Filigree made in Batavia, Java and the West Coast of Sumatra.
Some sources and thoughts.
Marsden's History of Sumatra -
Published 1783, the extract from this edition pub. 1811.
Filigree. Page 179.
https://www.gutenberg.org/cache/epub/16768/pg16768-images.html
Some thoughts and notes.
I have come to the subject of 17th and 18th century Silver Filigree in almost complete ignorance - I hope any readers will forgive my mistakes.
This blog is written as a sort of stream of consciousness essay - nothing is set in stone and my perceptions will change as more information appears.
I now have the relevant chapter on Filigree in Jan Veenendaals work - Asian Art and the Dutch Taste, Waanders Uitgevers and Gemeentemuseum. Den Haag. pub 2016. see below.
This is the most up to date work that enters into any detail about filigree manufacture in Sumatra "westkust" work and Batavia (now Jakarta) Java.
............................
The passage below from Marsden's History of Sumatra is unedited - Padang, Sumatra has recently been advanced as the source of many objects made of silver and gild filigree, but I currently think that this is perhaps a misreading of the following passage in Marsden's work of 1790 (below).
There is no mention of Caskets or larger scale objects in this work.
The description of the manufacturing methods would seem to preclude the making of larger scale objects.
Another theory recently put forward is that filigree inlaid with enamel work was made in Padang, Sumatra and enamelled in Batavia - a distance of about 1300 kms, again I find this difficult to believe.
Veenendaal refers to 17th and 18th century inventories with references to filigree from Sumatra - (see the Sotheby's Catalogue entry below).
Marsden's History of Sumatra.
Transcribed from the Edition Published in 1811, originally published 1783.
Page 179 .......
William Marsden, The History of Sumatra: Containing an
Account of the Government, Laws, Customs, and Manners of the Native
Inhabitants, with a Description of the Natural Productions, and a Relation of
the Ancient Political State of That Island. By William Marsden,... The Third
Edition, with Corrections, Additions, and Plates. ed. 1811.
...............
Page 179.....
Filigree.
What follows, however, would seem an exception to this
limitation; there being no manufacture in that part of the world, and perhaps I
might be justified in saying, in any part of the world, that has been more
admired and celebrated than the fine gold and silver filigree of Sumatra.
This
indeed is, strictly speaking, the work of the Malayan inhabitants; but as it is
in universal use and wear throughout the country, and as the goldsmiths are
settled everywhere along the coast, I cannot be guilty of much irregularity in
describing here the process of their art.
MODE OF WORKING IT.
There is no circumstance that renders the filigree a matter
of greater curiosity than the coarseness of the tools employed in the
workmanship, and which, in the hands of a European, would not be thought
sufficiently perfect for the most ordinary purposes. They are rudely and
inartificially formed by the goldsmith (pandei) from any old iron he can
procure.
When you engage one of them to execute a piece of work his first
request is usually for a piece of iron hoop to make his wire-drawing
instrument; an old hammer head, stuck in a block, serves for an anvil; and I
have seen a pair of compasses composed of two old nails tied together at one
end.
The gold is melted in a piece of a priuk or earthen rice-pot, or sometimes
in a crucible of their own making, of common clay. In general they use no
bellows but blow the fire with their mouths through a joint of bamboo, and if
the quantity of metal to be melted is considerable three or four persons sit
round their furnace, which is an old broken kwali or iron pot, and blow
together. At Padang alone, where the manufacture is more considerable, they
have adopted the Chinese bellows.
Their method of drawing the wire differs but
little from that used by European workmen. When drawn to a sufficient fineness
they flatten it by beating it on their anvil; and when flattened they give it a
twist like that in the whalebone handle of a punch-ladle, by rubbing it on a
block of wood with a flat stick. After twisting they again beat it on the
anvil, and by these means it becomes flat wire with indented edges.
