Austria

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Re: Austria

Unread postby dazzleguts » Wed May 20, 2015 11:18 pm  

The whiter, thicker deck also seems to have more irregular corners.

I think Jase is right about your decks being from different print runs. I have a Kem double deck set where the codes on the aces of the 2 decks actually give different printing years. Having stockpiles of cards printed, waiting to go into boxes, was common amoung the various card companies, and many collectors have commented on their own Kem doubles being the same.

My own Shakespeare set, in a box like yours with no barcode, has numbers on the Ace of Spades of both decks, and the other Piatnik sets I have all have the numbers on the Ace of Hearts, from the older decks to the ones that have a website on the box. It may be that they were bringing the Shakespeare decks into line with their other designs in having the numbers on the Heart rather than Spade ace, and yours is a crossover set. A different print run with new card stock too. (A change in ownership or leadership often leads to changes like this in the cards.)

If you are going to open them you could check the second deck to see if the Heart has the numbers.
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Re: Austria

Unread postby DragonSoul » Thu May 21, 2015 8:46 pm  

Thanks for the info! That they might have been from 2 print runs was my first guess as well. I just wasn't sure if the difference in numbers might be an indicator of different years. Now I'm tempted to open the one without numbers to see if they are on the Ace of Hearts but, I don't think I will juuust yet. ;)
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Re: Europe

Unread postby Jock1971 » Sat May 23, 2015 5:33 am  

A couple of Fortune Telling decks from Piatnik to show.
The first is a 36 card deck titled Gypsy Fortune telling cards No.1901
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Little as we know about the history of playing cards, we have even less historical evidence to shed light on the origins of cartomancy. what we can say with some degree of certainty is that the first reference to fortune-telling by cards is contained in the "Mainzer Losbuch" which was printed by Johann Schoffler between 1505 and 1510.
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It seems probable ,then, that playing cards were used for the purposes of fortune telling more or less from their first appearance in Europe, the earliest playing cards were associated with adages which point to a cartomantic context. The heyday of fortune-telling cards came in the 18th century and coincided with the age of enlightenment. It was during this period that the traditions of the magic circles and the revival of interest in alchemy emerged in the form which they have largely retained to the present day.
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Here`s the 32 card deck titled "le jeu Destin Antique" paitnik No.1944.
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Re: Austria

Unread postby Jock1971 » Sat May 23, 2015 5:37 am  

And here`s the cards from "Le Jeu Destin Antique"
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Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby dazzleguts » Sat May 23, 2015 11:29 pm  

Are these both regular card sized Jase?
The Jeu du Destin remind me of The Book of Destiny by Grimaud, except more elegent. Perhaps Grimaud based theirs on the original Destin deck. The Grimaud deck is oversize at 7.7 cm x 11.5 cm.
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Re: Austria

Unread postby Jock1971 » Sun May 24, 2015 2:13 am  

hi Dazzelguts. :D
the card size is 58mm x 89mm .
i got these from a seller in Hungary,(he has the Tarot size as well) here`s a link to his page, some good deals and he does free shipping. i got these within 3 days of ordering which is very fast.
http://www.ebay.co.uk/usr/card0holder?_trksid=p2060353.m2749.l2754

jase :D
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Re: Austria

Unread postby dazzleguts » Sun May 24, 2015 4:03 pm  

Wow, 3 days!
Did it land on your doorstep with a little parachute attached?
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Re: Austria

Unread postby Jock1971 » Thu Jul 23, 2015 5:01 am  

Jugendstil Art Nouveau by Piatnik No.2136, dated 1980.
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Adapted to a bridge set from a Tarot deck titled "Tarok No.1" designed by Ditha Moser that was published by Joseph Glanz & Albert Berger of Austria in 1906.
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Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby Jock1971 » Sat Jul 25, 2015 7:37 am  

DAS SPIEL DER MACHTIGEN Der Turkenkrieg von 1683
Piatnik Edition Number 2860, Dated 1983. Box dimensions 160mm x 230mm, Card dimensions 60mm x 104mm

