Washington Square Antiques

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antique cameras


Dark Town Prints

I {own|have|possess} {a business|a company|a service|an organisation} which {sells|offers|markets} {images of|pictures of|photos of} the past. {Many of|A lot of|A number of|Much of|Most of} them are {decorative|ornamental|attractive} or {interesting|fascinating|intriguing} in their {own|very own} right, {but|however|yet} to me {one of|among} {the most|one of the most} {important|essential|crucial|vital} {things about|aspects of|features of} the old prints we {sell|offer|market} is that they are {historic|historical} {artifacts|artefacts}. That is, they are {evidence|proof} from our past, bringing their {stories|tales} to {the present|today|the here and now}. They {tell|inform} us not {only|just} {about|regarding|concerning} {the things|the important things|things} they {show|reveal}, {but|however|yet} {also|likewise|additionally} {about|regarding|concerning} what was of {interest|rate of interest|passion} to {the public|the general public} at the time—or {at least|a minimum of|at the very least} what their {publishers|authors} {thought|believed|assumed} {would|would certainly} be of {interest|rate of interest|passion}—{and|as well as|and also} they {tell|inform} us {how|exactly how|just how} {the public|the general public} at the time saw its {world|globe} residential painting.

{Past|Previous} public {attitudes|mindsets|perspectives} are not {always|constantly} ones we agree with, {nor|neither} {even|also} {condone|excuse|pardon}, {but|however|yet} I have {long|lengthy} {argued|suggested|said} that it is {a mistake|an error|a blunder} to {ignore|disregard|neglect|overlook} or trash {historic|historical} {artifacts|artefacts} that {reflect|show|mirror} {beliefs|ideas} we do not agree with. As George Santayana {wrote|composed|created}, “Those {who|that} can not {remember|keep in mind|bear in mind} the past are condemned to {repeat|duplicate} it.” That is, it is {crucial|essential|important|vital|critical} for us to {learn about|find out about|discover|learn more about} our past {so that|to ensure that|to make sure that} we can {try|attempt} to {correct|fix|remedy|deal with} where we {have|have actually} {gone wrong|failed}. {For that reason|Because of that|Therefore}, {even|also} abhorrent {historic|historical} {artifacts|artefacts} {should|ought to|must|need to} be {preserved|protected|maintained} {and|as well as|and also} {studied|examined|researched}.

Our {modus|method} operandi {has|has actually} {always|constantly} been, that even if I did not agree with what {a particular|a specific|a certain} print {depicted|portrayed|illustrated|shown}, we {would|would certainly} {offer|provide|use|supply} it {for sale|available for sale|up for sale|available|to buy|offer for sale} {so that|to ensure that|to make sure that} {someone|somebody|a person} {interested in|thinking about|curious about} it—{hopefully|ideally|with any luck} for {historic|historical} {reasons|factors}—{could|might|can} have {access|accessibility} to it. {On that|On that particular} basis, though I {abhor|hate|despise} the social {implications|ramifications|effects} of the Currier & Ives Darktown prints, I {have|have actually} felt it appropriate to have my {shop|store} {offer|provide|use|supply} them {for sale|available for sale|up for sale|available|to buy|offer for sale}. I {no longer|no more} {feel|really feel} that to be the {case|situation|instance}.

So, what are the Currier & Ives Darktown prints? They are {a series|a collection} of prints which America’s most {successful|effective} {popular|prominent|preferred} printmaker made from the late 1870s {into|right into} the 1890s, {showing|revealing} {supposedly|allegedly|apparently} {humorous|funny|amusing} episodes in Darktown, {a segregated|a set apart} {community|neighborhood|area} of black Americans. Darktown prints showcased {a full|a complete} {array|range|variety|selection} of {negative|unfavorable|adverse} stereotypes of the {former|previous} {slaves|servants} {who|that} {moved|relocated} north after the Civil {War|Battle}. {Portrayed|Depicted|Represented} as mentally slow, {physically|literally} {grotesque|monstrous}, {and|as well as|and also} {morally|ethically} {oblivious|unconcerned|unaware}, African Americans were {shown|revealed} as comically {inept|inefficient} in their {attempts|efforts} to “play-act” at being white.

