Pomeranian Tarot

Published November 01, 2023 Updated December 16, 2023

A Pomeranian Tarot deck with etchings by Georg Pommer published by Conrad Jegel, 1852.

1852 GermanyTarotGeorg PommerJegelBritish Museum

A Pomeranian Tarot with etchings by Georg Pommer published by Johann Conrad Jegel, 1852.

Pomeranian Tarot deck with etchings by G. Pommer published by Conrad Jegel, 1852. © The Trustees of the British Museum Pomeranian Tarot deck with etchings by G. Pommer published by Conrad Jegel, 1852. © The Trustees of the British Museum Pomeranian Tarot deck with etchings by G. Pommer published by Conrad Jegel, 1852. © The Trustees of the British Museum
Pomeranian Tarot deck with etchings by G. Pommer published by Conrad Jegel, 1852. © The Trustees of the British Museum

French-suited Pomeranian Tarot deck with neat etchings by Georg Pommer (fl.1815-1854) published by Johann Conrad Jegel, 1852. 78 cards, hand-coloured etchings. The trump cards have different designs at each end, numbered in large open Arabic numerals within the composition. All the tarots are uncoloured with the exception of the fool which is a double bust of a man with cap and bells, neatly coloured. No.15 is a stout gentleman hailing the train on a railway. No.19 represents Napoleon I the night before the battle of Austerlitz. The design on number 13 depicts a young girl in sorrow at a tomb, near which is a monumental cross with "Pommer 1852". The double-ended court cards are coloured. © The Trustees of the British Museum • Pomeranian Tarot

Reference

Willshire, W. H.: A Descriptive Catalogue of Playing and Other Cards in the British Museum, Trustees of the British Museum, 1876, reprint 1975. (German 119).

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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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