datandno


Grants and Stipends

1960	The Interest-free loan that we received from the Stedelijk Museum, Amsterdam, at the initiative of Paula Augustin,curator Applied Arts, came as a wonderful surprise. It was not a bursary or stipend proper, but it certainly was an encouraging sign of trust. Now we could take over the studio of artist Bert Nienhuis, who had recently died, and exchange our small basement-alcove workshop at Weteringschans for the high, light rooms at Kloveniersburgwal.

1962	Travelgrant Dutch Ministry of Culture. With this stipend I could visit Scandinavia and Finland, expensive countries. By hitch-hiking Johnny and I could make this journey together. Several years in succession I had pleaded with the Ministry to include also potters and ceramicists in their program of travel- and studygrants. This was the result.

1962	British Council Bursary. With this bursary I could travel to England and spend three months at the Farnham School of Art to learn about fire clays, stoneware and combustion-kilns. My suggestion, soon after arrival, to also use the bursery for visits to London galleries, museums and ceramic studio's, as well as for a tour along potteries in South England, found immediate approval. In my opinion this intense English period became the key-stone in my craft education. It was great to meet colleagues like Dinah and Richard Batterham. Richard had a marvellous, rather bodily way of throwing, that was catching. The moonstone-blue glazes of Katherine Pleydell Bouverie inspired me to strife for this quality, too. It would carry me too far to mention everybody I was able to meet with such pleasure in these few months time, but some I must mention, such as the old master Bernard Leach in St. Ives. I felt honoured that he took so much time for me. When I entered his studio he was working on his treadle wheel and very busy, he confided, preparing for an exhibition in Venezuela. Then we talked. Asked whether I had some of my work to show, I went downstairs to fetch our Boijmans catalogue. When a minute later I returned, he already was back on his wheel, and he let me first have a close look at the Japanese teabowls in a showcase. "Do take them out, those raku bowls are 16th century chawans, from the time they still were good", he said. He seemed as pleased, that I handled them, as I felt pleased, that he let me do so. Each visit to Primavera Gallery of Henry Rothschild was a novel experience. Henry had works in stock of a great number of artists and in a short period of time I could see in his active gallery at Sloane Street a variety of works of English colleagues that appealed to me. I saw an exhibition of Ruth Duckworth and was introduced to her. Some weeks later the cylindrical pots of Robin Welch were on show. From each I chose a piece, as I had done from others, too. All were meant for the ceramics collection of friend Jacob van Achterbergh. Back on the quay of Hoek van Holland I watched with concern the huge suitcases I had bought, hang in the tackles. Inside were packed works of amongst others Ian Auld, Graham Burr, Gwyn Hansen and Bernhard Leach. Only the handle of a jug by Paul Barron did not survive the stormy passage.

1964	"Contour Prize" from the Porceleyne Fles, Delft, together with Johnny Rolf

1966 and 1967	Studio Guest Gustavsberg Fabriker AB, Sweden. This fruitful sojourn Johnny and I owed to her initiative. Having been awarded a Prize at the Concorso Internationale della Ceramica d'Arte , in Faenza, Italy, Johnny wrote to Stig Lindberg, Gustavsberg's Art Director. This invitation was the result. When we met Stig in person he told us that judging the works of Johnny Rolf in Faenza he had made clear to his colleague jurors, that for once his preference should prevail. Travelgrant from the Svenska Institutet, Stockholm, for a tour along glass- and ceramics studio's in Småland together with Johnny Rolf. On my return I enthusiastically presented the curators of the Stedelijk Museum with information on the surprising artworks we had seen and of the names of their makers. This became the incentive for the exhibition "Twelve Swedes", Ceramics and Glass, Stedelijk Museum, Amsterdam, 1968 and Museum De Zonnehof, Amersfoort, 1969.

