Two
A Hallmark-perfect landscape and cloudscape.  A noble young man in early 19th-century. court military dress stands between two wandlike saplings, looking out and up.  He stands in a posture and assumes a facial expression so old-movie noble, classic & determined it's hilarious, and it's clear he finds himself the last word in sexy, though... how to put this?... his skintight breeches don't reveal
much to be so cocky about. :)

Seven
A yard with a board fence.  A trimly Euro-stylish man in his 20s has his back to the fence, and uses a wand to fend off an attack; from outside the frame of the picture, six other wands come at him, apparently wielded by bullies.  He is responding with a grin and the grand, campy moves of what my gay male friends would call a Frequent Flamer: he may be outnumbered, but he is going to by-God *style* his way out of it. :)  As good an image for "fake it till you make it" as I've ever seen.

Eight
Eight wands hang in the sky as if flying.  The upper four seem to form a power grid radiating downward; the other four make a hurdle.  A boy, his face jubilant, cries out as he clears the hurdle with a difficult leap (he is lifting his forward ankle with his hand as high jumpers occasionally do when it's going
to be close.)  The power is from the cosmos, but the effort and the success are definitely his.

Nine
In the foreground, an extremely hunky young man in a muscle shirt.  Before him, four wands, the closest with a serpent coiled around it like an unstylized caduceus.  In the background, over his shoulder, the face of a lion, shadowy as if he is a thought.  The lion is held back by a cage of wands, also shadowy.

Rather than the generic nine-of-wands image of a difficult but unspecified task accomplished, this one is specific: the tough but possible accomplishment of healing oneself (note the caduceus) by mastering difficult and powerful inner forces.

Some interesting cards from Swords
 
Three
Lösche's darker homage to the whimsical Edward Gorey.  The entire card is in shades of gray, slate and black.  A stony courtyard with thunderheads piling up in the sky over the wall.  Three Goreyesque middle-aged figures, two men in upper class 1920s club men's black suits and a woman in the '20s garb of a wealthy widow, stand staring at the viewer.  Foreground, in a formal-looking niche in the pavement, three swords stand up from the huge slate rose they're stabbed into.

It's clear who stabbed the rose or presided over the stabbing; it was done by these people or their agents, ritually and with consensus, and stands almost as religious art.  This is entrenched family or societal tradition as cause or agent of soul murder.  It's rather chilling.

Four
A desert scene in dusty yellows, with green palm trees and a camel in the background next to an oasis pool.  Foreground: in a carefully arranged ring of rocks and pebbles is a rug, covered with six-pointed stars and bearing the sign of Jupiter.  On the rug, four swords laid out in a row.  Outside the ring, four turbaned desert tribesmen sit at ease, but clearly waiting; there is a wine carafe in the background. Are they waiting for customers to come and buy the swords?  Are they at the oasis for water or negotiation and setting the swords aside in temporary truce?  We don't know, but the image is of hiatus.

Five
A powerful card, and one I like.

Cracked bare yellow earth under a hot rose sky.  The sun is either just down or not quite up yet.  A few bare, dying trees twist up from the soil, and rocks and dead branches are scattered about.

A man in rolled-up jeans and an athletic shirt (singlet) is spread-eagled on his back on a pentagram drawn on the earth, head toward us -- almost as if crucified, though it looks voluntary, like a tough version of Starhawk's Iron Pentagram exercise.  All around him on the hot soil are red roses impaled by standing swords.

If the five of swords is normally read as a situation that lacerates the mind and heart, in this version it's the commitment to integrity and to the inner work that brings the pain.  There's a nice cool lake just past the last dead tree; we can see an edge of it.  He could get away from this clearly very difficult meditation, but has decided to continue into the night or through the heat of day.

Nine
Another very strong card.

In the background, a Sherman tank, and large rocks pitted by tank rounds.  Midground, a columned temple crumbles and a man half squats, hands to head and screaming, under a rain of medieval swords from out of nowhere, one of which pierces his back and another his thigh. Foreground, a sword impales a vicious-looking snake.

A real war is going on in the city and doing real damage, but it is the rain/reign of mental terror that has the man screaming, a good way from the action, and it's the inner sacred (the temple, clearly not of the same era as tank warfare) that's crumbling. The snake is ambiguous: is it the guy's more mundane problems
and nightmares?  His usual guilt?  I don't know.