This set of playing cards displaying motifs connected with the Turkish wars and the siege of Vienna in 1683 is owned by the Historical Museum of the City of Vienna. Most of the cards bear illustrations which allude generally to the wars against the Ottaman Empire in the second half of the 17th century, while a few refer directly to the events of the summer of 1683, when Vienna was besieged for 60 days.
In the wake of the decisive battle on September 12th 1683, which lifted the siege and changed the course of history for European Christendom, a veritable flood of illustrations appeared depicting the events and the principal personalities involved. Of extremely variable artistic quality, these graphic works were frequently copied and formed the basis for numerous oil paintings, It is in the context of this popular illustrative material that this set of playing cards should be seen.
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Whoever created this set of cards left us no hint as to their identity. None of the 35 cards bears a monogram or other designation, and on the basis of the available evidence it seems that the missing card (the Grape 10) also contains no clue.
A comparison with other playing cards illustrating political themes suggest that the present set dates from soon after 1683. The absence of explanatory texts supposes that the purchaser was still familiar with the events and their background. The possible error on the card depicting the Elector of the Palatinate could point to the year 1685 or shortly thereafter (See the Jack cards). It is highly unlikely that the cards date from later than 1699, because the peace of Karlowitz concluded in that year made the picture of Europe`s political life as portrayed on the cards out of date.
As for the place of origin, some evidence speaks for Vienna, although on the whole Nuremberg is more probable. But this is a field where much research remains to be done and there is little evidence to go on.

THE PLAYING CARDS - Europe in 1683 and its diplomacy
Anybody in the late 17th century who took an interest in political affairs will have been familiar with the geopolitical categories exemplified in the arrangement of the card illustrations, which survey the European diplomatic scene in 1683. The Christian sovereigns of Europe confront the rulers of the East, with the German Electors on the next rung below. As the artist proceeds numerically from highest to lowest cards, so he narrows his horizon progressively.
At one level, then,the hierarchical arrangement is expressed in the numerical order of the cards. Yet there is an implied hierarchy within the suits as well. The foremost place is occupied by the Hearts, followed by Spaddes and the suit symbols Grape and Pomegranate - this latter with its red colour and many seeds symbolizing both life and death.Seen as a whole, the set in its right sequence presents a detailed picture of the times, a glimpse behind the scenes of the siege of Vienna in 1683.

The most powerful rulers of the age appear as Kings. Hearts - Leopold I , Holy Roman Emperor, Spades - Louis XIV of France, Grape - Charles II of Spain, Pomegranate - Karl XI of Sweden.
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One of the recurrent themes of European history in the 17th century was undoubtedly the rivalry between Louis XIV and the Habsburgs. The Spanish branch of the Habsburg dynasty maintained close ties with the court in Vienna, and with France as a common antagonist Madrid tightened its links with Leopold I even further. Since the peace of Westphalia Sweden had emerged as a major power in Europe, although it was hardly affected by the Turkish threat.
The military campaigns of Louis XIV were in a sense the prelude to the great Turkish wars. The events on the Rhine left Leopold little freedom of action, and two diplomatic cliques at the Viennese court vied for the Emperor`s support: the "western camp" sought the formation of an alliance with France, while the "eastern camp" argued that Constantinople was the greater threat and that peace should be concluded with France in order to leave the Emperor free to deal with the Hungarian rebels and the Ottoman Empire. It was not until Kara Mustapha had led his army out of Belgrade on the road to Vienna-in the spring of 1683-that the eastern caamp gained the upper hand.