1968	Dutch Ministry of Culture Travelgrant. This grant was a contribution to our planned work-sojourn in the United States in 1969. For some years already our Kloveniersburgwal studio was visited by Americans, who located our adress in museums or elsewhere. So often they said good-bye with the serious wish: "You should come to the States and teach us". Summer 1967 Prof. Glenn C. Nelson and his wife Edith visited us again. Two years before they had rang the bell and it had been friendship at first sight. They, too, were convinced, that we should share our philosophies and craftmanship with American students, and said so again. But this time Glenn added, that he was going to take action. As the author of the studybook "Ceramics, a Potter's Handbook", Glenn knew professors and teachers at universities and academies all over the United States. He probed their interest and when positive he arranged contact. In this way in the course of 1968 a pattern of lecture and workshop locations emerged on which we could plan a tour. Now it was time to apply for a Government travelgrant. In those days it was possible to take up the phone and explain ones plans to the person in charge in the Ministery. In our case this resulted in an ad hoc positive decision. This Dutch government travelgrant, covering the returnflight Amsterdam - New York, had its own stimulating effect in the proceedings. As publications on us and on our ceramics were still scarce, the grant at moments helped the head of a Ceramics Department to persuade the Dean of a Faculty to allow a sum for our visit. This was particularly so, when we contacted an art school on our own initiative. When in February 1969 we landed in New York, we had agreements all over the States deep into the fall. An adventure had started, that we had looked forward to for several years. Not only were we finally underway to share our craftmanship and philosophies with students, also our longstanding wish to experience America as a continent would be satified. In the Netherlands sympathy for the United States suffered gravely under the Vietnam war. At the same time we ourselves often felt a spontaneous sympathy for the Americans who increasingly visited our studio. On the sidewalk in front of our house, situated close to the youth hostel, we almost daily saw students from the States. Their enthusiastic frankness appealed to us. On another page I hope to describe more in detail our experiences with America. The openness, the enthusiasme and the hospitality we met so abundantly, will be keywords. Then, too, I will list the many places we visited and the 30 odd universities and artschools we gave lectures and workshops at.

1973	Dutch Ministry of Culture Travelgrant. This grant was a contribution to our study- and teaching sojourn in Asia in 1974. For years already we looked forward to the moment, that we could travel to the Far East and South East Asia. Summer 1970 a letter arrived from America, sent by the Indonesian collegue Eddy Kartasubarna. In the States he had heard about us. He would like to meet us on his return journey to Bandung, where he was head of the Seni Rupa the Art Academy of the "ITB" Bandung. Our first acquaintance in Amsterdam was animated. We had all kinds of stories to exchange. Our work appealed to him and so did the story of our start. It fascinated him that we, with idealism but almost without means had started our career self taught and completely on our own, and now had gotten this far. He wished that his students, who mostly had to start from scratch, too, could share our experiences. So the idea of a guest teacher-ship evolved, a plan we all three embraced. From both ends we would work on it. Early 1973 Korea and Japan came into the picture. Friends from the States and from the Netherlands worked and travelled there. Their lively descriptions of these countries, their encounters and experiences together with their suggestions nourished our plans. In the summer of 1973 Norimichi Aiba appeared in our studio. He travelled all over Europe to buy works from ceramic artists for the "The 2nd Chunici International Exhibition of Ceramic Art" in Nagoya, organised by the Chunichi Shimbun newspaper and television company. This show was scheduled for april 1974. We became friends with this spontaneous, open young man, who in the future would more often stay with us. It was Aiba San's first independent mission abroad and we could assist him in making contacts in the Netherlands and in Germany. Earlier Aiba had been his firms host and guide to official visitors to his country. He was delighted to bend over the map of Japan together with us and to advise on the places to visit, particularly on the ceramic sites. When we parted there was a tempting travel itinerary for the Japanese island empire on the table complete with a time schedule. Once retuned home, Norimichi promised, he would look for workshop and lecture possibilies for us. In a short period of time our plans for a journey to Asia were shaping up well. We had a difinite agreement with the ITB in Bandung on a guestteaching period in the coming summer of 1974. We even had a departure date in mind. Early April, immediately after the vernissage of our exhibition in Museum Boijmans, seemed the perfect moment to start the journey to Japan. The Ministry of Culture smoothly complied with our request to fix the amount of the awarded travelgrant on the cost of two tickets on the Trans-Siberia to Yokohama.

