Fantasy Bavarian pack

Published May 29, 2022 Updated May 31, 2023

An early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835.

1835 GermanyJegelBavarian Pattern

This German-suited, single-figure deck by J C Jegel (1791-1837) in medieval style is a variation on the Bavarian pattern. The four kings are seated next to shields bearing coats-of-arms. The four twos (Deuces) also depict clusters of shields. The upper- and under-knaves are shown sparring in three of the suits, whilst in the suit of leaves they are a musician and a falconer. The numeral cards all have vignettes beneath the suit marks depicting wild animals or country pastimes. The maker’s name can be read on the 8 of leaves.

When Johann Conrad Jegel died in 1837 his widow continued running the business until 1857, whereupon Johann Wilhelm Sass took over. This is a relatively early production from the Jegel factory published around 1830-35. The figures and vignettes are artistically engraved in a clear and tidy style.

early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835 early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835 early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835 early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835
early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835

Above: early Bavarian-style deck by Johann Conrad Jegel, Nürnberg, Germany , c.1835. 36 cards: etching coloured with stencil; 9.1 x 5.1 cm. Source gallica.bnf.fr / Bibliothèque nationale de France • Jeu de cartes au portrait allemand de fantaisie

Technological developments in the nineteenth century saw the industrial city of Nuremberg grow to become one of German’s most prosperous cities.

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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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