View Full Version : Gumppenberg circa 1812
OnePotato
21-09-2007, 11:07
Here are some photos of Mr & Mrs OnePotato's new crown jewel...
An original circa 1812 Ferdinando Gumppenberg Tarocchi Fini.
77 of 78 original cards present.
The King of Cups is a modern replacement.
(If anyone knows where to find an original vintage replacement, please let me know! ;))
Condition is quite excellent.
Just a few dirt spots, and light wear.
The deck has a faint smell of old age.
Hard to describe, but I can remember it from my grandmother's house, long ago.
It's fairly small, at 10.6 x 5.2cm, and tightly trimmed.
This small size adds to the jewel-like miniature qualities of the deck.
The finely detailed engraving and hand coloring is marvelous!
Card faces are varnished, or "polished", for a very nice surface quality.
Even after 200 years, this deck has an aura of top quality production about it that shines through.
(GumpMajors.jpg)
Tax stamp on the Ace of Swords is for Italy under French rule, valid 1807-1815.
The Ace of Coins has an ink smear, obviously from the manufacture.
I've noticed something very interesting about the signature on the Ace of Cups.
(04GumpAces.jpg)
I don't know if the box is original, or later.
I don't really have any particular reason to doubt it, but it seems too good to be true.
Note the incorrect spelling of "Gumppenberg" on the front.
Has anyone ever seen or heard of a box for this deck?
(01GumpBox.jpg)
02GumpBox.jpg)
Backs appear to be red letterpress "flowers".
(You can see that the image is lightly pressed into the paper.)
(05GumpCourts.jpg)
This is one fine deck.
Bravo, Master Gumppenberg!
Papageno
21-09-2007, 13:13
congratulations Mr & Mrs. OnePotato :D
what a coup! :thumbsup:
thanks for the pictures, the box in itself is glorious
edited:
that might not be a spelling error, it's very possibly a dialectic preference.
for the (contemporary) Veneziani by Maria Cristina Venditti....the card titles purposely reflect the Venetian dialect, rather than the Roman tongue
The crowned one
21-09-2007, 16:00
Thank-you for sharing that, what a wonderful find and a deck to be proud of. I am envious! Closest I ever came was "Ancient Tarot of Lombardy". And I sent that one to Italy. :)
I would love to own a "Real Ancient" deck like this one.
Thanks for sharing your treasure.
Congratulations..
le pendu
23-09-2007, 09:23
I consider this one of the most beautiful decks ever created.
I'm so envious that I can only feel slightly better knowing that it (almost!) couldn't have found a better home.
Congratulations and thank you VERY much for sharing. It's breathtaking.
OnePotato
24-09-2007, 15:38
congratulations Mr & Mrs. OnePotato :D
what a coup! :thumbsup:
thanks for the pictures, the box in itself is glorious
edited:
that might not be a spelling error, it's very possibly a dialectic preference.
for the (contemporary) Veneziani by Maria Cristina Venditti....the card titles purposely reflect the Venetian dialect, rather than the Roman tongue
Thanks Papageno.
I'm glad you like it.
The box was actually a surprise. It wasn't mentioned in the sale description.
I don't know enough (anything!) about Italian dialects to have a clue about it!
I suppose it's possible, or maybe it's just the lax spelling standards of the time.
(PS: I LOVE the Veneziani!)
OnePotato
24-09-2007, 15:44
Crowned One and Uwe, I'm glad you liked it!
I consider this one of the most beautiful decks ever created.
le pendu,
I agree, it's really an original design, and a beautiful thing.
But his Soprafino is still out there somewhere, calling....
That is beautiful!
I hope Im in as good a condition at that age .. oppps! too late ... :P
I've never really looked at the cards - the Hanged Man is intruiging - what muscular legs he has ... and his facial features ... his pose .. WOW!!
Congratulations on your new baby! Well done!!
Papageno
24-09-2007, 20:40
or maybe it's just the lax spelling standards of the time.
that's most likely the case, whoever made the box probably pronounced it that way himself so that's how it got printed on the box ....seems arbitrary but perfectly plausible.
Papageno
24-09-2007, 20:41
But his Soprafino is still out there somewhere, calling....
it has your name written all over it ;)
I am grateful that you posted these and have enjoyed looking at the pictures. It must be wonderful to be actually able to handle these cards.
Hope you get that Soprafino too!
