Claude Du Bosc

{{Short description|French-born English engraver}} {{Use dmy dates|date=September 2019}} {{infobox artist |name=Claude Du Bosc |birth_date = {{circa|1682}} |birth_place = Kingdom of France |death_date = c. or after 1746 |death_place = London, Kingdom of Great Britain |field = {{hlist|printmaking|publishing|printselling}} |education=Bernard Picart |movement=Rose and Crown Club }} '''Claude Du Bosc''' (also spelled '''Dubosc''' and '''DuBosc'''; {{circa|1682}}–c. or after 1746)<ref name="On lifetime"/> was a French engraver, publisher, and printseller who spent much of his career in London. Associated with French contemporaries such as the painter Antoine Watteau<ref>{{harvnb|Roux|Pognon|1951|p=360}}; {{harvnb|Bellini|1995|p=174}}; {{harvnb|Gatrell|2013|p=187}}.</ref> and the draftsman Hubert-François Gravelot,<ref>{{harvnb|Godfrey|1978|p=32}}; {{harvnb|Calloway|1981|p=42}}.</ref> Du Bosc belonged to the first wave of skilled engravers to arrive in London during the early 18th century, playing a major part in improving the standard of English printmaking of that era.<ref>{{harvnb|Harris|1997|pp=104–105}}; {{harvnb|Tarantino|2016|pp=191–192}}; {{harvnb|Alexander|2022|p=302}}.</ref>

==Life== Nothing known of Du Bosc's early life and work; it has been usually thought since the late-19th century that Du Bosc was born in France c. 1682,<ref name="On lifetime">In a widely represented point, {{harvnb|Cust|1888|p=80}}, cited in {{harvnb|Treydel|2001|p=79}}, establishes c. 1682 and c. 1745 as respective datings of Du Bosc's birth and death. In a different point, {{harvnb|Herold|Vuaflart|1929|p=93}}, states that there are no actual datings for that. In light of the 1746 mention in the ''British Magazine'', recent sources such as {{harvnb|Clayton|2004|p=17}} and {{harvnb|Gatrell|2013|p=393}}, date Du Bosc's death c. or after 1746.</ref> likely of Protestant background.<ref>{{Cite web|lang=fr|url=https://ehne.fr/fr/encyclopedie/thématiques/les-arts-en-europe/migrations-et-identités-artistiques/les-graveurs-français-face-au-jansénisme-au-xviiie-siècle|title=Les graveurs français face au jansénisme au XVIIIe siècle|first=Christine|last=Gouzi|website=Encyclopédie d'histoire numérique de l'Europe|date=2020-06-22|access-date=2022-02-06|quote=De plus, le graveur français d’origine protestante Claude Dubosc (1682-1745) avait émigré à Londres en 1712 : devenu libraire et marchand graveur en Angleterre, il était en relation avec Bernard Picart dont il éditait aussi les estampes}}</ref> In {{ill|Roger Portalis|lt=Roger Portalis|fr|Roger Portalis}} and Henri Béraldi's view, also from the late-19th century, Du Bosc studied engraving under Bernard Picart;<ref>{{harvnb|Portalis|Béraldi|1882|p=26}}; {{harvnb|Thieme|1914|p=2}}; {{harvnb|Herold|Vuaflart|1929|p=93}}; {{harvnb|Treydel|2001|p=79}}.</ref> an alternate point supposes him to be an associate of Gaspard Duchange.<ref>{{cite book|editor-last=Kacprzak|editor-first=Dariusz|date=2003|title=Sztuka europejska XV-XVIII wieku: ze zbiorów Muzeum Sztuki w Łodzi|url=https://books.google.com/books?id=5wAnAQAAIAAJ|type=exhibition catalogue|language=pl|location=Łódź|publisher=Muzeum Sztuki|page=159|isbn=83-87937-29-0|oclc=1019950422}}</ref> The earliest secure mentions of Du Bosc date to c. 1712–1713, when he produced two plates for Duchange's 1714 publication of ''Recueil de cent estampes représentant différentes nations du Levant'' after Jean Baptiste Vanmour.{{sfn|Clayton|2004|p=17}} Also published by Duchange are two early prints by Du Bosc, ''Apollo Visiting Thetis'' and ''Leto and the Lycian peasants'', both after Jean Jouvenet.<ref>For Du Bosc's prints after Jean Jouvenet, see the following:{{unbulleted list|{{Cite book|last=Schnapper|first=Antoine|author-link=Antoine Schnapper|url=https://books.google.com/books?id=5IrqAAAAMAAJ|title=Jean Jouvenet (1644-1717) et la peinture d'histoire à Paris|publisher=L. Laget|year=1974|isbn=2-85204-005-0|location=Paris|at=pp. 109, 140, 198, 206; under cat. nos. 69, 89|language=fr|oclc=1293402}}|{{Cite book|last=Schnapper|first=Antoine|url=https://books.google.com/books?id=VSRGAQAAIAAJ|title=Jean Jouvenet, 1644-1717, et la peinture d'histoire à Paris|publisher=Arthena|year=2010|isbn=978-2-903239-42-8|editor-last=Gouzi|editor-first=Christine|location=Paris|at=pp. 126, 153, 230, 255; under cat. nos. P. 92, P. 128|language=fr|oclc=699877579}}}}</ref>

