Ornamental Designs and Decorations

A variety of artistic designs for wall decorations and ceramics, featuring elaborate floral and geometric patterns in vibrant colors.

Residential Palace

Design by Johann Julius Romano von Ringe for wall decoration including medallions, figural ornaments, and meanders in pencil, watercolor, and gold, created between 1840-1850.

Plate from Chaffagiolo, Tuscany, Renaissance enamel ware, with Moor's head within escutcheon, border of dolphins, shells and cornucopia. Hand-finished chromolithograph from Ris Paquot's General History of Ancient French and Foreign Glazed Pottery, Chez l'Auteur, Paris, 1874.

Door panel from the "Cabinet Turc" of Comte d'Artois at Versailles 1781 Attributed to Jean -Siméon Rousseau de la Rottière The visit of the second Turkish delegation to Paris in 1742 stimulated the French elite's taste for exotic interior decoration known as turquerie. The comte d'Artois, for instance, was clearly fond of such fantasy décors, for he had two rooms in his apartment in the south wing of Versailles furnished in the "Turkish" manner. The second of these rooms, an intimate cabinet that doubled as a library, was created between April and November of 1781. It had pilasters painted with arabesques and was elaborately draped with costly fabrics. The eminent chair maker Georges Jacob (1739-1814) provided matching seat furniture in the Turkish style. Jean-Siméon Rousseau de la Rottière (1747-1820) and his brother Jules-Hugues Rousseau (1743-1806), who worked in a number of French royal palaces, most likely painted the lighthearted arabesques, fanciful turbaned figures, naiads with

Ornament Design, Anthemion Panel and Roman Standards. Date: 1776. Pen and ink, brush and watercolor over graphite on laid paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Wall paintings of the 16th century: foliage patterns from Raphael's Rooms in the Vatican, Rome, (left and right), and vase and flowers from the Palazzo del Te, Mantua. Handcoloured lithograph by Strauss after an illustration by Wilhelm Zahn from his Ornament of All Classical Art Eras, Ornamente aller klassischen Kunst-Epochen, Reimer, Berlin, 1834.

Residential Palace

Trophies and bouquets, 18th century. Three pastoral trophies with music, musical instruments, ribbons and flowers on a gold ground by the brothers Martin, varnisher to the king, one with the initials of Marie-Antoinette (bottom). Vase by Carlle (top centre) and the four seasons in grisaille. XVIIIme Siecle. Hand-finished chromolithograph by Launay from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Large Pendant, Charity Standing at Centre. Dated: 1593. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Daniel Mignot.

Valentine 1850-60 Anonymous. Valentine. Anonymous. 1850-60. Open-work, cameo embossed, gilded lace paper, chromolithographed die-cut scraps, colored paper

Valentine ca. 1880 Anonymous. Valentine. Anonymous. ca. 1880. Cameo-embossed open-work lace paper, chromolithography

Copper engraving and colored etching by Giovanni Volpato showing Series I/4 of Raphael's Loggies in the Vatican, highlighting fresco decoration, columns, arches, and spatial perspective.

Room painting, Moravia, Czechoslovakia, (1928). '19th Century...Room painting designed and executed without stencils by peasant women from the district of Landshut (Moravia)'. After a water-colour in the Narodni Museum, Prague. Plate CXVIII, fig 217, from "An Encyclopaedia of Colour Decoration from the Earliest Times to the Middle of the XIXth Century" with explanatory text by Helmuth Bossert. Ernst Wasmuth Ltd., Berlin, 1928

Print, Couple Beneath Tree, Third Figure Lurking; Print Maker: Martin Engelbrecht (German, 1684-1756); France

Four coats of arms. Draughtsman: Carel Adolph Lion Cachet. Dating: 1874 - 1945. Measurements: h 319 mm × w 215 mm. Museum: Rijksmuseum, Amsterdam.

Gallen-Kallela, Akseli, work, Frontispiece vignette of the first chapter, 1906, watercolor and marker, drawing, 24.6 cm x 18 cm, Akseli Gallen-Kallela 1865 - 1931, a Finnish painter who is best known for his illustrations of the Kalevala, the national epic of Finland.