1973 and 1974	Japan Kokusai Koryu Kikin (Japan Foundation) Late autumn I made contact by telephone with the Embassy of Japan to inform the staff of our planned visit. I was put through to first secretary, Mr. Yutaka Kondo, also head of the "Hospitality and Conference Service" in Tokyo. An animated conversation followed which ended with my suggestion, that he and the Ambassador were most welcome in our studio. This he would gladly discuss. The visit of Ambassador Ryoso Sunobe and Mr. Kondo that resulted, was a real pleasure. They let themselves be entertained in a relaxed way and they enjoyed our ceramics, especially the early reduced wares with glazes in green and bluish celadons. When at last we said goodbye, after having been théir guests at a luncheon in the recently opened Okura Hotel, the Ambassador let us know, that he could not do much for us here, but that in Japan we could count on the assistence of Japan Foundation whenever possible. What this assistance meant, we understood, when we looked over the rail while our ship moored in the port of Yokohama. Below on the quay two gentlemen held up a banner "Welcome Mr. and Mrs. Jan de Rooden. When we waved, they quickly rolled it up. On board we had heard the worrying news, that there was a train strike on. But once disembarked the two gentlemen of the Hospitality and Conference Service guided us to a limousine, which took us straight to our ryokan in Tokio. . Next morning a hostess of the Hospitality Service brought us to the head office of Japan Foundation, where we were greeted by director Mr. Hiroshi Murata, who invited us at once for a visit to the Idemitsu Gallery. We stood in awe for this wonderful collection of Japanese Art in so many forms, and with excitement recognized their masters and quality. Too soon Mr. Murata took us back to his office, where after a short exchange with his co-directors, he introduced us to Mr Sakato as "your host in Japan". (Only years later did we realize, that the outing to the Idemitsu Gallery had been an examination, and that we had passed.) From behind his desk Mr. Sakato with great enthusiasme attended to our Japan stay. We remained in close contact untill two and a half months later we left Shimonoseki for Korea. In accordance with our travel schedule, Mr. Sakato provided us everywhere with the necessary tickets for train, bus or taxi. In the town or village of destination he would book for us a hotel, ryokan or youth hostel, where we then did stay at our own expense. Of vital importance were the interpreters, that Mr. Sakato organised for us. They translated the lectures I gave for amongst others the students of Prof. Kasuo Yagi at the Kyoto College of Fine Arts. Interpreters accompanied us, too, on the more important visits as to Shoji Hamada and his wife in Mashiko, to Kyomizu Rokubei, sixth generation master potter in Kyoto and to the centuries old ceramic centre Shigaraki, where Naokato Ueda and his son had their Noborigama kilns.

