WELCOME COLLECTORS FROM ALL OVER THE WORLD
SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN
AT DR IWAN CYBERMUSEUM
DI MUSEUM DUNIA MAYA DR IWAN S.
SPACE UNTUK IKLAN SPONSOR
*ill 001 LOGO MUSEUM DUNIA MAYA DR IWAN S.*ill 001
THE FIRST INDONESIAN CYBERMUSEUM
MUSEUM DUNIA MAYA PERTAMA DI INDONESIA
DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI
PENDIRI DAN PENEMU IDE
Dr IWAN SUWANDY, MHA
BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)
WELCOME TO THE MAIN HALL OF FREEDOM
SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA
Pameran Keramik Belanda(The Dutch Porcelain Exhibtion)
The Societe Ceramique(Maastrict )1851 -1958
The Entrepreneurs Winand Nicolaas Clermont and Charles Cheinaye in 1851 founded a pottery in maastricht neighborhood Wijk.In 1859 the company was take over by the Belgian engineer Gaulumme Lambert and trasformed into a limited liability company that became generally known as Societe Ceramique.look the mark Made in Holland society cermique Maastricht Potiche
and the more rare societe de cermique made in Holland Morphee fruit stremp cup three foot and fish plate with design Poppy(opium) Flower(who ever seen this type porcelain please show and comment-Dr Iwan)
(I have two type of white without picture ‘s biger fish plate, round and oval,oval more rare, and also very common white small eating plate which many used to made the fake with add the fake picture ,many falscificated the boerenbont design with multi colour
, I hope the collectors becarfeful-Dr Iwan)
In 1899, Society Ceramique flourished and became the main competitor Petrus Regout and the name became the Sphinx. Around 1900 the product of Society Ceramique view as The sphinx in price as well as quality, look the mark of the sphinx Petrus Regout Maastricht Made In Holland of Dutch Royal Ship KPM propaganda tea cup below:
In 1863-1913,The Director Victor Juanez and between 1902-1915 P.J.Langersdorff, and Edgar Mitchel between 1915-1954.
Many Maastrict ceramic export to Indonesia like Boerenbont style ,timor style and other asia countries like china like Canton. the trader value of this ceramic still low except the very fine large plate ,vase and Stemp Cup.
No study about this export maastricth ceramic , may be this is the first Indonesian study which done by Dr Iwan s, I hope the collectors and reseacher help me with more info. Several ceramic which found in Indonesia :
1.a. Human Figur
Boerenbont is a traditional pattern used on pottery from the Netherlands. Translated from Dutch, “Boer” means farmer and “bont” refers to a mixture of colors. The distinctive floral pattern is hand-painted with simple brush strokes of red, yellow, green, and blue. Currently manufactured by Royal Boch in Belgium, the pattern originated as a local craft made by farmer’s wives in the 19th century . According to the Royal Boch website, a variety of patterns have followed the path of Dutch merchants all over the world, from Sumatra to Zanzibar via Goa.  It remains a popular pattern today
4.Boeren Military plate Set Found In Indonesia
Frame Two:The Gauda Pottery
Factories include – Regina, Schoonhoven, Ivora, Zenith, Ed. Antheunis, Rozenburg, Nieuw Rozenburg, Flora, Purmerend, Brantjes, St.Lukas, Ram, Rembrandt, Goedewaagen, Gelria, GeWi, Arnhem, Huisenga, Kennermerland, Mobach, Rijn, Talos, Zaalberg, PBD, Haga, ADCO, Kohler, Tiko, De Jong, De Ysel, De Distel, De Rozeboom, De Kroon, De Zwing, De Porceleyne Fles – with many more of the great Dutch pottery factories – past and present.
Information is provided simply for you by two dedicated collectors for the love of collectors and enthusiasts to enjoy.
|a small vase inherited in the 1920’s and 1930’s. Imagine the Art Nouveau and Art Deco pottery that must have been on display. No decor name on the base marks but we know it is ‘Linote’ – one of the classic PZH designs. Date is 1929.|
Plateelfabriek Schoonhoven – Schoonhoven Keramiek
Schoonhoven pottery is very much “the Gouda style” in shape, design and some wonderful, vivid colours.
Started in 1920 by Tijs Visser, Tijs Volker and Kornelis Prins from the unfortunate demise (liquidation) of Plateelbakkerij De Rozenboom (1919-1920) in The Hague, Schoonhoven picked up the pieces and began production.
