Swedish version of the Paris pattern
A Swedish adaptation of the classic French pattern by A. Boman of Stockholm.
While adhering to the established Paris pattern, respectful of established European models, Boman subtly modernises the court figures. The portrait-like quality and softer facial modelling gently transform the traditional French court figures into characters more at home in nineteenth-century Sweden. The Jacks wear fashionable trimmed moustaches and goatees, while the Kings have fuller, more naturalistic beards. Only the kings and queens are named and small decorative insignia are suggestive of Swedish royal orders. The ace of hearts shows the Swedish tax stamp , and more feintly at the top-left, the manufacturer's name and address inside an elliptical frame.
The court figure outlines were printed in blue, after which areas of red, yellow and black were applied using stencils. This was a labour-intensive process requiring teams of colourists, and was not yet mechanised. The corners are square-cut as corner-rounding punches were not yet available in Boman's workshop. There are no corner indices. Several innovations were soon to come.
Swedish version of the Paris pattern manufactured by A. Boman, Stockholm, c.1875. 52 cards, square corners, blue outlines from zinc plates and stencil coloured by hand. Backs pale blue dot pattern. Source: Bibliothèque nationale de France
Bibliothèque nationale de France : Jeu de cartes suédois à enseignes françaises et au portrait à deux têtes ►
During the later part of the nineteenth century Boman modernised his production methods in step with the wider European printing industry. The earlier stencil-coloured cards gave way to lithographic work offering greater consistency and economy of labour. This transition would have required investment in new presses, precision cutting and finishing machinery, together with equipment for producing gilt-edged or rounded-corner cards. Steam power may have been installed. Exhibition medals from Stockholm (1866), Vienna (1873) and Paris (1878) attest to the company's growing international reputation and reflect its emergence as a modern industrial printer rather than simply a manufacturer of humble playing cards.
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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