Associated with French contemporaries such as the painter Antoine Watteau[2] and the draftsman Hubert-François Gravelot,[3] 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.
[5] In Roger Portalis [fr] and Henri Béraldi's view, also from the late-19th century, Du Bosc studied engraving under Bernard Picart;[6] an alternate point supposes him to be an associate of Gaspard Duchange.
[9] At some point c. 1712–1713,[10] Du Bosc and Charles Dupuis moved to England, requested to assist Nicholas Dorigny in engraving the Raphael Cartoons at Hampton Court.
[17] 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.
[18][19]: 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;[20] The Continence of Scipio,[21][22] after Poussin; The Temple of Solomon, after Parmentière; a portrait of Bonaventura Giffard,[23] and numerous book illustrations, including numerous plates for Rapin's History of England (1743).