t the start of his career Boudin was an inde­pendent craftsman, settled in the Faubourg Saint-Antoine, first in the rue du Faubourg, then the rue Saint-Nicolas until 1767. working for his fellow ebcniste Migeon. to whom he supplied furni­ture in floral marquetry and in chinoiserie lacquer, as well as for Gerard Peridiez and Louis Moreau. It is also likely that he worked for Pierre-Antoine Foullet who owed him 5,232 livres in 1767. He obtained his mastership in 1761 and became an artisan of repute as indicated in L’Almanach Dauphin in 1770. In the fol­lowing year he made a bureau plat [293] for Joubert who delivered it to the Comte de Provence at Com- piegne as well as a commode for the Comte de Pro­vence at Fontainebleau [294]. Success was soon followed by sizeable commissions and Boudin became a marchand-ebeniste before 1775, taking a shop in the rue Froidmanteau. In his turn he now commissioned furniture from fellow ebenistes Gilbert, Foullet. Bayer, Topino, Tuart. Birckle, Macret, Chevallier, Cordie and Evalde, whose stamps are found on a number of pieces, restamped by Boudin in his role as retailer. Boudin also sold old furniture’ on which he put his stamp, such as a pair of encoignurcs also stamped by Latz, which must date from before 1754.

In 1777 Boudin transferred his business to the clois­ter of Saint-Germain-l’Auxerrois. The notice in the Avis announcing his change of address reveals that besides furniture he also sold various items in bronze and chandeliers. He contributed to the furnishing of the Duchesse d’Arenberg’s house in the rue de la Ville – I’Eveque. At the time of his first wife’s death in 1777. Boudin had already abandoned his activities as an ebe – niste. since no work-bench is described in the inven­tory. In 1807, in addition to his main premises, he also had shops at 35 rue de Grenelle St Honore, 12 Cour- des-Fontaines and 14 rue du Mail.


F. de Salvcrtc: Les Ebenistes, pp. 31-32

Patricia Lemonnier: ‘Boudin L’Estampillc. June 1989.

pp. 38-43

/292/ Secr«?<dire <i abattant stamped Boudin, с. 1765; combining floral marquetry with the Greek key pattern as well as

Neoclassical corner mounts. An identical piece is in the Cleveland Museum of Art. (Sotheby’s London, 25 June 1982, lot 132)


Updated: October 7, 2015 — 9:47 am