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J. J. Boudier and His Profile – A New Find

Not much is known about Boudier, a French artist, who emigrated to America in the 1790s. We know him only as J. J. Boudier (I guess we never knew J. J. Evans’s real name either on “Good Times,” TV show of the 70s). Ellen Miles gives the best account of Boudier (pp. 64-65) in her monumental work, “Saint-Memin and the Neoclassical Profile Portrait in America.” If anyone has any interest on Saint-Memin and his works, this reference work is the bible on the subject. The copy I own contains a signed letter by Miles (see photo). I covered the addressee, who, according to this letter, was a minor contributor of this book. As you can see, complimentary copy was not provided. Obviously, they did purchase a copy somewhere along the line, as this copy contains the letter and a single “tear sheet” Miles mentions.

How many of you have ever heard of Boudier before today? None, I bet. Miles writes, “Boudier’s work is very rare. Only three examples are known today, and they are all profiles….” One of his profiles is this trade card (see photo) that Miles illustrates, which is in the collection of AAS. This profile, along with the other two examples, is an engraving. Just as Memin did, most of what Boudier sold was a set: life-size profile, reduced engraved plate, and prints from the plate. However, he also sold miniature portraits.

Gilles-Louis Chrétien invented Physiognotrace in 1784-5. This French invention became very popular and others created similar workable machines. One, in particular, was by Saint-Memin, who emigrated to America in 1796. Hawkins device soon followed and was operational by 1802 at Peale Museum. However, Boudier's advertisement in 1796 of physiognotrace is the earliest documentation of its use in this country (Miles).

This circular portrait (see photo) in its brass-over-wood frame is likely by Boudier. It is circa 1795 based on the sitter’s attire, hairstyle, and frame. This portrait seems to have always been in this frame. The portrait is on laid paper with even toning, showing woodgrain impression from having been placed directly behind a wooden backboard. The frame measures 3 1/2 inches in diameter with an opening of 2 3/8 inches.

The portrait shows detailing in graphite and ink. The sitter’s tunic appears to be painted using two shades of diluted ink. This atypical use of ink may be what Boudier advertised as “special ink for making copies of letters” (see photo taken from Groce p.68). What is more amazing about this portrait is that the profile was created using physiognotrace, which fits perfectly with his advertisements of the 1790s, and pantograph to reduce the image into miniature size. This is a very early work using such a device. Channel/impression left by a pencil held by the device is clearly visible along the sitter’s profile. Interestingly, graphite marks become intermittent in areas, leaving uncolored areas within the channels, possibly suggesting the graphite he used was quite dry.

For whatever the reason, the sitter's ear was painted grayish-white. It is period. Although from the photos his ear seems to be very white, it is more subdued in person. At the time of its creation, the paper was white/off-white and the ear matched the surrounding tone.

Boudier’s use of diluted ink to color tunics continues into the early 19th century. This miniature portrait (see photo) also seems to be painted with shades of ink. In addition, it is signed “J. J. B.” The two attributes suggest this portrait to be the work of J. J. Boudier. It is from 2007 auction by Bonhams.

Although there are matching indicators as stated above for my attribution, it is, however, preliminary. Because this type of American profile, for that matter from any country, from the 18th century is quite rare, further study is needed. What we do know is that this type of profile originates in France. The French Revolution brings a flow of artists to this country who were familiar with the newly invented physiognotrace device.

Could this portrait be one of the so-called "founding-fathers"? He looks a bit like Alex Hamilton. When we think of duels, we often think of Hamilton vs Burr, which is perhaps the most famous one of them all. But did you know Alex's son, Phillip, also had a duel? He had one with one of my ancestors, good ol' George Ecker. This duel is scarcely known, however. George survived the duel; poor Phillip did not. I bet Alex and Phillip still curse and roam Weehawken. Weehawken, being in New Jersey, I don't blame them at all (please, no letter from New Jersians...I, too, once lived in Jersey, across from GW bridge and loved every bit of it).