Daniel Marot and the Gilded Leather Trade

Daniel Marot    1661 – 1752

French architect, furniture designer and engraver, and pupil of Jean le Pautre, was the son of Jean Marot (1620-1679), who was also an architect and engraver. He was a Huguenot, and was compelled by the Revocation of the edict of Nantes in 1685 to settle in Holland. His earlier work is characteristic of the second period of  Louis XIV but eventually it became tinged with Dutch influence, and in the end the English Style which is loosely called “Queen Anne” owed much to his manner. In Holland he was aken almost immediately into the service of the Stadtholder, who, when he shortly afterwards became William III od England, appointed him one of his architects and master of the works. Comparatively little is known of his architectural achievements, and his name cannot be attached to any English building, although we know from his own engraving that he designed the great hall of audience for the States – General in the Hague. He also decorated many Dutch country-houses. In England his activities appear to have been concentrated upon the adornment of Hampton Court Palace. Among his plans for gardens is one inscribed: “Parterre d’Amton-court invente par ID. Marot.” Much of the furniture – especially the mirrors, gueridons and beds – at Hampton Court bears unmistakable traces of his authorship; the tall and monumental beds, with their plumes of ostrich feathers, their elaborate valances and chantournes in crimson velvet or other rich stuffs agree very closely with his published designs. As befits an artist of the time of  Louis XIV. Splendour and elaboration are the outstanding characteristics of Marot’s style, and he appears even to have been responsible for some of the curious and rather barbaric silver furniture which was introduced into England from France in the latter part of the 17th century. At Windsor Castle there is a silver table, attributed to him, supported by caryatid legs and gadrooned feet, with a foot-rail supporting the pine-apple which is so familiar a motive in work of this type. The slab is engraved with the arms of william III. and with the British national emblems with crowns and cherubs. Unquestionably it is an exceedingly fine example of its type. During his life in France Marot made many designs for Andre Charles Boule, more especially for long case and bracket clocks. The bracket clocks were intended to be mounted in chased and gilded bronze, and with their garlands and masquerons and elegant dials are far superior artistically to those of the “grandfather” variety. It is impossible to examine the designs for Marot’s long clocks without suspecting that Chippendale derived from them some at least of the inspiration which made him a master of that kind of furniture. Marot’s range was extraordinarily wide. He designed practically every detail in the internal ornamentation of the house – carved chimneypieces, ceilings, panels for walls, girandoles and wall brackets, and even tea urns and cream jugs – he was indeed a prolific designer of gold and silver plate. Many of his interiors are very rich and harmonious although commonly over-elaborated. The craze for collecting china which was at its height in his time is illustrated in his lavish designs for receptacles for porcelain – in one of his plates there are more than 300 pieces of china on the cheminy-piece alone. Daniel Marot is believed to have lived till 1752  the place of hid death is uncertain Encyclopedia Britannica says The Hague. Wikipedia and other encyclopedias appear not to know the place of his death.

At the down of the 18th century the popularity of woven silks and velvets was getting stronger, gilded leather slowly went out of fashion. As a reaction the gildedleather manufacturers decided to copy popular woven silk and velvets designs. This is how designs developed by Daniel Marot  became a source of inspiration for the gilded leather manufacturers. Besides being a great and prolific artist Daniel Marot has indirectly been responsible for the revival of a trade at agony and some of the best gilded leather designs.


Marot Panel

    Marot Border


Moncla Panel : Design Daniel Marot

The Biography was largely inspired by an article in LoveToKnow 1911



4 thoughts on “Daniel Marot and the Gilded Leather Trade

  1. Frederic,
    Daniel Marot is one of my favorite 18th century furniture designers and architects! I looovvvvee his style!!
    The panels you showed here are just gorgeous!!!
    Great post! Thank you for that!

    1. Hi Greet,
      I’m sure Daniel Marot would be, very much so, flattered by your comment, as we are here at Lutson.
      Marot was not only so talented but so versatile too. Flanders during the religious troubles between Catholics and Protestants lost many talents as in this time it was the Flemish inteligensia whom was mainly Protestant and lots of them left Flanders.
      Here is a good exemple of the same situation in France where many fled after the redition if the edict de Nantes. Marot had the “luck” to express his talent at the highest level while in exile. yet how many talents must have been ruined …
      Cheers, keep up your good work.


  2. hello- I need advise-i owne an– old pair of french or italian leather panels-9’6 talll and 40 “wide–for 40 yrs.. and love them so much–but i must reduce thier tall-ness (because of a new move iwth only 9′ feet of ceiling-who could help me to “”fold under the “leather–safely??live in AtlantaGa.–the design -needs vertical hanging–is this possible??please help me

    1. Dear Abbie,
      Thank you for your question, if at all possible I would like to have a picture of your leather panels before advising.But sure enough there will be a solution.

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