In the niche world of vintage marble collecting, few figures have left as profound a mark on the understanding of European glass marbles as Winnie Goddijn. A passionate Dutch collector and researcher, Winnie dedicated much of her life to unraveling the mysteries of marbles produced by the N.V. Veiligglas company, a mid-20th-century Dutch glass manufacturer based in Amsterdam. Her tireless efforts transformed Veiligglas from an obscure footnote in industrial history into a celebrated category among collectors worldwide. This article delves into Winnie’s personal history, her groundbreaking contributions to marble scholarship, her connection to Veiligglas, and the enduring legacy she left behind, including the marbles now affectionately named in her honor.
Early Life and Entry into Marble Collecting
Details about Winnie Goddijn’s early life remain somewhat elusive, as she was not a public figure but rather a private enthusiast who shared her knowledge through online forums. Born and raised in the Netherlands, Winnie lived in Amsterdam for much of her adult life. Her proximity to the city’s historic industrial areas played a pivotal role in her collecting journey. In one forum post from May 2011 on Marble Connection, she mentioned living near the former site of the Veiligglas factory, noting that she could “see the river from her window” where the Realengracht canal once bordered the plant. This location wasn’t just coincidental; it fueled her fascination with local glassmaking history.
Winnie’s entry into marble collecting appears to have been organic, stemming from a broader interest in European antiques and glassware. By the early 2010s, she was an active member of online communities like Marble Connection and All About Marbles, where she posted under the username “winnie.” Her join date on Marble Connection was around 2010 or earlier, and she quickly became known for her expertise in European marbles, particularly those from Germany and the Netherlands. Collectors recall her as a “veritable font of information,” as one user, David, described her in a 2011 post. She often shared photos of her finds, many of which she initially mistook for German imports due to stylistic similarities.
What set Winnie apart was her methodical approach. She wasn’t just a hoarder of pretty glass spheres; she was a researcher who sought out primary sources, interviewed locals, and collaborated with others to verify origins. In a December 2011 post, she expressed excitement about discovering Veiligglas marbles in her own collection: “And yes these are the marbles I’ve found frequently here, and I was always thinking they were made in Germany, isn’t that funny?” This revelation came during what she described as a “sort of bad time” in her life, highlighting how marble collecting provided solace and purpose.
Uncovering the Veiligglas Story
To understand Winnie’s significance, one must first grasp the history of N.V. Veiligglas itself. Founded around 1935 as the N.V. Eerste Nederlandsche Fabriek van Veiligheidsglas (First Dutch Safety Glass Factory), Veiligglas specialized in laminated and tempered glass for automotive and architectural uses. The name “Veiligglas” translates directly to “safety glass” in Dutch, reflecting its core business during the post-World War II reconstruction era. The company operated from a facility in Amsterdam’s Realengracht area, importing float glass from Belgium, Britain, and Germany.
Marble production was a sideline venture, beginning around 1949 and lasting until approximately 1960-1962. This coincided with a boom in consumer goods as Europe recovered from the war. Veiligglas produced an estimated 50 million marbles annually, primarily in 15mm and 17mm sizes. These were machine-made or semi-mechanized, using molten glass streams cut by rotating blades and shaped in cup forms. Colors were achieved by mixing metal oxides—cobalt for blue, iron for green, and so on—into the glass mass, resulting in vibrant swirls, wirepulls, and opaques. Packaging evolved from bulk bags to small boxes or plastic pouches, and the marbles were distributed mainly in Europe, with some exports.
Winnie’s breakthrough came in 2011 when a friend, Hans Bartels, discovered a 1959 newspaper article in his father’s archives. Written by Jaap Stigter, the piece highlighted the Netherlands’ sole marble factory, noting its global reach despite competition from France and Germany. Winnie translated and posted the article on Marble Connection, sparking widespread interest. She detailed the production process: “There are 2 molten glass streams, and rapidly rotating blades cut the streams into little pieces. The pieces end up in cup-shaped forms, and then the marbles roll over a long iron machine. Every day one fabricated an other (different) color.”
This post led to a pivotal connection. Hans Ziekenoppasser, son of Veiligglas’s managing director, contacted Winnie after seeing her thread. He confirmed the company’s details, explaining that marble-making was secondary to safety glass and ended around his father’s death in 1960. Ziekenoppasser sent Winnie 18 photos of authentic Veiligglas marbles, which she shared online. These included swirls, wirepull types (characterized by elongated, thread-like color strands), and clearies, with standout examples like a yellow-red flame swirl. Winnie’s descriptions helped collectors identify key traits: bubbles from the manufacturing process, European metric sizing, and distinct color vibrancy.
Her work challenged the assumption that all swirled European marbles were German. As David noted in a response: “Many of the so labeled German swirls and others, may get a true history attached with them.” Winnie also speculated on experimental designs, like an unsuccessful attempt to embed animals in marbles for a U.S. importer, as mentioned in the article.
Contributions and Community Impact
Winnie’s forum activity extended beyond Veiligglas. She commented on various threads, identifying marbles and sharing knowledge. In April 2018, she confirmed a marble as Veiligglas: “Yes the first one on top is Veiligglas, I’m not sure about the second one, I’ve seen very few with that brown color so….” Her posts often included photos, fostering education and camaraderie.
She collaborated with figures like Ron (possibly another collector mentioned in tributes), who “nudged” her toward discoveries. Winnie’s generosity—sharing translations, images, and insights—earned her respect. Users praised her: “You are a veritable font of information Winnie, European and otherwise. It has been a blessing since you connected with the marble boards” (David, May 2011). Another called her work “awesome” and “great research.”
Winnie’s efforts documented Veiligglas’s legacy at a time when physical evidence was fading. The factory site was redeveloped into apartments in the 1990s, winning an architectural prize, but marbles were unearthed during construction. Her threads preserved oral histories, like a neighbor’s childhood memories of picking up discarded marbles.
Passing and Tributes
Winnie Goddijn passed away sometime before 2020, though exact details are scarce. A thread on All About Marbles titled “Lost a collector across the pond – Winnie Goddijn” served as a tribute space. Collectors mourned her loss, emphasizing her expertise: “A respected, knowledgeable, long time collector.” One suggested: “Maybe someone… should name a Veiligglas marble type after Winnie. Her discoveries (with some nudging from Ron)…”
This idea took root. Today, certain Veiligglas opaques—particularly yellow-and-blue swirled varieties—are known as “Winnie” marbles in her honor. eBay listings describe them as “Rare ‘Winnie’ Yellow & Blue,” noting: “known as a ‘Winnie’ after a renowned collector/researcher.” YouTube videos on Veiligglas identifications reference the “Winnie” swirl, pronouncing her name as “Godin” (likely Goddijn). These marbles, produced in the 1960s, feature abstract patterns on opaque bases, rarer than translucent wirepulls, and fetch $20-100 each.
Legacy in Marble Collecting
Winnie’s legacy endures in the collecting community. Her research bridged gaps in European marble history, proving Dutch contributions beyond German dominance. Forums continue citing her posts, and collectors hunt “Winnie” variants for comprehensive sets. Her story inspires: a local enthusiast who globalized obscure knowledge through digital sharing.
In a hobby often dominated by American brands like Akro Agate, Winnie highlighted European diversity. As one tribute put it, she was a “blessing” who opened “another can” of history. Though Veiligglas ceased marble production over 60 years ago, Winnie ensured its marbles—and her passion—live on.
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