A substantial Louis XVI gilt and patinated bronze and white marble figural mantel clock

A substantial Louis XVI gilt and patinated bronze and white marble figural mantel clock, the movement by Laurent Ridel of Paris, the case possibly by Pierre-Philippe Thomire (French, 1751-1843), last quarter 18th century, with eight-day twin barrel movement and countwheel strike on bell; the circular enamelled Arabic dial in a drum case mounted with an amorino playing cymbals, above a classically inspired figural panel, the rounded rectangular section base mounted with two infant satyrs playing horns, and inset with engine milled panels and an openwork frieze cast with sphinges and masks, on six toupie feet; signed for clockmaker Ridel à Paris and enameller Coteau to the dial, circa 57cm high, 68cm wide
Pierre-Philippe Thomire was one of the most important bronze casters of 18th century France, and was granted the title Ciseleur de lEmpereur (chaser to the Emperor) by Napoleon Bonaparte.

His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres

A near identical Louis XVI gilt bronze and marble clock modelled after Thomire with a movement by Molliens of Paris is illustrated in Pierre Kjelberg's Encyclopédie de la Pendule Francaise, du Moyen Age au XXe siècle, Les editions l'amateur, p. 259, fig c., and here it is also noted that a similar clock, only with a rouge griotte marble base, is in the permanent collection of the Musée du Louvre

The classically inspired design with substantial figural mounts is typical of Thomires workshop, and the flaming altar to the figural panel below the dial might refer to the clocks likely placement atop a chimneypiece
As for Joseph Coteau (1740-1801), he was the most renowned enameller of his time, working with most of the best contemporary Parisian clockmakers. He was born in Geneva, where he was named master painter-enameler of the Académie de Saint Luc in 1766. Several years later he settled in Paris, and from 1772 to the end of his life, he was recorded in the rue Poupée. Coteau is known for a technique of relief enamel painting, which he perfected along with Parpette and which was used for certain Sèvres porcelain pieces, as well as for the dials of very fine clocks