Marion
Nice find, Mr & Mrs TwoPot... oops, OnePotato!
As others have also mentioned, I'm very impressed also with the box...
Being able to hold a deck made pre-1890s is a real delight - to own one is a blessing indeed :)
OnePotato
26-09-2007, 02:17
Hello Elven, Marion & JMD.
Thanks for looking, and I'm glad you liked it!
I think it's interesting that the same printer/publisher created this deck, and then followed up with the Soprafino a few years later. It seems he had an idea to produce a high standard of art, and actually followed through and implemented it. I wonder how well he did in the marketplace?
In both cases, he was not content to stick to the familiar, and cheaper to produce woodblocks, though he did produce a simpler version of the Neoclassical in woodblock form as well. (I don't believe it's been done as a reprint, so it's not so well known.) I assume he sold it for a much lower price. So, perhaps in a sense this is the first premium "art deck"?
OnePotato
26-09-2007, 02:19
Here is what I have noticed about the signature on the Ace of Cups:
My copy has "Gumppenberg / Fabricatore in Milano" as the signature.
I believe the Lo Scarabeo reprint also has this same sig.
The Il Meneghello reprint, and the Kaplan version (Illustrated in both the Encyclopedia Vol II and the Christie's 6-21-06 catalog) both have "Fabbricatore / Gumppenberg" as the signature.
In looking at them, I believe mine is the older version, because both the italic slant and the character of the script better match the rest of the deck. This suggests everything was done at the same time. The Il Meneghello/Kaplan script is at a slightly different angle, and of a slightly different character that does not match the other text in the deck. It is also placed slightly crooked, and the decenders of the "p's" actually run into the border art. All of this suggests that it was added later, by a different hand.
In all versions, I can see several small pits in the plate that have left small dots in the background, so it is almost certainly the same master plate that is used for both editions. (Only the signature area differs.)
It is possible to fill or rub out an area on an engraved plate, and then re-engrave it anew. So it appears that he wanted to remove the "Milano" from the deck at a later date. I'm sure there's some logical, historical reason for this, but I haven't found any explanation yet.
I also noticed that Kaplan's copy, with the altered signature, has blue backs, instead of red.
So far I haven't found any discussion or mention of multiple editions of this deck. The tax stamp is the same, so they all would appear to date from the same general time, but there were obviously multiple printings over the active time period.
One of these days I'll have to get the reprints in order to compare the variations in color application. Generally, they appear pretty similar, but even by looking at just a few online scans, I can see that there are probably a lot of differences in the details. I'm curious to see if stencils were used, or if it is all done by hand.
This proves how much we can learn from actual artists. I would never imagine such a story as a new signature plate, much less correlating at such a level of detail. I'd love to see a super blow-up of the area in question. I have the Il Men. copy from 2003 myself....
Cerulean
26-09-2007, 09:50
I have a few Il Solleone reproductions done on linen stock and I enjoyed comparing the versions posted with these reproductions.
Thank you for your delightful scans and sharing.
The earliest Lo Scarabeo reproduction of the di Gumppenberg to 1812 had the smaller playing card size and red-flower backs and bright light yellow...I'm starting to prefer the bright yellow version again.
I've posted the di Gumppenberg publisher timeline before and the Aleph Tarot site, where you can see all the Il Solleone reproduction cards...I would say that hands down, the beautiful real deck Mr. OnePotato posted is the best and most gorgeous of all the decks!
But here's the Aleph Tarot site--the card 'divination' seems to be a modern thing, as the deck was originally a beautiful gaming deck.
http://www.aleph-tarot.com/c1.php?id=3&karte=1
Because the della Rocca and Lamperti contributions seem to have come in the later decks, I was thinking that the di Gumppenberg 1812 was one of the most delicate and beautiful reflections of neoclassical designs in Napoleonic times...and ironically and so quickly outmoded... because it was printed around the time that Milan and the Iron Crown of Lombardy was going to be 'under' Napoleon's new infant son--but the son never ruled, the new queen retired to become the Duchess of Parma and Napoleon was banished to distant desert islands soon after...
May your treasure--all 77 cards to behold--be enjoyed for many years to come!
