Page:Dictionary of National Biography volume 16.djvu/87

 portrait of the lord chancellor. Du Bois lived in Covent Garden with his brother, and had plenty of practice, amassing considerable sums of money, which they hoarded together. Late in life, and after his brother's death, about 1707, he married Sarah, daughter of William Van de Velde the younger [q. v.], but only survived a year, dying in May 1708. In his will (P. C. C., Somerset House, 113, Barrett), among legacies to his wife and relations, he leaves to Lord Somers ‘my father's and mother's pictures drawn by Van Dyke, and my case of books and the books therein;’ and further to his wife ‘the copper-plates of my father and mother, and the prints printed from the same.’ These portraits by Vandyck (, Catalogue, Nos. 821 and 723) were noted by Dr. Waagen (Treasures of Art in Great Britain, iv. 520) as being in the collection of the Earl of Hardwicke at Wimpole. They were finely engraved by Cornelis Visscher. Among the portraits painted by Du Bois in England were those of Archbishop Tenison, at Lambeth Palace; John Wilmot, earl of Rochester, at Knole Park; Lord Berkeley of Stratton; William Bentinck, earl of Portland (engraved in mezzotint by R. Williams, and in line by J. Houbraken); Adrian Beverland (engraved in mezzotint by I. Beckett); four portraits of Sir Richard Head, bart., his wife and family (unfortunately destroyed by the great fire at the Pantechnicon, Lowndes Square, London, in February 1874), and others. His widow remarried a Mr. Burgess. Vertue mentions various portraits of Du Bois himself. His elder brother, Edward Dubois (1622–1699?), was also a painter, though of inferior merit to his brother. He was a ‘history and landskip painter,’ according to Vertue, born at Antwerp, and ‘disciple to one Groenwegen, a landskip painter likewise.’ He travelled with his brother to Italy, and remained there eight years studying the antiques. He also worked some time in Paris, and on his way to Italy executed some works for Charles Emmanuel, duke of Savoy. He came to London and lived with his brother in Covent Garden, where he died at the age of 77. His name appears as publisher on Visscher's prints of the portraits of his parents mentioned above.

[Redgrave's Dict. of Artists; Vertue's MSS. (Brit. Mus. Add. MSS. 23068–75); Pilkington's Dict. of Painters; Obreen and Scheffer's Rotterdamsche Historienbladen; Guiffrey's Van Dyck; Chaloner Smith's Engraved British Mezzotint Portraits.]  DU BOSC, CLAUDE (1682–1745?), engraver, was born in France in 1682. In 1712 he came to England with Claude Dupuis to assist Nicholas Dorigny [q. v.] in engraving the cartoons of Raphael at Hampton Court, where he resided for some time, until the engravings were nearly completed. Dorigny having some disagreement with his assistants, they left him; Dupuis returned to Paris, and Du Bosc set up as an engraver on his own account. He prepared a set of engravings done by himself from the cartoons, but Dorigny's engravings, being superior, held the day. In February 1714 Du Bosc undertook with Louis Du Guernier [q. v.] to engrave a series of plates illustrative of the battles of the Duke of Marlborough and Prince Eugene. He sent to Paris for two more engravers, Bernard Baron [q. v.] and Beauvais, to help him to complete this work, which was accomplished in 1717. 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 to England. In 1733 he published an English edition of Bernard Picart's ‘Religious Ceremonies of All Nations,’ some of the plates being engraved by himself. Among other prints engraved by him were ‘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 B. Picart; ‘The Continence of Scipio,’ after N. Poussin; ‘The Temple of Solomon,’ after Parmentière; a portrait of Bonaventura Giffard, and numerous book-illustrations for the publishers, including numerous plates for Rapin's ‘History of England’ (folio, 1743). His drawing was often faulty, and his style devoid of interest.

[Redgrave's Dict. of Artists; Dussieux's Les Artistes Français à l'Etranger; Vertue's MSS. (Brit. Mus. Add. MSS. 23068–76) Le Blanc's Manuel de l'Amateur d'Estampes.]  DUBOURDIEU, ISAAC (1597?–1692?), French protestant minister at Montpellier, was driven from that place in 1682, and took refuge in London, where he is said by a contemporary author to have ‘held primary rank’ among his fellow pastors, and to have been ‘wise, laborious, and entirely devoted to the welfare of the refugee church.’ In 1684 he published ‘A Discourse of Obedience unto Kings and Magistrates, upon the Anniversary of his Majesties Birth and Restauration,’ and continued to preach in the Savoy Chapel, of which he was one of the ministers, at least as late as 1692. The exact dates of both his birth and death are uncertain.

[Haag's La France Protestante; Agnew's Protestant Exiles from France in the Reign of Louis XIV.] 