With a pair
of nippers they fold down the end of the wire, and thus form a leaf or element
of a flower in their work, which is cut off. The end is again folded and cut
off till they have got a sufficient number of leaves, which are all laid on
singly. Patterns of the flowers or foliage, in which there is not very much
variety, are prepared on paper, of the size of the gold plate on which the
filigree is to be laid. According to this they begin to dispose on the plate
the larger compartments of the foliage, for which they use plain flat wire of a
larger size, and fill them up with the leaves before mentioned. To fix their
work they employ a glutinous substance made of the small red pea with a black
spot before mentioned, ground to a pulp on a rough stone. This pulp they place
on a young coconut about the size of a walnut, the top and bottom being cut
off. I at first imagined that caprice alone might have directed them to the use
of the coconut for this purpose; but I have since reflected on the probability
of the juice of the young fruit being necessary to keep the pulp moist, which
would otherwise speedily become dry and unfit for the work. After the leaves
have been all placed in order and stuck on, bit by bit, a solder is prepared of
gold filings and borax, moistened with water, which they strew or daub over the
plate with a feather, and then putting it in the fire for a short time the whole
becomes united. This kind of work on a gold plate they call karrang papan: when
the work is open, they call it karrang trus. In executing the latter the
foliage is laid out on a card, or soft kind of wood covered with paper, and
stuck on, as before described, with the paste of the red seed; and the work,
when finished, being strewed over with their solder, is put into the fire,
when, the card or soft wood burning away, the gold remains connected. The
greatest skill and attention is required in this operation as the work is often
made to run by remaining too long or in too hot a fire. If the piece be large
they solder it at several times. When the work is finished they give it that
fine high colour they so much admire by an operation which they term sapoh. This
consists in mixing nitre, common salt, and alum, reduced to powder and
moistened, laying the composition on the filigree and keeping it over a
moderate fire until it dissolves and becomes yellow. In this situation the
piece is kept for a longer or shorter time according to the intensity of colour
they wish the gold to receive. It is then thrown into water and cleansed.
In
the manufacture of baju buttons they first make the lower part flat, and,
having a mould formed of a piece of buffalo's horn, indented to several sizes,
each like one half of a bullet mould, they lay their work over one of these
holes, and with a horn punch they press it into the form of the button. After
this they complete the upper part. The manner of making the little balls with which
their works are sometimes ornamented is as follows. They take a piece of
charcoal, and, having cut it flat and smooth, they make in it a small hole,
which they fill with gold dust, and this melted in the fire becomes a little
ball. They are very inexpert at finishing and polishing the plain parts,
hinges, screws, and the like, being in this as much excelled by the European
artists as these fall short of them in the fineness and minuteness of the
foliage.
The Chinese also make filigree, mostly of silver, which looks elegant,
but wants likewise the extraordinary delicacy of the Malayan work. The price of
the workmanship depends upon the difficulty or novelty of the pattern. In some
articles of usual demand it does not exceed one-third of the value of the gold;
but, in matters of fancy, it is generally equal to it. The manufacture is not
now (1780) held in very high estimation in England, where costliness is not so
much the object of luxury as variety; but, in the revolution of taste, it may
probably be again sought after and admired as fashionable.
...............................
Marsden was born in 1754 in County Wicklow, Ireland, he was raised
in a moderately wealthy family and at the age of 16 joined his elder brother in
the service of the English East India Company at Fort
Marlborough, now Benkulu, in western Sumatra, Indonesia, as a writer.
Marsden
remained in Sumatra for 8 years, rising to the rank of Principle Secretary to
the EIC Government but resigned from his post aged 24 and returned to London in
December 1780, where he pursued a career as an author scholar and later as the
First Secretary to the Admiralty (1804-1807).
_______________________________
Asian Art and Dutch Taste, Jan Veenendaals pub. 2014.
Extract - Filigree.
I have been unable to obtain a reasonably priced copy of Jan Veenendaals - Asian Art and Dutch Taste pub. Gemeentemuseum, The Hague in 2014, but Jan van Campen of the Rijksmuseum Amsterdam has now very kindly provided me with scans of the relevant pages on filigree.
This next section is transcribed from the relevant pages of Jan Veenendaal's Catalogue.
It should be born in mind that this is translated from the Dutch original and inevitably things get lost in translation.
My first thoughts and comments are in Italics.
....................
Dutch probate inventories, including
those of Dutch people who had never visited Asia, regularly list filigree boxes
and caskets.
For example, the possessions of a silversmith called Anthoni
Grill, who died in 1727, included a pair of gold and silver filigree caskets,
which were apparently not totally outshone by the amazing number of pieces by
the renowned Dutch silversmiths Adam and Paulus van Vianen that also featured
in his impressive collection.
This is not clear - Does this passage mean that the van Vienans manufactured filigree??