At some point c. 1712–1713,<ref>According to {{harvnb|Uglow|1997|p=52}}, cited in {{harvnb|Grigson|2015|p=78 n. 29}}, it was c. 1711 when Du Bosc set up a print shop in Covent Garden.</ref> Du Bosc and Charles Dupuis moved to England, requested to assist Nicholas Dorigny in engraving the Raphael Cartoons at Hampton Court.<ref>{{harvnb|Vertue|1932|p=11}}: "At Hampton Court(:) N. Dorigny.(,) Du Puis Sen.(,) C. Dubosch." See also {{harvnb|Vertue|1934|p=8}}; {{harvnb|Wescher|1951|p=182}}; {{harvnb|Burke|1976|p=177}}; {{harvnb|Godfrey|1978|p=32}}; {{harvnb|Clayton|1997|pp=19, 52}}; {{harvnb|Clayton|2004|p=17}}.</ref> As George Vertue's notebooks state, Du Bosc and Dupuis quarrelled with Dorigny and left his employ before the work was complete.{{sfn|Clayton|1997|p=51}} Later in London, Du Bosc told Dupuis that he would stay for some time before moving to France; actually, Vertue recounts, Du Bosc had decided to settle in England, so he wanted Dupuis, a more capable and thus unlikely engraver to compete with, to depart alone to Paris.<ref>{{harvnb|Vertue|1952|p=188}}; {{harvnb|Paulson|1974|p=21}}.</ref>

In February 1714, Du Bosc undertook with Louis Du Guernier to engrave a series of plates illustrative of the battles of the Duke of Marlborough and Prince Eugene.<ref name="DoA vol. 9">{{Cite encyclopedia|last=Guilmard-Geddes|first=Laurence|title=Du Guernier|date=1996|encyclopedia=The Dictionary of Art|publisher=Grove's Dictionaries|location=New York|url=https://archive.org/details/dictionaryofart09turn/page/379/mode/1up|editor-last=Turner|editor-first=Jane|volume=9|pages=379|isbn=1-884446-00-0|oclc=1033638391|via=the Internet Archive}}</ref> He sent to Paris for two more engravers, Bernard Baron and Beauvais, to assist him on the work, which was completed in 1717.<ref>{{harvnb|Cust|1888|p=80}}; {{harvnb|Clayton|1997|p=56}}</ref>

George Vertue states that towards the end of 1729 Baron and Du Bosc went over to Paris, Du Bosc wishing to arrange matters relating to the trade of print-selling, as he had now set up a shop, and that Vanloo then painted both their portraits, which they brought back to England.<ref>{{harvnb|Cust|1888|p=80}}; {{harvnb|Vertue|1934|p=41}}; {{harvnb|Clayton|2004|p=18}}.</ref> From Vertue's notebooks, it is known that in c. 1726, Du Bosc also sat for another portrait, painted by John Smibert.<ref>{{harvnb|Vertue|1934|p=28}}; {{harvnb|Foote|1950|pp=24, 90, 204–205}}; {{harvnb|Smibert|1969|p=82}}; {{harvnb|Saunders|1995|loc=pp. 54–55, 223; cat. no. 259}}.</ref>