Courtyard of a monastery near Saint Mary above Minerva, Rome, 17th century. Cour du monastere pres de Sta Maria sopra Minerva, Rom, XVII Jahrh. Chromolithograph by A. Kips from Ernst Ewalds Farbige decorationen, alter und never Zeit (Color decoration, ancient and new eras), Ernst Wasmuth, Berlin, 1896.

Untitled Valentine (Cupid with Garland) 1850-1859 England. Collaged elements on cut and embossed (designed) ivory wove paper . John Windsor

Design for a Chair Back Cover with an Ornamental Frame Formed by a Garland of Leaves and Flowers with an Interlacing Ribbon that Forms a Bow from which a Crown Motif with a Monogram Hangs 1870-1900 () Anonymous, French, 19th century Rectangular sheet of paper with a design for a chair back cover from the second half of the nineteenth century, inspired on the style of Louis XVI, forming part of the Neo-Classical Revival that took place in France and Britain from the 1850s on. The style was part of the Classical and Renaissance Revival that took place from about 1850, where the interest on the art and architecture from Ancient Rome and the 15th and 16th centuries was propelled by archaeological discoveries in Greece, Italy and Egypt. Through this style, Classical and Renaissance pieces of art and design were reinterpreted in a variety of forms and motifs, and classical figures, scrolling decorations, strapwork, and grotesques and moresques, became central element in design. This Revival

Panel of Arabesques for the Hôtel de Salm, Paris. Date/Period: 1785. Drawing. Pen and black ink, brush and gray, turquoise-blue and white gouache, traces of black chalk on toned paper, ruled border in pen and black ink, lined with paper with ruled border. Height: 430 mm (16.92 in); Width: 101 mm (3.97 in). Author: JEAN-GUILLAUME MOITTE.

Renaissance art: enamelled earthenware. Ornamental dish decorated by Bernard Palissy on a tin plate by Francois Briot, and other dishes and borders by Bernard Palissy. Hand-finished chromolithograph by F. Durin from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

The Temple of Jerusalem with columns and drapes. Four allegorial evangelists at top: angel Matthew, bull Luke, lion Mark, and eagle John. Figure de l'Eglise, France, VIIIe siecle. Taken from a manuscript formerly kept at the Abbey of Saint-Medard de Soissons. MS 686 Sup. Latin, Bibliotheque Imperiale. Chromolithograph after an illustration by Mathieu from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Netherlands, Numan, Hermanus, Amsterdam, Kok-van Kolm, widow C., Wish letter with decorative frame, verso - stamped, Wish letter with unwritten cartouche within a decorative frame with six scenes from the life of Christ. Ca. 1800-1850., print, wish letter, prints, Frederik Muller Historieplaten, height 458 mm, width 352 mm, Dutch, printer, 1775 - 1780, paper, woodcut, hand-colouring, 1744 - 1820-03-09, print maker, printmaker, 1800 - 1850

The hand of God planting a flourishing tree into a dead trunk. Coloured paper cut work.

Design with standing woman with riders on either side, Carel Adolph Lion Cachet, 1874 - 1945 drawing pencil. chalk brush

Ornaments in relief from mosques, tombs and fountains in Constantinople (Istanbul). Fountain at Pera 1,2,3,16,18, Mosque of Sultan Achmet 4, tombs 5,6,7,8,13, tomb of Sultan Soliman I 9,12,14,15, Yeni D'jami 10,11,17,19,21, and fountain at Tophana 20,22. Chromolithograph by Francis Bedford from Owen Jones' The Grammar of Ornament, Quaritch, London, 1868.

Valentine 1859-69 Anonymous. Valentine. Anonymous. 1859-69. Cameo-embossed, open-work lace paper, chromolithography, colored paper, satin fabric

Leopard, Beer and Wolf (Firapeel, Bruun and Isegrim), Bernard Willem Wierink, 1910 print paper fable of Reynard the Fox

Unknown architect, window for the house of the architect association in Berlin. Monthly competition January 1881 (2nd competition) (01.1881): View 1: 5; Scale bar. Tusche watercolor on the box, 59.6 x 38.4 cm (including scan edges) N.N. : Fenster für das Haus des Architekten-Vereins zu Berlin. Monatskonkurrenz Januar 1881 (2. Wettbewerb)

Lazio Viterbo Caprarola Palazzo Farnese78. Hutzel, Max 1960-1990 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Border, Block printed on handmade paper, Two revolutionary emblems enframed in tricolor ribbons on top of a guilloche composed of laurel and oak leaves. The top emblem shows Hercules bending fasces, sitting on an animal pelt with a club by his side. The second emblem shows a large-scale cock standing. Separating these emblems is a pair of crossed spears bound with a tricolor ribbon. Reeded columns wrapped with tricolor ribbons run along either side. Vertical border., France, 1793-1799, Wallcoverings, Border

La Caste Susanne.

