Francis van Bossuit, likely born in or near Brussels and possibly trained in Brussels and Antwerp, is considered the most important Dutch ivory sculptor of the 17th century. Such was his fame that his work was published posthumously by the Dutch engraver Matthijs Pool (Amsterdam, 1676–1740) in the so-called Beeld-Snyders Kunst-Kabinet (1727), with engravings by Pool after drawings by Barend Graat. This work is regarded as an early example of an artist's monograph and was published in Amsterdam in three languages, reflecting the artist's international significance. According to Pool, Van Bossuit settled in Amsterdam around 1680, where he worked until his death in 1692. His stylistic development was profoundly influenced by a long stay in Rome starting around 1655. The biography continues:

 

"Outstanding proofs of an ingenuity that, through prolonged practice, had amassed a wealth of beautiful ideas, arising from the observation of antique statues and extraordinary works of art visible in Rome. Not without reason, he (among the Bentvueghels) bore the name of 'The Observer,' (‘Waarnemer’) as one who perceived and made his own the particularly beautiful details."

 

In Rome, Van Bossuit likely worked in close proximity to the significantly younger German sculptor Balthasar Permoser (1651–1732). Mutual influences between their works can be identified. Van Bossuit’s work also suggests ties to the Florentine Academy in Rome, where sculptors like Foggini and Marcellini worked in a related late-Baroque style. Almost immediately after his move to Amsterdam, Van Bossuit’s Italo-Dutch classicism was highly admired by Dutch art collectors, and his work continued to be eagerly collected throughout the 18th century. His ivory works were included in many prominent art cabinets. The Beeld-Snyders Kunst-Kabinet also greatly contributed to his admiration and reputation across Europe during the 18th century.