Cerulean
Cerulean
26-09-2007, 09:57
These notes below are probably faulty, taken from bits and pieces of the Il Solleone newsprint foldouts and beginning to be supplemented by the Lo Scarabeo book on the Ancient Tarots of Lombardy or (Neoclassical 1810) with Giordano Berti/Marisa Chiesa...I'll add more, correct and revise based on comments. Di Gumppenberg biographical notes
From the Trade Sites of Milan from Il Solleone
Di Gumppenberg highlights - I notice Il Solleone prints the name as follows:
Ferdinando Gumppenberg
Born Jan 3, 1788 from Franco and Caterina Sala. It says born to Monaco of Baveria, Monoco being a city-state, Baveria being the country in 1788?
1805-1809--Apprenticed in the art of cards press (printers) in the important Fabbicante di Monaco
1809--Enlightenment, the Regia Fabbrica (regional maker?) of the cards transfers to Milan---I believe this is within Napoleon's reign, near the end.
Cerulean Mari's note: I also believe that one of the historical events that might have influenced the making of the Neoclassical of 1811 might have been the birth of Napoleon's son in March of 1811, known as the "King of Rome" and crowned with the Iron Crown of Lombardy.* (Di Gumppenberg did issue a later deck in celebration of Emporer Ferdinand)
1809-1814 Produces numerous original cards.
1810, 1811 "Tarocco Neoclassico Italiano," Milano - (Note Kaplan suggests 1806 or thereabouts in dating). My copy is reprinted in 1980 in an edition of 1,500.
1812 Marries Marianna Pohl
1814 Liquidation of the Regia Fabbrica di Milano.
Cerulean Mari's note: Possibly this means that the card-making is no longer controlled regionally or restricted or the designation from Napoleon's 'restriction' was lifted and now competition from other Milanese cardmakers
1814, July--Gumppenberg initiates activity near the Giardino (either the garden district?)
1816? I have to translate this note*
1820 - note related to the bottega di Caffe in Borgo di Cittadella
1820 "Il Dilettevole Giuoco del Cucco,"41 cards, stamped 1820, to 1846. Il Solleone published 1,500 copies in 1981. (Cerulean has never seen this set*).
1820-25--produces "Tarocco Vedute e Meistieri de Milano"...alternative name of Trade Sites of Milan Tarocco?
Il Solleone published 1000 copies in 1982.
1825 --Printer negotiates in Corsia del Giadino "sono in vendita anche biglietti della Lotteria"...
1835 (1830-45)--"Tarocchino Lombardo".
Il Solleone's note: engraved by Carlo Dellarocca around 1835, and then the Italian note"...dal Gumppenberg, dal Lamperti e altri in Milano e Lombardia"--note correction below on Lamperti note in 1847. Lamperti is his son-in-law.
Il Solleone published their version of the Dellarocca designs in in 1981 in a limited edition of 2,000. There is another version by Lo Scarabeo, I believe.
We know this title as the Tarocco Italiano Soprafino with engravings by Carlo della Rocca.
Given this information, the mysterious beautiful additions to the Dellarocca designs might have been innovations by Lamperti and Dellarocca?
1838-40 Produces "Tarocco Della Corona Ferrea"
Iron Crown of Lombardy Tarocco * from Edizioni del Solleone, reprinted 2,500 copies, 1979.
1847-He concedes the printmaking in general to Lattanzio Lamperti, the spouse of his daughter Paola.
Lamperti Tarocco sample:
http://www.wopc.co.uk/italy/lamperti.html
(R. Somerville had an old link to 22 card mignon Tarocco from Lo Scarabeo, but it's no longer available).
1855- Dies after 67 years.
*A quick translation. Any input appreciated, I'll correct later. I'm still gathering references, which includes the Lo Scarabeo book, and a catalog from the defunct publishing house of Solleone, edited by Vito Arienti.
Regards
Cerulean
I had this deck - loved the images but found it impossible to shuffle, and as I like to use my decks......... I sold it!
But now I've been looking at the LS version, The Ancient Tarot of Lombardy.
It's all Sapienzas' fault, she writes about her decks in way that enables me (NAUGHTY SAPIENZA!). So - I've ordered it.
Looking forward to seeing these cards again, on a cardstock that I can shuffle. I have to admit that the Batelaur does look like a street tobacco merchant (Kudos Rosanne!)
Bee :)
Which edition are you refering to receiving? The Meneghello edition of this isn't at all difficult to shuffle. It is one of the most shufflable decks there is. And just exquisite... Like miniature, 19th Century watercolours...