Wealthy collectors like Petronella de la Court (1624-1707)
and Nicolaas Witsen (1641-1717) also owned filigree.
Indeed, some people — like eighteenth-century collectors Jan
Bisschop and Willem van Wessem —
collected nothing else!
What is the source of this quote?
In 1739 Dirk Smits went so far as to write a poem in praise
of Bisschop's filigree collection:
'Voorts prachtig goud- en zilverwerk,
Gewerkt in dunne draén,
Gebeitelt, eél, en echter sterk,
Gewrocht tot huissieraé.'5
('Also beautiful gold and silver, worked in thin threads,
chiselled, fine, and yet strong, turned into household
goods.')
"Since the provenances cited for
filigree work in probate inventories consist solely of vague references to the
'East Indies' or 'China', considerable caution needs to be exercised in
determining the origins of the pieces". (Veenendaal)
In the inventory of Jan Bisschop's possessions, for example,
there was a casket said to come from the East Indies, but featuring a
five-arched lid. Today, this kind of casket is usually described as Indian or
Indo-Portuguese.
My thoughts - This last paragraph needs to be treated with caution. I
think we can safely say that Indo Portuguese which usually refers to Goa is
unlikely – Hugo Miguel Crespo of Lisbon University assures me that there is no
evidence of any filigree manufacture in Goa in the 17th/18th
Centuries.
For images and comparisons of the three and five lateral domed type caskets see my post. - https://antiqueeuropeanfiligree.blogspot.com/2023/04/some-photographs-of-domed-silver.html
Around 1760, an Amsterdam man called Reinier Brandt
specialised in converting these caskets into tea caddies (ill. 190, 193 and
194). The receptacles he made to fit inside them usually bear his maker's mark.
Specialised is a relative term – I can only find two converted
caskets by Brandt.
see my post -
https://antiqueeuropeanfiligree.blogspot.com/2023/08/the-two-f-ries-museum-silver-filigree.html
For further examples of converted caddies by Dutch silversmiths see -
https://antiqueeuropeanfiligree.blogspot.com/2023/08/the-two-f-ries-museum-silver-filigree.html
Filigree requisites for betel-chewing feature in the probate
inventory of Rijklof van Goens the younger (1642-1687), a governor of Ceylon.
He died on his homeward voyage to the Netherlands and the inventory of his
possessions was drawn up on the ship's arrival in Delft. All of them, including
the filigree silver, were sold to pay for his children's upbringing.
This is a most interesting fact - These objects could have originated from Batavia, or Cuttack, Orissa, or even China - I would very much like to see a transcription of this inventory.
The same thing happened when Hendrik van Staveren, Commander
of Sumatra's West Coast, died in Delft in 1777.
The items of filigree found among his possessions - 'A
beaker turned out of a rhino horn, with a gold filigree foot and ditto lid, and
ditto saucer.
A ditto beaker,
slightly bigger with a gold filigree foot.
A silver box with gold filigree and
inside it a Pedro del porco in gold,(Pigs stone bezoar) with a gold
chain.
A ditto and everything as the previous, slightly smaller'.
Another very interesting quote - for some 17th/ 18th century mounted Rhinoceros horn objects see my post - https://antiqueeuropeanfiligree.blogspot.com/2023/05/rhinoceros-horn-mounted-with-filigree.html
………………….
Naturally enough, filigree also figures in many probate
inventories drawn up in Batavia. That of Sophia Francina Westpalm (d. 1785),
widow of Governor-General Reinier de Klerk, for example, includes a large
number of items described as coming from the west coast of Sumatra?
They include a silver casket, two silver boxes, two gold
boxes, another gold box, a gold box, two gold rosewater flagons with a gold
salver, and another two gold rosewater flagons with a gold salver. Since the
weight of all these objects is specified in reales, we have some idea not only
of the weight, but also of the size of each of them.
Another very interesting passage which suggests manufacture of larger items of Westkust work from Sumatra - I would very much like to see transcribed in full.
…………………………
In Batavian inventories, filigree breeches buttons were
described as 'West Coast work', 'Manila work' or 'Batavian work', suggesting
that the work of the different production centres was then clearly
distinguishable.
Batavian filigree was probably adorned with minute balls and
Manila work with rosettes of them. Both these types were comparatively rare,
whereas 'West Coast' work is mentioned frequently, both in gold and in silver.
