Has anyone read the folded sheet of paper that comes with every Il Meneghello deck? Recently I became curious enough to dust off my Italian dictionary and read it carefully. Osvaldo Menegazzi, the owner and artistic force behind Il Meneghello, is a native of Milan who’s been immersed in tarot most of his long life. I was hoping for special insights from a Milanese perspective. Instead I got a dose of Oswald Wirth. Read more
Posts from the ‘Tarot Decks’ Category
Yves Reynaud has produced facsimiles of historically important decks like the Madenié, Burdel and Conver. Now he’s done it again with a recreation of the 1713 Jean-Pierre Payen Tarot, one of the few Tarot de Marseille Type I decks available to purchase. If you’re familiar with any of Reynaud’s decks, the Payen is the same high-quality, limited-edition production housed in a sturdy box. Let’s put this deck in context with the Tarot de Marseille tradition. Read more
The Tarocchino Bolognese engraved by Giuseppe Mitelli is a unique treasure. Just as the Visconti-Sforza deck was a luxury item commissioned by an aristocrat from a prominent artist in Cremona, this exceptionally beautiful deck was commissioned around 1660 by Count Bentivoglio of Bologna from a prolific Bolognese artist. Read more
I just did my first reading with my new Rosenwald deck. This deck reads like a dream. The fluid lines bring the images to life, and the pips are enough like the TdM so little adjustment is required.
Since my question was “should I or shouldn’t I” do something, I used the Cross Spread. (There’s a link below to a blog post I did a few years ago on the details of this spread). Read more
Yves Reynaud, who has given new life to historically important TdMs like the Burdel, Payen and Madenié, just issued his restoration of the 1760 Conver deck in a limited edition of 1500. A decade ago, the only historically correct version of this deck on the market was a photo-facsimile of a deck housed in the Bibliothèque Nationale in Paris, published by Heron around 1980. Reynaud has based his restoration on this deck. Read more
If you can only own one or two Visconti Sforza decks, before purchasing you need to familiarize yourself with the replacement cards – Tower, Devil and Knight of Coins. (The Three of Swords is also replaced, but it’s hard to mess that one up.)
There are at least eleven versions of the Pierpont Morgan Bergamo Visconti Sforza Tarocchi (to use its official name) by six different publishers. It comes in two basic flavors: a photo-reproduction of the cards as they exist now with chipped paint, flaking gold and nail holes top center; or a restored version that’s been touched up to look like new. Some decks are the original size (3.5 x 7 inches), while some are smaller. The images in all decks are identical except the four lost cards. Every publisher hires an artist to create replacements, which vary greatly and can make or break a deck. Read more
If you bought the first edition of the Pierre Madenié deck produced by Yves Reynaud in 2013, do you need to get the second edition as well? Yes, you probably do.
Even though it’s my number one reading deck, I initially felt a second copy was an unnecessary indulgence. Besides, I was afraid the newer, cleaned-up version might be too pristine. I prefer historical facsimiles that preserve the original intact; so I shudder at the thought of someone touching up historic cards to conform to their arbitrary criteria of perfection. But a fellow collector convinced me the second edition was even more beautiful than the first, so I succumbed to temptation. I’m very glad I did. Read more
I already have three full-sized facsimiles of the Visconti-Sforza deck. So when I came across yet another version, published by Il Meneghello in 1996, I wrestled with temptation for a couple of weeks before succumbing. I’m very glad temptation won out because this deck is the best of the lot.
I compared this deck with my other three: Dal Negro, USGames 1984 and USGames 2015 (with portraits of Francesco and Bianca Sforza on extra cards). Read more
This magazine just keeps getting better. The latest issue has several articles that especially intrigued me.
In the Tarot Art section, Monica Bodirsky’s Lucky Lenormand deck caught my eye. Its swirling, free form watercolor background appeals to me since I adore abstract art. Bodirsky appears twice more. Bonnie Cehovet reviewed her deck, then Bodirsky contributed an article on cartomancy, the proliferation of Lenormand decks, and the role imagery plays in a reading. Read more