說到這件作品，當然時代的貴族就是有時代的優勢，連工匠打造的家具都是具有超級的工藝，人家直線他就要曲線，人家雕花他就要鑲嵌，人家鑲邊他就要鑲金的才可以，所以當然也價值不斐，更難以仿製，因為成本不敷，工藝高度精緻，哪這麼容易仿是吧，讓我想起德意志生產那本書的某些重點，重點是哪裡有趣，有趣的就是那個＂辦公桌＂啦，你看看這樣的辦公桌，到底是要逼死多少打掃人員，真的是太富麗堂皇吧，但是這樣好用嗎！？我記得看到的時候其實桌面小小的，看起來根本辦不了啥工，個人用慣了大桌子，桌子再大我都能塞滿的狀態上，這個小桌子真的比較適合現在的＂工程師＂，但說實在還是我個人的夢幻逸品，不過這個風格實在很難放在我生存的空間裡，擺在博物館，剛剛好而已，因為他就算擺在哪裡好像都有點怪！？

Frédéric Schmit
B. 1856
A fine Louis XV style gilt-bronze mounted kingwood and satiné bureau plat and cartonnier
Paris, late 19th century
the frieze fitted with three drawers, the cartonnier with eight gilt-tooled brown leather lined drawers
height 60 in.; width 81 in.; depth 38 in.
152.5 cm; 206 cm; 96.5 cm

D. Ledoux-Lebard, Le Mobilier Français du XIX Siècle, Les Éditions de l’Amateur, Paris, 2000, p. 572
相關資料
Frédéric Schmit was one of the main French cabinet-makers of the second half of of the 19th century, active in Paris at the Rue de Charonne starting in 1856. He received Gold Medals at the 1878 and 1889 Expositions Universelles in Paris.
The 'Venus' shell cartouches at either end of this bureau plat, as well as the hermed busts of heroic figures, recall ancient virtue. Similar busts of Mars, god of war and peace, and Minerva, goddess of the Arts and Peace, have been attributed to Charles Cressent (d.1768) and are depicted on a bureau sold in 1788 from the duc of Richelieu's collection. (see A. Pradère, French Furniture Makers, London, 1989, p. 131).
A similar desk, but without its cartonnier sold Christie's London, February 24, 2005, lot 188 for £ 57,600

http://www.sothebys.com/…/19th-c-furniture-dec…/lot.114.html

JOSEPH-EMMANUEL ZWIENER ZWIENER (1849 - 1895)
Biography 
Joseph-Emmanuel Zwiener (1849-1895) ranks among the best haut luxe Parisian cabinetmakers of the late 19th century. Born in Herdon, Germany in 1849, he arrived in Paris by 1880 and set up his workshop at 12 rue de la Roquette, where he remained until his death in 1895. Working in several styles fashionable in Paris at the time, he copied mainly Louis XV pieces from public collections, adapting them in his own exuberant interpretation of Rococo. At the Exposition Universelle in Paris in 1889, he received the gold medal and a note of high praise from the jurists: "dès ses débuts d’une Exposition universelle, il c’est mis au premier rang par la richesse, la hardiesse et le fini de ses meubles incrustés de bronzes et fort habilement marquetés."

Zwiener almost certainly employed François Linke, who was six years younger and a fellow German-speaker. The Pankraz Gedenkbuch mentions Linke as "working in Paris with a German master.