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An English silver table bearing the marks of Andrew Moore (1640–1706), a silversmith from Bridewell in the City of London. The table is thought to have been made to a design by Daniel Marot (1661–1752), who also worked as a garden designer for William III at Hampton Court Palace.
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Palace Huis ten Bosch, The Hague, The Netherlands,
Design of the Gardens by the architect Daniël Marot, 1732,
City Archive of The Hague
Side table
1699
by Daniel Marot (1661–1752)
Silver and oak
Chair, late 1600s London, by the French Huguenot emigre Daniel Marot.
Click on the image to see the detail in a zoomable context.
Detail from Design for a Chimney Wall with Lacquered Panels and Porcelain, Daniel Marot, about 1700
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MAROT, Daniel I
French architect and engraver (b. 1661, Paris, d. 1752, Den Haag)
Scotia-Virtus Vase
1696-97
Marble, height 160 cm
Paleis Het Loo Nationaal Museum, Apeldoorn
In 1684 Willem III bought the castle 'Het Loo' near Apeldoorn, and work on a new palace started immediately. The French artist Daniel Marot was responsible for the decoration of the interior and probably also for the layout of the new palace. He also designed the garden and their pavilions.
There were four urns on the terrace at the back of 'Het Loo', two of which have survived. One was made by Jan Blommendael and the other by Jan Ebbelaer (1666-1706), both after designs by Daniel Marot. The urns bear a king's crown on their covers and each one depicts a virtue and a part of Willem III's kingdom. Ebbelaer's urn, shown in the picture, represents Scotland.
MAROT, Daniel I
French architect and engraver (b. 1661, Paris, d. 1752, Den Haag)
Design for a Ceiling
1690s
Pen, brush, Indian ink and watercolour, 251 x 304 mm
The Hermitage, St. Petersburg
French architect, designer and engraver, active in the Netherlands, part of a family of artists, son of Jean Marot I. Jean Marot I, son of Girard Marot, a cabinetmaker, worked as engraver and architect; little remains of his architectural projects, but his engravings of architectural designs, highly regarded in his lifetime, have become one of the most important sources for an understanding of French architecture before the great building campaigns of Louis XIV. One of his brothers, Jean-Baptiste Marot (b 1632), appears to have been a painter. One of Jean Marot's own sons, Daniel Marot I, was a successful engraver in Paris, until anti-Protestant legislation obliged him to emigrate to the Netherlands, where he became principal designer to William of Orange; Jean Marot's other son, Jean Marot II, probably worked with his father as an engraver and, later, as an architect of the Batiments du Roi in Nantes and Paris between 1686 and 1702. Daniel Marot's son, Daniel Marot II, worked as a decorative painter on a number of his father's projects.
Daniel Marot I probably trained with his father, whom he assisted with the publication of the Grand Marot, a monumental series of engravings of contemporary French architecture. Some of the 196 prints in this series, such as the view of the front of the royal abbey of Val-de-Grâce in Paris, were signed by Daniel Marot. From 1677 he worked independently as an engraver, making engravings for such artists as Jean Le Pautre and Jean Bérain I, and his collaboration with them, particularly with Bérain, had a lasting influence on his work. Bérain, who in 1674 was appointed Dessinateur du Cabinet et de la Chambre du Roi, was responsible in this capacity for the decorations at all court celebrations and ceremonies; Marot made prints from some of his designs, such as those for Lully's opera Le Triomphe de l'amour (1681) and for the funeral in 1683 of Queen Marie-Thérese, wife of Louis XIV. It is probable that at a later stage in his career Marot himself worked as royal designer.
Daniel Marot's mantlepiece design for Queen Mary at Hampton Court Palace.
