Marseille Tarot cards by Charles Cheminade of Grenoble, France, early 18th century.
The vibrant colours and artwork glorify the symbolism, mood and positive energy in this exciting new tarot deck from Australia.
Instead of the old emblematic designs, the trump cards show illustrations of animals, which could possibly have symbolic meanings or moralizing interpretations
The woodcuts were produced by Francois Georgin (1801-1863), a famous engraver during the Napoleonic period, retaining the composition and general features of the Tarot de Marseille.
Whilst the titles of the cards are in Italian, the Hebrew and Sanskrit letters on the Trump cards denote, respectively, associations with the Cabbala and Vedic metaphysics.
During the late 1940s and 1950s The Insight Institute, of New Malden in Surrey, ran correspondence courses on the Tarot, which consisted of lessons with homework which was checked by tutors as well as a set of 'Authenticated' Tarot cards.
Piatnik was known for their magnificent quality of chromo-lithographic printing, and this facsimile, or reprint, of “Soldaten Tarock No. 217” is virtually as magnificent as the original.
Artwork for The Watersprite Tarot© designed and painted by Alison McDonald.
Russell Grant astro-tarot
Bourgeois Tarot by Vereinigte Altenburger und Stralsunder Spielkarten-Fabriken.
The 72 Names Cards based on the Kabbalistic "72 Names of God" and the metaphysical artwork of Orna Ben-Shoshan, Raanana, Israel.
Ramses II Tarot deck was published c.1975 in conjunction with a Peruvian occult or esoteric magazine.
Tarocco Piedmontese by Fabrica de Naipes La Primitiva, Defensa 125, Buenos Aires c.1890
The "Tarots Egipcios" was first published by Editorial Kier S.A. in c.1971 with Spanish titles, with a booklet (also in Spanish) explaining the cabbalistic meanings of the cards.
78-card 'Taroquis Marca Obelisco' published by Mario Colombo, Buenos Aires, during the 1950s, 60s & 70s, in the style known as "Tarocco Piemontese" which had been developed by Italian cardmakers during the nineteenth century.
This pack of tarot cards appears to have have been made for Francesco Sforza about the time that he became Duke of Milan (1450). The pack comprises an ordinary pack of playing cards augmented by a Fool (Matto) and twenty-one unsuited trump cards (trionfi).
The double ended version of the Piedmontese Tarot evolved during the second half of the nineteenth century, most probably in Turin. It is still produced and used today.
The so-called Tarocchi di Mantegna are a set of 50 copper-engraved images (c.1465) which were probably a social game or instructional series for educated people. In fact they have nothing to do with Mantegna. The cards are numbered consecutively from 1 to 50, divided into the following groups: Society; Apollo and the Nine Muses; the Arts and the Sciences; the Seven Virtues and Sun, Time and the World; the Planets and the Spheres.
The Llewellyn Tarot - Welsh tarot cards
78-card Polish tarot pack designed by Edyta Gdek
The Thomson-Leng Tarot Cards were issued by the publishers of women's magazines during the 1930s. The cards are loosely based upon the Rider-Waite tarot.
The game of tarot was not widely accepted in England until the 1870s when a number of English occultists had begun taking an interest.
Playing cards are used for fortune-telling, predicting the future or even as a psychological adjunct to folk medicine and therapy. Playing cards or tarot cards are used as symbols to make conscious psychological states within the mind and are a tool for spiritual or introspective enquiry.
Italy is said to be the birthplace of the tarot, which according to playing-card historians was originally a card game invented in the fifteenth century.
The traditional animal images on tarok decks are here substituted by images of buildings from Copenhagen and the surrounding area. The deck had several editions, with each new edition updating the latest changes to the buildings that had taken place since the previous edition.
Danish Tarok cards published by S. Salomon & Co., Kjøbenhavn, c.1906