Truly Thine (valentine) 1855-1865 England. Collaged elements and silver paint on cut and embossed (designed) ivory wove paper with blue wove paper insert . John Windsor

DINNER held by NORDDEUTCHER LLOYD BREMEN at KAISER FRIEDRICH AT SEA (SS; FOR;). Buttolph, Frank, 1850-1924. Menus. 1899. Rare Book Division

Drawing, Designs for Souvenir Fans for the 1867 Paris Exposition Universelle; France; transparent watercolor and white gouache, graphite indicating fan shape on white wove paper; 11.4 x 32 cm (4 1/2 x 12 5/8 in.)

Illustration for "Maria Morevna" Koshchey the Deathless carries off Maria Morevna. Artist: Boris Zvorykin (Russian, Moscow 1872-1942 Paris). Dimensions: Image: 10 15/16 x 8 3/16 in. (27.8 x 20.8 cm)Sheet: 13 11/16 x 10 9/16 in. (34.8 x 26.8 cm). Date: ca. 1925. Museum: Metropolitan Museum of Art, New York, USA. Author: Boris Zvorykin.

Italian Renaissance ornamental painting, (1898). Examples of painted building facades: 'Figs 1-7: From the front of a house in Genoa (Via San Matteo. Nr, 10). Fig 8: Front of the court of 'Casa Taverna' at Milan. Figs 9-11: Front of the court of Palazzo Piccolomini at Pienza...here we observe above all the vegetable ornament...We find almost everywhere delicate, beautifully curved branches in a symmetrical or at least regular arrangement, in which the antique acanthus-leaf acts the principal part, although, not without the most various transformations. Also vine, laurel, ivy etc. are frequentl

Randolph F Miller, Wall and Ceiling Decorations, 1936 Wall and Ceiling Decorations

Love (Valentine) 1845-1855 England. Collaged elements with watercolor on cut and embossed ivory laid paper (lace, folded), with pink wove paper insert .

Study for wall hanging or wallpaper

Unknown architect, diploma for the international fishing exhibition in Berlin. Monthly competition March 1880 (03.1880): View. Tusche watercolor on paper, 47.1 x 61.1 cm (including scan edges) N.N. : Diplom für die Internationale Fischerei-Ausstellung in Berlin. Monatskonkurrenz März 1880

Design for Panel Decoration 1828-40 J. Hulme British. Design for Panel Decoration 367394

Valentine - Wood

Valentine Greeting, Wood engraving, brush and watercolor on paper, A couple stand under a frame on which s tand t wo putti. Above, a six-line poem. Baroque Revival enframement around the entire composition., United States, ca. 1850, Greeting Card, Greeting Card

Sampler, Sophia Emerson, American, Medium: silk embroidery and paint on linen foundation Technique: embroidered in cross, satin, running, chain, knot, and stem stitches on plain weave foundation, A wide border of naturalistic flowers enclosing two sets of alphabets, a verse, a cartouche with an inscription, and a scene of a woman seated under trees., The verse reads:, Friendship's a name to few confined, the offering of a noble mind, a generous warmth which fills the breast, and better felt than e'er expres, Pennsylvania, USA, 1815, embroidery & stitching, Sampler

Illuminated letter T in a medieval style

Cover design for: monthly magazine of the Association for Improvement of VrouwenKleging, 1901, Reinier Willem Petrus de Vries (1874-1953), 1901 print Standing woman in a decorated dress with hands in front of her body folded. In addition to her, two women kneel with palm branches. paper dress, gown. ornaments ~ art

Four of Diamonds - Destroyed altar. Tański, Czesław (1862-1942), draughtsman, cartoonist

ALBUM DE LA REAL DE LA MAESTRANZA DE SEVILLA - TAPA CON RELIEVES DE METAL. Location: PALACIO REAL-BIBLIOTECA. MADRID. SPAIN.

