Bust of a Boy

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This 18th-century marble bust of a young black boy in the Victoria & Albert Museum's collections poses more questions than it provides answers. Does this bust depict an individual or is it meant to represent a type of person? Why was a black child chosen for depiction when busts in Europe were typically reserved for whites and the wealthy? Who commissioned this bust, and what is the significance of the large medallion worn by the boy? There are also questions surrounding the identity of the sculptor who created this bust. The features of the boy and the way he is depicted bear similarities to a sculpture found in the Rijksmuseum in Amsterdam. This sculpture, also of a black boy, stands upright and wears elaborate footwear and accessories, including an unusual crown. It bears the signature "JOANNES CLAUD DE COC … Anno 1704," suggesting that both sculptures may be the work of Flemish artist Joannes Claudius de Cock (1668-1735). However, identifying this bust as a definitive work by de Cock is complicated by the fact that at least ten versions exist in public and private collections. The history of most of these versions can only be tracked back to the early 19th century, implying that some may be later copies. These busts vary in material from colored marble to bronze, with all featuring a medallion showing a face (usually of a white man) in profile, often resembling a Roman emperor. Joannes Claudius de Cock spent much of his working life in Antwerp, where he worked as an apprentice in the workshop of Pieter Verbrugghen the elder before establishing himself as an independent master. After decorating the courtyard of the palace in Breda for King William III, de Cock returned to Antwerp and set up a large workshop, producing both religious and secular sculptures. De Cock's choice of a black subject may be unusual, but African people were not uncommon in cosmopolitan Antwerp. The city's trading links and involvement in the transatlantic slave trade led to the growth of a black community, with some members working as domestic servants or "fashionable" pages for wealthy individuals. It is possible that this bust was intended to serve as a sculptural substitute for such a page, but its naturalism suggests it may have been meant as a memorial to an individual. Despite unanswered questions about its creation and purpose, this bust remains a vivid reminder of the early black presence in Europe, showcasing the city's cultural diversity and artistic achievements during this period.