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Trade Card for Peter De la Fontaine, Goldsmith, c. 1790s (engraving)
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Trade Card for Peter De la Fontaine, Goldsmith, c. 1790s (engraving)
XJF441255 Trade Card for Peter De la Fontaine, Goldsmith, c.1790s (engraving) by English School, (18th century); Private Collection; (add.info.: Peter De la Fontaine, Goldsmith, At the Golden Cup in Litchfield Street, Soho; Makes, & sells all sorts of gold and silver plate, swords, rings, jewells &c, at ye lowest prices; The image on the card is clearly inscribed as being after a design by William Hogarth but it is in fact thought to be a fake, perhaps by a Samuel Ireland; ); English, out of copyright
Media ID 12882002
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Fake Forgery Goldsmith Promotional Soho Trade Card Advertisment Business Card Calling Card
EDITORS COMMENTS
This trade card from the late 18th century showcases the craftsmanship and entrepreneurial spirit of Peter De la Fontaine, a renowned goldsmith. The intricately engraved print, now housed in a private collection, features an advertisement for De la Fontaine's business located at the Golden Cup in Litchfield Street, Soho. Promising to create and sell exquisite gold and silver plate, swords, rings, jewels, and more at unbeatable prices, De la Fontaine's trade card exudes confidence and elegance. Interestingly, although the image on the card claims to be after a design by William Hogarth - a famous English artist - it is believed to be a clever forgery possibly created by Samuel Ireland. The Georgian-era card offers us a glimpse into London's bustling commercial scene during this period. It serves as both an artistic masterpiece and an effective promotional tool for De la Fontaine's business endeavors. Its detailed engravings capture attention while its text entices potential customers with promises of quality craftsmanship at affordable rates. As we admire this historical artifact today through Bridgeman Art Gallery's lens, let us appreciate not only its aesthetic beauty but also its significance in showcasing the artistry of trade cards during this era. Despite questions surrounding its authenticity as a genuine Hogarth design or perhaps even as an elaborate hoax itself, this piece remains an intriguing representation of 18th-century advertising ingenuity.
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