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Tarrochino Bolognese inciso da G. Antonia Meda per Ferdinando Gumppenberg


Regia Fabbrica_ di Milano.

Ace of Coins eagle with unfurled wings with star with N on chest...a decorative motif of crowns on the edge of the circle and upside down it reads Fabbricatore Gumppenberg upside down.

The title card does not have G. Antonio Meda, only the box does.

The information;

Tarocchino Bolognese di Ferdinando Gumppenberg fabbricatore di carte. nella Regia Fabbrica di Milano sita nel Locale del Giardano presso il Teatro alla Scala 1810 ca.

Gioco originale della collezione Stuart and Marilyn R. Kaplan New York.

Ristampa a cura di Vito Arienti
Edizioni del Solleone Lissone (Mi Italia) 1986.

Tarrochino Bolognese of Ferdinando Gumppenberg, maker of cards, Royal Cardmaker of Milan situated in the Garden Locale at the Theatre of Scala 1810.

Cards originally in the collection of Stuart and Marilyn R. Kaplan, New York.

Vito Arienti publisher
Editions of Solleone
Lissone (Milan Italy), 1986.

Excuse bad translation.

Hope this helps. Cards have fanciful fonts and creamy backdrops as the Neoclassical/Lombardy yellow light edition.

Cerulean

Quote:
Originally Posted by OnePotato
Here is what I have noticed about the signature on the Ace of Cups:

My copy has "Gumppenberg / Fabricatore in Milano" as the signature.
I believe the Lo Scarabeo reprint also has this same sig.

The Il Meneghello reprint, and the Kaplan version (Illustrated in both the Encyclopedia Vol II and the Christie's 6-21-06 catalog) both have "Fabbricatore / Gumppenberg" as the signature.

In looking at them, I believe mine is the older version, because both the italic slant and the character of the script better match the rest of the deck. This suggests everything was done at the same time. The Il Meneghello/Kaplan script is at a slightly different angle, and of a slightly different character that does not match the other text in the deck. It is also placed slightly crooked, and the decenders of the "p's" actually run into the border art. All of this suggests that it was added later, by a different hand.

In all versions, I can see several small pits in the plate that have left small dots in the background, so it is almost certainly the same master plate that is used for both editions. (Only the signature area differs.)

It is possible to fill or rub out an area on an engraved plate, and then re-engrave it anew. So it appears that he wanted to remove the "Milano" from the deck at a later date. I'm sure there's some logical, historical reason for this, but I haven't found any explanation yet.

I also noticed that Kaplan's copy, with the altered signature, has blue backs, instead of red.

So far I haven't found any discussion or mention of multiple editions of this deck. The tax stamp is the same, so they all would appear to date from the same general time, but there were obviously multiple printings over the active time period.

One of these days I'll have to get the reprints in order to compare the variations in color application. Generally, they appear pretty similar, but even by looking at just a few online scans, I can see that there are probably a lot of differences in the details. I'm curious to see if stencils were used, or if it is all done by hand.
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