Petrus van Marum – Calculations and Clay

Petrus van Marum was among those who registered their factory trademark with the Saint Luke’s Guild in Delft on April 21st, 1764. By then, he had owned ‘De Romeyn’ (The Roman) for ten years. While the legacy of products from his tenure is not extensive, he was undoubtedly an engaged and successful factory owner. In this month’s article, we introduce you to van Marum, the twelfth owner of ‘De Romeyn’.

De Romeyn

Petrus van Marum purchased ‘De Romeyn’ factory from Jacob Jacobz. Gouverneur on May 4, 1754. The factory already had a long history, as it was first established by Cornelis Rochusz van Bodegom (van Hoeck) in 1606, who converted a former roof tile factory into a pottery factory.(1) The name ‘De Romeyn’ however, first appears in archival records in 1671.(2)

Although the company is less famous than other Delft potteries like ‘De Grieksche A’ (The Greek A) and ‘De Metaale Pot’ (The Metal Pot), it proved to be a stable player in the Delft faience market despite some downturns in its history. It remained in business until 1774, by which time only eighteen of the original thirty-three factories were still operating.

Based on various inventories, ’De Romeyn’ produced tiles from the early years until at least the end of the seventeenth century.(3) Starting in 1636, the factory produced faience utilities in addition to tiles.(4) In 1671, Jan Leendertsz. van Schie was hired to produce “the largest dishes, round plates, parrot bowls, sugar bowls, and so-called ‘kloeckarels’,” which refers to a specific size.(5) A 1679 inventory shows that the assortment had expanded to include a variety of household items such as butter dishes, salt cellars, mustard pots, pitchers, and oil jars.(6) These inventories suggest that the main focus at the time was on common utilities.

‘De Romeyn’ experienced significant innovation during the ownership of Martinus Gouda, who co-owned the factory with Ary de Milde in 1671 and later ran it alone until 1678. De Milde and Gouda were responsible for early experiments with red stoneware Delft teapots, imitating Chinese Yixing wares. Although Martinus Gouda continued the business until 1678, he made a significant career change by starting a psychiatric institution at his home. However, Gouda remained involved in the pottery business, as he registered a trademark for marking red stoneware teapots in 1680.(7) The trademark was registered together with Johannes Mesch, Cornelis Keijser, Jacobus and Adriaan Pijnacker, Q. Kleinoven, and Jan Jansz Culick, illustrating his close relations with others in the pottery industry.(8)  Gouda’s trademark resembles the six characters of the Kangxi mark (fig. 2).(9)

 

Although the inventories suggest the production output of ‘De Romeyn,’ there are seemingly no products from the seventeenth century that can be definitively attributed to ‘De Romeyn’ during Martinus Gouda’s directorship. However, the Rijksmuseum in Amsterdam holds a pot with yellow Chinoiserie decorations on an olive green background that is attributed to Martinus Gouda.(10) Although this pot is unmarked, the attribution is based on a similar pot in the Evenepoel Collection at the Royal Museum of Art and History in Brussels, which bears a six-character mark resembling that of Gouda.(11) However, it seems questionable whether this mark is indeed Gouda’s, as he registered it in 1680 for use on red stoneware teapots, by which time he was no longer officially involved with ‘De Romeyn.’

 

 

 

Petrus van Marum

Drastic career changes were not uncommon among Delft potters. As previously mentioned, Gouda left the pottery industry for an entirely different career. Meanwhile, Petrus van Marum entered the pottery business from a completely unrelated field. Van Marum received his diploma as a fortification engineer and land surveyor from the University of Groningen on May 9, 1736. Land surveyors measured land, and accurately determining the dimensions of plots was often of great importance. In the Republic of the United Provinces, a tax was levied on land ownership, making the measurement or re-measurement of plots to determine the correct amount of taxes owed one of their most crucial tasks.(12) Admission to the profession of surveying required an extensive procedure. The first step was an exam that tested the candidate’s knowledge and skills. The responsibility for the exams lay with the highest administrative and judicial body in the province, the Court. Most provinces had a fixed examiner or a committee of examiners who rigorously tested the candidates. Upon passing the exam, the candidate took an oath, promising to perform his work to the best of his ability and in good conscience. To be officially recognized, the surveyor then had to submit a request for admission to the Court. Upon receiving a favorable response, he could begin working as a sworn and admitted surveyor.(13)

On June 27, 1740, Petrus van Marum was granted the right by the Delft city council to teach mathematical figures, algebra, land surveying, and navigation, and to practice his profession as a land surveyor.(14) It in unclear why van Marum moved to Delft. Prior to receiving his diploma, there is no record of him. He most likely came from Groningen or its surrounding area, known as the ‘Ommelanden’, and was probably born around 1705.(15) Perhaps he left his hometown due to a lack of work; although only 38 surveyors were promoted in Groningen between 1727 and 1808, which does not seem many.(16) It is also likely that he came to Delft for love, as he married Cornelia van Outheusden in 1744 and they had six children together.(17) One of them, Martinus, became a famous doctor and scientist and the first director of the ‘Teylers Museum’ in Haarlem.