I had the Meneghello version Le Fanu, with square corners. The scans were lovely, the real thing = disappointment. And I do know that some consider it exquisite.........
Bee :)
The LoS one is also lovely. It is one of their historic decks which doesn't have titles of any sort. Always the best kind!
Just wondering if we can persuade Mr OnePotato to repost some images, since the aol site is now no longer available. :)
Oooh! What a good idea Moonbow! Yoohoo! Mr OnePotato, I see you're online. Your great scans are sorely missed........
Bee :)
OnePotato
02-12-2009, 06:10
OK, I've replaced the photos on the first & 14th posts.
:)
The il Meneghello reprint is a very fair approximation of the original.
It's a reprint of the other old version with the altered signature on the 2-cups.
The LoS is a reprint of the same old version that I have.
One of these days I'll get a copy of the LoS and have a look at all three to see if there are any noticeable variations in the hand coloring among them.
Many many thanks :) :)
Off to see them.
Bee :)
My Gumppenberg cards, the deck I sold, was like the image in your post (14) with the creamy background.
I much prefer the images that are in your first post. Looking forward to the LS version in the mail and hoping they resemble yours.
Bee :)
The colours are so vibrant in those photos. Especially the yellows. Beautiful.
Ah lovely, thanks OnePotato. I was thinking that the Lo Scarabeo is quite a true reproduction except the colours are nowhere near as bright as your deck.
This is a deck which I've looked at many times and didn't buy, then I received it in a trade. I have never tried to read with it but I agree its a beautiful deck, far more ornate and detailed than Marseilles decks.
Its wonderful to reopen this thread and repost the images, thanks very much.
sapienza
02-12-2009, 12:56
How wonderful to see those scans. Thanks so much :)
I really love the Empress in this deck. I must say I never read with this deck, but it's wonderful to have it all the same.
My LS Lombardy tarot has arrived.
Re-visiting these images with a cardstock that I can handle in peace. (They're more wipe-clean then the lovely Menghello).
The Devil looks a nice chap, but see his hands they point up and down. He's one to be wary of I think dispite his good looks.
......mulling through the other cards....
Bee :)
Those who have the Menghello, do you see the little scottie dog on the Chariot card? It's just the head, squinched between the horses at shoulder height.
Baffled Bee :)
suedally
08-12-2009, 02:29
Lovely to see such interesting cards - holding history in your hands. I wonder who used them 200 years ago!
The Devil looks a nice chap, but see his hands they point up and down. He's one to be wary of I think dispite his good looks.
Something sensual in that swaggering pose, don't you think? ;)
Lovely to see such interesting cards - holding history in your hands. I wonder who used them 200 years ago!
Hello Suedally :)
I wonder that as well.
In my minds eye I can see two scenarios; one is a motley group of men in a murky tavern lit by candle light - they're gambling. The cards are played onto a beer-(ale?)-stained table amidst tankards of booze.
The second, is a brightly lit drawing room with the gentry 'in their cups', laughing and making quips. At at small highly polished table there sit some ladies in their silks, they're trying to determine who shall marry first, each holds a card close to her heart - they are giggling........
I'm really liking this deck.
Bee :)
Something sensual in that swaggering pose, don't you think? ;)
Very sure of himself - bearing his belly-button to all and sundry :grin:
Bee :)
Happy to see that you're enjoying this deck Bee. I'm not very familiar with it even though I've had it a while, and its one of those decks that I keep meaning to get around to doing some research on. I'm fascinated by the Valets and Cavaliers that have their backs to the reader and have often wondered why that is. Maybe the artist didn't like drawing faces (or preferred drawing men from the back) :). Cerulean started a thread about knights/Cavaliers where this cropped up.
Happy to see that you're enjoying this deck Bee. I'm not very familiar with it even though I've had it a while, and its one of those decks that I keep meaning to get around to doing some research on. I'm fascinated by the Valets and Cavaliers that have their backs to the reader and have often wondered why that is. Maybe the artist didn't like drawing faces (or preferred drawing men from the back) :). Cerulean started a thread about knights/Cavaliers where this cropped up.
Yes! I noticed that too, those courts with their backs to us. I wondered if it could mean that they were 'moving away - leaving' as opposed to 'coming - arriving'. Or.... as you say, maybe the artist liked mens backs...........
Do you see the little scottie dog head on the Chariot? .......weird...
Bee :)
I'm fascinated by the Valets and Cavaliers that have their backs to the reader and have often wondered why that is.
