Early Anglo-French Cards

Published January 21, 2010 Updated July 17, 2024

Cards produced in Rouen during the sixteenth century. It was cards like these which were imported to England and are the ancestors of the modern 'Anglo-American' pattern.

France United Kingdom Pierre Marechal History Woodblock Archaic Patterns

What we now know as ‘French’ suit signs - spades, diamonds, clubs and hearts - is the result of rationalisation of the manufacturing technique during the fifteenth century. Many early or archaic suit systems involved intricate motifs which were more time-consuming to reproduce in woodcuts, hence the French producers invented new ones which could be reproduced with the stroke of a brush over a stencil. The four shapes are easy to recognise - 2 red and 2 black. Some card makers were experimenting with a crescent moon as an alternative symbol, but this didn't catch on. This ‘French’ suit system is now found throughout the world.

Cards shown below were produced in Rouen during the sixteenth century. The cards made in Rouen at that time were an eclectic mixture of features from cards made for various foreign markets, hence the origins of what became the "English" pattern are not one precise source, but a mixture of several earlier regional patterns. It was cards like these which were imported to England and are the ancestors of the modern ‘Anglo-American’ pattern   learn more →

In the hands of English manufacturers the cards gradually became wider, losing their original slimness and liveliness, and the figures became chunky and geometrical. They remained full-length until the nineteenth century when double-ended courts were introduced as another innovation by Victorian manufacturers.

See also: BlanchardHuntEarly English CardsRick Davidson's Origins Playing Cards.

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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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