Fournier - Baraja Nacional (1936 Copy + Comparison)
INTRODUCTION & IDENTIFICATION DETAILS
We have previously examined Heraclio Fournier's No. 25 – Baraja Nacional, featuring original artwork by Luis Alemany. That earlier article, based on a 1970 example, provides a closer look at the pack's creation, the artist behind it and its distinctive iconography.
Here, we turn to an example from an earlier print run, comparing the two editions to trace how the design has evolved over time.
The pack comprises 40 cards and bears the name Hijos de Heraclio Fournier. The 2 of Coins is inscribed AÑO DE 1936, while the 5 of Swords bears a tax stamp introduced in 1939. Several explanations might account for this chronological discrepancy, including the use of old stock or the retention of the 1936 inscription in later print runs. As its exact date of manufacture remains uncertain, we will use 1936 as the reference year throughout this article, for the sake of simplicity.
Curiously, none of the cards bears the designation Nacional, by which this model is known, or a reference number. I have been unable to determine whether the pack originally included a paper wrapper or a title card bearing this information.
ICONOGRAPHY & DESIGN
As discussed in the previous entry, the pack's artwork remained largely unchanged throughout its roughly forty-year production run. The differences lie primarily in the use of color, shading and color transitions, along with a number of inscriptions.
We will now examine these variations in greater detail through a direct comparison of the two packs.
Ace of Coins: The design remains virtually unchanged, aside from differences in color. The only notable modification is the inscription at the bottom of the card, which reads HIJOS DE HERACLIO FOURNIER on the 1936 deck and HERACLIO FOURNIER on the 1970 one.
2 of Coins: Once again, few variations are apparent beyond the differences in color. The upper coin bears the inscriptions AÑO DE 1936 and AÑO DE 1970 on the respective decks.
3 of Coins: The two lower coins have swapped positions between editions. Additionally, the coat of arms of León has a white field in the 1936 specimen and a yellow one in the 1970 version.
4 of Coins: Virtually identical in both editions, except for the previously mentioned difference in the field colour of the coat of arms of León and the inscription Nº 25, found on the 1970 specimen.
Knight of Coins: This is true of all the court cards. The artwork remains virtually identical, with the only notable differences found in the color palette and its transitions, particularly striking in the horse's coat and the rider's sleeve.
2 of Cups: The two versions are virtually identical, except for a horizontal ornament between the chalices that resembles a stylised rope.
6 of Cups: The two versions differ only in the inscription CASA FUNDADA EN 1870 (Established in 1870), which appears on the 1936 specimen.
5 of Swords: Each deck bears the tax stamp appropriate to its period, while the 1970 version also features the inscription Nº 25. The differences in attribution previously noted on the Ace of Coins are also present. Curiously, the central sword is reversed in orientation between the two editions.
7 of Swords: The central swords are reversed in orientation relative to the outer swords in the 1936 pack.
Ace of Batons: The turbaned putto has a darker skin tone in the 1936 edition, whereas in the 1970 version it matches that of the other figures in the pack.
2 of Batons: The red and green cudgels swap positions between editions, while the central ornament remains unchanged.
4 of Batons: The pips layout changes entirely between editions. In the 1970 version, they form a roughly radial composition, while in the 1936 edition they are positioned vertically around an Islamic-inspired ornament resembling a lobed medallion adorned with arabesques.
5 of Batons: As in the 4 of Batons, the pips are arranged differently in the two editions. The 1936 version features two medallions inscribed with the Arabic phrase لا غالب إلا الله (Lā ġālib illā-llāh), meaning "There is no victor but God". This motto of the Nasrid dynasty appears repeatedly throughout the decorative programme of the Alhambra in Granada.
Knave of Batons: Like the putto on the Ace, the court figures have a darker skin tone in the 1936 edition, while in the 1970 version their colouring is similar to that of the other characters in the pack.
Card backs: The designs differ entirely between editions. The 1936 version features a warm color palette and varied iconography, including the Eagle of Saint John, the coat of arms of Castile and León, and several Arabic inscriptions. The 1970 edition, by contrast, displays an elaborate yet more generic design, dominated by green.
PRINTING & FINISHING
More pronounced differences emerge between the two editions when examining their printing techniques. The 1936 version was produced using chromolithography, characterised here by somewhat irregular, organic-looking stippling in the shaded areas and color transitions. Each color is rendered in a separate ink, although additional hues can also be achieved through overprinting, a technique that does not appear to have been used in our example.
The 1970 edition, by contrast, was produced using offset printing, a more modern industrial process executed here to a very high standard. Compared with the earlier chromolithographic version, it exhibits more precise color registration, excellent contrast and remarkably crisp lines, along with a wider tonal range achieved through halftone screening, whose characteristic "rosettes" become visible under magnification. These differences are particularly evident where multiple colours converge, in color transitions and shaded areas.
Knave of Coins: Left · 1936 - Right · 1970
Knave of Coins: 1936 - Chromolithography
Knave of Coins: 1970 - Offset
Ace of Cups: Left · 1936 - Right · 1970
Ace of Cups: 1936 - Chromolithography
Ace of Cups: 1970 - Offset
4 of Cups: Left · 1936 - Right · 1970
4 of Cups: 1936 - Chromolithography
4 of Cups: 1970 - Offset
Knight of Cups: Left · 1936 - Right · 1970
Knight of Cups: 1936 - Chromolithography
Knight of Cups: 1970 - Offset
Ace of Swords: Left · 1936 - Right · 1970
Ace of Swords: 1936 - Chromolithography
Ace of Swords: 1970 - Offset
Knight of Batons: Left · 1936 - Right · 1970
Knight of Batons: 1936 - Chromolitography
Knight of Batons: 1970 - Offset
A final observation concerns material and finish. Both editions use flexible cardstock with a satin finish that is almost matt. The 1970 version has a slightly more pronounced sheen, while the 1936 specimen feels subtly rougher to the touch, yet the two remain remarkably similar. Indeed, I doubt they could be distinguished by these traits alone; perhaps a reflection of the consistency of Fournier's quality standards over the years.
FINAL THOUGHTS
The comparison of the two editions reveals the remarkable continuity of Luis Alemany's artwork throughout the pack's production history. Despite some changes in iconography and color, the identity of the model remains virtually intact.
The most significant differences lie in the printing techniques, reflecting the technological evolution of the playing-card industry during this period. Yet it is striking how similar the quality of the cardstock and finishes remained despite these changes; a reflection, perhaps, of the care Fournier devoted, and continues to devote, to these aspects of its production.
Coins
Cups
Swords
Batons
Card Back
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