For example, the 1709 inventory of the possessions of Jan
van de Burg, a chief carpenter in the Artisan Quarter, lists -
'A pair of silver breeches buttons West Coast filigree'.
Generally, however, inventories simply say 'West Coast
work', the West Coast and Padang being so famous for filigree that the reader
could be assumed to understand that this was what was meant.
Once again this statement needs to be treated with some caution.
These and similar filigree buttons are not particularly rare and many can be
found in European museums and contemporary descriptions use many terms to
describe filigree work.
See - https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-022-00710-9
………………………….
Dutch Filigree.
Filigree-making was not confined to the Orient; as early as
the seventeenth century, the Netherlands had its own filigree producers and
their work was even being shipped to the Far East.
We know, for example, that on 10 June 1681 a vessel called
the Sumatra arrived in Batavia after a six-month voyage carrying a cargo that
included a valuable clock, 4 large and 45 small mirrors, 9 lanterns and 6 small
filigree cabinets.
The hefty filigree caskets with twisted columns at their
corners that have been turning up at auction in recent years are another
example of Dutch or German work (ill. 199).
A version veneered in ebony also exists and may have served
as a model for the filigree ones.
Which casket does this passage above refer to?
Since filigree was also being made in the Netherlands, it is
quite conceivable that Stadtholder William Ill's writing box (mentioned earlier
in this chapter) was of Dutch origin.
(in the Hermitage Museum, St Petersburg - I believe Dutch possibly by Conraetd Breghtel of the Hague see the clock in the Victoria and Albert Museum - https://collections.vam.ac.uk/item/O110573/clock-breghtel-hans-conraedt/).
Thanks to William's armorials and
monogram, the box can be dated to between 1672 and 1689.
Evidence in favour of
a Dutch origin include not only the unusually strict, geometrical construction
and the lock (which is quite different from those on Asian boxes), but also the
entirely European depiction of the lions and the presence of the motto 'Honi
qui mal y pense', Technically too, the box looks Dutch,
The inner edge of the
box, over which the lid closes, is made of smooth strips of rolled sheet
silver.
In Indian caskets, the smooth edges were still being
hammered out by hand at this period and this remains visible, even after polishing.
There is no doubt in my mind that the William III writing box is Dutch - probably made in the Hague by Conraedt Breghtel (originally from Augsburg).
The Khalili silver gilt filigree cabinet again uses the same techniques as does the casket in the Grunes Gewolbe, Dresden - almost certainly these two objects came from the same goldsmith - theys hare the same detailing on the hinges.
For the magnificent table clock by Breghtel see - https://collections.vam.ac.uk/item/O110573/clock-breghtel-hans-conraedt/
……………………………
New light on an old technique.
From around 1680, the VOC regularly used filigree items like
caskets and rosewater sprinklers as gifts.
At that time, filigree must have
been a novelty for the Asian rulers.
In 1682, for example Governor-General
Cornelis Speelman presented a silver filigree box to King of Arrakan (Burma,
Myanmar).
In 1734 a gold filigree casket was presented to the Shogun
and was the only one of the many gifts offered to him that capricious and touchy
Japanese deigned to accept.
Again we need to have more detail to justify this quote - two examples isn't enough to justify the word regularly - Were these objects European Indian or South East Asian?
Rosewater sprinklers and the many betel - chewing requisites
were produced for the Asian market (including Batavia).
Evidence like the inventory of Sophia Westpalm's possessions
shows that Dutch residents in the Orient had adopted local Customs.
If a family returned to the Netherlands, their betel
containers and rosewater sprinklers would travel with them and eventually find
their way onto the Dutch market.
The large numbers of silver and gold boxes found in the
Netherlands and in Batavia in the eighteenth century point to an within the
Dutch sphere of influence - This is true, for example, of the boxes with five-arched lids mentioned above.
The large number of caskets found in the Netherlands does not mean that they were imported - from my researches it appears that a many of these caskets were made as knottekistjen or as part of toilet sets in Holland.
We know that the VOC
encouraged the export of filigree from Padang and Kota Cadang.
This needs to be qualified - does this sentence refer to filigree objects or jewellery?
There was a list of permitted to Sumatra's West Coast and
the goods that could be exchanged for them.
