Chine de Commande
China, late 17th–18th century
Chinese porcelain with a shape and/or decoration copied directly from a European model is called chine de commande. It is a special group within the much wider assortment of Chinese export porcelain. There are different varieties: the Western shape with a Chinese decoration, the Chinese shape with a Western decoration, and the Western shape with a Western decoration.
Such shapes often are derived from models brought from Europe. The Chinese porcelain painter also copied the Western decorations as best as he could, mostly using European prints as his model. There is an enormous variety of designs of this type: scenes from classical mythology, historical and political events, landscapes with a view of a village or town, amorous or erotic depictions, portraits, religious scenes, etc. A specific type, encre de chine, with its thin, almost drawn lines of grey-black enamel, was best suited to imitate the lines of Western engravings. The designs for commande made by the Dutch artist Cornelis Pronk, in particular the so-called 'Parasol Ladies', ordered in three different colour schemes are particularly famous. The VOC (Dutch East India Company, 1602–1799) ordered these between 1735 and 1740 as an expensive exception to the variety of ordinary porcelain that the Company normally bought.
Commande was popular throughout the 18th century. Decorations in underglaze blue were painted in the factory; those in enamels were done in muffle kilns in Canton, especially after c.1740. Armorial porcelain is a special group of chine de commande, decorated with a family coat of arms or the arms of a Dutch town or province. The first examples appeared at the end of the 17th century in Batavia and were made for high-ranking VOC employees. We know of about 500 Dutch families that had armorial porcelain that was made in China. Chine de commande was expensive, made in limited amounts and was almost always ordered privately.
Object 2010C199
Teacup and saucer
Provenance: China
Dating: Qianlong period (1736-1795), c.1730-1750
Teacup and saucer on footrings with glazed bases. Made of soft-paste porcelain. Decorated in underglaze blue.
The teacup and saucer are decorated with a group of people on a spit of land jutting into a lake or the sea. To the left on the shore two children with outstretched hands, at the far left rocks with trees. Around the rim of the saucer and inner rim of the teacup a narrow band with honeycomb motifs. The reverse of the saucer and the inner wall and bottom of the teacup are undecorated.
C.J.A. Jörg states in his "Jan Menze van Diepen Stichting. Selectie uit de collectie Oosterse keramiek. (Jan Menze van Diepen Foundation. A Selection from the Collection of Oriental Ceramics)" that this dramatic and moving representation has yet to be identified. The figures (castaways or slaves?) have dark skins and appear exhausted, or are in despair. Undoubtedly, the Chinese porcelain painter painstakingly copied the scene from a Western print, possibly an engraved illustration in a travelogue or one of the countless descriptions of strange and exotic places that were published in the Netherlands in the 17th and first half of the 18th century. Plates, dishes, lotus-flower shaped dishes teacups and saucers in various shapes and even drip-trays for a jardinière are known with this representation, all in underglaze blue. Polychrome versions do not seem to exist. An (unpublished) cup and saucer in the Dutch Kasteel Loosdrecht Collection has the text 'Chineesche Begrafenis' (Chinese Funeral) written in ink in 19th-century script on the back of the saucer. This unfortunately, does not aid in its identification.
C.J.A. Jörg in collaboration with J. van Campen states in his "Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam. The Ming and Qing Dynasties" that soft-past porcelain, which is quite different from European soft-paste, originated about 1700 and became popular in the second quarter of the 18th century as part of the export assortment. unlike ordinary porcelain, it is not translucent and often has a creamy-white appearance. The glaze is often finely crackled as the result of a difference in cooling between the glaze and the body. The latter is made of a white-firing clay, called "huashi" or "slippery stone", the use of which is documented in the reports of 1712 and 1722 by the Jesuit Père d'Entrecolles. As this clay was expensive, soft-paste pieces are usually small and thinly potted. They are also well-painted, as the body is particularly suitable for detailed drawing. Besides this "true" soft-paste, there are pieces with an ordinary porcelain body and a coating of "huashi" clay, which gives the same effect.