I'd thought about this. It's very odd. It must mean something, but I can't imagine what...
I love this deck. Another one I must use more. I'm in love with the colours of the Meneghello version. Funny, I don't imagine this being used in tavern, rather, in elegant drawing rooms, women in diaphanous Neoclassical off the shoulder dresses and high waistlines! A more international crowd who had picked up the fashions from France.
I don't have it at hand. I must check the Chariot card, but it is a beautiful deck. All the roughness of the gaming universe smoothed away for an elegant elite!
sapienza
08-12-2009, 11:38
Do you see the little scottie dog head on the Chariot? .......weird...
Is that it between the two horses? How very odd. I've never noticed it before but then I really haven't spent much time with this deck at all.
Certainly an interesting devil. I think what you see is definitely not going to be what you get with this guy :)
http://www.aleph-tarot.com/c1.php?id=3&karte=7
I suspect it's a lion's head.
http://www.aleph-tarot.com/c1.php?id=3&karte=7
I suspect it's a lion's head.
That would definately make far more sense.
I got the magnifying glass out and asked someone else to say what they saw. They too saw a little dogs head. It's a pert little face with stick-up ears.
I thought it was part of some harness when I first saw it, but there are no reins/lines adjoining it.......
Bee :)
sapienza
09-12-2009, 11:01
It may well be a lion's head, but I know every time I look at that card now I'll see a little scottie dog :laugh:
Cerulean
05-07-2010, 03:54
Hello, will try to find notes for update..
Debra and talked about it yesterday, and I will try to update soon.
What is funny is it turns out Kaplan identified 1807 and he probably had a Solleone set before I did--but probably not time to read all the various printed leaflets in Italian to put together a timeline.
As Debra said, only us deck nerds would care!
One Potato's fabulous find is still whispered about with great awe and reverence. Perhaps that is why my early yellow Solleone and LS reprints feel so much more authentic as we are lucky to have seen the online scans here.
Thanks again
Mari aka Deck Nerd Cerulean
These notes below are probably faulty, taken from bits and pieces of the Il Solleone newsprint foldouts and beginning to be supplemented by the Lo Scarabeo book on the Ancient Tarots of Lombardy or (Neoclassical 1810) with Giordano Berti/Marisa Chiesa...I'll add more, correct and revise based on comments. Di Gumppenberg biographical notes
From the Trade Sites of Milan from Il Solleone
Di Gumppenberg highlights - I notice Il Solleone prints the name as follows:
Ferdinando Gumppenberg
Born Jan 3, 1788 from Franco and Caterina Sala. It says born to Monaco of Baveria, Monoco being a city-state, Baveria being the country in 1788?
1805-1809--Apprenticed in the art of cards press (printers) in the important Fabbicante di Monaco
1809--Enlightenment, the Regia Fabbrica (regional maker?) of the cards transfers to Milan---I believe this is within Napoleon's reign, near the end.
Cerulean Mari's note: I also believe that one of the historical events that might have influenced the making of the Neoclassical of 1811 might have been the birth of Napoleon's son in March of 1811, known as the "King of Rome" and crowned with the Iron Crown of Lombardy.* (Di Gumppenberg did issue a later deck in celebration of Emporer Ferdinand)
1809-1814 Produces numerous original cards.
1810, 1811 "Tarocco Neoclassico Italiano," Milano - (Note Kaplan suggests 1806 or thereabouts in dating). My copy is reprinted in 1980 in an edition of 1,500.
1812 Marries Marianna Pohl
1814 Liquidation of the Regia Fabbrica di Milano.
Cerulean Mari's note: Possibly this means that the card-making is no longer controlled regionally or restricted or the designation from Napoleon's 'restriction' was lifted and now competition from other Milanese cardmakers
1814, July--Gumppenberg initiates activity near the Giardino (either the garden district?)
1816? I have to translate this note*
1820 - note related to the bottega di Caffe in Borgo di Cittadella
1820 "Il Dilettevole Giuoco del Cucco,"41 cards, stamped 1820, to 1846. Il Solleone published 1,500 copies in 1981. (Cerulean has never seen this set*).
1820-25--produces "Tarocco Vedute e Meistieri de Milano"...alternative name of Trade Sites of Milan Tarocco?
Il Solleone published 1000 copies in 1982.