One of the most frequently found designs is ‘Corel’. Others include ‘Aida’ (we know someone who is an avid collector of this particular pattern), ‘Luna’, ‘Pelta’, ‘Jeno’, ‘Johnny(ij)’, ‘Dison’, ‘Largo’, ‘Roer’ and many more. A black and white design can also be found called ‘Fariet’ (see Pictures 50 and 55 on the Collectors Galleries) and a similar but coloured ‘Kleuren Fariet’ (Colours or Coloured Fariet) or more commonly sen on marks as ‘KL Fariet’ which we have in our collection. See butter pats below.
Still producing today in the same factory which is now known as Schoonhoven Keramiek. They have a highly dedicated workforce. The production work is done by a team of 22 employees. Over the past decades they expanded collaboration with outside artists and designers. They now produce a standard art collection that currently consists of more than 50 items and is growing every year.
VASE – SCHOONHOVEN – c.1925
11.0cm H by 12.0cm D
“Corel” has the typical Schoonhoven use of aqua, blue, lilac and yellow.It is a striking design, wonderful shape and the colours are bold. This piece, from our collection, is displayed on a table lit by an art deco lamp and is accompanied by two PZH pieces – “Emmy” and “Dimar”. They complement one another superbly with their gorgeous colours.
Small jug – Schoonhoven – c.1929
11.5cm H by 8.5cm D
Wonderful design and colours in the “Jeno” pattern. The aquamarine blue can be found on many Schoonhoven pieces. Decorator unknown.
Butter pats – Schoonhoven – c.1929
All 6.0cm in diameter and mould number 300
“KL (Kleuren)–Fariet”“Aida” – decorator possibly J. Edeling
Here you can see two completely different examples of PZH Rembrandt pottery from our collection. The original Rembrandt factory (Potterij Rembrandt in Nijmegen) started in around 1906. PZH took over the factory in about 1925/1926 (as they did with several potteries), the moulds, name and markings of Rembrandt were kept.
Here you can see the marks. The coaster has the design reference HO 6, the spill vase/cigarette holder has HO 114. There were no design/pattern names as in PZH just the reference ‘HO’ and then a number. The PZH Rembrandt logo was a two handled jug with the capital letter R between the handles. You can see a close up of the logo above. Very easy to recognise. Sometimes a round sticker was applied with ‘Rembrandt Gouda’ – the picture of course being that of the painter Rembrandt. The painter – initials ‘R.J.’ on the spill vase is unknown.
Spill vase or cigarette holder
Rembrandt – Design HO 114 – 1926
8.5cm H x 8.5cm D
Superb art deco design with ultramarine and aqua blue. Markings beautifully hand written.
Rembrandt – Design HO 6 – 1926
11.5cm D x 2.0cm D
In perfect condition, the coaster with mustard yellow in fill and the typical Gouda painted dots.
Commorative wall plate – 1912
Rembrandt Factory Nijmegen
A very rare and visually stunning commemorative item produced for the total solar eclipse of 17 April 1912. Painted at the Nijmegen factory. An example of this is in the Museum Het Valkhof in Nijmegen.The wording means – “the day becomes night”.See two astronomical and space related De Porceleyne Fles plates
Clay pipe manufacturing was how most pottery factories began. Regina (Kunstaardewerkfabriek Regina) was no exception, starting in the same year as PZH – 1898, by Van der Want and Barras. Look on the base of Regina pottery and you will see the initials WB. It was a typical family business. The Regina name derives from Queen Wilhelmina.
Here below the site of the Regina factory in Gouda. The factory was demolished and apartments were built. You can see they kept the original Regina WB crown crest over the doorway.
Pictures by Kim.
Regina started to produce their decorative and ornamental pottery towards the end of WW1 in 1917. This was due in part to compete with PZH and also the public were demanding more decorative pottery. At first Regina continued with the high glaze ware they had originally manufactured and then (as most did) moved on to the matte finish of which PZH were the undoubted masters. Everyone wanted to be as successful as PZH. Poor results from the factory, the bad economy and his ill health all made Otto van der Want decide to close the factory in 1979. The name was then sold to Artihove and until 1993 some Regina pieces were produced. Very little is still known or left about Regina. More photos can be seen on the Regina Gallery page. For some of the information on this page, we are indebted to our dear friends Joop and Ria Nobel for their vast expertise on Regina pottery and also to the many Regina collectors for their pictures. You can read an exclusive article on Regina by Joop here.
Base marks are typically as the ones shown here and those shown below.The name Regina, mould number, crown logo (or not, see “Avia” below), WB (see explanation above), pattern name (here on the left “Lydia”), Gouda Holland or Gouda or Holland and the decorator’s mark.The base mark of the piece on the right is dated from sometime in the 1950’s. It has a high model number of 949 which indicates the later date. The “M” after the number stands for Melk (Milk). It would seem that in the early years of Regina production, it was forbidden for an artist to put his or her name on a piece. This a very matte finished small jug as one can see from the photo here.