For an identical decorated dish see:
For a similar decorate dish see:
Dimensions:
Teacup
Height: 38 mm (1.49 inch)
Diameter: 70 mm (2.76 inch)
Diameter of footring: 35 mm (1.38 inch)
Saucer
Height: 22 mm (0.87 inch)
Diameter: 115 mm (4.53 inch)
Diameter of footring: 67 mm (2.64 inch)
Condition teacup: Perfect, fine crazing to the glaze.
Condition saucer: A firing hairline in the centre visible on both sides, fine crazing to the glaze.
References:
Lunsingh Scheurleer 1977, p.84, cat. 246.
Jörg & Van Campen 1997, p.117, cat. 119.
Jörg 2002/2, pp.146-147, cat. 100.
Price: € 1.499 - $ 1.917 - £ 1.199
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2010C180
Dish
Provenance: China
Dating: Qianlong period (1736-1795)
Dish on a footring with a straight rim and a glazed base. Polychrome decorated in blue and pink overglaze enamels, iron-red, black and gold.
Decorated with an elaborate cartouche and two cyphers, filled with unidentified initials, beneath a coronet held by two flying clothed angels, being typical for the Dutch market of Armorial porcelain. The angelic figures represent marriage and were particularly popular in Dutch Heraldry at that time, so this is undoubtedly a marriage service. The border, copying a Viennese du Paquier design was popular for about two decades. The reverse is undecorated.
C. le Corbeiller states in her "China trade porcelain: patterns of exchange. Additions to the Helena Woolworth McCann collection in the Metropolitan Museum of Art" that in 1722 Père d'Entrecolles reported that the Chinese were experimenting with painting in black, so far unsuccessfully. Black or schwarzlot, decoration, was also then just being developed in Europe, and in fact the German Hausmaler was putting it primarily on Chinese imported in the white, rather than on wares from the newly established Meissen factory. It must have been these hybrids that were sent back to Canton for imitation at the time of Père d'Entrecolle's letter, but the perfection of the technique and its translation into commercial export porcelain came only later, under the direct influence of the du Paquier period (1719-1744). Unique to the du Paquier factory was the Laub- und Bandelwerk border, based on two series of engravings by Paul Decker (d.1713). Continually modified and varied its essential elements were strapwork, palmettes, trelliswork cartouches, and foliate scrolls combined into a rhythmical pattern of baroque formality. Other China trade versions of the Laub- und Bandelwerk border, such as the more usual one with the addition of peacock and with panels of quilting rather than trellis- or scale work are farther removed from their Viennese factory prototypes, and are perhaps derived from Hausmaler variants.
For a sold, identical decorated milk jug, see:
Dimensions:
Height: 43 mm (1.69 inch)
Diameter: 228 mm (3.14 inch)
Diameter of footring: 138 mm (5.43 inch)
Condition: Three fleabites and two frits to the rim.
References:
Corbeiller 1974, pp.68-69, cat. 30.
Price: € 1.999 - $ 2.622 - £ 1.621
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2011138A
Teacup and Saucer
Provenance: China
Dating: Yongzheng period (1723-1735)
Marks: Symbol marks: Chinese bee, symbol of industry and prosperity, underglaze blue.
A thinly potted teacup and saucer on footrings, spreading sides and rims with glazed bases. Decorated in underglaze blue.
In the centre of the saucer, a spray of asters in the upper half of the design, the lower half of the design is well known in the Netherlands as the "cuckoo on the house" This design, the origin of which has never been explained, shows a small house and a separate tall chimney while two partridge-like birds fly in the sky. Around the interior rim a stylised laurel border. On the exterior three sprays of flowering branches. On the exterior of the teacup a spray of asters the design is well known in the Netherlands as the "cuckoo on the house" This design, the origin of which has never been explained, shows a small house and a separate tall chimney while two partridge-like birds fly in the sky. Around the ex- and interior rim a stylised laurel border. On the bottom a flowering aster. (source: The Choice of the Private Trader. The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, (D.S. Howard, London, 1994))
D.F. Lunsingh Scheurleer states his "Chine de Commande" that in the Netherlands this specific design is called "koekoek uit ´t huisje" or "cuckoo outside of the cottage".
S. Hartog states in his “Pronken met Oosters Porselein” that the Chinese bee, with which both objects are marked, is a symbol of industry and prosperity. For example, a bees’ nest near a house is seen as a good omen.