The latter included goudwerk'
(literally, 'made gold') to a maximum value of 200 rixdollars. The VOC
maintained its monopoly on the exportation of gold but in Padang it was
permitted to exchange this 'gemaakt goud’ for
imports, such as goods brought in from Batavia. The term 'gemaakt goud’ may
well mean filigree work, given Padang's reputation for it.
The same privileges applied to both silver and silver
filigree. In conclusion, it is not unlikely that West Sumatra was the main
production centre for a large proportion of the filigree work that flooded into
Europe.
My conclusion is that much filigree described as from Batavia was made in Holland, although substantial quantities of filigree objects were made in what is now Indonesia but were constructed under the auspices of Dutch master, using original Dutch objects as patterns.
Which objects were made in Padang, West Sumatra or were made in Batavia remains to be clarified.
This the end of the (unedited with my comments in Italics) passages related to filigree from Veenendaal.
___________________________
Some 17th/18th Century Silver Filigree and Enamel Caskets
in the Chinese style.
Were these objects made in Sumatra or Java???
Were they made in Sumatra and enamelled in Batavia, Java?
......................
A 17th/18th century Silver Filigree and Enamel Casket.
Sotheby's. London - Lot 33 -10 November, 2021.
The catalogue entry below alludes to 17th and 18th century inventories - it would be very useful to know which inventories and where these inventories can be accessed.
I am very grateful to Jan van Campen for his kind assistance in this matter.
This post will inevitably have to be edited once I have digested the chapter on filigree.
14.5cm., 5¾in. wide.
https://www.sothebys.com/en/buy/auction/2021/gold-boxes-silver-and-ceramics/a-silver-filigree-and-polychrome-enamel-casket
The Sotheby's Catalogue Description.
A similar casket with the same enamel flower motifs and
other enameled ornament in Chinese style was sold Christies Amsterdam, 15-16 December
2008, lot 275. At the time it was catalogued as mid-18th century Chinese
export, a description revised in 2014 to West Sumatra, Indonesia, circa 1700.
This latter ascription appears on p. 122 of the publication, Asian Art and
Dutch Taste, produced in conjunction with an exhibition at the Gemeentemuseum
in the Hague, 5th April-26th October, 2014, authored by Jan Veenendaal.
Veenendaal distinguishes between the
technical styles of Indian, Philippine, Chinese and Sumatran filigree,
arguing that the west coast of the latter, was known in the 17th and 18th century from inventories and from an 18th
century eye-witness report as the most important center for production of gold
and silver filigree in the region.
The filigree style on this casket fits the
description given by Veenendaal to distinguish Sumatran work from elsewhere as
'..composed of curls...generally interspersed with little ovals. The
arrangement looks like a tiny plant with two leaves and a flower (see detail)
...sometimes floral motifs were soldered on top of the filigree surfaces and
filled with green enamel.
The enamelling was probably done in Batavia since the
town had a reputation for it. (Batavia was in nearby Java and capital of the
Dutch East India company). The four distinctive bun-shape pin heads retaining
the lock, set on filigree zig-zag 'ladders'
is also a feature of filigree caskets ascribed to Sumatra.
The
silversmiths of Sumatra tailored the style of work to the market they were
selling into, whether Chinese, Indian or European It is possible that the
casket was at one time fitted with tea caddies, such as an example with caddies
marked by Reynier Brandt, Amsterdam, 1754 sold Christies Amsterdam, 27 April
2004 lot 251.
Currently I believe that these four paragraphs above should be treated with caution - I am certainly not convinced of the Sumatran attribution, nor of the transport of objects from Sumatra to Batavia on the island of Java for the application of the enamel.
..............................
The Christie's May 2008 17th/18th Century Silver filigree and Enamel Casket.
8 cm. high x 14 cm. wide x 8.5 cm. deep.
Sold by Christie's Amsterdam, Lot 275. 15 December 2008.
It would be useful to see a detail of the hinges.
............................
The Veritas Auctions, Silver Gilt, Silver Filigree and Enamel Casket.
Lot 302. 12 March, 2019.
......................................
The Bonham's Auctions 17th/18th Century Silver Filigree and Enamel Casket.
Casket sold by Bonham's Salerooms, London. Lot 186, 11 June 2020.
They say Lazurite - which is a form of Lapis Lazuli?
.................................
Silver Filigree and Enamel Casket
Museu Nacional de Soares dos Reis
No further information.
