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Tarot Margarete Petersen
Tarot Margarete Petersen

What customers are saying about Margaret Petersen Tarot

Margarete Petersen is a Berlin based painter who has also spent time in Bavaria and Switzerland. She began painting Tarot cards (and Tarot based images) in 1979. Her artwork in this deck is extremely abstract ... often not following traditional imagery/symbolism. The trick to reading with these cards is that you need to back away ... to create a space between the cards and yourself ... and allow the images to come to you. The longer you look at the cards, the more images you will see.

The 78-card deck and accompanying LWB (Little White Book) come as a set in a sturdy box with a lift-off top. The box is a light, light gray, with elegant gold print. The central part of the card The Fool in printed on the top of the box, in a circular, vignette format, with a silver border on the right hand side, and a gold border on the left hand side.

The booklet (3 3/4" by 5 3/8") is 78 pages, and bound. In her foreword, Luisa Francia describes the drafts of early versions of Petersen's cards that came into her possession, and how they differed from the final cards. As those who follow the process of any deck may well realize, sometimes our personal preferences are not the ones that make the final cut! She also makes a very important point in that Peterson is quite good at working with subtle energies, and being able to describe the interplay between energy and matter. With Petersen, and Petersen's sister, Elizabeth, Francia undertook her first Tarot experiments and trance journeys.

In her introduction, Petersen speaks of being very much "at home" in the worlds of myth and fairy tales. Her initial encounter with the Tarot in 1979 reopened a world that had been discouraged in her childhood. She was touched by the symbolic language encoded in the cards of the Tarot. Beginning with the imagery of the Waite-Smith Tarot, she began to look for other images, and other levels of meaning.

The cards are presented without scans, and without keywords/meanings. The meat of the card is presented through a poetic interpretation for the Major Arcana, which is seen as connecting us with story and myth. The Court Cards are presented as speaking for themselves, and of their relationship to other family members, and as representing the "social web" of life. The Pips (numbered cards) are representative of our actions/reactions in the physical world. Each element is described in terms of how is appears on the Physical Level, the Mental-Psychic Level, and the Relationship level. Also given are the boundaries that each number represents. At the end of the book is a short ... two page ... section on reading the Tarot. No spreads are presented. The cards themselves are 3 3/4" by 5 1/2", which do present a problem for those with smaller hands. They are of good quality, card stock with a matte finish. The backs have an orange-based swirling pattern, such that they could not be differentiated in the upright or reversed positions. The faces of the cards have a light gray border, with the card Title across the bottom and the card number, in Roman Numerals, across the top (for the Majors), Title and Suit (for the Court Cards) or Number (in text) and Suit (for the Pips) in dark gray across the bottom of the card.

Some of the Major Arcana have been retitled: The Magician/Magic, The Charioteer/Chariotess, The Hermit/The Crone, The Hanged Man/Trial, Temperance/Mediatrix, and Judgment/Renewal. The Court Cards are Mother, Father, Daughter, and Son. The suits are Flames, Cups, Feathers, and Coins.

While this is definitely an art deck, with its modernistic, futuristic quality, but it is also a deck that opens the reader to the world of spirit. The deck took twenty-two years to complete, and was her whole world during that time.

Some of the cards from the Major Arcana, such as the Fool, The High Priestess, Strength, Trial, the Tower, the Moon, and the World carry fairly traditional imagery, even though they are presented in a modernistic style. Some, such as Magic (the Magician, which is presented as a mask), the Empress (the Emperor, the Hierophant, the Lovers, the Mediatrix (Temperance, which is presented as walking between the worlds of alchemical transformation), the Devil, the Star, and Renewal (Judgment) are quite abstract.

The suit of Flames is done predominately in shades of red, orange and yellow. The suit of Cups is done in pastel blues, grays, and yellows. The suit of Feathers is done in shades of blue, white and purple, with a hint of orange/red. The suit of Coins is done in shades of gold with a hind of blue/gray, orange and brown.

This is definitely not a beginners’ deck. It is a deck where symbols appear where they have never appeared before, and the cards have to be read "in the moment". Look for figures and angles to appear the longer that you look at the card. This is a great deck to read with, but not one that I would use for readings for others unless they chose the deck themselves for the reading. It is a wonderful addition for a collector, or for someone who appreciates art decks. It is also very high on my scale of life for use in meditation and journeying.

