There is so far no documented proof of later reports that Roubiliac was
working for or subcontracting to Henry Cheere in his workshops at Westminster prior to 1738,
but the evidence presented here strongly suggests a close working relationship with
both of the Cheere brothers.
We do not know what Roubiliac was doing until 1736 with reports in
the press of his busts of Farinelli and Senesino.
The busts of Andrew Fountain at Wilton House, and its several
variants, the bust of Thomas Winnington
on his monument at Stanford on Teme, Worcestershire and the bust of John Bamber
on the monument in Barking Church, Essex all use the same basic drapery.
The bust of John Belchier at the Royal College of Surgeons and Matthew Lee - both again use the same drapery - in this case open shirts.
The busts of John Ray (Marble Trinity College Cambridge and terracotta in the British Museum), Jonathan Tyers marble (Birmingham Museums and the terracotta at the V and A ) and the terracotta of Henry Streatfield in the Mausoleum at Chidingstone, Kent, again these busts all use the same drapery. see -
https://bathartandarchitecture.blogspot.com/2016/12/bust-of-john-ray-in-wren-library.html
.................................
Much of John Cheere's early working life remains a mystery
until 1738 when he acquire (along with his brother the properties of the van
Nosts at Stone Bridge on the North side of what became Portugal Row and later
Piccadilly, at Hyde Park Corner.
Princess Amelia (1711 - 86) -Third Child (second daughter) of George II and Queen
Caroline.
Fitzwilliam Museum, Cambridge.
Inscription: below her left shoulder; inscribed; L.F. Roubiliac Scit ad vivum
Provenance: The former owner told Mrs K. Esdaile that the bust had been given by William Waldegrave, 1st Baron Radstock, to his sister Lady Caroline Waldegrave, daughter of the 3rd Earl Waldegrave. Her mother had been a Lady of the Bedchamber to the Princesses Amelia and Caroline, and the latter had been left £4,000 in the Princess's will.
Purchased with the S.G. Perceval Fund.