1825 --Printer negotiates in Corsia del Giadino "sono in vendita anche biglietti della Lotteria"...
1835 (1830-45)--"Tarocchino Lombardo".
Il Solleone's note: engraved by Carlo Dellarocca around 1835, and then the Italian note"...dal Gumppenberg, dal Lamperti e altri in Milano e Lombardia"--note correction below on Lamperti note in 1847. Lamperti is his son-in-law.
Il Solleone published their version of the Dellarocca designs in in 1981 in a limited edition of 2,000. There is another version by Lo Scarabeo, I believe.
We know this title as the Tarocco Italiano Soprafino with engravings by Carlo della Rocca.
Given this information, the mysterious beautiful additions to the Dellarocca designs might have been innovations by Lamperti and Dellarocca?
1838-40 Produces "Tarocco Della Corona Ferrea"
Iron Crown of Lombardy Tarocco * from Edizioni del Solleone, reprinted 2,500 copies, 1979.
1847-He concedes the printmaking in general to Lattanzio Lamperti, the spouse of his daughter Paola.
Lamperti Tarocco sample:
http://www.wopc.co.uk/italy/lamperti.html
(R. Somerville had an old link to 22 card mignon Tarocco from Lo Scarabeo, but it's no longer available).
1855- Dies after 67 years.
*A quick translation. Any input appreciated, I'll correct later. I'm still gathering references, which includes the Lo Scarabeo book, and a catalog from the defunct publishing house of Solleone, edited by Vito Arienti.
Regards
Cerulean
Cerulean
18-07-2010, 08:05
Regia Fabbrica_ di Milano.
Ace of Coins eagle with unfurled wings with star with N on chest...a decorative motif of crowns on the edge of the circle and upside down it reads Fabbricatore Gumppenberg upside down.
The title card does not have G. Antonio Meda, only the box does.
The information;
Tarocchino Bolognese di Ferdinando Gumppenberg fabbricatore di carte. nella Regia Fabbrica di Milano sita nel Locale del Giardano presso il Teatro alla Scala 1810 ca.
Gioco originale della collezione Stuart and Marilyn R. Kaplan New York.
Ristampa a cura di Vito Arienti
Edizioni del Solleone Lissone (Mi Italia) 1986.
Tarrochino Bolognese of Ferdinando Gumppenberg, maker of cards, Royal Cardmaker of Milan situated in the Garden Locale at the Theatre of Scala 1810.
Cards originally in the collection of Stuart and Marilyn R. Kaplan, New York.
Vito Arienti publisher
Editions of Solleone
Lissone (Milan Italy), 1986.
Excuse bad translation.
Hope this helps. Cards have fanciful fonts and creamy backdrops as the Neoclassical/Lombardy yellow light edition.
Cerulean
Here is what I have noticed about the signature on the Ace of Cups:
My copy has "Gumppenberg / Fabricatore in Milano" as the signature.
I believe the Lo Scarabeo reprint also has this same sig.
The Il Meneghello reprint, and the Kaplan version (Illustrated in both the Encyclopedia Vol II and the Christie's 6-21-06 catalog) both have "Fabbricatore / Gumppenberg" as the signature.
In looking at them, I believe mine is the older version, because both the italic slant and the character of the script better match the rest of the deck. This suggests everything was done at the same time. The Il Meneghello/Kaplan script is at a slightly different angle, and of a slightly different character that does not match the other text in the deck. It is also placed slightly crooked, and the decenders of the "p's" actually run into the border art. All of this suggests that it was added later, by a different hand.
In all versions, I can see several small pits in the plate that have left small dots in the background, so it is almost certainly the same master plate that is used for both editions. (Only the signature area differs.)
It is possible to fill or rub out an area on an engraved plate, and then re-engrave it anew. So it appears that he wanted to remove the "Milano" from the deck at a later date. I'm sure there's some logical, historical reason for this, but I haven't found any explanation yet.
I also noticed that Kaplan's copy, with the altered signature, has blue backs, instead of red.
So far I haven't found any discussion or mention of multiple editions of this deck. The tax stamp is the same, so they all would appear to date from the same general time, but there were obviously multiple printings over the active time period.
One of these days I'll have to get the reprints in order to compare the variations in color application. Generally, they appear pretty similar, but even by looking at just a few online scans, I can see that there are probably a lot of differences in the details. I'm curious to see if stencils were used, or if it is all done by hand.