D.S. Howard states in his "The Choice of the Private Trader. The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection" that the design is exactly as painted on cups and saucers of c.1695, recovered off the Vung Tau peninsula from the wreck of a Chinese vessel sailing to Batavia.
In Sotheby's auction catalogue “Made in Imperial China. 76.000 pieces of Chinese Export Porcelain from the Ca Mau shipwreck, circa 1725, Sotheby's Amsterdam, 29, 30 & 31 January 2007“, p.124, lot numbers 461-462 seven teacups and thirty-two saucers with identical decoration were sold as the “Garden Pavilion“ pattern and described as “decorated with a small pavilion, its chimney smoking, flenked by birds perched on a giant column and bush, the rim with stylised laurel border“. Sotheby´s adds that the pattern exists in early Meissen.
For a teacup and saucer with identical decoration see;
- Chine de Commande, (D.F. Lunsingh Scheurleer, Hilversum, 1966), p.102, cat. 141.
- Chinese export porcelain. Chine de Commande, (D.F. Lunsingh Scheurleer, London, 1974), English translation of the Dutch edition, Hilversum 1966, cat. 147.
- Pronken met Oosters porselein, exhibition catalogue Gemeente Museum Arnhem, (S. Hartog, Waanders, Zwolle, 1990), p.93, cat. 98.
- Made in Imperial China. 76,000 pieces of Chinese Export Porcelain from the Ca Mau Shipwreck, circa 1725, auction catalogue Sotheby’s Amsterdam, 29, 30 & 31 January 2007, p.124, lot numbers 461-462.
For an identical decorated dish see;
For a, sold, similar decorated dish see:
Dimensions:
Teacup
Height: 35 mm (1.38 inch)
Diameter: 64 mm (2.52 inch)
Diameter of footring: 32 mm (1.26 inch)
Saucer
Height: 16 mm (0.63 inch)
Diameter: 101 mm (3.98 inch)
Diameter of footring: 50 mm (1.97 inch)
Condition teacup: Two fleabites and a tiny shallow rough spot to the rim.
Condition saucer: A few tiny fleabites to the rim, two with a tiny < 5 mm (0.19 inch) connected hairline.
References:
Lunsingh Scheurleer 1966, p.102, cat. 141.
Lunsingh Scheurleer 1974, cat. 147.
Amsterdam 2007, p.124, lots 461-462.
Price: € 399 - $ 536 - £ 342
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2010C210
Milk jug
Provenance: China
Dating: Qianlong period (1736-1795), c.1760-1780
Milk jug on footring, pear shaped body with handle, small triangular spout at the rim. The handle is placed opposite the spout. Rim unglazed inside for cover, now missing. Overdecorated in various overglaze enamels, iron-red, black and gold in The Netherlands, Amsterdams Bont c.1760-1780.
On the body, a decoration of sailors on the decks of a black-rigged brown ship flying three (in different directions!) red, white and blue Dutch flags on a heavy sea, in a wreath of flowerheads and bamboo, round the rim a diaper pattern border.
This milk jug came most likely only decorated with the diaper pattern border and the wreath to the Netherlands, the middle piece was left blanc to be decorated in the West with an Armorial shield, initials or as in this case a ship. The ship is being painted in the style it also appeared on objects dating around 1730-1740.
A dish from this period, decorated with a similar ship, was sold at;
For another similar decorated dish see;
This particular milk jug most likely came to the Netherlands as a replacement for an original milk jug in a tea service that was broken or more likely as an addition to a set of teacups and saucers that had to be completed with a milk jug, as well as a teapot and tea caddy.
Dimensions:
Height: 92 mm (3.62 inch)
Diameter: 74 mm (2.91 inch)
Diameter of mouthrim: 32 mm (1.26 inch)
Diameter of footring: 32 mm (1.26 inch)
Condition: A tiny short hairline to the rim and a remodelled handle.
References:
Lunsingh Scheurleer 1966, cat. 355.
Price: € 499 - $ 662 - £ 409
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2011154
Dish
Provenance: China
Dating: Yongzheng period (1723-1735)
Dish on footring with a glazed base and a flattened rim and a moulded wavy rim in relief. Decorated in underglaze blue.