Interesting detail in the Queen of Swords
Through her window, we see the scene and couple of the Lovers card, in tiny but perfect detail.  Again, these must have been large paintings, or Lösche has an astonishing eye and hand.  (Or both.)

Some interesting cards from Pentacles
 
Two
In the background, the ocean, and a sailing ship with a yin-yang on its mainsail.  Foreground, a rock-strewn beach.  A flower grows from the sand next to a beautiful shell and a pylon on which a bird sits; across from them, a cobra is rearing to strike. Between them, on a lemniscate of light that appears on the sand, a barefoot, extremely homely teenage boy in old jeans and a faded double pentagram T-shirt dances gracefully, with the unselfconscious balance and
serenity of tai chi.

He brings nothing to the venture but his grace and effort, and it's working; he has no looks, no companions and clearly no money yet, but he does not and seemingly cannot put a foot wrong; he is dancing in the Tao, and it carries him as long as he keeps moving.  I like that a lot for the Two of Pents.

Four
A wealthy looking office.  On its rear wall, a painting of a formal-looking diagram: four pentagrams and the sign of Capricorn form a box.  Through the open window, we see an expensive-looking and very traditional home.

Seated in the position and body language of paternal or paternalistic authority is a pompous-looking white haired man in an old-fashioned wing collar, tightly knotted tie and immaculate white suit jacket or very expensive doctor's coat.  Across from him, her back to us but part of her face visible, sits a young woman, head a bit down and eyes downcast in shame or humility, evidently unable to look at him.

In feel, it is every female recovering doormat's nightmare of "benevolent" patriarchy.  An astonishing card from a male artist; Lösche must have watched his wife or his sister with a bad doctor, priest or shrink and then really *listened* to her.

Five
Strong and direct.  Midground, a wall with five crumbling pentagrams.  Passing it, all in slate and gray, refugees flee a bombed-out, smoking city with whatever they can carry.  In the background, a couple of people stand stunned, looking at the wreckage with that deep, oddly emotionless shock we've all seen on the TV news.  I'm not sure why this card moves me so; maybe it's that the people standing look so genuinely lost, and the people leaving look so genuinely cold.  No cheeky beggars here.

Nine
Background: the view out a huge bay window. Spacious grounds, the corner of a handsome home, beautiful landscaping and a fine car about a mile long.  A bird of paradise sits on a branch near the window, which is framed by flowers and rich but simple draperies.  Foreground: a table with fresh fruit and wine, and a rainbowlike streamer of pentagrams.

Midground, sitting by the window but looking in the viewer's general direction, is Rita Hayworth in all her sultry glory, the avatar of the Hollywood high life.  A hilarious choice, and a perfect one: exactly what the Material Girl in us wants to be when it grows up.

Some interesting cards from Cups
 
Two
Humphrey Bogart and an actress (maybe Ida Lupino?), both immersed in lush tropical flowers to chest level and surrounded and framed by them, engage in seriously romantic liplock as two cups full of light tip toward each other to touch edges in the foreground.  Bogie does his masterful-but-gentle thing, and it's very sexy and sweet.  You would get on a plane with Victor Laszlo for this guy if he asked. :)

Five
A homely middle-aged woman in Victorian dress, hair severely drawn back like an older, unhappy Jane Eyre, sits defeated and lost before a table on which sit knocked over cups and a broken rose. Her eyes are closed.  In the near background, a door stands open; a storm rages outside, and leaves and twigs are blowing in through the door; soon the rain will ruin the rug.  The woman, though she is shawled and her shoulders are clenched against the chill, doesn't notice; the inner storm commands her full attention.
 
Seven
Midground, a kneeling, nearly naked man bows to the earth in agony, fingers clawing at the soil.  Background, his thoughts loom up as bizarre shadows: a woman (presumably his lady) smirks as another man nuzzles her.  The same woman, eyes closed, looks shamefaced above a burning church; an inverted pentagram rises from the flames.  A book and sword float in the air.  Two cups lurch violently about, spilling what's in them.  A third cup sports a rose and a fourth a big glitzy crown; a fifth crawls with snakes.
 
Princess and Prince
Amazing how hormonal and just plain up-to-nothing-the-stuffy-would-approve-of the younger royalty of Cups look.  The Prince, in fact, has what one gay friend of mine called "the 'C'mere, leatherboy, I'm gonna spank you good' look". :)  If the King and Queen are mature passion that has mellowed and deepened without dimming, these kids are its first real bonfire, and in differing ways, you really don't want to get in their way.