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.

 

The present two ivory works feature the distinctive ‘cassette’ form characteristic of the sculptor, in which compact compositions are housed, while the facial types, postures, and style are directly reminiscent of other reliefs by the master. Stylistically, they can be dated to the late 1680’s or even early 1690’s, as has been confirmed by Dr. Frits Scholten. David and Goliath and Judith and Holofernes were popular themes for Van Bossuit. Two variations of these are depicted in the Beeld-Snyders Kunst-Kabinet and several pairs by Van Bossuit are known (such as the pair in the Bayerisches Nationalmuseum in Munich, inv. nos. 69/40 and 69/41).

Both depictions are Old Testament themes of heroes who triumph as underdogs and thereby save their people. Judith and Holofernes belongs to the Deuterocanonical books, which, while not part of the Hebrew canon, are considered authoritative by the Catholic Church. This also explains why the theme was frequently depicted in Italian art but much less so in the Northern Netherlands. Due to the Italian influence on Van Bossuit’s work, it is a typically Bossuit-ian theme. This bloody subject was particularly popular around 1600, especially among the Caravaggisti in Italy. Peter Paul Rubens and Jan de Bray also painted Judith, a popular subject among the Jesuits and during the Counter-Reformation.

 

Judith, the protagonist of the book named after her, is a devout and wealthy Jewish widow living in the mountain town of Bethulia, besieged by Holofernes and his troops. Determined to save her city, she ventures out at night with her maidservant and wine jars to the enemy camp, where her beauty allows her easy access to Holofernes’ tent. He admits her, instructing his servants not to disturb them during the night, hoping for a long romantic encounter. However, Judith gets the general drunk and beheads him, entrusting his head to her maidservant. She returns to Bethulia with Holofernes’ head as a trophy. When the soldiers discover their leader is dead the next morning, they flee in panic, pursued by the Jewish defenders.

 

The story of David and Goliath is recounted in the first book of Samuel in the Bible, describing how the Philistines are preparing to invade Israel. Among their army is a giant, Goliath, who challenges the Israelites for forty days. When the shepherd boy David enters the Israeli camp to deliver food to his brothers, he sees Goliath taunting the army. David approaches King Saul and volunteers to defeat Goliath. The king offers David his armor and sword, but they are so heavy that David can hardly move. Armed only with a sling, David confronts Goliath. Despite his brothers mocking him, David succeeds: a stone from his sling pierces the giant’s forehead. David defeats Goliath and, in doing so, the Philistines.

 

The themes of these two allegorical depictions, centered on the underdog overcoming the odds, can still be seen as metaphors for confronting fear and admiring heroism. Both David and Judith serve as role models who face danger head-on, trusting in their abilities and succeeding through their courage.