	Korea In Amsterdam we had not been able to arrange any contacts in Korea. For that reason the letter from the Dutch Embassy in Seoul, that reached us en route in Japan, was particularly welcome. *Mr. W.Ch.E.A. de Vries, Chef de Poste of the Royal Dutch Embassy had been briefed on our visit by Mrs. A.M. Kalmeijer, our contact person at the Ministry of Foreign Affairs, International Relations Department, in the Hague . He would like to know what the Embassy could do for us and he and his wife would like to receive us, as soon as we arrived. Mr. and Mrs.de Vries - van der Hoeven , Wil and Leentje, gave us a surprisingly warm welcome. We liked each other from the start and the guestroom in their hospitable embassy house would be our home base for the month to come. Our host and hostess already had developed initiatives to bring us into contact with artists and students. Mr. de Vries, just recently appointed Head of the Dutch Embassy in Korea, during his courtesy call to the president of Hongik University, Dr. Lee Hang-nyong* had mentioned our interest in giving lectures. This message fell on fertile ground. Soon after our arrival we visited Hongik University accompanied by Mrs. Leentje de Vries. Her command of the Chinese language was very helpful, when English was not up to the mark. Prof. Lee Dai-Won, Dean of the College of Art and well-known painter, expressed to her his admiration during our tour through the dynamic departments - two thousand students - and along the energy-sparkling studio's. It seemed a wonderful idea to professor Lee Dai-Won to conclude the study year with lectures by us on our work. So it happened that one week later we stood before hundreds of students in a packed auditorium to enjoy a thoroughly pleasant day, which ended with tea with the ceramics students gathered around us in a circle. Professor Lee Dai-Won encouraged them to forget their shyness and to question us. This lead to spontaneous, unexpected reactions, that made clear to us how intensely they had absorbed our works. Meanwhile we had visited *Prof. Ron duBois* in *Daegue. In 1969 we met in Stillwater, Oklahoma, where he had invited us to give a workshop for his students at the Oklahoma State University. In the framework of a Fullbright Program he was in charge of the ceramics department at Keimyung University, while he also helped to set up the ceramics department at Yeungnam University. We had a lot to talk about and therefore decided to visit together the Haein-sa Temple in Janggyeong Panjeon. During the bus ride in pouring monsoon rains we passed Onggi* ¹) potteries, where Kimchi ²) pots were being made. Ron would make a film ³) about them, to which later from our home in Amsterdam we contributed text. During her courtesy visit to *Dr. Okgill Kim, president of the Ehwa* University for Women in Seoul renown for its Art education, Mrs. de Vries in her turn mentioned our upcoming visit and our interest in giving lectures on our work and on European ceramics. The president listened with a positive ear, but at the time of our arrival summer recess at this university would begin. She herself would like to meet us personally, though, and give us a tour through the College of Arts. Then we could also see films on dance and music, important departments of this College. During our visit later in the month we noticed how free and spontaneous students worked in the not autochthonous techniques like etching and lithography, whereas for example the painting and textile departments followed a much more traditional path. Remarkably large and well equipped was the ceramics department. A production of *Koryo celadon-inlay* 4) was in full swing and quite a few students found here a holiday-job. Thè highlight of our Korea stay was undoubtedly our visit to the Onggi potteries in *Icheon. On our way to them with son Willem de Vries we asked the driver several times to stop at the Koryo celadon-inlay workshops we passed. Their decorative products were not much to our liking. When we did spot the Onggi sites, we could not believe what we saw: fields full of pots from knee-height to man-height stacked around kilns forty meters or more in length, wide enough for a horse and cart and built against a manmade hill Sometimes two kilns leaned in opposite directions against the same hill. Here for generations families made the traditional Kimchi pot. A few days later we would return to absorb this world of tradition once more, and to make photographs. With unrivalled skill we saw the potters work on wheels sunk into the ground, building up pots from prepared rolls of clay a meter long. In a concentrated calm rhythm of turning, tapping and throwing, they finished one huge pot after the other. Then, with a colleague the pot was lifted onto a cloth, and, walking each at a side, they carried it out to dry. Here we understood, how each region had his own shapes for this utilitarian ware. As a farewell to Korea we gave a slide lecture on our work at the Embassy itself. Among the guests was, apart from Ron duBois, Prof. Choud ZaKim* of *Seoul National University. He was most enthusiastic. He would have liked to book us for a workshop with his students, but before they would have returned from summer recess, we would be on our way to our guest teaching engagement in Indonesia, traveling via Taiwan, Thailand and Malaisia. Too soon it was time to say goodbye to our host and hostess, of whom we had grown very fond. We had shared so many ideas and subjects and thoughts. They had anticipated our wishes and taken much time to help organize the necessary visa and flights. It was good to know, that we were going to meet again in our home in Amsterdam. ¹) Onggi* potteries are workshops where for generations families make household wares, particularly pickling pots. ²) *Kimchi, pickled cabbage with peppers and other spices, the staple food during the long, harsh Korean winters. ³) “The Working Processes of the Korean Folk Potter”* 4) Engraved Koryo style decorations in pots of dark clay are filled in with white or black clay, then glazed with a celadon glaze and after firing welcomed as "Koryo celadon-inlay".

1980 1981 1982	Studio Grant Dutch Ministry of Culture. After having concentrated totally on building gas kilns, on salt firing techniques and on developing classic reduction glazes using a.o. local materials, my more creative side wished to assert itself. To work unencumbered, I applied for a modest stipend. I formulated: "that I wanted to develop a more sculptural form with a brighter palette, and strive for ceramic work in which also the local, dutch character would show". To my satisfaction this application was met for three successive years. Yet after that time I was really happy to be able to return to "the order of the day", meaning that the time of being extra accountable for what was created in my studio now luckily was over.