In 1733, Dubosc published an English edition of Bernard Picart's ''Religious Ceremonies of All Nations'', some of the plates being engraved by himself; he also invited a younger artist Hubert-François Gravelot for assistance.<ref>{{harvnb|Wescher|1951|p=182}}; {{harvnb|Godfrey|1978|p=37}}.</ref><ref name="DoA vol. 13">{{Cite encyclopedia|last=Rorshach|first=Kimerly|title=Gravelot, Hubert-François|date=1996|encyclopedia=The Dictionary of Art|publisher=Grove's Dictionaries|location=New York|url=https://archive.org/details/dictionaryofart13turn/page/324/mode/1up|editor-last=Turner|editor-first=Jane|volume=13|pages=324–325|isbn=1-884446-00-0|oclc=1033667059|via=the Internet Archive}}</ref>{{rp|324}} His other prints included ''Apollo and Thetis'' and ''The Vengeance of Latona'', after Jouvenet; some of the ''Labours of Hercules'' and ''The Sacrifice of Iphigenia'', after Louis Cheron; ''The Head of Pompey brought to Cæsar'', after Bernard Picart;<ref>{{Cite book |last=Benard |first=Pierre Maurice |url=https://gallica.bnf.fr/ark:/12148/bpt6k6583870z/f472.item |title=Cabinet de M. Paignon Dijonval |publisher=De l'imprimerie de Madame Huzard |year=1810 |location=Paris |page=274 |postscript=: "7884. César detournant les yeux de dessus la tête de Pompée que lui présente un soldat: est. en h. ''Cl. Dubosc sc.''" |via=Gallica}}</ref> ''The Continence of Scipio'',<ref>{{cite book|author-link=Anthony Blunt|last=Blunt|first=Anthony|url=https://archive.org/details/paintingsofnicol0000unse/|url-access=registration|title=The Paintings of Nicolas Poussin. A Critical Catalogue|location=London|publisher=Phaidon|date=1966|at=p. [https://archive.org/details/paintingsofnicol0000unse/page/129/mode/1up 129], cat. no. 181|oclc=1153562776|via=the Internet Archive}}</ref><ref>{{Cite book|last=Rosenberg|first=Pierre|url=https://archive.org/details/nicolaspoussin150000rose/|title=Nicolas Poussin, 1594–1665|publisher=Reunion des musees nationaux|year=1994|at=pp. [https://archive.org/details/nicolaspoussin150000rose/page/290/mode/2up 290–291], under cat. no. 96|isbn=2-7118-3027-6|location=Paris|type=exhibition catalogue|url-access=registration|via=the Internet Archive}}</ref> after Poussin; ''The Temple of Solomon'', after Parmentière; a portrait of Bonaventura Giffard,<ref>{{Cite book |last=O'Donoghue |first=Freeman Marius |url=https://archive.org/details/catalogueofengra02brit/page/n338/mode/1up |title=Catalogue of engraved British portraits preserved in the Department of Prints and Drawings in the British Museum |publisher=Trustees of the British Museum |year=1908 |volume=2 |location=London |page=329 |oclc=1041770924 |via=the Internet Archive}}</ref> and numerous book illustrations, including numerous plates for Rapin's ''History of England'' (1743).{{sfn|Cust|1888|p=80}} By 1743, Du Bosc was said by Vertue to be an associate of the Rose and Crown Club;<ref>{{harvnb|Vertue|1952|p=35}}, cited in {{harvnb|Bignamini|1988|pp=53, 57 n. 25}}; {{harvnb|Clayton|2004|p=17}}.</ref> according to Timothy Clayton's 2004 entry published in the ''Oxford Dictionary of National Biography'', Du Bosc was last mentioned in the May 1746 issue of the ''British Magazine'', as a publisher for a plan of the Battle of Culloden.<ref>{{cite magazine|title=List of Books, &c. published May 1746|url=https://archive.org/details/sim_british-magazine_1746-05_1/page/124/mode/2up|magazine=The British Magazine|date=May 1746|pages=124–126|via=the Internet Archive|postscript=, cited in {{harvnb|Clayton|2004|p=17}}: "…A Plan of the Dispofitions of both Armies in that ever memorable Battle and Defeat of the Rebels at Culloden. Du Bosc, 6 d."}}</ref>{{rp|[https://archive.org/details/sim_british-magazine_1746-05_1/page/126/mode/1up 126]}}

Later in the 18th century, Joseph Strutt described him as "an engraver of no great merit", adding that "his style of engraving is coarse and heavy; and the drawing of the naked parts of the figure in his plates is exceedingly defective";{{sfn|Strutt|1785|p=128}} Strutt's point has been long reiterated.<ref>{{harvnb|Redgrave|1878|p=131}}, cited in {{harvnb|Treydel|2001|p=79}}; {{harvnb|Cust|1888|p=80}}; {{harvnb|Bryan|1903|p=92}}.</ref>

