A. Tjaden
Lina, het vermiste kind (Fabric Book / Stofboek)
Deventer: A. Tjaden, 1862. First edition. 8vo (22.8 x 17 cm). 4 preliminary leaves + 28 numbered pages. Six hand-colored lithographic plates with mounted fabric elements (velvet, silk, and linen). Publisher's pictorial boards with original printed cover label mounted on upper board, bordered in black and rust red. The chromolithograph-style cover illustration depicts a young girl in a full crinoline dress and wide-brimmed hat seated in a garden, gently holding paws with a small spaniel perched atop a pedestal. The floral and rococo-inspired cartouche framing the image is printed in fine black linework, with red-highlighted titles: KLEEDINGBOEK (above) and HET VERMISTE KIND (below). Publisher’s imprint at foot: Deventer, A. Tjaden. Steendr. v. P.W.M. Trap. Spine backed in green cloth; plain lower board.
First edition of the earliest known Dutch “stofboek,” or fabric book, issued by the innovative Dutch publisher Adriaan Tjaden in 1862. A visually arresting novelty, Lina, het vermiste kind tells the cautionary tale of a young girl abducted by a traveling showman and trained to become a skilled circus vaulter. Each dressed plate includes actual fabrics mounted to the chromolithographic image, with Lina’s vaulter costume, bonnets, and layered gowns crafted from real cloth.
Condition: Good. All six fabric plates complete, with mounted textile pieces present and affixed. Moderate foxing throughout; pages loosening but attached. Some rubbing and shelfwear to covers. Remains structurally sound and highly presentable.
Description: Lina: abducted by a carnival man after his own child dies; she trains as a rider; after his death, his wife repents and returns Lina to her parents.
Contents:
Pages 1–4 (Preliminary leaves): Title page, publisher’s imprint, and introductory poem.
Pages 5–28 (Narrative and illustrated plates):
Plate 1: Lina at home with her parents, dressed in a lace-trimmed gown.
Plate 2: The showman’s arrival and her abduction, Lina in a traveling cloak.
Plate 3: Lina performing as a vaulter, wearing a vivid circus outfit made of velvet.
Plate 4: Lina’s sorrow in captivity, with a bonnet and gown in pale silk.
Plate 5: Her joyful reunion with her parents, dressed in a celebratory outfit.
Plate 6: A final moral tableau showing the family restored, with rich textiles.
The title page of the book reads Het Vermiste Kind. Naar het Engelsch. Met Platen.—which translates as The Missing Child. After the English. With Plates. This phrasing suggests that the story was adapted or loosely based on an English original, a common practice in mid-19th-century Dutch publishing. Although no exact English source has been identified, the influence of English “dressed” picture books such as Rose Merton, the Little Orphan (Dean & Son, ca. 1860) is evident in the structure and style. The imprint at the bottom confirms the publisher as A. Tjaden of Deventer
Collector’s Corner:
In the 1860s, Dutch publisher Adriaan Tjaden of Deventer introduced a distinctive genre of children’s books known as stofboeken—or “fabric books.” These rare and elaborate picture books featured hand-colored lithographic illustrations adorned with mounted textiles such as silk, velvet, and tulle, creating a striking three-dimensional effect.
One of the earliest known examples, Lina, het vermiste kind (Lina, the Missing Child, 1862), tells the story of a young girl abducted by a traveling showman. Under his guidance, she grows into a skilled vaulter. Lina’s costume, constructed from real cloth affixed to the image, brings the character to life in a tangible and tactile way. Only the first edition of Lina included these fabric elements—later editions omitted them, likely due to the production complexity.
Around 1865, Tjaden published a second stofboek, Rudolf en Susanna, of Beloonde Ouderliefde (Rudolph and Susanna, or Rewarded Parental Love). This book follows a similar visual format but introduces an innovation: a mechanical movable plate showing Rudolph on horseback, animated with a finger-push tab. It remains the only known movable among the Dutch fabric books.
According to the National Library of the Netherlands, only three stofboeken were produced in the country:
1. Lina, het vermiste kind (1862) – 6 dressed plates, no movable.
2. Rudolf en Susanna (ca. 1865) – 4 dressed plates, including one movable. Orphaned siblings must support their mother; Susanna sews, Rudolf goes to the Dutch East Indies, saves a planter from a tiger, marries his daughter, and returns to live in a castle.
