Louis XVI Period Clock

Clock in chased and gilded bronze and white marble of Carrara. To the amortization, a trophy of arms with cuirass and standards with the arms of France
The movement inscribed in a terminal flanked by two putti, rests on a base with rows of pearls and friezes. Small feet pastilles.
The dial signed by Laruelle in Paris, indicates the hours in Arabic numerals in increments of Five. The dates are indicated in red Arabic numerals. The movement signed by Laruelle in Paris. After Jean-Joseph de Saint-Germain:
Louis XVI period.
???????Height : 35 35 - Width : 30,5 - Depth : 11 cm
The original composition of this clock, particularly the figures of curved children represented as atlatls, draws its inspiration more or less freely from certain projects of the great Parisian ornamentalists of the period, particularly from a sconce project by Jean-Louis Prieur illustrated in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Band I, Munich, 1986, p. 173, fig. 3.5.5; as well as in a preparatory study of a revolving circle clock by Jean-François Forty which is reproduced in Tardy, La pendule française, 2° partie : Du Louis XVI à nos jours, Paris, 1975, p. 285 The famous Parisian bronze-maker Jean-Joseph de Saint-Germain made several models of clocks whose cases are flanked by similar children's figures, including a first example in Tardy, op. cit., p. 261, and a second, the Joseph Bertrand movement, which is in the collections of the Metropolitan Museum of Art in New York (see J-D. Augarde, " Jean-Joseph de Saint-Germain bronzier (1719-1791), inédits sur sa vie et son œuvre ", in L'Estampille/L'Objet d'Art, n° 308, December 1996, p. 80, fig. 25). Finally, let us note that the other particularity of the clock that we propose lies in its summit decoration composed of a military trophy formed
Finally, the other particularity of the clock we propose is its top decoration composed of a military trophy made up of an antique cuirass, a helmet, a quiver with arrow tails and flags with fleurs-de-lis, a martial decoration that suggests that it was commissioned by one of the members of the royal family, perhaps by the Count of Artois, brother of Louis XVI. "From La Ruelle to Paris:
In the 18th century, two clockmakers named De La Ruelle were active in Paris at the time of this clock's creation. The first one. André De La Ruelle (born in 1740), was apprenticed in 1754, registered his letters of mastery on October 13, 1762 and set up his workshop on rue Saint-Martin from 1772 to 1789 (see P. Verlet, Les bronzes dorés français du XVII siècle, Paris, 1999, p. 435). The second, Nicolas De Là Ruelle, seems to have started his career at the end of the reign of Louis XV and set up his workshop successively in Enclos des Quinze-Vingt, rue Croix des Petits-Champs and rue Richelieu at the Revolution. The work of each of these two craftsmen is difficult to identify, but one of them seems to have collaborated with the bronze-maker Jean-Joseph de Saint-Germain, because a clock signed Delaruelle and Saint-Germain is listed in a private collection; finally, let us underline that a clock also signed De La Ruelle was in the 17th century in the collections of Charles de Lorraine count of Bar, a great lover of rare clocks.