Pharmaceutical advertising Vitamin B, from Laboratorios Ibys. 1950s.

Design for a certificate on the occasion of twelve and a half years loyal service at the glue and gelatine factory, Carel Adolph Lion Cachet, 1874 - 1945 drawing paper brush decoration of printed matter. names of organizations, companies, trade unions, etc.

Parallel of historical ornament, Renaissance I (1420-1520) , Architectural decorations & ornaments, Capitals Columns, Fountains. Louis Prang & Company Collection

Cigarette cards entitled 'between the acts and bravo' of Alice Chandos and Nellie Barbour ; trade cards depicting pictures of children and a sequence of humorous cards showing two men fighting over a woman.. Trade cards. 1876 - 1890. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Children, Courtship, Actresses

Deraisme, Pierre -Georges (n.1859 - D.1932), Dragon Ring (main title), 1905. Graphite. Ink, gouache on transparent rives vellum. Petit Palais, Museum of Fine Arts of the City of Paris.

Frieze (France); block-printed on machine-made paper; 89.5 x 50.5 cm (35 1/4 x 19 7/8 in.)

Illustration for the Fairy tale Marya Morevna, Zvorykin, Boris Vasilievich (1872-after 1935)

We will lady from the portrait of Krystyna née Tyszkiewicz Zawiszyna from the 16th/17th century, from the exhibition of the Society for the Care of the Monuments in Warsaw; Rozbicka, Mieczys "(1891-1925); 1921 (not after 9/03/1921) (1921-00-00-1921-00-00);

Calendern July with Cuckoo, Theo Van Hoytema, 1903 print The bird is sitting on a branch and has saved its beak open. Under the data a full moon and the constellation lion. At the top of the leaf a crack line. Print Maker: Hilversum Printer: Amsterdampublisher: Hilversum paper other birds: cuckoo. full moon represented as face. Leo (zodiacal sign of July). August ~ other concepts

Cover design for: Technical magazine, 1914, Richard Nicolaüs Roland Holst, 1914 print A diamond -shaped frame with two cats at the bottom. In the frame a naked, kneeling man who shoots an arrow with an arc. paper archer's weapons: bow and arrow. kneeling figure. man (showing himself) undressed, quasi-nude. beasts of prey, predatory animals

Initials from illuminated manuscripts of the early 15th century, from libraries in Paris, Heidelberg and Munich. Chromolithograph from Hefner-Alteneck's "Costumes, Artworks and Appliances from the early Middle Ages to the end of the 18th Century," Frankfurt, 1883. IIlustration drawn by Hefner-Alteneck, lithographed by W, and published by Heinrich Keller. Dr. Jakob Heinrich von Hefner-Alteneck (1811-1903) was a German archeologist, art historian and illustrator. He was director of the Bavarian Na

Sketch of the program page for the play 'The Love for Three Oranges' by C. Gozzi by Meyerhold, Vsevolod Emilyevich (1874-1940) / State Museum of Theatre and Music Art, St. Petersburg / Theatrical scenic painting / 1915 / Russia / Watercolour and ink on p

Saint Paul. Gouache painting.

1918 World war one Austrian poster announces an exhibit of images of the war at the Künstlerhaus, Vienna, Austria. By Wilhelm Dachauer, 1881-1951

Valentine ca. 1880 Anonymous This is a tiny folded, cameo-embossed, open-work lace paper; there is a faint, illegible embossed maker's name on the left edge, recto.The lace pattern has a zig-zag border, a cameo-embossed bow in the lower half, and on the top portion, a circle, bordered with embossed roses. It is on that circle that a chromolithographed die-cut scrap of a bouquet, with the word, "HOPE". has been affixed. Atop the bow is a small scarp of a young girl carrying a pitcher on a tray. Verso, which is plain, is part of the same piece of folded paper.Inside, is inserted a piece of paper, brightly chromolithographed in a colorful gothic pattern of red, yellow, pink, green, and purple. The white center is printed with a romantic verse.. Valentine. Anonymous. ca. 1880. Cameo-embossed open-work lace paper, chromolithography

