Dating royal bonn marks

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Click an image to open the full Royal Worcester section. Home Latest Updates Forum Valuations. Your guide to antique pottery marks, porcelain marks and china marks. Pottery Marks Index A collection of pottery marks using photos and images from our antiques collection For easy reference and as a quick guide to the possible attribution of your latest porcelain collectible or pottery marks. Scan the index of pottery marks until you find a mark similar to your mark.

If we have additional information on the mark you can click the image to open that section. On the Royal Bonn Crystal Regulators the marks are usually found under the brass plate on the bottom of the clock.

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It requires disassembly of the case to see the mark. Weight Driven and jacks61fd, Sorry for not getting back sooner. It would seem that the cases for the French clocks had an aperture that was higher from the bottom, to accommodate the longer french pendula?? I am waiting to speak to a german academic, about when and where Royal Bonn made actual "porcelain" cases. Most of the info on the firm, mentions that they made both "earthenware" and "porcelain" products, but most of the things on offer on the net, seem to be earthenware plates etc.

The German academics are drifting back from vacation, and I post part of a reply from a museum director in Belgium, to whom I was referred to by a German museum. The clock looks to be of "superior" quality. Jacks61fd no longer has the clock, so we can't for definite say it is a RB product. The dial is either an enamelled one, or solid ceramic.

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Maybe someone can elaborate. Mar 4, 0 Per your request I am posting a few pictures of my French Porcelain clock. I did do the light test and it does cast a shadow. The case is unmarked but is of excellent quality. The finial is removable. Painted all over with great detail. Any input on the case maker would be much appreciated. Catalog cuts are from and they are described as "Imported porcelain cases, decorated in color with gilt tracings.

French sash with beveled glass. A superb piece of ceramic. I searched for any kind of signature but couldn't detect any. I presume it is painted after the main glaze? You should be able to feel the image, the brush strokes etc, if it is an enamel painted over the glaze. The gold firing has produced very good results.

I say "gold firing" because metals lustres are fired after the biscuit and glaze firings, so it would be a "third firing". Someone might correct me, but I think the enamelled painting would be a separate fourth firing. I could be wrong I'm glad that at last, we have a verified piece of actual porcelain! I'll google around and see if I can get any info on french porcelain case makers. I do know that Sevres and Limoges made such things, but it is possible that it might be a German or Check made case. At the height of Louis XV's reign, Madame de Pompadour setup and patronized some very good porcelain factories, which "gushed over" with the "rococo- baroque" styles.

A lovely clock indeed. It has royal Bonn, and the owners claim it is "porcelain" but one look at the damaged bits and the "crazing", it is almost certainly earthenware. There was a clock of the same quality as yours on a thread some weeks ago. I'll see if I can find it. The owner was told it was The thread died off! Also, many weeks ago, a metal cased clock with porcelain panel inserts was shown.

She tells me that they only have a few pieces of Royal Bonn, none of which are "porcelain". She went on to say, that some of the factories advertized "opaque porcelain", which is made from a finer-whiter clay, which would account for the differences in some of the American cases, such as the Seth Thomas Beta. She emphasized that it was a really a misnomer. That "misnomer" could account for Ansonia and friends getting the terms wrong. To answer my question to an American museum, as to why the whole of the US now used "porcelain" as a generic term: If it was good enough for the makers of the clocks Harold, The whole point of this thread is to show the collectors that there is a difference in "Quality" in ceramic cased clocks.

If we apply your thinking, some collectors will not know if they are under selling or swapping a clock. There is a difference in the values, both pecuniary and collectable, of the three grades of ceramic so far discussed here. Standard "tin glazed" earthenware. It's like telling someone with a Grand father clock, that it doesn't matter what the wood is. Like a walnut Ansonia is no more valuable than a pine one. Or an ebonized Vienna is just the same as a walnut one.

It's like if the mayor of your town came calling, and your Missus told you to go to that nice china cabinet we all saw, and fetch out the good china, and you went into the kitchen and got some mugs. Somehow, I think Missus Bain would quote your former ruler: The biscuit is underfired, so to make the glaze "craze".

He used to sell them to Brighton antique dealers, along with Phrenologists heads, Palmsts hands, et al. Most of the stuff ended up in the States. They are worth a small fortune now! Examine the damage and see the dirty exposed body. True-Porcelain doesn't go like that when damaged, because the body is hard and reasonably impervious to dirt. Also with earthenware, because the clay body is usually "thicker" the detailing is never as fine as true-porcelain, which can be cast into a quite thin bodied piece. I would hazard a guess, and say that clock No 2, might have stood on a stand.

If you really want to see "extremely" thin true-porcelain google "Belleek Pottery". A very dainty design, but still a bit "heavy" in places. Liquid clay slurry is poured into plaster moulds, swished around left to set for a while, and then the slurry is poured back out.

Earthenware needs to be thicker as it is a weaker medium. With reference to the previous post, I would like to get your attention focused on the first picture, which shows a clock on a stand. In another previous post, BQ posted some excellent pics of his clock, which is very similar. I include a section here. The object of this post is to show how important it is to recognize the quality of any painting.

All three clocks are true-porcelain, two of them are currently for sale, and the prices are staggering. Feel free to post some clocks, and I will do my best, others alos to give a good assessment. BQ's scene; Floral scene; clock with signed scene, signature is just below the small shrub in the right hand corner "Petit". May 27, 1, 3 38 Female Ms. Would that be Jacob Petit? Missy, I have no idea! I know the difference between types of ceramics, but never got into the finer details of artists and factories, though having to host this thread, I am learning!

I keep an exhibition catalogue in my privat collection and as I have not yet reorganized myself after moving, I took a bit longer to find it. I checked this catalogue and all cases pictured are made of earthenware, like the ones we have in our collection. It pictures also the cover of a volume dedicated to the factory owner by the Ansonia company in Maybe the museum at Bonn can be of help to you. Here is the reference of the catalogue: Looks like your digging is finding some paydirt. No, I have never seen the catalogue referred to, as it doesn't sound like it was a clock catalogue, but a Royal Bonn catalogue.

So, can we assume that all Royal Bonn clock cases are made of "earthenware"?

Harold, I think you might have missed a bit, in Curator Ester Schneider's note: But remember, in previous post I mentioned that they also used a "purer white clay" and called it a "opaque porcelain". Forward ho, as your friend J Wayne used to say! So the differential in prices for Ansonia "porcelain" clocks is not dictated by it being porcelain or not being porcelain.

Just by rarity and desirability. More or less Harold. There is a "quality" diference, between the standard "tin glazed earthenware" and the "extra whit clay" product. It is a finer quality to picture 2, "la Nord" and Picture 3, Picture 4, is a Royal Bonn, but it is encased in a metal frame! I think that Nos 1 and 4 are of the "special whiter clay".

To add to the previous post, I had a chance meeting with two antique specialists from the UK, who were guests of some other acquaintances here. One of them was a TV antiques celebrity, so I avoided him One was a specialist in true porcelain, so I naturally button-holed him on the subject of Royal Bonn. When I persisted in my inquiries, and dropped the names of the German Curators, he eventually admitted that he was familiar with the factory.