The Yearbook 2025

For many years, clay pipes depicting Frederik Hendrik and Amalia of Solms were believed to have been produced to commemorate their marriage in 1625. The recent discovery of a nearly complete pipe dated 1633 challenges this assumption and points to a different historical context for their production. This find allows a small, distinctive group of richly decorated so-called Baroque and Jonah pipes, marked with a stamped rose, to be attributed to the workshop of the little-known pipe maker Pieter Sijmonsz de Licht, who Latinised his name as Per de Licht or Lichtius. Like Baroque and Jonah pipes, De Licht’s pipes are often found in military and maritime settings, suggesting their popularity among soldiers and sailors. This article brings together known examples of his work, places them within a broader historical framework, and offers new insights into both the maker and the motivations behind the dated production of these pipes.

A find of fifty early clay pipes in the town of Zierikzee appear to (largely) be a local pipe makers waste dump. This is underlined by the fact that all early pipes are unsmoked and most have production defects that would have made them less suitable for sales and use. In addition, a piece of pottery was found with fragments of pipe stems attached to it, stuck to glaze. Half of the pipes are marked with three different marks, a climbing lion with initials II (or possibly HI), TI and II. Two pipes with different marks are clearly manufactured elsewhere. As research about pipe makers in the province of Zeeland is very limited sofar, this find provides new information about local activity, the produce and makers marks used.
In addition, a piece of pottery was found to which fragments of pipe stems were attached, embedded in the glaze. Half of the pipes are marked with three different marks: a climbing lion with the initials II (or possibly HI), TI, and II. Two pipes bearing different marks were clearly produced elsewhere. As research into pipe makers in the province of Zeeland has so far been very limited, this find provides new information on local production, the range of products, and the marks in use.
Because research into pipe makers in the province of Zeeland has so far been very limited, this find provides new insights into local production, the range of products, and the marks used.

In Macharen, near Oss, eleven clay pipe bowls were found on a farm. Eight of them were produced in ’s-Hertogenbosch by the pipemaker L. Eras, and one by Teunis van Eyck, who worked in ’s-Hertogenbosch on behalf of F. Sparnaaij from Gouda. The article discusses the counterfeiting of Gouda pipe marks and how little could be done against it at the time. The crowned 75 mark has not previously been identified on pipes from ’s-Hertogenbosch. This find also confirms that prosperity in Macharen during the nineteenth century was low. Two pipes from nearby Megen are also described.

The pipes discussed in this article were made by Martinus Nicolaas van Duijn (1855–1935) from Gouda, the third generation of pipe makers in his family. In 1885 he became the owner of the workshop, at a time when the Gouda pipe industry was already in decline. The piece in question consists of three interwoven pipes measuring 52 cm in length, clearly intended as a showpiece rather than for actual use. They are roughly finished and bear no heel mark. This exceptionally rare item features the Prussian coat of arms on the bowl, together with the inscription VIVAT DE PRUYSE. Braided clay pipes are rare in the Netherlands. Exceptions were those made specifically for exhibitions or special occasions, often as demonstrations of craftsmanship. A well-known example are the braided pipes by Goedewaagen, produced in 1897 during Queen Wilhelmina’s visit to the factory, which show strong similarities to the pipes by Martinus van Duijn discussed here.

Around 1900, several major clay pipe manufacturers in Gouda gradually began producing pottery and decorative earthenware (“Gouds plateel”), in many shapes and sizes. This shift helped compensate for declining revenues caused by reduced demand for the traditionally handmade, mould-pressed Gouda clay pipes. The production of these pressed pipes was partly replaced by clay pipes made in casting moulds (even though they were more expensive), as well as by the growing popularity of wooden tobacco pipes and pipes made from other materials. Among the pottery and decorative items still found in the manufacturers’ catalogues is a small number of large pipe racks, produced in various designs. The main producers of these large Gouda pottery pipe racks were Ivora, Regina, and Goedewaagen. This article describes and dates these large Dutch pottery pipe racks and three pipe racks that can be regarded as folk art.

Around 1900, several major clay pipe manufacturers in Gouda gradually began producing pottery and decorative earthenware (“Gouds plateel”), in many shapes and sizes. This shift helped compensate for declining revenues caused by reduced demand for the traditionally handmade, mould-pressed Gouda clay pipes. The production of these pressed pipes was partly replaced by clay pipes made in casting moulds (even though they were more expensive), as well as by the growing popularity of wooden tobacco pipes and pipes made from other materials. Among the pottery and decorative items still found in the manufacturers’ catalogues is a small number of large pipe racks, produced in various designs. The main producers of these large Gouda pottery pipe racks were Ivora, Regina, and Goedewaagen. This article describes and dates these large Dutch pottery pipe racks and three pipe racks that can be regarded as folk art.