While the four Kings depict the foremost European powers, the Aces represent - at least from a contemporary vantage point - the world of oriental politics. Hearts - Sultan Mehmed IV of Turkey, Spades - Suleiman, Emperor of Persia, Grape - Peter the Great of Russia, Pomegranate - Murad Girey, Khan of the Tartars.
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Just as the Holy Roman Emperor was forced to defend two fronts, in the West and in the East, so Constantinople had to diversify its military resources, to deal with Hungary and the politically unstable regions on the Polish and Russian borders and at the same time to meet the threat of Persia, which had become the bastion of the Shiite Moslem faith and was thus opposed to the Sunni Turks.
In the course of the 17th century Russia became a major power and, by constantly seeking to expand southwards, found a natural enemy in Turkey. Between the two nations lay the Crimean Tartars, whose Khan had been vassal of Constantinople since 1475. As allies of the Ottoman Empire, the Tartars played an ambiguous role in the campaign against Vienna. Khan Murad Girey was the only military commander in the invading army who opposed a direct attack on the city of the Habsburgs. As greatly feared warriors, the Tartars would have made a valuable contribution to Kara Mustapha`s military effort, but they failed to join in the fighting. After the Turkish army had been beaten back, Khan Murad Girey was deposed by Kara Mustapha.

The major nations on the periphery of Europe - with the exception of Sweden and Russia - are depicted on the Queen cards. Hearts - Jan III Sobieski of Poland, Spades - Christian V of Denmark, Grape - Charles II of England, Pomegranate - Peter II of Portugal.
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England, Denmark and Portugal all failed to take sides. Portugal had only gained its independence from Spain as recently as 1668 and was backing France in its confrontation with Madrid. In response to an appeal by Pope Innocence XI Portugal made a financial contribution to the Turkish wars, as did Spain and the Italian states.
Denmark was preoccupied with the problem of containing Sweden`s expansionist tendencies. In February 1683 it was induced by Paris to enter an alliance whose purpose was to end the conflict between France and the Holy Roman Empire.
The situation was extremely confused in London, where diplomatic offensives of France and the Habsburgs clashed full force. While public opinion was incensed at the French attack on Luxembourg in 1682, Charles II continued to support France and sought to act as a mediator in continental politics.
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Re: Austria

Unread postby Jock1971 » Sat Jul 25, 2015 8:53 am  

The Jacks represent the German Elector, omitting those of the ecclesiastical Electorates and the Electorship of Bohemia. Hearts - Elector Maximilian II Emanuel of Bavaria, Spades - Elector Johann Georg of Saxony, Grape - Elector Friedrich Wilhelm of Brandenburg, Pomegranate - Elector Karl of the Palatinate.
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On January 26th 1683 Leopold and Maximilian II Emanuel had concluded a defensive alliance, by the terms of which the Bavarian Elector undertook to supply some 8,000 troops if the border was threatened. In the event the Bavarian contingent was reinforced by 1,000 men from Salzburg. Saxony provided another 9,000, and Franconia and Swabia sent the same number. With the 21,000 soldiers of the Imperial army, the Polish forces of the same strenght and several smaller contingents, the relieving army must have numbered over 70,000.
Brandenburg did not follow the example of Bavaria and Saxony. Elector Friedrich Wilhelm was more interested in Swedish possessions in North Germany.
The inclusion of the Elector of the Palatinate in the set of playing cards ia an error on the part of the artist. The man who actually led a battalion of troops from the Palatinate into battle in 1683 was Philipp Wilhelm of the House of Pfalz-Neuburg, who did not succeed to the Electorship of the Palatinate until two years later.

The theme linking the 10`s cannot be fully ascertained because the Grape card is missing, It is possible to reconstruct with some plausibility the illustration of the 10 Grape card, it probably depicted an allegorical figure with the Venetian coat of arms. Hearts - the Kingdom of Hungary, Spades - the Kingdom of Bohemia, Grape - Missing (Venice), Pomergranate - Holland.
The Kingdom of Hungary was the focal point of the events which led up to the war of 1683. Constantinople`s demand that a number of border fortresses be surrendered in return for a prolongation of the peace together with the repeated Habsburg claim to the Kingdom were the immediate causes of the Turkish campaign.
The disputed claims of both Empires to Hungary went back to 1526, when Ludwig II, King of Hungary and Bohemia, lost his life against the Turks. His successor was a Habsburg, who ascended the Bohemian throne in the same year. But after fresh Turkish incursions into Hungary in 1529, the Habsburgs controlled only the western half of the country.

