Boudin's oeuvre is amongst the most prolific of the Transitional Period, and his stamp as a marchand often appears alongside that of another maker. Comprised of urns, vases and flower bouquets, the naïve marquetry panels on these tables are closely related to those manufactured by Charles Topino (maître in 1773). Topino supplied marquetry to marchands-merciers and fellow ébénistes such as Pioniez and Nicolas Petit, as well as marchands-ébénistes such as Léonard Boudin whose stamp is most likely to be found on one of these tables. It is possible that Boudin commissioned the marquetry panels from Topino but retailed the tables himself. The two collaborated very closely and Boudin's livre de commandes records that Topino supplied forty nine small occasional tables to the marchand, almost all decorated with sujets chinois. Between 1772 and 1774. As a specialist marqueteur, Topino's oeuvre was often obscured by the work of his fellow ébénistes. The fact that Topino mass-produced marquetry panels and supplied furniture to other ébénistes may explain the latter's estampilles on Topino's productions, and in some instances, the stamp of the marchand or ébéniste having commissioned his work alongside Topino's. Several tables are known which bear both makers' stamps, including a bonheur-du-jour in the Nationalsmuseum, Stockholm and a table in the Royal Ontario Museum, Toronto, see S. Barbier Sainte Marie, 'Charles Topino, maître ébéniste et entrepreneur fécond', Estampille/L'Objet d'Art, October 1999, pp. 38-9. A comparable single table was sold Christie’s, London, 12 December 2002, lot 158.