Attributed to Francis Hayman, R.A.

full-length, standing wearing a yellow jacket and dark breeches, holding a portrait sketch in his right hand and a chisel in his left, leaning against a plinth, sculptor's tools at his feet

Anonymous sale, Sotheby's London, 9th April 1997, lot 28 (£38,000, bt. by the present owner)

A. Paton and D. Gibbs, 'Art Imitiating Art', Bulletin of the Royal College of Physicians of London, September/October 2000, p. 24 (illus)

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in good condition. ULTRAVIOLET Examination under ultraviolet light reveals scattered minor retouchings overall. In the figure this is predominantly limited to very minor flecks in the face and two areas in the sitters legs whilst background retouching is predominantly in the sky to the left of the sitter in the upper left of the canvas. FRAME Held in a carved and gilded period style frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Dr. Ingrid Roscoe for confirming that this the only known painted portrait of Peter Scheemakers. Born in Antwerp in 1691 the sitter together with Louis-Francois Roubilliac and Michael Rysbrack, became the most successful sculptors in eighteenth century Europe. Although Scheemakers was perhaps the least famous of the three; it was he alone whose business continued to flourish steadily throughout his career, whereas Roubilliac and Rysbrack both died in poverty.

Scheemakers came to London in 1720, where he worked for his fellow countryman, Pierre Denis Plumier. Following the trend for the great formal landscapes being created at this time, Plumier had established a workshop producing high quality garden statuary. This business proved extremely lucrative and in 1721 Plumier was commissioned to sculpt a monument to John Sheffield, Duke of Buckingham for Westminster Abbey. Several models were produced, but before the work could commence Plumier died, and Scheemakers was instead given the commission, together with another Flemish workshop member, Laurent Delvaux. The statue was received with great critical acclaim, and Scheemakers's reputation firmly established. In 1728 he travelled to Rome with Delvauz and Pieter Angelis. Here they studied the antique masterpieces, and made numerous models and copies which they later brought back with them to England in 1735.                                                                                                                

Scheemakers' studies after Roman sculpture bought him to the attention of the patron who could transform his career, Dr. Richard Mead, a distinguished physician and collector, and a dedicated classicist.  In 1732 Mead was instrumental in commissioning from Sheemakers a bronze statue for Guy's Hospital, of it's recently deceased founder, Thomas Guy.  In 1737 he commissioned him again, this time at St. Thomas's Hospital, commemorating its founder Edward VI.  The third commission, of 1739, was for a portrait bust of the great physiologist, Dr. William Harvey (1578-1657) for the Royal College of Physicians, which was a direct gift from Mead to the College.  This bust is seen here in the present portrait.

This painting depicts Scheemakers in his studio with his newly completed bust of Dr. Harvey.  The sculptor holds in his hand his engraving of the portrait of R. Harvey by J. Houbraken, published in 1739 and which he has clearly used as the likeness for his bust.  It is particularly interesting to note that Dr. Mead allowed Houbraken to base his engravings on the portrait of Dr. Harvey that was in his own collection by William van Bemmel (1630-1708), now in the Hunterian Collection, University of Glasgow.   At the foot of the easel are two well known busts by Sheemakers of Inigo Jones and Cicero.  Scheemakers sold a marble bust of Inigo Jones at his 1756 sale, and there were a number of busts of Cicero executed for Trinity College Dublin.  The view of the Campagna in the distance with the classical architecture is evocative of Scheemakers period of studying in Rome and of his reputation as a classicist. There is no record of a painting of Scheemakers by Hayman and although this portrait does not display the full assurance of some of his portraits, the inscription is hard to ignore and it is not possible to suggest an alternative hand.