Heinrich Gottfried Haasloop Werner (1792–1864) was a former military officer and a collector of Veluwe antiquities and clay pipes. After his retirement, he settled in Doornspijk and dedicated himself to regional history, archaeology, and folk culture. During his walks, he collected objects and residents often gave them their finds. His collection was displayed in his home on the De Haere estate. Seven pipe fragments from his collection, mounted on a piece of cardboard, have been preserved. They are now held by the Rijksmuseum in Amsterdam and originally came from the Museum of Antiquities in Leiden. The fragments range from fine Gouda pipes (1660–1690) with heel marks to coarser, unmarked examples from later periods. The exact origin and find locations are unknown, though some fragments appear to have come from the same context. In the 19th century, clay pipes were often mistakenly identified as Roman; it is unclear whether Haasloop Werner shared this view. His collection reflects the early interest in clay pipes as historical artifacts and contributes to the history of archaeological collecting in the Netherlands.

The French firm Gambier exported to the United States and Canada during the second half of the nineteenth century. Sales catalogues from American dealers show a wide range of products, including the well-known Crème Gambier pipes and models by Fiolet. Although France held only a small share of the American clay pipe import market between 1865 and 1867 (an average of 2.5%), exports grew significantly in the following decades. Major French manufacturers such as Gambier, Duméril, and Gisclon had representatives in cities like New York and San Francisco, indicating an active commercial strategy. In Canada, the popularity of French pipes was so great that Canadian manufacturers began imitating specific Gambier models. Around 1900, Gambier even developed special pipe designs featuring portraits of Canadian politicians. Similarly, portrait pipes of American politicians were created for export to the United States. These pipes are discussed in this article.

In Saint-Quentin-la-Poterie, a southern French village with a rich tradition in ceramics, Job Clerc’s pipe factory was active from around 1880. Clerc, from a wealthy family of pipe traders, took over the flourishing business of Pasquier. The factory produced pipes, children’s toys, and figurines, and exported to countries including Germany, Italy, and the U.S. During World War I, production peaked, with mainly female workers due to the mobilization of men. Clerc also created portrait pipes of wartime figures such as King Albert I, Marshal Joffre, Field Marshal French, and General Foch. These pipes, made of red or white clay, were sometimes painted or glazed and referred to the war effort. Two models of Joffre are known, including an enameled version from after 1918. Clerc also made a pipe shaped like a general’s cap resting on a hand. Although his products were not always of high quality, they were appreciated for their character and charm. The factory remained in operation until 1970, long after other French pipe makers had ceased production.

In the first half of the 20th century, the turnover of the pipe-making workshops in the Westerwald declined sharply. To keep their heads above water, many pipemakers began producing all kinds of figurines that were sold as toys or advertising items. These also included figurines depicting fairy tales and children’s stories, as well as heads for puppet-show puppets. During the National Socialist regime in Germany, so-called Winter Relief items (Winterhilfswerk) were also produced, the proceeds of which were supposedly intended for the poor, war widows, and orphans, but flowed into the war treasury. In the Westerwald, small mould-formed Winter Relief badges were made by the pipemakers. Some of these were zodiac signs, but most depicted figures from the children’s books of Wilhelm Busch, such as the stories of Max and Moritz, Herr and Frau Knopp, Die fromme Helene, and the painter Klecksel, as well as stories by Heinrich Hoffmann from his Struwwelpeter book. The article also illustrates many puppet-show heads. Not all the puppet characters could be identified by name. The pipemakers produced only two pipes with heads of characters from children’s stories: Max and Moritz. Where possible, the makers of the figurines have been indicated. The objects shown come from various private collections as well as from the collection of the Keramikmuseum Westerwald.

After the armistice of November 11, 1918, American troops occupied the area around Koblenz, including the Westerwald. Around 60,000 soldiers of the First Division were stationed across more than 100 towns and were quartered with local families. Relations with the German population were initially tense due to strict rules and bans on contact. To keep the soldiers occupied, sports events, excursions, and circus shows were organized. During this time, souvenirs made of Westerwald ceramics appeared, such as beer steins, ashtrays, and tobacco jars. In 2023, a rare tobacco jar was discovered, made by Dümler & Breiden, featuring medallions referring to battles, a circus parade, and an artillery regiment. The jar is a unique memento of the American occupation. Another tobacco jar depicts American troops. These ceramic pieces serve as tangible reminders of the American presence in Germany after World War I.