...............................
17th / 18th Century Silver Filigree and Enamel Casket.
This casket has two unusual features of this group, firstly the blue enamel and secondly the engaged columns on the corners.
Christie's Amsterdam. 20 December 2007.
...................................
The Dutch Museums 17th/18th Century Silver Filigree and Enamel 5 Lateral Dome Casket.
No size given.
Inventory number : TM-1698-170
I suspect that it originally had a base or filigree bun feet.
.........................
The Dutch Museums Small Silver Filigree and enamel Casket.
No size given.
Inventory number : TM-1698-169
This is a very annoying website which could do with updating - use the search queerie "filigrainwerke" or similar.
____________________________________
Dutch Museums Silver Filigree and Enamel Round Casket.
No size given.
Inventory number : TM-1698-168.
.....................................
ALJ Antiques Silver Filigree and Enamel Casket.
10.5 x 5 cms
https://www.aljantiques.com/antique/a-filigree-silver-work-lidded-box-with-enamelled-decoration-probably-batavia-dutch-east-indies-circa-18th-17th-century/
I am very grateful to Duraid al Jashamie for permission to use his photographs.
.......................
The Casket illustrated in Asian Art and Dutch Taste by Jan Veenendaal. Gemeetemuseum Exhibition catalogue, 2016.
...............................
Silver Filigree and Enamel Salver with an engraved date of 1689.
Batavia?
It could possibly be read as 1682.
Inscribed "Ter ge-daghtenis Van Johanna see-(ve)ter Obijt den 23 juin
1689".
which translates as - "In Remembrance of Johanna Van Seventer ‘Obit, 23 rd. of June
1682".
with ALJ Antiques of Kensington Church Street, London
16 cms Diam 2 cms tall.
https://www.aljantiques.com/antique/artifacts-of-the-voc-the-dutch-east-indies-an-important-historical-small-filigree-silver-dish-with-enamelled-central-medallion-padang-west-sumatra-batavia-jakarta-indonesia-date/
I am very grateful to Duraid al Jashamie for permission to use his material.
....................................
A 17th/18th Century Silver Filigree and Enamel Casket with Dutch dealers Zebregs Roell.
With soldered floral motifs filled with blue and green enamel.
H. 22 x Diam. 18 cm.
https://www.zebregsroell.com/indonesian-silver-filigree-basket
I am very grateful to the excellent Messrs Zebregs Roell for permission to use their content.
Description below from the website of Zebregs Roell.
They say - West Sumatra/Padang or Batavia, circa 1700, apparently
unmarked.
The present basket is almost identical to a silver filigree
basket also with soldered flowers and leaves however lacking the colourful blue
and green enamels as in the present basket. In Een bijzondere doos van
zilver-filigrain (Aziatische Kunst, 32ste jaargang, Nr. 4, December 2002) Jan
van Campen attributes the basket to Indian and Chinese artisans working in
Batavia.
Jan Veenendaal (Asian Art and the Dutch Taste, Waanders Uitgevers and
Gemeentemuseum Den Haag, 2014) on the other hand argues that this kind of
silver filigree work is more likely to have been the work of Chinese and Malay
silversmiths working in West Sumatra, Padang. However, the enamelling may have
been done in Batavia.
The present basket certainly is very similar to a
filigree box with green enamelling, modelled on a Chinese example, from West
Sumatra illustrated in Jan Veenendaal’s book (ill. 195 and 196).
----------------------------
Another related box.
No further information -
.............................
The Dutch Museums 17th/18th Century Octagonal Silver Filigree and Enamel Casket.
This wonderful casket would look a great deal better for a gentle clean and polish.
_____________________________
The Dutch Museums 17th/18th Century Dragon Four Lobed Silver Filigree Casket.
Important Note:
This casket might be a key piece in identifying Filigree objects particularly the caskets manufactured in Batavia by Chinese craftsmen.
It combine the filigree and enamel techniques seen on the caskets above with the Chinese Dragon Motifs.
It would be really useful to know the provenance of this piece.
Universal Geography Formed Into a New and Entire System:
Describing Asia ... 1794. By John Payne
Ref. Sumatra - page 198 -
___________________
Papers on the Ethnology and Archaeology of the Malay
Peninsula.
By Ivor H. N. Evans.
1927.
-------------------------
Of tangential interest Filigree and CAD software -
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