Petrus had a broad range of interests, and likely passed on his love of science to his son Martinus. Petrus was recorded as a buyer of two lots of scientific instruments at the ‘Anthony van Leeuwenhoek'(18) auction of scientific instruments, held at the Saint Luke’s guild office on May 29, 1747.(19) At that time, he was still active as a teacher of mathematics and navigation.(20) The reasons behind his decision to purchase the pottery factory ‘De Romeyn’ (The Roman) from Jacob Gouverneur on May 4, 1754, are not revealed in archival sources.(21) Petrus’s wife, Cornelia, shares the same family name as one of the previous owners of the factory, Hermanus Maertensz van Outheusden (Oudheusden). He owned the company before it was known as ‘De Romeyn’, from 1636 until approximately 1638. Although it remains uncertain if they were actually related, this connection might suggest their link to the pottery industry. However, like many others involved in the pottery industry, Petrus’s decision could have been financially motivated.

He was certainly not just a silent investor, as Petrus actively engaged in the pottery factory. His achievement of the title of master potter in 1755 was one example of his involvement.(22) This is further illustrated by several archival sources mentioning his (international) connections and trade. In any case, he had trade relations with the cities of Amsterdam, Rotterdam, Dordrecht, and Hamburg.(23)

During his ownership, van Marum expanded ‘De Romeyn’ significantly.(24) He also acquired at least nine plots with buildings in Delft, as evidenced by a public auction on October 18, 1766, where he sold seven properties in the city. Further sales took place in November of the same year, with an additional transaction occurring in 1768.(25)

While the exact source of his wealth remains uncertain, it appears that the pottery factory generated substantial income for Petrus van Marum. When he sold it in 1764, the factory was described as ‘van ouds vermaarde plateelbakkerij’ (a long-renowned pottery factory). The prevailing economic conditions were highly favorable at the time, as the Delft pottery industry benefited from the effects of the Seven Years’ War (1756-1763).(26) This global conflict, involving major European powers such as Prussia and Saxony as adversaries, caused a stagnation in the trade of porcelain, from potteries such as Meissen and Höchst, thereby creating opportunities for Delft potters.

Legacy

Petrus van Marum registered his PVM mark just a few months before selling ‘De Romeyn’ in 1764, resulting in very few objects bearing this particular mark that exist today. Despite their scarcity, these items provide valuable insights into the variety of wares produced under van Marum’s ownership at ‘De Romeyn’. The products crafted during this period included traditional blue and white as well as polychrome tableware, along with innovative figurative objects. One notable example is a blue and white oil and vinegar set featuring the original mark registered in 1764 (Fig. 5?).(27) Additionally, the Aronson Collection houses a polychrome set of pike tureens marked with a slight variation of this specific hallmark (fig. 3). Moreover, several objects with the mark P:V:M have been documented. Notably, a polychrome cistern marked P:V:M in the Aronson Collection plays a crucial role in identifying van Marum’s marks, because it is dated 1754 (Fig. 6). This suggests that van Marum likely used this mark since his tenure at ‘De Romeyn’. This assertion is supported by the registration of several alternative ‘PVM’ marks documented in a publication by Maria Penkala from 1951.(28)

A pair of polychrome horse figurines not only exhibit the same decorative style as the 1754-dated cistern but also bear the identical P:V:M mark (fig 7). Another example is a blue and white butter tub adorned with farm scenes, featuring a lid adorned with a female farmer figure and marked with a similar ‘P:V:M 48’ mark in blue prior to its registration ( fig. 8)

 

 

Marked with another variation of the PVM mark and showcasing a distinctive soft yellow-green color, are these pair of polychrome recumbent deer butter tubs (fig. 9). While clearly executed by a different artisan, it appears probable that they were produced at ‘De Romeyn’ during Van Marum’s ownership, given their stylistic coherence with the period and the innovative range of the company.

 

 

 

 

 

Most striking is this suggestive teapot in the collection of the Kunstmuseum The Hague, which also bears Van Marum’s PVM mark (Fig. 10). It exemplifies the company’s ability to produce innovative objects. Several similar teapots, though unmarked, also exist.

In 1764, Petrus van Marum returned to Groningen and sold the factory to Jan van der Kloot, the grandson of Johannes van der Kloot, who had worked as a pottery painter since 1727.(29) Van Marum retained some property in Delft and granted a notary power of attorney to manage his assets. Subsequently, he sold portions of his property in Delft in 1766 and 1768.(30) In 1771 and 1780, Petrus van Marum received a fief letter(31) for the Hof te Hemmen, an estate near Groningen, from the fiefdom chamber of the States of Overijssel.(32) Further details about his life there are lacking. He passed away on September 3, 1781, leaving behind a small yet intriguing piece of the puzzle in the history of Delft faience.

