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拍品專文
Mathieu-Guillaume Cramer maître in 1771.
Influenced by ornemanistes who advocated a return to nature and decor after the antique, Mathieu-Guillaume Cramer’s work displayed a rigorous architectural form often incorporating inlaid geometric patterns on pale wood grounds, such as in the present lot. The inventory of the workshop of Cramer, drawn up after the death of his wife in 1783, gives a picture of a relatively important ébéniste, as more than two hundred pieces of furniture are described in varying degrees of completion. The accounts also show that he was also working in the capacity of a marchand-mercier as he resold furniture produced by his compatriots, including R.V.L.C., Petit, Roussel, Topino, and Canabas. Originally from the Northern Rhine, Cramer moved to Paris where he worked as a free laborer in the Faubourg Saint-Antoine before being awarded his maîtrise in 1771. A few years later, he settled on rue du Bac, a more auspicious location for work with a growing private clientele.
Influenced by ornemanistes who advocated a return to nature and decor after the antique, Mathieu-Guillaume Cramer’s work displayed a rigorous architectural form often incorporating inlaid geometric patterns on pale wood grounds, such as in the present lot. The inventory of the workshop of Cramer, drawn up after the death of his wife in 1783, gives a picture of a relatively important ébéniste, as more than two hundred pieces of furniture are described in varying degrees of completion. The accounts also show that he was also working in the capacity of a marchand-mercier as he resold furniture produced by his compatriots, including R.V.L.C., Petit, Roussel, Topino, and Canabas. Originally from the Northern Rhine, Cramer moved to Paris where he worked as a free laborer in the Faubourg Saint-Antoine before being awarded his maîtrise in 1771. A few years later, he settled on rue du Bac, a more auspicious location for work with a growing private clientele.