—Bonnie Cehovet, Aeclectic Tarot


When I first opened this deck I thought… there are no images on most of these cards! Just muted blurs of colours and textures. How in the world could I read with these cards and get any meaning out of them, after all, the words are in German!I sat with the cards and threw my first layout. I allowed the cards to 'flow' from the deck and into the layout. Sitting quietly, grounded and ready to read, I picked up the first card.

Oh my Goddess, there were images within those swirls of colours! I didn't see them at first but there they were. Changing and 'flowing' before me. I immediately became completely enthralled with this deck. I looked forward to my nightly routine of throwing the cards and discovering what insight they wished to share! I found the readings to be very emotional and insightful. Touching deeply on what was happening now as well as shining light on tomorrow. The intensity of these readings were surprising and became something I eagerly looked forward to each evening.

I was fortunate enough to have someone who speaks German in my life and they translated the Minor Arcana for me but I decided to let the book stay foreign to me… I enjoyed the relationship I was creating with them and found the unknowingness of Margarete's intentions to be freeing… it opened me to the 'flow' in a way I truly enjoy. Usually once I finish reviewing a deck it goes onto the bookshelf in my living room while I move onto another. This one is staying by my side! It lights the journey of my 'flow' like no other deck I've used and has quickly become another one of my personal favorites.

—Aleesha Stephenson, Timeless Spirit Magazine

$39.95
Cary-Yale Visconti 15th Century Tarocchi Deck
Cary-Yale Visconti 15th Century Tarocchi Deck

WHAT CUSTOMERS ARE SAYING ABOUT THE CARY-YALE VISCONTI DECK

When I first acquired this deck I was so impressed by its art. The cards are rich with gold. The pictures have a distinct fabric texture. The deck consists of 86 cards. There the 22 majors and 64 minors. The additional cards come from male and female knights and pages. The Popess (Priestess) is replaced by Charity; the Pope (Hierophant) is replaced by Faith; and the Star is Hope. Thus the three virtues are present for the readings. The suits are swords, staves (wands), cups, and coins (pentacles).

The guidebook provides a history and keys to both upright and reversed positions. The author, Stuart R. Kaplan, demonstrates his understanding of the history and uses of this deck. He also states that there is no direct evidence that the deck was used for divination. He further asserts that the people of the Renaissance were fascinated with the occult and that these cards may have been used for this purpose.

I hesitated to do a spread because of the different structure and the absence of numbers or names (this may complicate a reading for those who are not accustomed to examining the art of the cards) but I did a 10 card spread as suggested by the book. First, I relied on the book for help in the meanings. The virtues provide a different depth for a reading. The pip cards were not difficult since my first deck was of the Marsailles group. The meanings were similar. The male and female pages and knights provided a broader reading. The court cards have facial expressions which are similar to art of this period. At the personal level, they communicate the richness of the Renaissance.

This deck is a beautiful addition to the historical tarot collection. When used for readings, it may causes the beginner problems due to the lack of numbers and structure of the court cards. The extra large size of the cards may make shuffling difficult. Overall, I find this deck valuable for the history and the use in readings. 

—James Mathis, Aeclectic Tarot
$45.00
Visconti-Sforza Pierpont Morgan Tarocchi Deck
Visconti-Sforza Pierpont Morgan Tarocchi Deck

WHAT CUSTOMERS ARE SAYING ABOUT THE VISCONTI-SFORZA DECK

 

The Visconti-Sforza Pierpont Morgan truly sets the standards and the origin of the past and present tarot cards. These cards were the first "official" tarot card deck made, and it sets the standard and the original look of our modern decks. They were made NOT for divination or mystical goals, but for simple gambling. These beautiful cards are larger than the size of our modern tarot, simply because the medieval necessity of fancy decorations surrounded that weighs more than convenient shuffling. A hole has been punched in all cards, and two of the cards (Tower and Devil) were added in the modern reproduction. However, it is quite possible that both missing cards were never there in the first place, due to the religious and political controversy that surrounds these gambling cards. By taking historically comparing these late 15th century cards to modern cards, one is able to appreciate the beauty and changes in detail that has been embedded in many of our modern tarot cards. Such as the Fool, that later tarot decks added a sun; the Hermit, has been replaced from holding an hourglass to a lantern; Coins became the Neo-Pagan pentacles; batons served as magical wands. Temperance was originally a female pouring water from one vase to another, yet became a nude female pouring waters to both sea and land in modern decks, and so on.