1984 and 1985	Grant to study mud architecture in Egypt Autumn 1984 and autumn 1985 Johnny Rolf and I made a mudbuilding-studytour to Egypt. In this country much information can be found on mud building methods. We knew that Nubian villages across the Nile from Aswan, "Garb Aswan", were built entirely in mudbrick. These became the main goal of two study-tours the Dutch Bureau Bilateral Relations of the Ministery of Culture payed for. Earlier ceramic artist and architect Ray Meeker had asked me to come to Pondicherry, India, to assist him in starting a project, which I later on called "The Fired Mudhouse Project". That task appealed to me and I could accept because this same Bureau Bilateral Relations had agreed to pay for my journey and stay in India. Our research in Egypt was needed to perform better my consultant job, a task I fulfilled in the dry seasons of 1984/85 and 1985/86. The staff of the Bilateral Relations office actually welcomed this development project because it included also social and cultural aspects. They actually had been on the look-out for a possibility to supplement the mainly economic approach of Development Aid by the dutch Ministry of Foreign Affairs.
1992	Subsidy monograph "Prins Bernhard Fonds" grants me a subsisy for the publication of a monograph on my work and my ceramic activities


Participation Group Shows:

1962	"Six Amsterdam Potters", together with Hans de Jong, Sonja Landweer, Johan van Loon, Johnny Rolf and Jan van der Vaart Museum Boijmans van Beuningen, Rotterdam.
1963	"Dutch Potters Now", Gemeentemuseum, den Haag. "1ra Exposición Contemporánea", Mar de Plata, Argentina.
1964	"Contour", Prinsenhof Museum, Delft "Ceramics in the Garden" together with Hans de Jong, Helly Oestreicher and Johnny Rolf, "de Heydael", Laren,
1965	"Ceramics in the Garden, Tapestries on the Wall", Gemeentemuseum, Arnhem. "New Ceramic Forms", Stedelijk Museum, Amsterdam.
1966	"XXIV Concorso Internazionale della Ceramica d'Arte", Faenza, Italy
1967	"New Ceramic Forms from the Netherlands", Hessisches Landesmuseum, Darmstadt and Handwerksform, Hannover, Germany.
1968	"First International Biennale of Ceramic Art", Vallauris, France. "Tapestries and Ceramics", Cultural Centre "de Wheeme", Meppel
1969	"Ceramic Highlights" from the van Achterbergh collection, Museum Boijmans van Beuningen, Rotterdam
1970	"Dutch Ceramics 1945-1970", Centraal Museum, Utrecht "6a Biennale of Ceramic Art", Gubbio, Italy "Contemporary Dutch Ceramics, Glass and Tapestries", National Museum, Prague, Czechoslovakia. "30 Dutch Ceramists", Museum De Zonnehof, Amersfoort
1971	"Twelve Dutch Potters", travelling exhibition organised by the Octagon Center for the Arts, Ames, Iowa, USA
1972	"Ceramics International 1972", Victoria & Albert Museum, London, England "Changing Ceramics", Museum Bellerive, Zürich, Switzerland
1973	"Thinking, Touching, Drinking Cup", Sea of Japan Exhibition, Kanazawa, Tokyo and Hakodate, Japan. An exhibition organised by Kimpei Nakamura.
1974	"The 2nd Chunici International Exhibition of Ceramic Arts", Oriental Nakamura, Nagoya, Japan
1975	"Contemporary Ceramics", Musée des Arts Décoratifs de la ville de Lausanne, Lausanne, Switzerland
1976	"Contemporary Ceramics", Musée des Arts Décoratifs de la ville de Lausanne, Lausanne, Switzerland
1977	Invitee "German Ceramics '77", Rastalhaus, Koblenz, Germany
1979	"The 7th Chunichi International Exhibition of Ceramic Arts", Oriental Nakamura, Nagoya, Japan. "European Ceramics since 1950" Museum für Kunst und Gewerbe, Hamburg and Hetjens Museum, Düsseldorf, Germany,
1981	"Contemporary German and Dutch Crafts", Museum für Kunsthandwerk, Frankfurt, Germany and Gemeentemuseum, Arnhem.
1984	"The Thing", Studium Generale, Christelijke Academie voor Beeldend Kunstonderwijs, Kampen
1985	"Encounters, European Ceramics", Museum Stadt Bad Hersfeld, Bad Hersfeld, Germany
1986	"1st Authorized Ceramics Design Invitational Exhibition", Tajimi City, Japan
1987	"Pioneers of Applied Art", Handwerkskammer Koblenz, Koblenz, Germany.
1991	"Ceramics, a Passion", collection of Dr. Cornelius Ouwehand, Museum Bellerive, Zürich, Switzerland "Imitation and Inspiration", Japanese Influence on Dutch Art, Suntory Museum of Art, Tokyo, Japan
1992	"Imitation and Inspiration", Japanese Influence on Dutch Art, Rijksmuseum, Amsterdam "Au - delà de la tradition", Institut Néerlandais, Paris, France
1993	"Facets of the same Nature", travelling exhibition, Baltimore, USA "Building with clay", Yvonne Kleinveld, Leo Scholl and Jan de Rooden, Galery SiO², Maastricht
1994	"Facets of the same Nature", Canadian Clay & Glass Gallery, Waterloo, Canada, Karsh-Masson Gallery, Ottawa, Canada and American Craft Museum, New York, USA
1996	"Facets of the same Nature", Gemeentemuseum, Commanderie van Sint Jan, Nijmegen
1997	"Ceramics of the 20th Century", Gallery Welle, Paderborn, Germany
1999	"Ceramics from Kösters Gallery", Städtisches Museum Schloss Rheydt, Mönchengladbach, Germany "Millennium Exhibition", Stedelijk Museum, Amsterdam
2001	"The Six Amsterdam Potters together again", Gallery "Amphora", Oosterbeek, together with Hans de Jong, Sonja Landweer, Johan van Loon, Johnny Rolf en Jan van der Vaart.
2007	"Die Sammlung Welle", Museum für Angewandte Kunst, "MAK" , Gera, Germany