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The 9`s depict four of the military commanders in the allied army. Hearts - the Duke of Lorraine, Spades - the Prince of Waldeck, Grape - the Prince of Bayreuth, Pomergranate - General Dunewald.
Duke Karl of Lorraine was entrusted by Leopold with the overall command of the army in 1683. By a series of judicious tactical moves in thearea around Vienna he laid the groundwork for the final battle which lifted the siege, although the Polish King assumed supreme command of the allied forces during that battle.
Georg Friedrich Prince of Waldeck was rewarded for his successes on the diplomatic front by being given responsibility for drawing up the allied army. During the battle for Vienna he commanded the centre. General Johann Heinrich Count Dunewald enjoyed a reputation as one of the best commanders in the Imperial army. In the final battle to lift the siege he was in charge of the right flank, under Waldeck, while the left flank was commanded by the Franconian General Christian Ernst Margrave of Bayreuth.

The 8`s comprise three eastern European territories incorporated in the Ottoman Empire, and Switzerland, which was not in any way involvbed in the Turkish war and thus needs no Further explanation. Hearts - Abbafi in Transylvania, Spades - Cossacks, Grape - Moldavians and Wallachians, Pomergranate - Switzerland.
Wallachia, Moldavia and Transylvania were principalities which had acquired a considerable degree of autonomy despite being incorporated in the Ottoman Empire. As vassal states they duly sent contingents of troops to join the Turkish army, although these were employed primarily in bridge building.
There is no firm evidence to prove that Cossacks took part in the battle for Vienna, although they were inevitably drawn into virtually every conflict between their neighbours -the Mongolians,Poles,Russians and Turks.

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The 7`s portray the siege of Vienna itself, with the city and the Turkish camp depicted on the Spade card. Hearts - Ernst Rudiger Count von Starhemberg, Spades the City of Vienna (Mayor Johann Anders von Liebenberg), Grape - Grand Vesir Kara Mustapha, Pomegranate - Emmerich Count Thokoly.
What Lotheringen as commander-in-chief of the army achieved outside the city, Count Starhemberg equalled within the walls of vienna. As commander of the defending forces he supervised the strengthening and manning of the ramparts and did much to raise the morale of the city`s inhabitants.
Kara Mustaphas Pasha was appointed Grand Vesir in 1676 and sought to surmount the internal problems of the Ottoman Empire by waging successful military campaigns abroad. He is reported to have fought courageously during the battle, but after his defeat he was dismissed by the Sultan and strangled in December of the same year.
The Hungarian Count Emmerich Thokoly, who commanded a contingent of rebel soldiers, contributed significantly to detemining the course of events in 1683 as much by what he failed to do as by anything he did. Although nominally offering his support to the Turks, he also negotiated with the Habsburg court to keep his options open. In battle he consistently withdrew before engaging the enemy, and at decisive moments, when the Turkish forces relied on his arrival, he failed to appear.

The 6`s illustrate typical representations of the four estates of 17th century society. Hearts - Priest (the clergy), Spades - nobleman (the aristocracy), Grape - burgher (the middle class0, Pomegranate - farmer (the peasantry).
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A clearly differentiated hierarchial order was a feature of social attitudes in past centuries, reflected here in the sequence of the card suits. The foremost position -Hearts- is allotted to the clergy which enjoyed immense influence not only as a landowner but also as an indispensable element in court life in the subtle power politics of 17th century Europe.
The nobility did not constitute a homogeneous group but comprised several strata : the landed gentry, the hereditary aristocracy and those who had been ennobled for services rendered to the Imperial household.
With the emergence of Vienna as the sole residence of the Habsburgs in the 17th century, far-reaching changes took place in the social order of urban life, as the middle class citizens were forced to move to the outlying suburbs by the up-and-coming class of the nobility and the court officials.
Except in Tyrol and Vorarlberg, the peasantry in the crown territories had no representation of their own. It was the function of their manorial lords - the gentry, aristocracy and clergy - to uphold their interests.