Popular pattern names often seen include – Avia, Imanta, Lydia, Majoli, Orchis, Osiris and Rosario.
|‘Avia’ on a match holder – c.1920|
Some other pattern names are – Angola, Arina (see below), Cordoba, Delos, Fleveo, Florida (see below), Gambir, Molda (see below), Myria, Olga, Presto, Robur, Ruimte (the Dutch word Ruimte means ‘Space’ – see below), Sevilla, Tibon (see below), Torino, Valencia and many others!
Here below are some Regina marks you may come across. The details about the meaning of these marks will be shown soon.
Please note – some are from the Artihove Regina B.V. factory so they are after the Gouda Regina factory closed.
|This mark (right) on the ‘Chryso’ shows an item exported to the Canadian retailer Ryrie Birks Ltd. All the Gouda plateel factories exported. Liberty’s of London perhaps the most famous retailer.|
|‘Lydia’ on a small test as descibed above. These items were produced until 1979.|
We often see these items described a cups. They are in fact small scale facsimiles of an original test. This was a Dutch earthenware vessel, often glazed, for holding hot coals. This was then placed inside a ventilated wooden container. They were used for keeping food (or whatever one wished, including your feet!) warm. Here is a picture of an original test on display in De Sint Janskerk (St. John’s Church) in Gouda. It is about 25.0cm square. See the ‘Lydia’ test below and from the painting by Vermeer.
Photograph taken by Kim.
|In Vermeer’s ‘The ‘Milkmaid’ you can see a test in the lower right side of the painting.|
Bergen – La Céramique Montoise.
In this particular example below we see a piece dated around 1925 to 1935 from the Bergen factory. Bergen, also known as the Belgium Pottery Company or Bergen and Flamand (La Céramique Montoise) had a factory based in Mons, Belgium. It was formed by René Dubois in about 1919/1920 until circa 1950. Below is an example from our collection together with the base markings. The top number (846) is the mould number and is also impressed into the body. The mark (on most pieces) of Bergen is derived from the town itself. Can you see what looks like a hill or mountain? “Berg” (en) means mountain or hill – also as in “ice(berg)” – mountain or hill of ice. In this particular example, one can see it has all the hallmarks of Gouda. Some Bergen designs are very “Art Deco” in looks and are excellent and collectable.
|Above and here some other Bergen marks you may come across.|
|This sticker with the logo “Bergen Plateel” is not from the René Dubois Bergen plateel factory but from a small factory in the Netherlands.|
Japanese. In the Gouda style.
|This Japanese copy from Sydney, Australia. It is interesting to note that this is one of many examples of we have been sent from Australia and New Zealand. From acquaintances in Australia, it seems Japanese copies are plentiful. A typical copy of a small Gouda two handled vase. The base is unmarked. The vase is approx. 9.0cm high. One can see these on auction sites sadly described as original PZH. See more Japanese copies below.|
More on Japanese copies.
“Over the past five years or so, many collectors have been buying Japanese Gouda copies. They are in my view, very fine quality. While they are around, they are not as easy to find as Gouda. I have in my collection, about 50 pieces of all shapes and colours. Teapots, bowls, lamps, wall pockets, toothpick holders and of course, mostly vases. The extent of variation is amazing, and even on pieces with the same form, the colouring is different. I have been attempting to find out more about these. Where were they made? Who were the artists?
Some are unmarked, some marked ‘Made in Japan’. The odd one is marked ‘Elite Art Pottery’, ‘ELJCO’ (see below, probably Czechoslovakian) and ‘Hongan’. “Elite Art Pottery” is often seen as “rare Gouda” – no!
Some examples amazing collection of Gouda copies.