Principal one and two persons shows:

1959	First exhibition at Gallery van Meurs, Amsterdam, together with Johnny Rolf.. By utilizing every free moment to work in our studio Johnny and I, after one and a half year, had gathered from our kiln so many beautiful pieces, that we went out into the city to see where we should exhibit our treasures. There was the warm Gallery Magdalena Sothmann, but the rooms we found somewhat drab. Then there were the light, spacious rooms of Gallery M.L. de Boer. We had discovered there the ceramics of H.H. Kamerlingh Onnes, the versatile artist with whom we would become close friends later. How well our somewhat darkish, mottled glazes would look in that gallery. But in a friendly note Mr. de Boer told us that he exhibited the ceramics of Kamerlingh Onnes together with his paintings. For our ceramics he thought Gallery W.J.G. van Meurs" most suitable. So that is why our work landed in this van Meurs gallery for classic Oriental Art. In the garden rooms centuries-old Chinese ox-carts were displayed, that we were greatly in awe off. On the groundfloor, where shortly before pots were presented of the old Russian master Vassily Ivanoff, who lived in the French potters village of La Borne, now our creations were on display. One of the buyers at our exhibition was Mr. J.W.N. van Achterbergh. The pieces that he chose, were amongst the first of his collection of modern ceramics. Over the years this collection would grow into one of the important European collections of to-day's ceramics .
1960	Gallery Plaats, "Ceramics from Johnny Rolf and Jan de Rooden",den Haag.
1961	"Hans de Jong, Blockprints; Johnny Rolf and Jan de Rooden, Ceramics", Gallery "Int Constigh Werck", Rotterdam. "Johnny Rolf and Jan de Rooden Ceramics", Gallery "d 'Eendt", Amsterdam.
1963	"Jan de Rooden Ceramics", Gallery Ina Broerse, Amsterdam.
1966	"Jan de Rooden, ceramics", Gallery Ina Broerse, Amsterdam.
1967	"Holländskt Gästspel", Gustavsberg Gallery, Stockholm, Sweden, with Johnny Rolf. "Jan de Rooden Ceramics", Gallery "Het Kapelhuis", Amersfoort.
1968	"Jan de Rooden Ceramics", Gallery Ina Broerse, Amsterdam.
1970	"Recent Ceramics Jan de Rooden", Gallery Wijngaard, Groningen.
1971	"Hard and Soft", "Atelier 8", Stedelijk Museum, Amsterdam. Under the denominator "Atelier" the Stedelijk Museum offered artists the opportunity to realise ad hoc installations or to tackle a specific theme. I chose an existing black room, a kind of alienating box, in which I placed and hung my "Hard and Soft" pieces. These originated as a translation of the tension and pressure I felt in society around me. At the same time they could be experienced as a rendering of the laws of nature. "Jan de Rooden, "Hard and Soft", Gallery Judith Weingarten, Amsterdam. In contrast with the presentation in the Stedelijk Museum we painted the whole gallery, including the floor, a snowy white. "Recent Ceramics of Jan de Rooden", Cultural Centre "de Vaart", Hilversum.
1972	"Johnny Rolf, Jan de Rooden, Ceramics - Margot Rolf, Tapestries", Cultural Centre Haaksbergen", Haaksbergen. "Critique in practice", Gallery "Collection d'Art", Amsterdam.