Thanks for looking at my crds :D -jase-
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Re: Austria

Unread postby Jock1971 » Thu Jul 30, 2015 9:47 am  

BOTANISCHES KARTENSPIEL von J.H. LOSCHENKOHL

Number limited edition by Piatnik dated 1979. The origin and date of the original pack is indicated by the handwritten inscription:"bey Loschenkohl in Wien 1806" on the Ace of Clubs, which also bears the firms stamp. The handwritten "M" on the Queen and Jack of Spades is the initial of Mayer, one of Loschenkohl`s craftsmen.
52 Cards in French suits ,Hand-coloured copper engravings with dimensions of 86mm x 57mm .
The 46 coloured cards are from the library and folio collection of the Austrian Museum of Applied Art, and the uncoloured cards are from the complete pack in the Cincinnati Art Museum.
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There are very few examples of the packs of cards which received such wide publicity shortly before Loschenkohl`s death. A note in the inventory of his estate reads : "Since legal objections had been raised against Loschenkohl`s cards by other Viennese playing card manufacturers and their sale consequently forbidden by the terms of a magistate`s decision dated August 14th 1806, and since, in view of Loschenkohl`s death, his appeal to the government dated September 27th 1806 remains unsettled, it is incumbent upon the purchaser to pursue this case, all documents pertaining to which are contained in this lot"
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It may well have been Loschenkohl`s legal quarrel with other card manufacturers about what for him at least, to judge by the price, was a very special pack of cards, that led to so few copies surviving. Reasearchers are aware of the existence today of only three packs. The colouring of the one in the Museum of Applied Art in Vienna probably makes it the most attractive one, despite the fact that it is incomplete. It was registered only recently in the catalogue of the museum library`s folio collection under the heading "Old Stock", which clearly shows that it had been in the museums possession for some time.
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It is to be assumed that it was originally contained in some kind of attractive presentation box and that because of the box it was placed in the care of some department other than the library or folio collection. The cataloguing system of the day was unfortunately only superficial and affords no further information. It may be that this particular pack was part of a bequest to the museum from an aristocratic family.
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Re: Austria

Unread postby Jock1971 » Thu Jul 30, 2015 10:19 am  

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The set of coloured cards in the possession of the Vienna Museum of Applied Art shows clearly that it is the colouring which makes the cards truly attractive. The colours have been applied with special care in the case of the theatre caracters, though with the flowers too, they provide considerably more charm and plasticity than is to be found in the plain engravings. The care with which the colours have been applied to the flower illustrations varies so considerably as to suggest that a number of different craftsmen were at work. The delicate, skilfully differentiated colouring of such designs as the daffodil (10 of Spades), the meadow-crocus (2 of Clubs) or the carnation (9 of Hearts) provide a marked contrast to the auricula (7 of Hearts), the evening primrose( 4 of Spades) or the violet (7 of Spades) where the clumsy brush-work only serves to obscure the delicate lines of the basic engraving.
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Considered as a group, The court figures are more consistent in design and colouring than the flower illustrations.
From 1802, the German publishing house of L.W. Wittich had issued a journal entitled "Kostume auf dem Koniglichen National-theater zu Berlin"(Costumes from the Royal National Theatre in Berlin) and the first Eight issues, published as a single volume in 1805, seems to have provided the models which Loschenkohl used, with only minor changes, for the figures in his card pack.
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Spades - Valet : A page from the coronation procession from Schiller`s trajedy "Die jungfrau von Orleans"
Dame : Iphigenie from Goethe`s "Iphigenie auf Tauris"
Roi : William Tell & Son Walter from Schiller`s "Willhelm Tell"
Hearts - Valet : Ruodi the fisherman from Schiller`s "Wilhelm Tell"
Dame : Mary Stuart from the last act of Schiller`s tragedy " Maria stuart"
Roi : Procopius, the Hussite General from Kotzebue`s drama "Die Hussiten vor Naumburg"
Clubs - Valet : Kuoni the heardsman from Schiller`s "Wilhelm Tell"
Dame : Athalia from Racine`s tragedy "Athalia"
Roi : Thoas, King of the Taurians from Goethe`s "Iphigenie auf Tauris"
Diamonds - Valet : Pedrillo from Holberg`s comedy "Don Ranudo de Colibrados"
Dame : Rodogune from Corneille`s tragedy "Rodogune"
Roi : Duke of Alba from Goethe`s tragedy "Egmont"
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Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby Jock1971 » Fri Jul 31, 2015 10:24 am  