We see a decoration of a village with a church and houses, the lighthouse with trees, the figures with a cow, and the poles with clouds. The slightly crimped rim is painted with a wave-scroll border. On the exterior wall three flowering branches. The low footring is encircled with a double-line border.
C.J.A. Jörg states in his "Fine & Curious, Japanese Export Porcelain in Dutch Collections" that this scene is called "Deshima" or "Scheveningen". It certainly does not depict the Dutch factory in Nagasaki, and Scheveningen, a fishermen´s village on the Dutch coast near The Hague, is a more appropriate name. In fact 47 "Scheveningen" plates were already mentioned in the 1778 sale catalogue of the porcelain shop of Martha Raap in Amsterdam, clearly indicating this type. Research was undertaken to find the print that was used as a model, non with this view have come to light. it is therefore possible that another source was used, maybe a plate or dish in the so-called Frijtom style. This is the most common version of this design, copied by the Chinese.
D.S. Howard states in his "The Choice of the Private Trader. The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection" that the design, almost certainly copied from a drawing by Frederick van Frijtom (1652-1702), was highly popular in The Netherlands, and possibly also in Japan as a kind of Western exoticism. The rim design is unique in Chinese export porcelain and is almost certainly after a silver original.
H. Terwee states in: "Antiek" XXIII-4, "De Scheveningen-bordjes ontmaskerd?" that traditionally, and incorrectly, this scene is often identified as a view of Deshima, the fan-shaped, man-made island in Japan to which Westerners were restricted between 1641 and 1862.
This dish is a close Chinese copy of an original Japanese version.
For an identical decorated dish, see:
- Japans porselein met blauwe decoraties uit de tweede helft van de zeventiende en de eerste helft van de achttiende eeuw. (D.F. Lunsingh Scheurleer in Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, vols. 64/65, 1971), p.73, cat. 65.
- Porzellan aus China und Japan. Die Porzellangalerie der Landgrafen von Hessen-Kassel, (Staatliche Kunstsammlungen Kassel, Berlin 1990), p.470, cat. 246.
- The Choice of the Private Trader. The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, (D.S. Howard, Zwemmer, London, 1994), p.44, cat. 11.
For a similar sold Chinese version see:
For an original sold Japanese version see:
Dimensions:
Height: 26 mm (1.02 inch)
Diameter: 200 mm (7.87 inch)
Diameter of footring: 120 mm (4.72 inch)
Condition: two spots of plopped bubbles glaze caused during the firing proces and a shallow glaze chip to the rim.
References:
Lunsingh Scheurleer 1966, cat. 272.
Lunsingh Scheurleer 1971, p.73, cat. 65.
Corbeiller 1974, p.29, cat. 10.
Howard & Ayers 1978, pp.72-73, cat. 32.
Arts 1983, Lochem 1983, p.101, Plate 57.
Lunsingh Scheurleer 1989, p.202, cat. 176.
Jörg 2003/1, p.240, cat. 306 & 307.
Price: € 799 - $ 978 - £ 628
(the $ and £ prices are approximates and depend on the € price exchange rate)
Objects 2010313 & 2010478
Teacup & saucer
Provenance: China
Dating: Qianlong period (1736-1795), c.1750-1775
Teacup and saucer on a footring with a glazed base. Decorated underglaze blue.
The representation, commonly known as the "Parasol Lady”, after a sketch commissioned by the Dutch East India Company, (Verenigde Oost-Indische Compagnie, VOC) from the Dutch artist Cornelis Pronk (1691-1759).
C.J.A. Jörg states in his "Pronk Porcelain. Porcelain after designs by Cornelis Pronk, exhibition catalogue, Groninger Museum / Haags Gemeentemuseum" that this teacup and saucer date from about 1750-1770 and shows a lady standing at the water's edge, who is making a gesture with her hands towards two birds (in Pronk's original design there are three birds) on the ground in front of her, on the right, obliquely behind her, stands a maid servant holding an ornate parasol.
After the VOC ceased its orders for Pronk porcelain, Chinese porcelain painters developed their own version of Pronk's design, this teacup and saucer are a later Chinese interpretation of Pronk's Parasol Ladies.