==Gallery== {{Gallery |width=200 | height=200 |align=center |title=Selected prints by Claude Du Bosc |Claude Du Bosc after Jean-Baptiste Vanmour, Turkish Girl Sewing, from the Recueil de cent Estampes representant differentes Nations du Levant, c. 1712–1713, New York Public Library.jpg |''Turkish Girl Sewing'', plate from the ''Nations du Levant'', after Jean Baptiste Vanmour, Public Library, New York City<ref>Reproduced in {{harvnb|Stein|1996|loc=p. 428, fig. 14}}.</ref> |Claude Du Bosc after Jean-Baptiste Jouvenet, Apollo Visiting Thetis, Rijksmuseum RP-P-1905-2843.jpg |''Apollo Visiting Thetis'', after Jean Jouvenet, Rijksmuseum, Amsterdam |Elymas (also known as Bar-Jesus) the magician is rendered bl Wellcome V0034985.jpg |''The Conversion of the Proconsul Sergius Paulus'', after Raphael, Wellcome Collection, London |Battle of Malplaquet, 1709.jpg |''The Battle of Malplaquet'', after Louis Laguerre, Brown University Library, Providence, Rhode Island |Claude Du Bosc after Louis Chéron, The Coronation of King George, King of Great Britain, British Museum 1871,1209.4895.jpg |''The Coronation of King George I'', after Louis Chéron, British Museum, London{{sfn|Clayton|2014|p=141}} | Claude Du Bosc after Pieter Angelis, The Trial of the King, British Museum 1872,0113.820.jpg |''The Trial of the King'', plate from ''The Reign of Charles I'', after Peter Angelis, British Museum, London |Claude Du Bosc after Annibale Carracci, Susanna and the Elders, Harvard Art Museums R9081.jpeg |''Susanna and the Elders'', after Annibale Carracci, Harvard Art Museums, Cambridge, Massachusetts{{sfn|Clayton|1997|p=70}} |Claude Du Bosc afer John Laguerre, Friendly as a Ballad Singer at the Country Wake, British Museum 1890,0415.335.jpg |''Friendly as a Ballad Singer at the Country Wake'', plate from the ''Humours of Hob'' series, after John Laguerre, British Museum, London<ref>Reproduced in {{harvnb|Clayton|1997|p=92}}.</ref> |Claude Du Bosc, Bonaventure Giffard, British Museum, 1888,0716.324.jpg |''Bonaventure Giffard'', British Museum, London |Claude Du Bosc after Nicolas Poussin, La continence de Scipion, 1741, BNF IFN-10488539.png |''The Continence of Scipio'', after Nicolas Poussin, Bibliothèque nationale de France, Paris<ref>Listed as {{harvnb|Roux|Pognon|1951|loc=p. 361, cat. 7}}; reproduced in {{harvnb|Rosenberg|1994|loc=p. 291, fig. 96d}}.</ref> |Claude Dubosc after François Boucher — La Tourilere comédien.jpg |''La Tourilere comédien'', after Antoine Watteau, British Museum, London |Monument to Queen Elizabeth I of England in Westminster Abbe Wellcome V0042417.jpg |''Monument to Queen Elizabeth I in the Westminster Abbey'', after design by Hubert-François Gravelot, Wellcome Collection, London }}

