Francis van Bossuit (probably 1635, Brussels - 22 September 1692, Amsterdam) was a Flemish sculptor. He mainly carved sculptures in ivory. Only a few sculptures in wood and terracotta by his hand are known. His work shows a penchant for classicism which was probably derived from his exposure to ancient and contemporary Italian art during his stay in Rome as well as his knowledge of the Baroque classicism of the sculptors active in Versailles. The exuberance of some of his works also reflects his training in Flemish Baroque sculpture.
Life
There is little documentary information about van Bossuit's life. In 1727, Matthys Pool published in Amsterdam the Beeld-snijders kunst-kabinet door den vermaarden beeldsnijder Francis van Bossuit in yvoor gesneeden en geboetseert (English translation: Cabinet of sculpture carved and sculpted in ivory by the renowned sculptor Francis van Bossuit), a collection of ninety engravings after sculptures by van Bossuit, which was translated the same year into French as Cabinet de l'art de schulpture par le fameux sculpteur Francis Van Bossuit, exécuté en yvoire ou ébauché en terre, gravées d'après les desseins de Barent Graat, par Mattys Pool. The majority of the engravings were made by Matthys Pool from drawings by his father-in-law, the painter Barend Graat. The book contains a biography of van Bossuit based on information from Graat, who knew van Bossuit since his arrival in Amsterdam. Most of the information we have on van Bossuit can be traced back to this biographical note. It is not certain that this information is always correct.
Van Bossuit was probably born in Brussels in 1635. No evidence of his birth has been found in the archives of this city. It is also possible that 1635 was not the year of his birth but the year in which he began his apprenticeship in Brussels. If he started his apprenticeship in 1635, he was probably born around 1620. According to older sources, he worked in Antwerp during the years 1645–1650.
He left for Italy probably in the hope of being appointed to one of the courts, where there was traditionally a great deal of interest in ivory carving. The Medici in Florence, for example, had a large collection of ivory carvings. It is assumed that this is why he first went to Florence, where, probably in the mid-1650s, he would have been in contact at the Academy of Florence with the German sculptor Balthasar Permoser. He may have worked in Modena in the mid-1650s. This hypothesis is probably based on the presence of two of his early works in the Galleria Estense.
He is believed to have resided in Rome between about 1655 and 1680. It is assumed that he associated himself mainly with the circle of students of the Florentine academy. The Cabinet of the Art of Sculpture mentions that in Rome he became a member of Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an attractive nickname. Van Bossuit is said to have adopted the nickname "Waarnemer" (Observer), because he "observed the beautiful pieces and made them his own". However, this name does not appear on the lists of Bentveughels' nicknames currently known. During his residence in Rome he is said to have made many copies of antique statues.
Around 1680 he left Rome and traveled in the company of the Dutch painter Bonaventura van Overbeke. He settled in Amsterdam where he seems to have been in contact with the young sculptor Johannes Ebbelaer (c. 1666–1706). Two auction catalogues mention sculptures begun by van Bossuit and completed by Ebbelaer. Ebbelaer also left in his will a "statue of Mars and a statue of Christ, made by the late Mr Francis and a sculpted statuette of Atlas".
Van Bossuit's small collectable reliefs in ivory were much sought after by private collectors in the Dutch Republic. Dutch collectors Petronella de la Court and her husband Adam Oortmans owned about ten other ivories by van Bossuit. Oortmans may even have studied ivory sculpture under van Bossuit.
Van Bossuit remained in Amsterdam until his death on 22 September 1692.
Work
The majority of his work consists of ivory sculptures, mainly small reliefs. He also produced works in wood and terracotta, of which only a few examples remain. His themes are biblical stories, mythological scenes, history, allegories and portraiture.