French family of printmakers. Claude Duflos (b Coucy-le-Château, 1665; d Paris, 18 Sept 1727) was essentially a reproductive engraver and etcher: skilful, but lacking genius. He may have been a pupil of Sébastien Leclerc (i), whose portrait he engraved (Roux, no. 123). He made prints after most contemporary painters. His total oeuvre numbers more than 300 pieces, a third of which are portraits: these include Louis XV (1710; R 134) and the Marquis d’Argenson (1711; R 75, 76), both after Hyacinthe Rigaud. His son Claude-Augustin Duflos (b Paris, 10 May 1700; d Paris, 27 Feb 1786) was an etcher and line engraver, who worked mainly after François Boucher and collaborated on the illustration of numerous books. Another of Claude’s sons, Simon-Nicolas Duflos (b Paris, c. 1701; d Paris, after 1752), was an engraver, the pupil of Jean-Joseph Baléchou. From 1727 until 1752 he settled in Lyon; he then returned to establish himself in Paris, engraving popular prints and occasional pieces. A third son of Claude, Philothée-François Duflos (b Paris, c. 1710; d Lyon, 1746), was a painter, as well as an etcher. He was a pupil of Jean-François de Troy at the Académie de France in Rome; in 1729 he was awarded the first Prix de Rome. His engraved oeuvre, executed in Rome where he stayed until 1744, is mainly composed of vedute (e.g. Diverse Vedute di Roma, R 1). His painted Self-portrait is in the Galleria degli Uffizi, Florence. Pierre Duflos (b Lyon, 19 Aug 1742; d Paris, 26 April 1816) was the son of Simon-Nicolas Duflos. His work was largely devoted to book illustration (e.g. the Old and New Testaments; Voltaire’s La Pucelle d’Orléans (R 48–67); Cervantes’s Don Quixote (R 315–34)). He also made series of portraits (such as the Collection complète des poètes françois) and of costumes, often in colour. Duflos executed about 350 pieces. His wife, Marie-Elisabeth Thibault ( fl 1780-98), was also an engraver and contributed c. 50 pieces to her husband’s publications.