Above – two more examples of Japanese copies. On the left – sent by Adam. On the right – sent by Shari from Los Angeles.
|Here a beautiful Japanese copy of the Flora ‘Rumba’ decor. We have many items of Flora in our collection and ‘Rumba’ is a favourite decor. Below a ‘Flora ‘Rumba’ from our collection. One can also see 1950’s items from West Germany with the nearly identical decor. We have some in our West German ceramics collection.|
|For comparison, here is the Flora ‘Rumba’ decor from our collection.|
English pottery – James (Jas) Plant, Hanley, Staffordshire.
|A PZH ‘Damascus’/’Matapan’ decor look-alike by the English potter James Plant. From our collection. Date circa 1920.Various dates and backstamps date items from circa 1914 to 1938. Most James Plant patterns are very similar. They were known as “Plant Ware”. See more information below.|
|A PZH ‘Damascus’/’Matapan’ decor.|
The original factory of R. H. and S. L. Plant Ltd. Tuscan China Works, Longton, Staffordshire, England, probably dates back to the mid 18th century. The business was formed into a limited company in 1915. Many members of the Plant family were involved in potteries. Factories had various names. For example, in the Tuscan Works, the partner proprietors were R. H. Plant and his brother. Running under the aegis of the Plant family, with S. L. Plant and his son (F. S. Plant) directing the sales department, while the two brothers H. J. and A. E. Plant were in charge of the production side. A James Plant factory was actually taken over by Grimwades. James Plant Senior died in 1931 and James Plant Junior took over. As you can see a very family involved business. The Gouda style, matte glaze decors were probably by a designer called Thorley. They were produced at the Brook Street Factory in Hanley, Stoke-on-Trent.
|Left – an original PZH vase from the Museum Catharina Gasthuis in Gouda. It is in the ‘Matapan’ design. If anyone doubted that James Plant did Gouda copies then just look closer again at the large picture above – you can see the striking resemblance of the pattern!One can see many examples of this ware at antique fairs here in the UK (we once saw four) and they are far from rare!Photograph by Kim Lindley.|
This company was founded in 1969 by the brothers Frans and Peter Eikenboom, the sons of P.A. Eikenboom the founder of Plateelbakkerij Flora. They imitated the patterns and styles from 1930’s and later designs of other factories – mainly PZH and Regina. The company closed in 1990.
Here is a typical Modica backstamp, as you can see, one could easily be fooled into thinking this was from PZH.
See the lookalike copy of the “little house” (Lazarus gate) mark and the “Zuid-Holland”.
The “F” and “P” are the first letters of the brothers names – Frans and Peter .
BIHL Pottery Czechoslovakia.
Jan from the Netherlands is an expert in and collector of BIHL pottery which is sadly often confused for Gouda. One has only to look on eBay to see this. Look at David’s collection above and you may see some BIHL examples.
Jan tells us – “BIHL was a Czechoslovakian pottery company from Ledvice (or in German Ladowitz). There is not much known about this former company. I’m at this moment preparing a catalogue of known BIHL pottery. Some of these pieces are labeled with ELJECO / Holland. I am quite sure that the pottery was produced in Czechoslovakia then these pieces were exported to Holland, given a local back stamp (ELJECO / Holland) and sold on the Dutch market!”
Here are some really wonderful pictures from Jan’s collection.
|Here an example from “Eljeco” probably by BIHL. Sent in by Joe Altare.|
|This Eljeco kan, in a very nice decor, was sent in by Magda from The Netherlands.|
|Below – more Czechoslovakian pottery. Thanks to Jasper & Alison from Melbourne, Australia.|
A very interesting “lookalike” here originally from the collection of Hotze & Elly. Thanks to the generosity of Hotze & Elly, this piece and others are now in our collection. This was made by the factory “Metawa” or N. V. Metawa, Tiel, Holland. The name deriving from “metal ware”. Founded 1923, it closed in 1982 but was for a short time revived. It finally closed in 1985. As you may have guessed – this is made of tin not pottery! Decor ‘Guus’ on model 1529.
|Left – another ‘Metawa’ mark. Decor ‘Rita’.|
The C. W. Moody ‘Gouda Ceramics’ book with price guide.
Nice little guide from the 1970’s. Many signed (as this is) by Moody. With pictures but most of the information on marks is hopelessly wrong.
Made in Holland by Marie-Rose Bogaers, English edition.
Not easy to find in the English edition.
|From Back Cover|
|Soon some snippets from these booklets.The Liberty Style.A Collector’s Guide to European and American Art Pottery.Kunstaardewerkfabiek Regina by Hilde Cammel.Dutch Modernism. ‘The Schiller-David Collection’.Antiques & Collectables – Gouda.|
Interesting card of ‘Greetings from Gouda’ sent in 1943 during the German occupation of Holland. Shows a clock and candlestick garniture set with a bowl from Plateelbakkerij Zuid-Holland. A coiled clay pipe from P. Goedewaagen & Zoon (Son) forms a cartouche with ‘Vergezicht op Gouda’ (Vista or view of Gouda). Other items show the produce of Holland. Notice the small ‘test’ at bottom centre right – see here. From our postcards collection.
