Félix Solesio e Hijos
Félix Solesio e Hijos, Fábrica de Macharaviaya, Spanish National pattern for West Indies, 1801.
Since the late 18th century production of the Spanish National pattern was carried on under control of the Real Fábrica de Madrid monopoly, thereby prolonging its life as the orthodox design of the time. Another branch of the Royal Manufactory was set up in Macharaviaya (Málaga) to supply South and Central America, and the Madrid cardmaker Félix Solesio was put in charge. The inscription “Paralasyndias” can be read on the two of cups, showing that the pack was intended for Spain's West Indian colonies.
The ace of coins has the arms of Spain with two scrolls bearing the legend "Naipes Finisimos de la R. Fabrica de Macharaviaya por D. Felix Solesio". Other inscriptions on the cards include the 4 of coins which reads "Real Fabrica de Macharaviaya 1801" and the ace of cups reads "1801". From the mid-18th century the words Ahi Va, Ahivá or Aíva often appear at the bottom of the caballo of cups, as in this example. It means literally ‘there he [it] goes’ - colloquially a breezy exclamation of approval or encouragement.

Above: Félix Solesio e Hijos, Fábrica de Macharaviaya, 1801. 48 cards, hand-coloured woodcuts. Backs printed in blue with a pattern of stars. © The Trustees of the British Museum • Museum number 1896,0501.856►
The Macharaviaya factory was built there becuase it was the birthplace of José de Gálvez, Minister of Carlos III of Indias, and Solesio was the administrator.
References
O’Donoghue, Freeman M: Catalogue of the collection of playing cards bequeathed by Lady Charlotte Schreiber, Trustees of the British Museum, London, 1901 (Spanish 23) [digital version here]
Denning, Trevor: The Playing-Cards of Spain, Cygnus Arts, London, 1996
By Simon Wintle
Spain • Member since February 01, 1996 • Contact
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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