See here: https://www.vintagepopupbooks.com/Rudolf-en-Susanna-of-Beloond-Ouderliefde-p/a-203.htm
3. De nette juffer Carabas (The Refined Miss Carabas, ca. 1880), published in The Hague by Gebroeders Belinfante – a satirical book featuring 8 dressed prints with rhymed captions. Sold in various formats: ƒ 1.10 dressed, ƒ 0.90 linen, ƒ 0.50 paper.
Both Lina, het vermiste kind (1862) and Rudolf en Susanna (ca. 1865) were priced at ƒ 1.90, quite expensive for the time. In January 1878, both titles were reissued in smaller format (16 pages, 2 plates) under the name Elize (possibly a pseudonym). The new versions were sold at ƒ 0.15 each, showing a dramatic drop in price and complexity. The reissued books did not have fabric. Both picture books above are illustrated with color lithographs and printed by the lithographic firm of P.W.M. Trap in Leiden. The actual illustrator(s) remain uncredited, as was typical for Dutch 'stofboeken' (fabric books) of the period. P.W.M. Trap stands for Petrus Wilhelmus Maria Trap. His printing house in Leiden produced many children’s books, especially during the 1860s–1880's.
All three titles were marketed as adaptations of English works, though the exact sources remain unidentified. While Lina may have been influenced by Dean & Son’s Rose Merton, the Little Orphan (1860), scholars agree that it was not a direct translation. Another likely influence was Bennett’s New Drawing Room Dress Books: Beauty and the Beast (London, E.C. Bennett, ca. 1860), a fabric-overlay book with dressed prints—but again, the content and structure differ from the Dutch adaptations.
Both Tjaden titles, Lina and Rudolf en Susanna, are illustrated with hand-colored lithographs by P.W.M. Trap of Leiden. While the illustrated cloth covers echo traditional children's formats of the time, the dressed prints within set these books apart as premium novelty items. No other known copies of Lina in first edition format with all six textile plates have appeared on the market in recent decades.
Later editions are documented: according to the Nieuwsblad voor den Boekhandel (Jan. 1878), reissues of Lina and Rudolf en Susanna were released in a small-format version with only two plates and sixteen pages, likely without fabric adornments.
Additional Notes:
An editorial in Tjaden, A. Liefhebberij Tooneel voor de Nederlandsche Jeugd: Met 7 Bouwplaten en Beschrijving. Deventer: A. Tjaden, 1870, [1]. sates: " Mr. A. Tjaden, of Deventer, has truly excelled in this regard with his newly published work, titled Rudolph en Susanna, or Rewarded Parental Love, by the author of Het Kledingboek (“The Clothing Book”). In a beautiful binding, this book is adorned with visible velvet and silk, lace and gauze, plush and cambric along the edges of the stiffened pictorial panels. The whole design is further enhanced by its charming color combinations. The overall presentation invites attention and adds text suitable for reading aloud and delighting the hearts of children during this festive season. In our opinion, Rudolph en Susanna is this year’s most sought-after gift for children and deserves a place in every nursery. Over the years, we’ve received countless editions, but a fresh and cheerful work like Rudolph en Susanna by Mr. Tjaden of Deventer is again something quite new. This book will be eagerly welcomed, not only because of the pleasure it brings but also because it is richly made. The same applies to the plates: they can be exchanged or replaced by others as the reader desires. We believe this book has a longer lifespan in the nursery than many others, precisely because it allows for variety and adaptability."
The books above are the first editions. Later editions are confirmed in the Nieuwsblad voor den Boekhandel of January 1878, listing both Lina and Rudolf en Susanna among recent publications in smaller format—only 16 pages with two plates—likely simplified and without textiles.
The third Dutch stofboek, De nette juffer Carabas, differs notably in tone and style: a satirical picture book with eight dressed illustrations and rhyming captions, published by Gebroeders Belinfante in The Hague around 1880.
All three known Dutch fabric books were loosely inspired by English novelties but are considered original in execution. The character Lina may draw on Victorian archetypes such as Rose Merton but follows a distinct Dutch narrative. Notably, the French edition of Rose Merton (Livre de toilette, Guérin-Muller, ca. 1867) includes a mechanical pinwheel in the first scene—demonstrating the technical and aesthetic experimentation occurring across European fabric books of this period.
