From Chapter 4:
The variations in price of both Spanish and Virginia tobacco were largely due to the frequent changes in the amount of the duty thereon. In 1604 King James I, newly come to the throne, and full of iconoclastic fervour against the weed, raised the duty to 6s. 8d. per lb. in addition to the original duty of 2d. On March 29, 1615, there was a grant to a licensed importer "of the late imposition of 2s. per lb. on tobacco"—which shows that there must have been considerable fluctuation between 1604 and 1615—while in September 1621 the duty stood at 9d. Through James's reign much dissatisfaction was expressed about the importation of Spanish tobacco, and the outcome of this may probably be seen in the proclamations issued by the King in his last two years forbidding "the importation, buying, or selling tobacco which was not of the proper growth of the colonies of Virginia and the Somers Islands." These proclamations were several times confirmed by Charles I, the latest being on January 8, 1631; but they do not seem to have had much effect.

From Chapter 7:
Hogarth's subscription ticket for the print of Sigismunda was Time smoking a Picture (1761). It represents an old man sitting on a fragment of statuary and smoking a long pipe against a picture of a landscape which stands upon an easel before him. Below, on his left, is a large jar labelled "Varnish." The figure of Time is nude and has large wings. Volumes of smoke are pouring against the surface of the picture from both his mouth and the bowl of his long clay pipe. In The Stage-Coach, or Country Inn-yard, is shown an old woman smoking a pipe in the "basket" of the coach. The plate of The Distrest Poet (1736) shows four books and three tobacco-pipes on a shelf. In the second of the "Election" series—the Canvassing for Votes (1755)—a barber and a cobbler, seated at the table in the right-hand corner, are both smoking long pipes. Apparently they are discussing the taking of Portobello by Admiral Vernon in 1739 with only six ships; for the barber is illustrating his talk by pointing with his twisted pipe-stem to six fragments which he has broken from the stem and arranged on the table in the shape of a crescent. In the frontispiece which Hogarth drew in 1762 for Garrick's farce of "The Farmer's Return from London," the worthy farmer, seated in his great chair, holds out a large mug in one hand to be filled with ale, while the other supports his long pipe, which he is smoking with evident enjoyment.