Print, Design for a Clock, plate 4, from Nouveaux livre de boites de pendulles de coqs et etuys de montres et autres necessaire au Orlogeurs, 1705–12
Etching printed in red ink on paper.
Purchased for the Museum by the Advisory Council. 1921-6-352-77.
- Designed by Daniel Marot
What is this?
Ornate clock mounted on a pedestal ledge. Ornamental medallions, as well as variations of trim surround.
Why is this important?
The seventeenth and eighteenth centuries saw the proliferation of ornament prints, a popular source of patterns among artisans who circulated designs across long distances. Daniel Marot produced a vast number of prints, having learned the technique of etching from his father. Originally distributed in small groups, a collection of his designs was published in Amsterdam in 1702. An enlarged edition of 230 plates was published in 1712. This etching for the upper part of a clock features a caryatid beating upon a pair of drums, alluding to the rhythm of the clock’s mechanism. The margins of the sheet are filled with alternative designs for clock faces and other ornaments. The design could have been executed in polychrome wood marquetry or with a tortoiseshell and brass veneer in the style of André-Charles Boulle. As court artist to William III of Orange, Marot was the central figure in the creation of the William and Mary style, the Anglo-Dutch expression of courtly Baroque style. He was among the Huguenots who fled France and took refuge in Holland following the Revocation of the Edict of Nantes in 1685. The migration of Protestants helped to disseminate the French style internationally. The dense profusion of ornament in this design closely resembles the prints of Jean Berain, particularly in the flat, interlacing band work enlivened by classicizing swags and urn forms.
This object has been included in the following exhibitions: