Torras y Sanmartí
Torras y Sanmartí y Cía, Barcelona, 1830.

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Torras y Sanmartí is registered as a cardmaker in Barcelona between 1823-1834. The design of the cards is an early version of what evolved into the “Spanish Catalan” pattern by the end of the century, moving away from archaic or baroque traditions towards simpler designs, although this example still retains features from the former “Spanish National” pattern. The Four of Cups (click image to right) has a device of a horse between two towers, and bears the tax collector’s signature. The Ace of Coins has a medallion with a laurel-crowned head above an angel carrying a cornucopia. The court cards stand on little plinths.



Above: these cards are from Fort Madison Iowa (USA). This is the first part of the state of Iowa to be settled. Very early in the 1800s a Fort was established on the Mississippi River. It was as an early trading area for traffic going west in the settlement of the United States. The backs are decorated with a randomised repeating pattern in blue. The words “De Una Oja” on the Four of Cups refers to the manufacturing process, in that the cards are printed on a single sheet of card, not a 2 or 3-ply laminated cardboard. Images courtesy Larry and Tammy Northup.
See also: Sanmarti, 1840 →
REFERENCES
Ferro Torrelles, Victor: Registro de Naiperías Españolas 1380-2004, Asescoin, Madrid.
O'Donoghue, Freeman M: Catalogue of the collection of playing cards bequeathed by Lady Charlotte Schreiber, Trustees of the British Museum, London, 1901
An earlier example dated 1829

Above: four cards from a similar pack produced by Torras y Sanmartí, dated 1829 on the four of cups. Backs printed in blue with a small pattern. © The Trustees of the British Museum • Museum number 1896,0501.828►

By Simon Wintle
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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