1973	"Ceramics from Johnny Rolf and Jan de Rooden", Gallery Kunstkammer Ludger Köster, Mönchengladbach, Germany.
1974	"Two Amsterdams Potters", Johnny Rolf and Jan de Rooden, Museum Boijmans van Beuningen, Rotterdam.
1975	"Contrasts in Ceramics", Johnny Rolf und Jan de Rooden, Hetjens Museum, Düsseldorf, Germany.
1976	Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam .
1977	"Woven Tapestries by Margot Rolf ": "Starting from four colours" / "Stoneware from Amsterdam - Saltglaze from Friesland" by Johnny Rolf and Jan de Rooden, Singer Museum, Laren.
1978	Studio Exhibition, Johnny Rolf and Jan de Rooden, Morra, Friesland.
1979	"Works by Jan Montijn and Jan de Rooden", Gallery Crowinkel, Oldenzaal. Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1980	"Ceramics by Jan de Rooden", Gallery Terracotta, Groningen. "New Forms", Ceramics by Jan de Rooden, Museum Het Princessehof, Leeuwarden. "Margot Rolf Recent Weavings": "Starting from Four colours" / "New Forms", Ceramics by Jan de Rooden, Gemeentemuseum, Arnhem,
1982	"Recent Ceramics", presentation Stedelijk Museum, Amsterdam. Studio Exhibition, Amsterdam, together with Johnny Rolf.
1983	"Jan de Rooden - Recent Ceramic Sculptures", Gallery Fenna de Vries, Rotterdam. "Ceramic Sculptures, Recent work by Jan de Rooden", Cultureel Centrum "de Vaart", Hilversum.
1984	"Jan de Rooden - Recent works", Gallery "De Witte Voet", Amsterdam.
1985	"Johnny Rolf and Jan de Rooden - Recent Ceramics", Singer Museum, Laren.
1988	First studio exhibition in the Coachhouse, Johnny Rolf and Jan de Rooden, Amsterdam.
1989	"Johnny Rolf, Gouaches - Jan de Rooden, Recent Ceramics", Gallery "Amphora", Oosterbeek.
1990	"Jan de Rooden - New Ceramics", Gallery "Petit", Amsterdam.
1991	Retrosective exhibition:"Jan de Rooden Ceramic Artist" and "Johnny Rolf, Gouaches", Singer Museum, Laren. Retospective exhibition:"Jan de Rooden Ceramic Artist" and "Johnny Rolf, Gouaches", Cultural Centre "De Beyerd", Breda.
1993	Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1995	"Ceramics by Adriana Baarspul and Jan de Rooden", Gallery "Amphora", Oosterbeek. Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.
1996	"Jan de Rooden - Contemporary Ceramics", Hetjens Museum, Düsseldorf, Germany.
1998	Studio Exhibition, Johnny Rolf and Jan de Rooden Amsterdam.
2000	"Jan de Rooden Ceramics & Chalk Drawings " / "Johnny Rolf Ceramics & Gouaches", Singer Museum, Laren.
2001	"Diphtong in Clay", Johnny Rolf and Jan de Rooden, Museum Schloss Rheydt, Mönchengladbach, Germany. The catalogue text and photography by Dr Carsten Sernberg. Studio Exhibition, Johnny Rolf and Jan de Roodden, Amsterdam.
2002	"Jan de Rooden Ceramics", Theme: "Cosmos", Gallery Carla Koch, Amsterdam. .
2003	"Jan de Rooden Ceramics & Chalk Drawings", St. Joseph Gallery, Leeuwarden.
2004	Studio Exhibition, Johnny Rolf and Jan de Roodden, Amsterdam.
2006	Final Studio Exhibition, Johnny Rolf and Jan de Rooden, Amsterdam.


Jan de Rooden Data and Notes

Training Bursaries and grants Group shows		One and two person shows Lectures, workshops and guestteaching
	Pot "En route" 1991, H. 31cm. Priv. col.