AMBRASER HOFJAGDSPIEL Piatnik Edition No. 2896
The Ambras Court Hunting Deck, attributed to the workshop of Konrad Witz c.1440-1445

The Ambras Court Hunting Cards originally consisted of fifty-six cards in four suits: Heron (reiher), Falcon (Falken), Hounds (Hunde) and Lure (Luder/Federspiel). The number cards go from one (Ace) to nine, with the Banner as ten. Banner cards were used throughout Southern Germany (mainly in areas adjacent to the Alps) in the fifteenth and sixteenth centuries and are still in use today in Switzerland. The court cards are made up of Konig (King), Konigin (Queen), Ober (ranking between Queen and Knave), and Unter (Knave). All of these figures are mounted on horseback. Each suit thus comprises fourteen cards. Only two cards are lost, the Eight of Falcons and the Two of Hounds, so that fifty-four of the original fifty-six cards are extant.
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The cards are executed in water colours and paints over black ink drawings on paper. There are visible traces of charcoal sketching, particularly in the animals. Several layers of paper have been glued together to lend the cards the requisite thickness. As was customary with printed cards in Italy, the back layer of paper has been cut slightly larger and then folded forwards to form a border on the front. In several cases this border obscures sections of the illustration. This mainly affects depictions of animals, in some cases the depiction has been completed again on the gold border (King of Hounds, Knave of Hounds, Queen of Herons, King of Lures).The border and the background of the Kings and Queens are in brushed gold (real gold bronze or painter`s gold).
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The cards are unfinished : in some cases the painting is incomplete and the very detailed sketching has been left to stand. In the case of the court cards, this is true of all the faces and hands, of parts of the clothing and of two of the horses. In the case of the number cards, only the suit of Lures is finished. The Falcons, Herons and Hounds have been left as ink drawings. On the other, the background to the suit symbols has been painted.
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The reverse of the cards is painted red throughout, although here again the artist did not complete the task. In the case of six cards the reverse has not been painted at all; curiously enough, all six cards concerned are court cards: Queen of Herons, King of Lures, Knave of Lures, King of Falcons, Queen of Falcons and King of Hounds. It would appear that red reverses were not uncommon at the time; they are features of both the "Stuttgart Cards" and "Visconti Sforza Tarot Cards".
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Three of the cards have a watermark (Knave of Falcons, Six of Falcons and Five of Hounds): a crown, an ox head,and a circle with two deep lateral indentations. It is unfortunately not possible to identify this watermark. The dimensions of the cards are around 157 mm x 95 mm. The Ambras cards are thus the second largest set made North of the Alps. The Stuttgart card set is substantially larger (190mm x 120mm). Of the German copper engraved cards, the closest in size to the Ambrs set is the larger card set by Maste E.S (142mm x 92mm). The painted North Italian tarocchi (178 to 186mm x 90 to 93mm) and the engraved Mantegna Tarocchi (180mm x100mm) are slightly larger than the Ambras set. Painted cards tend to be the largest, followed by engraved cards, while the smallest are popular cards.
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Re: Austria

