Roubiliac, Scheemakers was a very popular and widely-employed sculptor in his See also: day, whose influence was considerable; he was the master of Nollekens, and See also: left a son, See also: Thomas Scheemakers, who produced
a considerable amount of work, and exhibited in the Royal
See also: Academy from 1782–1804
.
See Walpole's Anecdotes of See also: Painting, vol
.
3 (ed
.
1876), and , See also: Dictionary of See also: National Biography
.
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