Nouvelles Cheminée faitte en plusier en droits de la Hollande et autres Prouinces
Etching
after 1703 (published)
after 1703 (published)
| Artist/Maker | |
| Place of origin |
Object Type
This print is an etching. The image was made by using acid to bite lines in a metal plate. The lines on the plate were filled with ink which was then printed onto paper.
People
The Dutch Huguenot designer Daniel Marot published themed sets of half a dozen or so of his designs from 1687 onwards. These prints were also brought together in sets of collected works, consisting of more than 100 prints each, in 1703 and 1712. This print comes from a set of chimney-piece designs.
Ownership & Use
Prints such as these were used by craftsmen and designers as design sources. However, they also had another purpose, which was to further a designer's career by earning new commissions. Marot would have been well aware of this. When young he had worked as an engraver, making prints for the influential French designers Jean Le Pautre (1618-1682) and Jean B‚rain (1637-1711).
Place
The lettering on this print describes the chimney-piece as being in the English style. Corner chimney-pieces like this one can still be seen at Hampton Court Palace and at Ham House, Surrey. Although most closely associated with 17th-century buildings, they are also found in 18th-century buildings.
This print is an etching. The image was made by using acid to bite lines in a metal plate. The lines on the plate were filled with ink which was then printed onto paper.
People
The Dutch Huguenot designer Daniel Marot published themed sets of half a dozen or so of his designs from 1687 onwards. These prints were also brought together in sets of collected works, consisting of more than 100 prints each, in 1703 and 1712. This print comes from a set of chimney-piece designs.
Ownership & Use
Prints such as these were used by craftsmen and designers as design sources. However, they also had another purpose, which was to further a designer's career by earning new commissions. Marot would have been well aware of this. When young he had worked as an engraver, making prints for the influential French designers Jean Le Pautre (1618-1682) and Jean B‚rain (1637-1711).
Place
The lettering on this print describes the chimney-piece as being in the English style. Corner chimney-pieces like this one can still be seen at Hampton Court Palace and at Ham House, Surrey. Although most closely associated with 17th-century buildings, they are also found in 18th-century buildings.
Object details
| Categories | |
| Object type | |
| Title | Nouvelles Cheminée faitte en plusier en droits de la Hollande et autres Prouinces (series title) |
| Materials and techniques | Etching on paper |
| Brief description | Daniel Marot, design for a chimney-piece placed at an angle in the 'English style'. Print from a suite of 6 designs for chimney-pieces, including title plate, entitled 'Nouvelles Cheminée faitte en plusier en droits de la Hollande et autres Prouinces'. Holland, before 1703. |
| Physical description | Etching |
| Dimensions |
|
| Style | |
| Marks and inscriptions |
|
| Gallery label | British Galleries:
Corner chimneypieces were fashionable in England from 1670, and were particularly used in smaller rooms. This print shows a decorative scheme with many rich elements carefully balanced in the Baroque manner - paintings, sculpture, a clock, decorative carving and a painted ceiling.(27/03/2003) |
| Subjects depicted | |
| Summary | Object Type This print is an etching. The image was made by using acid to bite lines in a metal plate. The lines on the plate were filled with ink which was then printed onto paper. People The Dutch Huguenot designer Daniel Marot published themed sets of half a dozen or so of his designs from 1687 onwards. These prints were also brought together in sets of collected works, consisting of more than 100 prints each, in 1703 and 1712. This print comes from a set of chimney-piece designs. Ownership & Use Prints such as these were used by craftsmen and designers as design sources. However, they also had another purpose, which was to further a designer's career by earning new commissions. Marot would have been well aware of this. When young he had worked as an engraver, making prints for the influential French designers Jean Le Pautre (1618-1682) and Jean B‚rain (1637-1711). Place The lettering on this print describes the chimney-piece as being in the English style. Corner chimney-pieces like this one can still be seen at Hampton Court Palace and at Ham House, Surrey. Although most closely associated with 17th-century buildings, they are also found in 18th-century buildings. |
| Bibliographic reference | Fuhring, P. Ornament prints in the Rijksmuseum II: The Seventeenthy Century, 3 vols, Rotterdam, 2004, vol. 2, 9164. |
| Collection | |
| Accession number | 13857:1 |
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| Record created | March 27, 2003 |
| Record URL |
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