Tribute to French ballonist Henri Giffard in the form of a handwritten French text shaped as a balloon, inside a printed floral border, Clarey & Gibert, Tours., 1878 , Tribute written by Mr. Wrabelly of Hungary, town of Pressbourg (Bratislava), on the occasion of seeing the giant Giffard balloon exhibited in the Tuileries gardens during his visit to the World Exposition held in Paris in 1878

Pilaster IX (parks), from the Loggie Di Rafaele Nel Vaticano series; Volpato, Giovanni (1740-1803), Rafael (1483-1520), Teseo, Lodovico (1731-1782); 1776 (1776-00-00-1776-00-00);

Życzenia świąteczne z Dzieciątkiem I. Goryńska, Wiktoria (1902-1945), graphic artist

Cavagnole Game Board; papier mache, painted and gilded decoration

Wish letter with flower wreath and a hay wagon, 1829 - 1880 print Wish letter with unwritten cartouche within a decorative framework with representations of a flower wreath and a hay wagon near a river. Numbered below: No. 7. print maker: Netherlandspublisher: Mainz paper flowers. four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach. farmers

Embroidered sampler 1807 Embroidered by Julia Ann Fitch This exquisite Federal pictorial family record has much to say about the ideals of the young country and the importance of educating women. The beautifully worked center reserve depicts a woman reading a book sitting under a unique architectural structurean outdoor pavilion with a round domed roof, draped and curtained sides, and a checkerboard floor.. Embroidered sampler 20615

Wall paintings from the Royal Museum, Naples, Italy. Handcoloured lithograph by H. Asmus after an illustration by Wilhelm Zahn from his Ornament of All Classical Art Eras, Ornamente aller klassischen Kunst-Epochen, Reimer, Berlin, 1832.

Dearest, My Every Dream of Bliss (valentine) 1835-1845 England. Collaged elements on cut and embossed ivory wove paper (lace) .

Ceiling mosaic depicting the Napoleonic era, Komsomolskaya metro station, Moskau, Moscow Oblast, Russia, Europe

A question stamp depicting two at the vessel, against the background of the emerging one; around 1914 1920 (1914-00-00-1920-00-00);

Bird Mosaic KOWLOON, HONG KONG - APRIL 21, 2017: Wall Mosaic Decor in Bird Garden at Yuen Po Street in Kowloon, Hong Kong. Copyright: xZoonar.com/MarkoxBericx 13277696

Valentine - All for Thee

Guide for Constructing the Letter C. Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600)

France, from the International Cards series (N238), issued by Kinney Bros. 1888 Issued by Kinney Brothers Tobacco Company Trade cards from the "International Cards" series (N238), issued in 1888 to promote Kinney Bros. Cigarettes.. France, from the International Cards series (N238), issued by Kinney Bros.. 1888. Commercial color lithograph. Issued by Kinney Brothers Tobacco Company

La Ilustracion Espaola y Americana (The Spanish and American Illustration). Illustrated magazine published in Madrid between 1869 and 1921. Founded in 1869 by Abelardo de Carlos (1822-1884), who was its director until 1881. Issue with all the magazines corresponding to the year 1881. Front cover.

fine arts, print, two peacocks, chromolithograph on a card of precious paper, embossed, pierced, circa 1885, private collection,

Ex libris van Carel Lion Cachet, Carel Adolph Lion Cachet, 1932 print The monogram CLC surrounded by flames. paper flame

Tile tableau of 65 tiles, Anonymous, 1615 - 1640 Tile tableau of 65 tiles (13 x 5) with a blue painted warrior in full harness. In his right hand he wears a lance with a banner with a double tilted crossbar. At the bottom in a medallion the inscription: het.graefscap.van.bve.ren. Netherlands earthenware. tin glaze majolica Tile tableau of 65 tiles (13 x 5) with a blue painted warrior in full harness. In his right hand he wears a lance with a banner with a double tilted crossbar. At the bottom in a medallion the inscription: het.graefscap.van.bve.ren. Netherlands earthenware. tin glaze majolica

Mural painting with yellow and red panels, baseboard with two swans, and architectonic frieze in the upper part; in the middle, a little painting with Bacchus holding the thyrsus, chromolithograph by D Capri from a drawing by Magliano, from Le case ed i monumenti di Pompei (The houses and the monuments of Pompeii), by Fausto and Felice Niccolini, volume III, plate 43, 1854, Naples.

