Naipes Tatú - Estilo París

8/08/2026

Naipes Tatú - Estilo París

INTRODUCTION

In this post, we take a look at a deck from South America, specifically from Uruguay, although its illustrations can be traced back to France and ultimately Spain. These designs are remarkably old, having remained virtually unchanged for the last two centuries, and are close cousins to a group of decks we have examined extensively on this blog.

IDENTIFICATION DETAILS

As with other decks produced across the Americas, provenance data can be confusing and difficult to track down. In this instance, the brand is Naipes Tatú—a Guaraní word meaning armadillo—with an illustration of the animal featured prominently on the tuck box and on one of the jokers. This name was adopted by several manufacturers throughout the 20th century for playing cards featuring this artwork; in our case, the deck was printed by Cartamundi for the Montevideo-based distributor Casabó S.A. The model name, invariably tied to the Tatú brand, is the so-called "Modelo París" or "Estilo París"—a designation that will make complete sense in the coming lines.

HISTORICAL CONTEXT

In the early 19th century, the Real Fábrica de Naipes issued a series of designs derived directly from the well-known Spanish National pattern, intended for use by French cardmakers, with Grimaud and A. Camoin among those who adopted them. Over time the artwork experienced minor revisions before settling into the current "Paris Pattern". A direct descendant of the Spanish National Pattern, it closely resembles the Moroccan variant we examined previously, albeit with a few key differences.

Subsequently, between the mid-19th and early 20th centuries, this French pattern made its way into South America. Uruguay proved to be one of its most receptive markets, so much so that local printers ultimately adopted these designs as their own. A scenario resembling the one seen in Mexico with the Faisán playing cards.

ICONOGRAPHY & DESIGN

We have examined several packs featuring the Spanish National pattern alongside its Moroccan variant—the latter considered a branch rather than a pattern in its own right. By contrast, the Paris pattern constitutes a distinct style with its own identity; while it departs somewhat further from the reference designs, its stylistic roots remain unmistakable.

Key traits inherited from the Spanish National include the distinctive shapes of the batons on the Knave and Knight, though absent on the King. The straight edges of the cup bowls are also maintained, as in the Cadiz pattern. Additionally, the overall aesthetic of the pip symbols across all suits remains closely aligned with the traditional canon.

As for the most notable differences, the length of the Kings’ robes is especially striking; they are shorter, reaching only to the knees or even the hips. The Kings also feature bearded faces, an element mostly absent in the National pattern. The Knave of Coins presents a remarkable trait: it depicts a dog tethered to a post—a motif original to this pattern that was later incorporated into the Moroccan variant, albeit replacing the dog with a goat, illustrating a fascinating case of hybridization between styles.

Lastly, a morphological feature missing from this particular pack warrants mention. In early versions, Knights were replaced as female riders, a hallmark of the Paris pattern that was not maintained consistently. Even so, this detail may have exerted an influence on the Franco-Spanish pattern found in Aluette playing cards, where equestriennes did manage to establish a permanent foothold as the mounted figures.

MATERIALS & FINISH

As noted earlier, several manufacturers have marketed decks under the Tatú brand alongside the “Estilo París” designation. As a matter of fact, I have two such examples in my collection, both produced for Casabó S.A. The pack featured in this post was manufactured by Cartamundi and stands out for its smooth, satin finish and tuck box packaging. The other copy, apparently produced by Naipes Comas—a detail I cannot confirm since the cards lack a factory mark and came wrapped solely in cellophane—features a matte finish, a slightly rougher feel, and smaller dimensions.

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Reccomended further reading:

Baraja Macharaviaya: Covers the Spanish National pattern in its original state.
48 Naypes Refinos: Discussion on the Moroccan variant of the Spanish National pattern.
Los Dos Tigres: Cádiz pattern. Examines another branch of the Spanish National pattern.
Naipes Faisán: Castilian pattern variant with a parallel trajectory of adoption in Mexico.
Cartes à Jouer Aluette: Franco-Spanish or Aluette pattern, showcasing shared traits with the Paris pattern.