About the Publisher:
A. Tjaden (Adriaan Tjaden, active ca. 1854–1879) was a Dutch printer, bookseller, and publisher based in Deventer during the mid to late 19th century. According to the Nederlandsche Staatscourant (Page 129, 1854), by official deed dated April 5, 1854, his father Dr. U.P. Tjaden, a physician in Wijhe, successfully petitioned the District Court of Raalte to grant the underage Adriaan Tjaden the legal rights of majority to pursue commercial activity in the art and book trade (“Kunst- en Boekhandel”). This act marked the formal beginning of his career in the publishing world.
Tjaden’s firm operated in Deventer, a historic Dutch publishing center, where he issued children's books, religious tracts, calendars, and commercial print materials. Archival evidence and advertisements confirm that A. Tjaden served both devotional and secular markets, producing wall calendars, promotional cards, and religious biographies (including the 1858 life of Ds. Sicco Tjaden). He is also listed in late 19th-century directories among the city’s active booksellers and publishers.
Among his surviving children’s titles is Buurvrouws poesje, of de geleerde kat (ca. 1875), a Dutch adaptation of Dame Trot and Her Comical Cat, featuring British-derived illustrations and rhymed captions. Tjaden’s imprint appears on a range of affordable color-illustrated juveniles from the 1870s, reflecting a shift toward pictorial books aimed at middle-class households.
Tjaden appears in trade directories as late as 1894, suggesting a long and sustained operation. He is listed under “Uitgevers van Boekwerken” (Publishers of Books), affirming his role beyond bookselling alone.
Similar International Books:
An important English-language counterpart to the Dutch stofboeken is Bennett's New Drawing Room Dress Books: Beauty and the Beast, published in London by E.C. Bennett, circa 1860. This six-leaf volume features full-color lithographs with applied fabrics, known as “dressed prints.” Beauty’s skirts are overlaid with contemporary textiles to create a layered, three-dimensional effect, closely resembling the technique seen in Rudolf en Susanna. The Morgan Library & Museum holds a copy of this rare book in its Department of Printed Books. While not mechanically movable, it remains one of the most visually comparable English fabric books from the same era.
Dean & Son’s New Dress Book: Rose Merton, the Little Orphan (London, ca. 1860)
This hallmark of the Victorian novelty dress-book genre features six hand-colored lithographed plates adorned with real fabric dress overlays. Dean described them in contemporary advertisements as “equal to a gift of Six Dressed Dolls,” and listed each scene with its own dressed image of Rose throughout the narrative
French Edition – Livre de toilette. Rose Merton. La petite orpheline (Paris: Guérin‑Muller & Cie, ca. 1867)
A refined French-language adaptation of Dean & Son’s original, this small-folio edition (approx. 25.4 × 17.8 cm) retains the six fabric-dressed plates, with the first scene featuring a working movable “pinwheel.” Though French-issued, the fabric components and mechanical detail align closely with the English prototype
References:
Koninklijke Bibliotheek. “Stofboeken: Prentenboeken met Lapjes Stof.” KB.nl. Accessed June 19, 2025. https://www.kb.nl/themas/kinderboeken-en-strips/s...
Koninklijke Bibliotheek. Stofboeken: Kinderboeken met stoffen kleding. Nationale Bibliotheek van Nederland. Accessed June 19, 2025. https://www.kb.nl/themas/kinderboeken-en-strips/s...
Bennett, E.C., publisher. Bennett’s New Drawing Room Dress Books: Beauty and the Beast. London: E.C. Bennett, Holly St. S. Dalston -11, [ca. 1860]. The Morgan Library & Museum, PML 85912. https://corsair.themorgan.org/webvc/holdingsInfo?...
Dean & Son. Rose Merton, the Little Orphan. London, ca. 1860.
Livre de toilette. Rose Merton. La petite orpheline. Paris: Guérin‑Muller & Cie, ca. 1867.
Nieuwsblad voor den Boekhandel. “Lijst van nieuw uitgegeven werken.” January 1878.
Kuipers, Liesbeth. Lust en Leering: Geschiedenis van het Nederlandse Kinderboek in de Negentiende Eeuw. Zutphen: Walburg Pers, 1995. Digitale Bibliotheek voor de Nederlandse Letteren. Accessed July 18, 2025. https://www.dbnl.org/tekst/kuip007lust01_01/, pp. 409–410.
Tjaden, A. Advertisement. Nieuwsblad voor den Boekhandel, vol. 56 (1889): 477. https://books.google.com/books?id=EpxAAQAAMAAJ
De eerste Aflevering van een nieuw Christelijk Huisboek,” De Huisvriend, 1870, [n.p.]. Quoted in reference to A. Tjaden as the publisher, Deventer.