Although similar in decoration and dating from the same period (1750-1770), this teacup and saucer are not originally a pair.
For a similar decorated saucer see:
Dimensions:
Saucer
Height: 17 mm (0.66 inch)
Diameter: 110 mm (4.33 inch)
Diameter of footring: 66 mm (2.60 inch)
Teacup
Height: 40 mm (1.57 inch)
Diameter: 75 mm (2.95 inch)
Diameter of footring: 40 mm (1.57 inch)
Condition saucer: A consolidated 15 mm (0.59 inch) hairline to rim, and two tiny restored frits to the rim.
Condition teacup: Two consolidated 35 mm (1.38 inch) hairlines to the rim and a restored chip to the rim.
References:
Beurdeley 1962, p.60, Fig. 32-35
Lunsingh Scheurleer 1966, cat. 187.
Price: € 999 - $ 1.356 - £ 857
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 201098
Saucer
Provenance: China
Dating: Qianlong period (1736-1795), c.1750-1775
A rare and for its time very finely painted saucer on a footring with a glazed base. Decorated underglaze blue.
The representation, commonly known as the "Parasol Lady”, after a sketch commissioned by the Dutch East India Company, (Verenigde Oost-Indische Compagnie, VOC) from the Dutch artist Cornelis Pronk (1691-1759).
C.J.A. Jörg states in his "Pronk Porcelain. Porcelain after designs by Cornelis Pronk, exhibition catalogue, Groninger Museum / Haags Gemeentemuseum" that this saucer dates from about 1750-1770 and shows a lady standing at the water's edge, who is making a gesture with her hands towards two birds (in Pronk's original design there are three birds) on the ground in front of her, on the right, obliquely behind her, stands a maid servant holding an ornate parasol.
After the VOC ceased its orders for Pronk porcelain, Chinese porcelain painters developed their own version of Pronk's design, this saucer is a later Chinese interpretation of Pronk's Parasol Ladies.
For a similar decorated teacup and saucer see:
A set of saucers was offered for sale at Sotheby's Amsterdam, sale AM 0939, November 22, 2004, obj 240.
Dimensions:
Height: 19 mm (0.75 inch)
Diameter: 110 mm (4.33 inch)
Diameter of footring: 65 mm (2.44 inch)
Condition: Two 4 mm (0.16 inch) glaze frits, one to the front and one to the back of the rim, and four tiny
1 mm (0.04 inch) fleabites to the reverse rim only visible at the reverse.
References:
Beurdeley 1962, p.60, Fig. 32-35.
Lunsingh Scheurleer 1966, cat. 187.
Price: € 749 - $ 1.043 - £ 653
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2010C142
Dish
Provenance: China
Dating: Late Kangxi period (1662-1722)
early Yongzheng period (1723-1735),
c.1710-1730
Dish on footring with a flattened rim.
Chinese Imari, decorated in underglaze blue and overglaze iron-red and gold. The rim in underglaze brown.
The rim is decorated with rocks, zig-zag lines, flowers and leaves. The zig-zag lines represent a thunderbolt, seen on Delft faience of the first quarter of the 18th century and based on Japanese patterns. The cavetto is decorated with a border of scrollwork and flower sprays.
J. Kroes describes the decoration in his "Chinese Armorial Porcelain for the Dutch market" as: in the centre a coat of arms: a Chevron between three eagles and a bezant, in chief an unidentified charge; the crest is a heron-like bird with an eel (or snake) in its beak between two wings. This coat of arms was borne by the Van Gellicum family. It can be seen on a seal of 1921 which belonged to J.A. van Gellicum, who was a cavalry major. He decended from a family of probably wealthy farmers in the village of Deil in the Betuwe, Gelderland, The Netherlands. In this family either Jan Roelofs van Gellicum (1684-) or his son, Roelof van Gellicum (1708-), could have ordered this armorial porcelain. Jan Roelof married in 1707 and his son Roelof in 1749, the latter to Elisabeth Hoeken (1718-). In the 18th century three members of another branch of the Van Gellicum family (who are not related to the Deil family as far as is known) could have ordered these armorial dishes. The first two are the surgeon Chr. van Gellekom living in Amsterdam in 1742 and Hermanus van Gellicum, who also lived in Amsterdam about 1750-1760. The third is most intresting, Harmen van Gellecom, a native from Gorinchem The Netherlands, who was kwartiermeester (quarter-master or leading seaman), on four East Indiamen sailing on behalf of the V.O.C. Chamber of Zeeland to Batavia between the years 1728 and 1736. The date of this porcelain correlates with his time in the Indies. This dish was part of a very large set of dishes, over 100 recorded examples (so far only dishes have been identified) Three sizes are known 380 mm (14.96 inch), 355 mm (13.98 inch) and 225 mm (8.86 inch).
