Fournier - Nº5 "Los Dos Tigres"

7/24/2026

Fournier - Nº5 "Los Dos Tigres"

Heraclio Fournier’s Nº 5 “Los Dos Tigres” (two tigers) is, quite simply, a magnificent deck. I consider it a true work of art, and were I forced to part with my entire collection and keep only a single deck, this would easily be among the top contenders.

I’ve been unable to conclusively determine the origin of its artwork, as two Cadiz-based cardmakers are cited as potential creators: González Risso and Olea. Both originally produced distinct designs that eventually converged into a single, or remarkably similar, pattern. Up to this point, I’ve only come across written descriptions, so I haven't been able to confirm them visually.

The earliest visual evidence I’ve located appears in the Fournier Museum catalogue: an 1895 deck by Rodolfo Olea titled El Tigre, with artwork remarkably similar to the one featured here. Another entry from 1905—also by Olea and equally similar—mentions no deck name. By 1940, it takes its definitive form under the Fournier brand as Los Dos Tigres. The Vitoria-based firm acquired Olea that very same year, making it reasonable to assume production began immediately after the takeover.

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It’s one of the few decks still produced following the Cadiz pattern, which was once very common. I plan to dedicate a post to this pattern, as I find its history every bit as fascinating as the deck itself. For now, I’ll simply mention that it’s a style derived from the Spanish National pattern, as seen, for instance, in the shape of the Cups and the “AHÍ VA” inscription on the Knight of that suit. Like the Spanish National, the Cadiz pattern was featured mainly on decks destined for export, though in the case of the latter, specifically to Asian markets.

Within this pattern, this deck features some of the most detailed artwork I’ve encountered. As a rule of thumb, Cadiz pattern illustrations—much like those of the Catalan pattern—tend to be simpler and more schematic, but this one stands out for its meticulous detail without losing the essential traits that unmistakably identify it within this style.

Several inscriptions are spread throughout the deck, referencing quality, awards won, and manufacturing techniques. The 4 of Coins stands out, bearing the inscription F.^CA DE NAIPES FINOS DE LOS DOS, followed by an illustration of the aforementioned felines. These details enhance the old-school aesthetic and inject a strong dose of character. They've even recreated the original paper wrapper in which decks used to be sold, though in this case presented as a much more durable tuck box.

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Beyond the design itself, I must applaud Fournier’s execution, as the subtleties of the original lithographic craftwork have been flawlessly translated into modern offset printing, featuring extremely sharp lines and solid colors. The shaded areas rendered with black lines of varying thickness stand out in particular, as do the chromatic nuances achieved through solid stippling—free of the typical halftone grid so common in modern industrial printing. I highly encourage the reader to view the images at full resolution to appreciate the exquisite detail. Even Fournier themselves haven’t been able to replicate this level of perfection in other historic decks revived from past eras.

As for the actual cards, they feature a matte finish, with the applied varnish becoming visible when caught in the right light. The cardstock is flexible and has a premium, durable feel. I must admit that, despite the high quality, I rarely use them for gameplay, fearing they might get worn or damaged—though this concern is most likely unfounded.

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As I mentioned earlier, the Cadiz pattern was commonly featured on export decks over a century ago, and that still appears to be the case today. This deck is rarely found in Spain, and the tuck box itself bears an inscription listing a sole official distributor based in Hong Kong.