The cards have no titles, no numerical alphabetical allegories (since Comte De Mellet first established the infamous 22 Hebrew letters to the tarot, not Eliphas Levi), which makes their outlook more authentic, yet may be more complicated for a tarot beginner. Their background is a simple reddish brown/maroon color, and they must be shuffled from the sides rather than the top for convenience. In my opinion, these are the "true" and original tarot that many of us may be looking for. They set the standards and values to modern tarot decks and their designs.

—Lloyd R. Belthazar, Aeclectic Tarot


The artwork is very dark and medieval, but quite lovely. Labeled as extraordinary examples of renaissance art, this is much more than a deck of cards.

 

It's all in the details as the backgrounds of the Court Cards, and the cards in the Major Arcana are all of the same dark colored backing with a gold repeating stamp. When the actual deck is viewed under normal lighting conditions the backgrounds of these cards take on the appearance of gold leaf.

 

The imagery on the Majors and Courts all have a very surreal three dimensional look that will have you rubbing your finger across them. All 78 cards, including the Pips, have some element of relief, or raised, aspect to them.

 

There is some of the symbolism here that is present in the Rider/Waite/Smith deck, but only in the Major Arcana and Court Cards. The Minor Arcana are quite spartan, featuring only the number of items from the chosen suit, i.e. six Cups, eight Swords, etc. Justice XI and Strength VIII are reversed in order, becoming Justice VIII and Strength XI.

—Richard and Jennifer Shadowbox, Shadowfox Tarot


 

The "Visconti Sforza - Pierpont Morgan" deck is a reproduction, in authentic color tones, from the most nearly complete existing Visconti-Sforza tarocchi deck, dating from mid-fifteenth century Milan. I found this to be an astounding deck, and one that I automatically viewed with reverence. To "see" the history that the Tarot world so delights in discussing takes it out of the realm of discussion and into the realm of reality. It is an "Aha!" experience of unimaginable magnitude.

The LWB (Little White Book) that accompanies this deck is interesting in and of itself, as it is formatted to match the size of the cards - which are outsized, long and narrow. In his introduction, Stuart Kaplan gives a short synopsis of Tarot history in Italy from the mid-sixteenth century. Included in the explanations for the Major Arcana, suits and Court cards are charts showing the card/suit title in English, French and Italian, as well as the established number sequence (with the Fool being unnumbered, Justice as VIII and Strength as XI), and playing card correspondences for the suits.

One part of the LWB that I found to be unique, and quite informative, was the section on the Visconti and Sforza family heraldic devices, which included information on the two families. The five devices discussed for the Visconti family are the bird, the ducal crown, the sun, the black eagle and the motto; the two devices discussed for the Sforza family are the lion and three interlocking diamond rings.

There is also a table that lists where existing cards from the Visconti and Visconti-Sforza decks are located (i.e. which library or museum they are in). A short background on possible artists for this deck is included, along with comments on the dating of the Visconti-Sforza decks. Each card is presented with a small black and white scan, a discussion of the card (including a discussion of elements within the card), upright and reversed divinatory meanings.

I found the Major Arcana to be of most interest in this deck, as they represent one of the first Tarot decks ever produced. From these cards we can see where the changes came on through the years. Here we see the Fool facing us directly, without his purse and faithful companion. The Magician we see seated before his table, the High Priestess is seated, book in hand, but there are no pillars. The Empress shows the a seated figure with a shield in one hand, the Emperor holds a globe in his left hand and a scepter in his right hand. The Hierophant is a solo figure, with his right hand raised to give the sign of the blessing. The Lovers shows a male and a female figure, with a blindfolded, winged Cupid above them.

 

For anyone wanting to understand the history of Tarot, or interested in the art background of early Tarot decks, this is a must have deck. The LWB that accompanies the deck provides an incredible amount of information in a very small amount of space. For this we all owe a debt of gratitude to Stuart Kaplan. This is a deck that lends itself to readings, journeying, meditation and ritual work.

—Bonnie Cehovet, Aeclectic Tarot

$45.00
Creative Whack Pack® 6-unit Display
Creative Whack Pack® 6-unit Display

WHAT CUSTOMERS ARE SAYING ABOUT CREATIVE WHACK PACK:

Roger von Oech has won a loyal following around the country.

-- BusinessWeek Magazine

$96.00