C.J.A. Jörg in collaboration with J. van Campen states in his "Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam. The Ming and Qing Dynasties" that on basis of 20th century lacquer seals these arms are usually attributed to the Van Gellicum family, but since nothing seems to be known about 18th century members, the identification is questionable. Dishes of this design are not rare and usually have a Dutch pedigree. There are other examples (unpublished) in the Drents Museum Assen, and the Princessehof Museum, Leeuwarden.
For an identical dish see:
Dimensions:
Height: 18 mm (0.71 inch)
Diameter: 222 mm (8.74 inch)
Diameter of footring: 120 mm (4.72 inch)
Condition: A frit to the rim and a X-shaped hairline to the base.
References:
Jörg & Van Campen 1997, p.302, cat. 353.
Kroes 2007, pp.118-119, cat.no. 20a & 20b.
Price: € 499 - $ 652 - £ 405
(the $ and £ prices are approximates and depend on the € price exchange rate)
Object 2010520
Teacup
Provenance: China
Dating: Late Yongzheng period (1723-1735), early Qianlong period (1736-1795), c.1730-1735
Teacup on a footring with a flattened rim. Polychrome decorated in various overglaze enamels.
Teacup, according to J. Kroes in his book, Chinese Armorial Porcelain for the Dutch market, The Hague 2007, ISBN 13: 9789040083310, p.138, cat.no. 43,there are only three or four plates in different sizes: 230 mm (12.60 inch) and 430 mm (16.93 inch), one coffee cup, two tea bowls and a saucer known with this Armorial.
J. Kroes describes the decoration in: Chinese Armorial Porcelain for the Dutch market, (J. Kroes, Waanders Publishers, The Hague, 2007), as follows: round the interior rim a narrow gold foliate scroll border with flower heads, on the bottom a single flower head. The exterior wall has a decoration of a Chinese water and mountain landscape. There are also rocks, trees, and a lake with houses, a bridge, several Chinese figures and two little boats on the lake. This mountain and water landscape is similar to the neighbourhood of the porcelain manufacturing town Jingdezhen in the province of Kiangsi. Two octagonal panels have been painted with a coat of arms: on a black background a gold waving bend with two gold roses or flower heads; the crest is a half-naked figure with a club on the right shoulder. The mantling has an open pattern of scrolling leaves. This coat was borne by the "Beekman" family from Middelburg and Nijmegen. About 1720-1730 there were two Beekman brothers living in Middelburg, Samuel and Adriaan. They were related to the influential Van de Putte family and in 1730 both brothers were heirs of Cornelis van de Putte. Both brothers held positions with the Middelburgsche Commercie Compagnie (MCC), they probably owed their position within the MCC to their grandfather, the MCC director, Hermanus van de Putte. In the 1740s Adriaan belonged to the (upper) middle class of Middelburg and probably had good connections with the Dutch East India Company (VOC) and its officials and it would have been easy for him to order these Armorial wares. On the bottom a decoration of an orchid (Cymbidium virescens), the Lan Hua. a motif commonly seen on fine Chinese export porcelain of around 1740. Round the inner rim a foliate and floral scroll border.
A dish with identical Armorial decoration is in the collection of the Rijksmuseum Amsterdam, number; AK-NM-13402.
Dimensions:
Height: 38 mm (1.49 inch)
Diameter: 140 mm (5.51 inch)
Diameter of footring: 75 mm (2.95 inch)
Condition: Restored.
References:
Price: € 499 - $ 652 - £ 405
(the $ and £ prices are approximates and depend on the € price exchange rate)
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