Frame Three : The Delftware
1.The Rare Delfware collections
Het Kometen Jaar” – “The Comet Year”
De Porceleyne Fles – date code AE 1909
Artist – Jacobus Frölich Snr. – work period 1889 to 1929
This is a rare piece and was only the 3rd commemorative plate that Fles actually issued (though a few one-offs were made in the 1870’s – 90’s). The Royal Delft factory does not know how many were actually made. This was told to us personally on a recent visit (October 2003). Our piece is in superb condition. Only the merest hint of crazing. Looks like the day it left the factory.
About this plate and comets.
The depiction of Comet Halley itself is the stylized one with the words in capitals – “HALLEY”. in the centre. You can also see above this depictions of the constellations Aquarius and Gemini. These would probably have been the two constellations that Comet Halley passed through as it was seen in the night sky. It was seen from about February to July 1910.
You can see to the upper left of the plate another smaller depiction of a comet with the designation “1910A”. The “A” indicates that this comet was the first to be seen in the sky in January of 1910. The second comet would be “1910B or “1910b” and so on. This part of the plate may actually refer to another comet which was so bright that it was seen during the day. This comet has been called – “The Great Comet of 1910” or “The Daylight Comet of 1910” or “Winter Comet 1910”. It was brighter than Comet Halley
The Plateelbakkerij Schoonhoven factory is the subject of this postcard which shows a painter of Delft blue. Thanks to the digital skills our friend Ron Tasman we can now see what it would have really looked like when the photo was taken – in glorious colour – thanks Ron!
2.The Delfware historic collections
Delftware depicting Chinese scenes, 18th century. Musee Ernest Cognacq
Delft vases, 1725-1760. Musée des Arts Décoratifs, Paris
An imari-styled vase, manufactured in De Griekse A, (ca. 1700-1720) Museum Geelvinck-Hinlopen Huis
Delftware in the latter sense is a type of pottery in which a white glaze is applied, usually decorated with metal oxides. Delftware includes pottery objects of all descriptions such as plates, ornaments and tiles.
The earliest tin-glazed pottery in the Netherlands was made in Antwerp by Guido da Savino in 1512. The manufacture of painted pottery may have spread from the south to the northern Netherlands in the 1560s. It was made in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Amsterdam and Dordrecht.
The main period of tin-glaze pottery in the Netherlands was 1640-1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640 and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline they became available to pottery makers looking for larger premises; some retained the old brewery names, making them famous throughout northern Europe, e.g. The Double Tankard, The Young Moors’ Head and The Three Bells.
The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three natural clays, one local, one from Tournai and one from the Rhineland.
From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.
During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century. The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Although Dutch potters did not immediately imitate Chinese porcelain, they began to after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns.
By about 1700 several factories were using enamel colours and gilding over tin-glaze, requiring a third kiln firing at a lower temperature.
Delftware plate, faience, Famille rose, 1760-1780.
Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries.
Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.
Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares “were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when at the end of the eighteenth century the Delftware potteries began to go out of business.” By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles (“The Royal Porcelain Bottle”) founded in 1653.
Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. Delft Blue pottery formed the basis of one of British Airways’ ethnic tailfins. The design, Delftblue Daybreak, was applied to 17 aircraft.
A guided tour takes you through our museum and factory and you will learn more about our impressive history and the authentic production process. In the museum you can find antique items from the Royal Delft ‘s private collection give a glimpse of Delft pottery history. In the showroom the complete classic and modern collection of Royal Delft is displayed and only here factory seconds are available with attractive discounts. Visitors can also experience the craftsmanship themselves by joining a painting workshop in which they will paint their own Delftware tile. Suitable for groups as well as individuals.
Still missing something? We are happy to inform you that all programs can be customized to your wishes and needs. All staff is English speaking and US$ cash and all major credit cards are accepted.
Admission prices: Adults € 6,50, children up to 12 years: free entrance, groups: on request. A
visit to Royal Delft can easily be combined with a visit to Delft, Rotterdam and/or The Hague.
Royal Delft in Amsterdam
Let us remind you that Royal Delft also has a subsidiary showroom in Amsterdam, in case your trip in Holland does not bring you all the way to Delft. Here you can also see an important selection of our Royal Delft products. Discover the beauty of Dutch craftsmanship and old Amsterdam within two hours when you combine a visit to Royal Delft with a free tour through Gassan Diamonds and join a canal cruise on a Canal Bus with a hop-on-hop-off service.
Address: Nieuwe Uilenburgerstraat 175-179, Amsterdam
(on the premises of Gassan Diamonds)
2628 AR Delft
the end @ copyright Dr Iwan Suwandy 2011