約瑟夫·克雷默 路易十四世風格黑檀木描金加彩鑲銅鎏金布勒風格黃銅鑲嵌大櫃巴黎，十九世紀五十至七十年代

條紋大理石檯面，櫃門內有一個活動層架間隔，下有六個短抽屜，框架蓋印 CREMER / MARQUETEUR 兩次

丹尼斯·黎鐸·勒芭，《十九世紀法國家具》，巴黎，1984年，第135-138頁

克里斯托弗·佩恩，《十九世紀歐洲家具》，伍德布里奇，2013年，第37頁

喬納森·馬亞，《世界博覽會：倫敦，紐約，巴黎，費城，1851-1900年》，伍德布里奇，2006年，第101、126及147頁

Joseph Cremer (1811-1878) was born to Flemish parents in 1811. He was active from 1839 to 1878 in Paris and was one of the most celebrated marqueteurs of the mid-Nineteenth Century. Cremer was ranked amongst the top furniture manufacturers working in Paris and supplied furniture to king Louis-Philippe of France and the King of Holland. Some of the finest examples of his work are included in the permanent collection of the Musée d'Orsay in Paris. He also worked in conjunction with André Lemoine who had a Royal Warrant from Napoléon III. He was a member of the Académie de l'Industrie and made his own original designs.

Cremer participated in numerous Paris exhibitions and received several awards, including the following Exposition Universelle prizes; 1839 a médaille d'honneur; 1844 a médaille de bronze; 1849 a médaille d'argent. Cremer also exhibited at the 1855 French Exposition Universelle where it was recorded that his submission was:

'Un meuble de salon en noyer et ébène, les battants de l'armoire couverts de branchages fruits et fleurs, groupés et mouvements, les panneaux du bas ornés de deux têtes de chiens et de chèvres surtout de leur niche, et des meubles de Boulle, avec marqueterie obtenue par galvanoplastie. Il avait également exécuté la marqueterie d'un meuble exposé par Tahan. D'après le rapport du jury, comme ton, comme dessin, il est impossible d'atteindre dans un travail de marqueterie à plus d'harmonie et de justesse M. Cremer est un maître' [Cat. Exp. univ., 1855. - Rapport by H. Marie Martin.]

He also exhibited at the London Exhibitions of 1851 and 1862, where in 1851 he received a second class medal. In 1862 he exhibited a side cabinet, after the model by Reisener in the Royal Collection, employing a new process for the execution of 'Buhl inlays,' using permanent dyes as introduced by M. Bouverie in 1855. The piece was greeted with considerable contemporary acclaim.

His specialty was various types of marquetry and, in particular Boulle work as in the present cabinet, to the extent that he sent made-up panels for other makers. As well as designing pieces in a modern idiom, his repertoire also included close reproductions of Louis XIV designs. Recent research in New York suggests that Cremer was almost certainly supplying marquetry to the New York makers, notably Gustav Herter, for incorporation into their own pieces.