Æsop’s Fables tarot
French-suited Æsop’s fables tarot produced by Leipzig Industrie Comptoir, c.1800-1825.
French-suited tarot titled “Feine Tarockartes mit Doppelten Fuiguren Leipzig Industrie Comptoir” on the wrapper, c.1800-1825. The 22 trumps, with large roman numerals at top and bottom of each card, illustrate some of Æsop's well-known fables and other short stories that feature animals with human-like qualities and convey moral lessons. This is a new artistic development from the normal Animal Tarots of the 1750s which aligns with trends in cartomancy and tarot - all new ideas eventually blend and influence each other. Even the court cards are in a new, modern style of costume compared with older models. The only card representative of the old emblematic tarots is the double-ended fool or unnumbered card.
Reference may be made to number II which illustrates the fable of “The Boy who cried Wolf” • V represents “The Rabbits of Fontaine” • VI “The Fox and the Pitcher” • VII “The Fox and the Crow with the Piece of Cheese” • X The Stag and the Stream • XI The Wolf and the Crane • XII The Fowler and the Wolf • XIII The Gourd and the Pine • XIV The Stork and the Frogs • XVI The Men and the Bear • XVIII The Frog and the Well • XXI The Dog and his Shadow • the unnumbered card,, or Fool, is a bust of a harlequin holding cymbals.




Above: French-suited Æsop's fables tarot by Leipzig Industrie Comptoir, hand-coloured lithograph, backs printed in dull red with a pattern of stars and dots, circa 1800-1825. Hand-coloured lithograph, 108x58mm. © The Trustees of the British Museum • Museum number 1876,1014.1211-1288►
References
Willshire, W. H.: A Descriptive Catalogue of Playing and Other Cards in the British Museum, Trustees of the British Museum, 1876, reprint 1975. (German 273).


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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