==Notes== {{notelist}}

==References== {{Reflist}}

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C. G.|editor-last2=Harrison|name-list-style=amp|editor-first2=Brian|publisher=Oxford University Press|location=Oxford, New York|pages=17–18|url=https://archive.org/details/oxforddictionary17matt/page/17/mode/1up|via=the Internet Archive|volume=17|isbn=0-19-861367-9|oclc=1035755389}} * {{Cite encyclopedia|last=Clayton|first=Timothy|date=2014|chapter=The London Printsellers and the Export of English Graphic Prints|editor-last=Kremers|editor-first=Anorthe|editor2-last=Reich|editor2-first=Elisabeth|url=https://books.google.com/books?id=4B-fAwAAQBAJ|title=Loyal Subversion? 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J. |date=April 1982|title= William Darres, Claude du Bosc and the European Market|journal= Factotum| issue=14|location=London|publisher=British Library|pages=17–20|issn=0141-3635|oclc=933322566}} * {{cite book|last=Grant|first=Maurice Harold|date=1952|title=A Dictionary of British Etchers|location=London|publisher=Rockliff|page=68|oclc=3371226}} * {{cite book|last=Grigson|first=Caroline|date=2015|chapter='An Universal language': William Hunter and the Production of ''The Anatomy of the Human Gravid Uterus''|editor-last=Hancock|editor-first=E. 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A. Seemann |location=Leipzig |url=https://archive.org/details/allgemeineslexik10thie/page/2/mode/1up |date=1914 |editor-last=Thieme |editor-first=Ulrich |editor-link=Ulrich Thieme |volume=10 |page=2 |language=de |oclc=1039510711 |via=the Internet Archive}} * {{Cite encyclopedia |title=Dubosc (Du Bosc), Claude |encyclopedia=Allgemeines Künstlerlexikon |publisher=Saur |location=München, Leipzig |last=Treydel |first=Renate |date=2001 |editor-last=Kasten |editor-first=Eberhard |volume=30 |page=79 |language=de |isbn=3-598-22770-1 |oclc=491513403 |display-editors=etal}} * {{cite book|last=Uglow|first=Jennifer S.|author-link=Jenny Uglow|date=1997|title=Hogarth: A Life and a World|url=https://archive.org/details/hogarthlifeandwo0000uglo_l4m1/|url-access=registration|location=London|publisher=Faber and Faber|at=ch. 6, pp. [https://archive.org/details/hogarthlifeandwo0000uglo_l4m1/page/52/mode/2up 52–53], [https://archive.org/details/hogarthlifeandwo0000uglo_l4m1/page/726/mode/1up 726 n. 25]|isbn=0-571-16996-1|oclc=1256244974|via=the Internet Archive}} * {{Cite book|last=Vertue|first=George|url=https://archive.org/details/anecdotesofpaint04walp_1|title=A Catalogue of Engravers|publisher=Thomas Kirgate|year=1765|editor-last=Walpole|editor-first=Horace|editor-link=Horace Walpole|location=Strawberry Hill|page=[https://archive.org/details/anecdotesofpaint04walp_1/page/122/mode/1up 122]|oclc=1039533429|author-link=George Vertue|via=the Internet Archive}} * {{cite journal|last=Vertue|first=George|date=1932|title=The Note-Books of George Vertue Relating to Artists and Collections in England (II)|journal=The Walpole Society|volume=20|at=whole issue|jstor=i40086519}} * {{cite journal|last=Vertue|first=George|date=1934|title=The Note-Books of George Vertue Relating to Artists and Collections in England (III)|journal=The Walpole Society|volume=22|at=whole issue|jstor=i40086509}} * {{cite journal|last=Vertue|first=George|date=1952|title=The Note-Books of George Vertue Relating to Artists and Collections in England (VI)|journal=The Walpole Society|volume=30|at=whole issue|jstor=i40086545}} * {{Cite book|last=Walpole|first=Horace|url=https://archive.org/details/anecdotesofpai1879walp|title=Anecdotes Of Painting In England|publisher=Ward, Lock, and Co.|year=1879|location=London|page=[https://archive.org/details/anecdotesofpai1879walp/page/457/mode/1up 457]|author-link=Horace Walpole|via=the Internet Archive|oclc=1039484687}} * {{Cite book|last=Waterhouse|first=Ellis K.|author-link=Ellis Waterhouse|url=https://archive.org/details/paintinginbritai0000wate_i7n4/|title=Painting in Britain, 1530 to 1790|publisher=Penguin Books|year=1978|isbn=0-14-056101-3|edition=4th|series=The Pelican History of Art|location=Harmondsworth, England; New York|page=[https://archive.org/details/paintinginbritai0000wate_i7n4/page/165/mode/1up 165]|oclc=1245624144|orig-year=1953|url-access=registration|via=the Internet Archive}} * {{Cite journal|last=Wescher|first=Paul|date=Autumn 1951|url=https://archive.org/details/sim_art-quarterly_autumn-1951_14_3/page/n9/mode/2up|title=Philippe Mercier and the French Artists in London|journal=Art Quarterly|volume=14|pages=179–194|via=the Internet Archive}} {{refend}}

{{DEFAULTSORT:Du Bosc, Claude}} Category:1680s births Category:1740s deaths Category:18th-century French engravers Category:18th-century French businesspeople Category:English engravers

Claude Du Bosc

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