Unread postby Jock1971 » Fri Jul 31, 2015 10:54 am  

Amongst the card sets produced North of the Alps, the Ambras Court Hunting Cards are unique in their hierarchy, with their four suits consisting of four court cards and ten number cards,totalling fifty-six cards. This hierarchy is, however, similar to that found in the Italian tarocchi, which likewise consists of fifty-six cards (not counting the twenty-two trumps). Three such tarocchi have survived, all three originated in or around Milan in about 1445 and were painted by Bonifacio Bembo for thr family of the Dukes of Visconti Sforza.
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Four court cards are not a common feature of playing cards made North of the Alps, but they do occur on the Upper Rhine (Where the Ambras set originated), in two card sets by Upper Rhenish engraver Master E.S (the smallest card set dating from around 1460 and the larger set dating from 1463). Most card sets had only three court cards (without the Queen). The number cards in the Ambras set are arranged in the same way as in the Stuttgart cards: One to nine and Banner (Ten).
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There are two cogent reasons for assuming that the Ambras Court Hunting Cards were made for an aristocratic clientle, First, it is a valuable, hand-painted card set produced by the workshop of Konrad Witz, a prominent Basle artist. Second, the underlying idea of the illustrations, the hunt, alludes to a way of life which was the prerogative of the nobility. The Ambras cards can hardly have been used for playing with, the cards show no sign of wear (as do the Stuttgart cards, for instance), and they are unfinished. The fact that the artist did not complete his task does not appear to have diminished their value: the card set was evidently looked after with great care and has thus come down to us.
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We know that from the late sixtenth century onwards the Ambras cards were kept in the Art and Curiosities collection of Archduke Ferdinand of Austria, Count of Tyrol, the great-grandson of Emperor Maximillian I. The inventory of his estate at Ambras Palace near Innsbruck contains an entry dated May 30th, 1596 (Page 465), which refers to "a wooden box painted grey containing a cards set of hounds, lures, cranes, hawks and men seated on horseback". The "Wooden box" is not extant. In the Archdukes collection, the card set was found in one of the i=eighteen large cabinets containing mechanical devices, clocks, silverware and small objects of value - more precisely, in the "Variokasten", whose contents include small items like playing cards.
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Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby dazzleguts » Sat Aug 01, 2015 1:56 pm  

Great entries Jase!

The BOTANISCHES court figures really remind me of the courts in the German Almanach decks of the same time period.

The Ambras deck is such a beautiful work. :drool:
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Re: Austria

Unread postby Jock1971 » Fri Aug 07, 2015 6:04 am  

Arnold Schoenberg Playing Cards, Piatnik Edition No.2852 dated 1981
Box size is 230mm x 160mm and card size is 106mm x 56mm.
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Arnold Schoenberg, the originator of twelve-tone music, was not only a composer: his artistic genius found a large number of outlets. Around the year 1910, for instance, he devoted a great deal of time to painting, and some 250 oil paintings, water-colours and drawings have come down to us - most of them today are in the Arnold Schoenberg Institute in Los Angeles.
The rich legacy which the Arnold Schoenberg Institute houses includes designs for playing cards in Schoenbergs own hand. These have never before been published and are now for the first time being made generally available.
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As it is presented here, the set constitutes a 52 card whist pack with Schoenberg`s signature. The present colour reproduction in modern offset printing technique does justice to the attracctiveness of the original designs. No reverse was made for these cards,or if there was it is no longer extant. But, at the suggestion of the Arnold Schoenberg Institute, a coloured ornamental design which Schoenberg painted in one of his diaries has been selected for the purpose.
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The overall effect is that of an intriguing set of playing cards unmistakably betraying the influence of Jugendstil. This is hardly surprising: Schoenberg was, after all, a contemporary of Klimt, Schiele, Hoffmann and Moser. Here, in all probability, lies the clue to dating the cards. If most of Schoenbergs painting goes back to the years around 1910, this would explain the Jugendstil influence on his cards. It was in 1906 that Ditha Moser, wife of Kolo moser, had designed a jugendstil set of tarot cards followed by a pack of Whist cards in the same style.

Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby Jock1971 » Sun Aug 21, 2016 4:19 am  

Bjorn Winblad ,Produced by Piatnik (No.2436) from 1974 onwards.
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Bjorn Winblad (1918-2006),A danish artist who was best known for his ceramic works for the Rosenthal and Nymolle porcelain Company.
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My pack has Danish Indices (Es,B,D,K), There is also a version with English Indices (A,J,Q,K) The cards can be seen here at the World of Playing Cards site http://www.wopc.co.uk/denmark/bjorn-wiinblad
IMG_0004.jpg

Thanks for looking at my cards :D -jase-
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Re: Austria

Unread postby dazzleguts » Mon Aug 22, 2016 11:52 am  

Cool Jase!
Those look rather cubist influenced. Is the signature printed on all the packs or is that an actual autograph?
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Re: Austria

Unread postby Jock1971 » Thu Aug 25, 2016 10:09 am  

dazzleguts wrote:Is the signature printed on all the packs or is that an actually autograph


Hi Dazzelguts...i wish it were real :D ..but unfortunately the signature on the jokers and box are part of the design.
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Re: Austria

Unread postby Jock1971 » Fri Sep 02, 2016 3:34 am  

FLAMISCHES JAGDKARTENSPIEL , Piatnik Edition (1994)
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The Cloister playing cards constitutes the only known complete pack of fifteenth-century hand-painted playing cards. Attributed on the basis of style to the Burgundian territories in the lowlands and dated to about 1475 to 1480, the set comprises of fifty-two cards in all, with a king, queen ,knave and numeral cards from one through ten in each of the four suits. The suit designations, unknown in any other early playing cards, all pertain to hunting equipment: dog collars, tethers for the hounds, nooses for birds or small game and hunting horns to sound the signal of the hunt. The collars and horns are coloured red and the tethers and nooses blue, but their ranking in unknown. The values of the numeral cards are indicated not by numbers but by the repetition of the suit sign.The suit of the court cards is denoted by the appropriate symbol, which each figure wears, carries or has emblazoned on his or her costume.
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The Cloisters cards are constructed from four sheets of laid paper glued together to form a stiff pasteboard, the outline of each card was then traced onto the board probably with the aid of a template. The unpainted cards were then cut out with shears, as evidenced by the downward-pressed edges on the face side of each card and by the slight tangential cuts at the ovoid ends. Each blank was then overlaid with a slightly smaller template or a cutout and scored, seemingly with a metal stylus, resulting in an impressed line that extends neatly around each card about one-eighth of an inch from the edge.This order of fabrication is proven by the presence of a perfectly centered scored line in both the back and the front of the 8 of horns: it is virtually impossible that these lines could have been traced in perfect register before the card was cut out. A careful study of these score lines also reveal that two different templates were employed: one was used for all the cards in the horn, tether and noose suits (except the 1 of horns & 5 of tethers where the template seems to have slipped during tracing).A slightly longer and wider template was used for the suit of collars, the use of different templates suggests that two or more craftsmen worked simultaneously on the cards.
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Stencils were employed to provide uniformity in reproducing the suit signs, as evidenced, particularly in the horns and the collars. The many instances of the suit signs extending through the border lines, especially in the higher values, indicate that one stencil was used for each numeral card. If the suit symbols were drawn in by hand or reproduced by the multiple use of a single cutout of each suit sign, then these flaws would readily have been avoided. this means that forty different stencils were required to produce this pack of cards, an effort a workshop would have made only if the pack was intended to be produced in multiples, Therefore it is very unlikely that the cloisters cards were a unique commission. The court cards were produced entirely freehand, the outlines of the figures were sketched in with both score marks and charcoal underdrawings, some traces of which can still be detected. The figures were then filled in with pen and ink and coloured with typically medieval pigments bound in organic glue,glair or gum arabic. Glazes were used extensively to finish the figures, and gold and silver leaf applied over an organic adhesive also were employed liberally throughout.
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The border lines were clearly the final elements to be painted in, as they are interrupted wherever the principal design extends. Advantage was taken of the slight depression left by the stylus to facilitate the painting of the outer border line, which is red except in the numeral cards of the horns and the collars where it is blue (for no apparant reason, however, this pattern is reversed on the 10 of horns, where the outer border is red and the inner is blue). As a result, the outer line is always much more precise and even than the inner line, which was painted freehand. All known fifteenth-century hand-painted packs of cards have painted backs save for the cloisters cards, which are plain paper on the reverse.
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