Naipes Nacionales
A forgotten pioneer of Mesoamerican-inspired lithography, a decade ahead of his rivals.
English summary: Emilio Cuenca arrived in Mexico during the 1880s and began working as a representative for the paper industrialist Ricardo Sáinz, who had ties to Spanish lithographic firms. In 1892, Cuenca established his own company, Litografía Comercial / Emilio Cuenca y Cía. This deck is the only known surviving example of his work in this field. Pre-dating both Clemente Jacques (1912) and Naipes Cuauhtemoc (1929), Cuenca published this deck in 1896. It was inspired by pre-Hispanic Mesoamerican culture and features a mix of solemn seated kings, fierce native warriors, and determined conquistadors, the latter occupying the place usually reserved for cavaliers.
Emilio Cuenca era un aragonés que arribó a México en la década de 1880, empleándose como representante del industrial papelero Ricardo Sáinz, relacionado este último con empresas litográficas españolas. En 1892 crea su propia empresa, Litografía Comercial / Emilio Cuenca y Cía., siendo esta baraja la única muestra conocida de su actividad en esta materia. Adelantándose tanto a Clemente Jacques (1912) como a Naipes Cuauhtemoc (1929), Emilio Cuenca publicó en 1896 esta baraja inspirada en la cultura mesoamericana prehispánica, donde tienen espacio tanto graves reyes sedentes, como aguerridos nativos y decididos conquistadores, ocupando éstos el espacio asignado a los caballos.
‘Naipes Nacionales’ produced by Litografía Comercial Emilio Cuenca y Cía, Mexico, 1896.
By Alberto Pérez González
Spain • Member since December 21, 2016
I am a researcher and my primary interest lies in playing cards manufactured in Cádiz (not the 'Cádiz' type in general). I have authored several articles in the annual Asescoin magazine 'La Sota'. Among them are: “Madrid’s Playing Cards from the 17th to the 20th Century”; “New Contributions to the Study of Playing Cards in the Valencian Country”; “The Fouquets: 'Navarra pattern' in the Netherlands”; “Divided Playing Cards: Combining Ingenuity with Skill”; “Here Be Dragons: Speculations on the Evolution of the so-called 'Portuguese' Pattern”; “Playing Cards in Chile: News and Chronicles from the Viceroyalty Era”...
I have written and designed the book “Los Naipes de Cádiz” (296 pp). Additionally, I have contributed to the design, layout, and collaboration in Enrique García Martín’s book “Naipes, Arte y Fantasía” (444 pp).
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