Grimaud‘s Danish Experiment
Why would France's largest card maker produce “Danish” patterns that scarcely look Danish?
These rather generic designs from Grimaud for export to Denmark incorporate just enough of the Danish tradition to be recognisable to Danish players, but they stop well short of matching what made the Holmblad pattern uniquely Danish. They are attractive but nationally neutral, with no Danish ancestry: the Renaissance-style figures are assembled from the shared vocabulary of continental export cards; halberd-bearing Jacks, crowned Queens with flowers or fans, heavily bearded Kings with swords and sceptres. Were they intended to replace Denmark's traditional playing cards, or do they tell a different story about the increasingly international playing-card trade?
The Dambourgez pack seems to represent Grimaud's attempt to offer Danish customers a sophisticated, fashionable product comparable with the best German work [2].
Danish style playing cards designed by Edouard Jean Dambourgez for export to Denmark, printed by Grimaud, chromolithography, rounded corners, no indices, c.1899. Source gallica.bnf.fr / Bibliothèque nationale de France
Grimaud had a deliberate policy of designing packs for particular regional markets, including England, Germany, Italy, Spain, Netherlands and Denmark [1]. Compared with the Dambourgez pack (above), this second 'Danish' pack suggests a broader commercial approach, a cheaper or more conventional alternative, relying less on distinctive design than on availability, price and established distribution [3]. The floral back design also fits with European fashion trends [4].
Cards for export to Denmark made by Grimaud, Paris. 52 cards, round corners, lithography, printed by Grimaud, c.1899. Source gallica.bnf.fr / Bibliothèque nationale de France
There was even a version with a generic back design, small corner indices, rounded corners and the joker with international exposition medals, designed by Félix Simon.
Grimaud's Danish patterns (jeux au portrait danois) never became Denmark's national playing cards. Yet they document the moment when Europe's leading manufacturers realised that even national traditions could be designed, packaged and marketed for export.
Grimaud produced several packs described as jeux au portrait danois, although these varied considerably in character [5]. The more refined examples, such as the design by Édouard Jean Dambourgez, drew upon the fashionable international style popularised by firms such as Wüst and Dondorf. Others employed more conventional continental courts with little specifically Danish imagery. In such cases, Danish pattern seems to have indicated the market for which the cards were intended rather than reflecting a national design. These packs did not continue the evolution of the Danish Holmblad pattern, but instead reflect the increasingly international character of the European playing-card trade and the growing foreign competition.
References
1. Bibliothèque nationale de France: Baptiste-Paul Grimaud (1817-1899) - Œuvres iconographiques de cet auteur ►
2. Bibliothèque nationale de France: Jeu de whist au portrait danois édité pour le Danemark ►
3. Bibliothèque nationale de France: Jeu de cartes au portrait danois à deux têtes ►
4. Bibliothèque nationale de France: Jeu de cartes au portrait danois à deux têtes ►
5. Bibliothèque nationale de France: Épreuves du bois de gravure de cartes de tête au portrait danois à deux têtes ►
By Simon Wintle
Spain • Member since February 01, 1996
I am the founder of The World of Playing Cards (est. 1996), a website dedicated to the history, artistry and cultural significance of playing cards and tarot. Over the years I have researched various areas of the subject, acquired and traded collections and contributed as a committee member of the IPCS and graphics editor of The Playing-Card journal. Having lived in Chile, England, Wales, and now Spain, these experiences have shaped my work and passion for playing cards. Amongst my achievements is producing a limited-edition replica of a 17th-century English pack using woodblocks and stencils—a labour of love. Today, the World of Playing Cards is a global collaborative project, with my son Adam serving as the technical driving force behind its development. His innovative efforts have helped shape the site into the thriving hub it is today. You are warmly invited to become a contributor and share your enthusiasm.
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