 

 

 

Notes

1.  Hoekstra-Klein-Klein, 2006, Den Haag, 2006, pp. 17-18

2.  Hoekstra-Klein-Klein, 2006 p. 17

3.   Dating from 1608, 1621, 1636, 1637, 1678, and 1696.

4.   Hoekstra-Klein-Klein, 13, p. 42

5.   Mr. A. H. H. van den Burgh, ‘Delftsche Roode Theepotten’, in:

“Oud-Holland“, jg. 19, 1901, p. 103

6.   Hoekstra-Klein, 2006, p. 43

7.   Van Den Burgh, 1901, pp. 115-116

8.   City Archive Delft, Archieven van het stadsbestuur van Delft, (1222) 1246-1813 (1853), 2.2.1.2.3, inv. nr 1724 and in Van den Burgh, 1901, p. 116

9.  Jonkvrouwe Dr. C.J. de Jonge, ‘Oud Delft 5. Delfts Aardewerk’, Den Haag/Rotterdam, 1965,  p. 212

10.  BK-1960-172: http://hdl.handle.net/10934/RM0001.COLLECT.234089

11.  J. Helbig, ‘Faïences Hollandaises, XIIe -XVIIIe -Debut CXIXe S. I. Pièces marquées’, 1960, p. 72

12.  H. W. Lintsen,‘Geschiedenis van de Techniek in Nederland. Deel 5 de wording van een moderne samenleving 1800-1890’, Uitgever Walburg Pers, Zutphen, 1994, p. 27

13.  Lintsen, 1994, p. 28

14.  Archieven van het Stadsbestuur van Delft, (1222) 1246-1813 (1853), inv. nr. 1.1808, Folio 63v

15.  Lintsen, 1994, p. 28

16.  Noord-Hollands Archief, Haarlem, Archive Marum, dr. M. van te Haarlem, 529-1

17.  Hoekstra-Klein-Klein, 2006, p. 112

18.  Anthoni van Leeuwenhoek was especially known for his self-made microscope and his pioneering work in cell biology and microbiology. Starting in 1674, he made many discoveries that became known through his correspondence with the Royal Society in London.

19.  P.C.J. van der Krogt, ‘De Kamer Delft en de kaarten van de V.O.C, in: H.L. Houtzager e.a. ed.. Delft en de Oostindische Compagnie. – Amsterdam. 1987. – (Serie-uitgave van het Genootschap Delfia Batavorum ; 14), blz. 72.

20.  Idem

21.  Hoekstra-Klein-Klein, 2006, pp. 32-33

22.  Hoekstra-Klein-Klein, 2006, p. 34

23.  Hoekstra-Klein-Klein, 2006, p. 83-84

24.  Hoekstra-Klein-Klein, 2006, p. 66

25.  Hoekstra-Klein-Klein, 2006, p. 85-86

26.  Christine Lahaussois, ‘Delfts Aardewerk’, Mercator, Brussel/Amsterdam, 2008, p. 162

27.  One set sold at Christies Amsterdam at April 27, 2010 and the other at the Zeeuws Veilinghuis on June 12, 2018

28.  Maria Penkala, ‘European Pottery’, Hengelo, 1951, p. 252

29.  De Jonge, 1965, p. 337

30.  Hoekstra-Klein-Klein, 2006, p. 84

31.  A fief letter (leenbrief in Dutch) is a formal document issued in a feudal system, granting a person rights to use and benefit from a piece of land or property, usually in exchange for loyalty and service to a lord or sovereign. It details the conditions under which the fief is held, the obligations of the vassal, and the privileges granted.

32. J Groninger Archieven, Inventaris van het Hof te Hemmen beneden Haren, inv. nr. 628, nr. 6 and 7

 

Literature

Aronson, Robert D., Celine Ariaans, Sacha Serra, Delftware, Tangible Memories, Amsterdam, 2018

Aronson, Robert D., Celine Ariaans, Delftware, Between Heaven & Earth, Sources of Inspiration, Amsterdam, 2020

Aronson, Robert D., Celine Ariaans, Femke Haitsma Mulier, Tsiporah Reijzer, Delftware, The French Connection; A Parisian Private Collection and Other Recent Acquisitions, 2024

Burgh, Mr. A. H. H. van den, ‘Delftsche Roode Theepotten’, in: “Oud-Holland“, jg. 19, 1901

Helbig, J., ‘Faïences Hollandaises, XIIe -XVIIIe -Debut CXIXe S. I. Pièces marquées’, 1960

Hoekstra-Klein-Klein, Wik, Deel 13, 2006, Den Haag, 2006

Jonge, Jonkvrouwe Dr. C.J. de J., ‘Oud Delft 5. Delfts Aardewerk’, Den Haag/Rotterdam, 1965

Krogt, P.C.J. van der, ‘De Kamer Delft en de kaarten van de V.O.C, in: H.L. Houtzager e.a. ed.. Delft en de Oostindische Compagnie. – Amsterdam. 1987. – (Serie-uitgave van het Genootschap Delfia Batavorum ; 14)

Lahaussois, Christine, ‘Delfts Aardewerk’, Mercator, Brussel/Amsterdam, 2008

Lintsen, H. W., ‘Geschiedenis van de Techniek in Nederland. Deel 5 de wording van een moderne samenleving 1800-1890’, Uitgever Walburg Pers, Zutphen, 1994,

Penkala, Maria, ‘European Pottery’, Hengelo, 1951