Table XXVI (arrangement of objects on and around the escutcheon) for the Norbert Eugeniusz Malinowskis publication “Heraldry, i.e. the study of coats of arms containing a lecture on the theory of world heraldry collected from the best sources [!, the th5. Weinhold J., Kochański i Marszycki (Warszawa ; zakład litograficzny ; fl. 183.), lithography atelier

Drawing, Fortitude, Design for a Stained Glass Window; Francis Augustus Lathrop (American, 1849 - 1909); USA; brush and watercolor, white gouache, graphite on tracing paper; 45.6 × 11.3 cm (17 15/16 × 4 7/16 in.); 1914-38-363

Valentine - Amitié

Postcard of the Wiener Werkstätte No, Variety number , One for all, all for one or a look through the keyhole, Parisian fluctu with files, Moriz Jung -, Artist, Wiener Werkstätte, Publishing House

Charles I, King of Württemberg, from the Rulers, Flags, and Coats of Arms series (N126-2) issued by W. Duke, Sons & Co. 1888 Issued by W. Duke, Sons & Co. Trade cards from the "Rulers, Flags, and Coats of Arms" series (N126-2), issued in 1888 by W. Duke, Sons & Co. There are two types of cards from the series. The first type is made of thick stock and does not fold. This variation promotes Honest Long Cut tobacco. The second type, pictured here, is printed on thinner stock and is meant to be folded in three parts. This variation promotes Duke's Cigarettes, Cameo, and Turkish Cross-Cut brands.. Charles I, King of Württemberg, from the Rulers, Flags, and Coats of Arms series (N126-2) issued by W. Duke, Sons & Co.. 1888. Commercial color lithograph. Issued by W. Duke, Sons & Co. (New York and Durham, N.C.)

Untitled Valentine (Country Girls with Dog) 1860-1869 England. Gold paint with collaged elements on cut and embossed (designed) ivory wove paper . Thomas Wood

Design for a Theater Curtain 1818-38 Aimé Chenavard French. Design for a Theater Curtain 395676

The Sirin bird (Lubok) by Anonymous / State A. Pushkin Museum of Fine Arts, Moscow / c. 1790 / Russia / Copper engraving, watercolour / Mythology, Allegory and Literature / 35x28 / Folk art

Bauern Hochzeit, Baurn Hochzeit, Göbl, Andreas Benedictus, 1765-1792, ink, gold board, with gilt edges, ca. 1765, 1 boxed deck of playing cards, etching, stencil, hand col., 11.5 x 7 x 3 cm.

Ornaments, jewels, trinkets. Giafferri, Paul Louis de, b. 1886. Illustrations. 1926 - 1927. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Clothing and dress, Costume , History, Women, Jewelry, decorations , Japan, Women , Clothing & dress , Japan

O Tarz N. P. Maria Ostrobramska; Edwarma, Louis (Fl. 1846-1849), Lemertcier, Rose Joseph (Paris 1849 (1849-00-00-1849-00-00);

6 of Tethers, from The Cloisters Playing Cards. Culture: South Netherlandish. Dimensions: 5 3/16 × 2 3/4 in. (13.2 × 7 cm). Date: ca. 1475-80.The Cloisters set of fifty-two cards constitutes the only known complete deck of illuminated ordinary playing cards (as opposed to tarot cards) from the fifteenth century. There are four suits, each consisting of a king, queen, knave, and ten pip cards. The suit symbols, based on equipment associated with the hunt, are hunting horns, dog collars, hound tethers, and game nooses. The value of the pip cards is indicated by appropriate repetitions of the suit symbol. The figures, which appear to be based on Franco-Flemish models, were drawn in a bold, free, and engaging, if somewhat unrefined, hand. Their exaggerated and sometimes anachronistic costumes suggest a lampoon of extravagant Burgundian court fashions. Although some period card games are named, it is not known how they were played. Almost all card games did, however, involve some form of g

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