Horrifyingly, these prints were {among|amongst} {the most|one of the most} {popular|prominent|preferred} of all Currier & Ives prints, with one {image|picture|photo} {supposedly|allegedly|apparently} {selling|offering|marketing} as {many|numerous|lots of|several} as 73,000 {copies|duplicates}. Why that was so {and|as well as|and also} what it {means|implies|indicates|suggests} are {things|points} worth {trying|attempting} to {understand|comprehend|recognize}, {and|as well as|and also} there {have|have actually} been {institutions|organizations|establishments} {and|as well as|and also} scholars {who|that} {have|have actually} {approached|come close to} the Darktown {series|collection} {in this way|by doing this|this way}. I {think|believe|assume} that {is important|is essential|is very important|is necessary} for our understanding of our past {and|as well as} {also|likewise|additionally} of our {present|existing} to {look at|take a look at|check out|consider} these {issues|problems|concerns}.

This {then|after that} {raises|increases|elevates} the {question|concern|inquiry} of why I {have|have actually} {decided|chosen|determined} we {would|would certainly} {no longer|no more} {sell|offer|market} the Darktown prints. {Certainly|Definitely|Absolutely}, to {simply|just|merely} {sell|offer|market} such a print is not to {advocate|promote|support} for its racist message; we {have|have actually} {sold|offered|marketed} them for {many years|several years|years} {despite the fact|although} that I {think|believe|assume} what they {show|reveal} is {terrible|awful|horrible|dreadful}. As it {happens|occurs|takes place}, {almost all|nearly all|mostly all} of the Darktown prints we {have|have actually} {sold|offered|marketed} {have|have actually} been to {academic|scholastic} {institutions|organizations|establishments} or to African American {collectors|collection agencies|enthusiasts}. Still, I {now|currently} {believe|think} we {should|ought to|must|need to} not be {selling|offering|marketing} them {at all|whatsoever|in any way|in all}.

The {current|present|existing} {national|nationwide} reexamination of our {society|culture}’s racial {inequities|injustices} {has|has actually} made me {rethink|reconsider|reassess} {how|exactly how|just how} we {should|ought to|must|need to} {treat|deal with} these prints. I {have|have actually} {come to|concerned|pertained to|involved} {believe|think} that even if one does {not present|absent} them as something one {believes|thinks}, racist {images|pictures|photos} like these {should|ought to|must|need to} not {be presented|exist} to {the public|the general public}, {except|other than} in {a clearly|a plainly} {restricted|limited} historic/educational {venue|location|place}. To have {images|pictures|photos} like these out in public— on {display|screen|display screen} in {a shop|a store}, at {a show|a program} or {on the internet|on the web|online|on the net}—{creates|produces|develops} a social {environment|atmosphere|setting} which is {detrimental|harmful|damaging|destructive} to {universal|global} racial {equality|equal rights}.

The {point|factor} is that it is not what you {mean|imply|indicate|suggest} by {selling|offering|marketing} the prints, it is what they {show|reveal} {and|as well as|and also} {how|exactly how|just how} that {adds to|contributes to|includes in} the {negative|unfavorable|adverse} experience that African Americans have in our {society|culture}. This is {very|extremely|really} {similar|comparable} to the {issue|problem|concern} of the {display|screen|display screen} of Confederate {statues|sculptures|statuaries} in the South, {and|and also} as I {believe|think} those {statues|sculptures|statuaries} {should|ought to|must|need to} be {taken out|gotten|secured|obtained} of public {spaces|areas|rooms}, so {too|as well|also} I {believe|think} the Darktown prints {should|ought to|must|need to} be {removed|eliminated|gotten rid of} from {public display|show and tell}. Every {image|picture|photo} that is out in public {showing how|demonstrating how} in the past Blacks were {thought of as|considered|taken} {inferior|substandard} {adds to|contributes to|includes in} the {background|history} {noise|sound} insidiously {whispering|murmuring} that they are not {equal|equivalent} today. Their {display|screen|display screen}, even if not {meant|implied|indicated|suggested} {this way|by doing this|in this manner}, {reminds|advises} both Blacks and Whites that in the not {too|as well|also} distant past it was the social {norm|standard} that the {latter|last} considered themselves to be {superior to|above} the {former|previous}. This, {in effect|essentially|basically|effectively}, {becomes part of|enters into} the systemic message of racial inequality that still {permeates|penetrates} our {country|nation}.

We {need|require} to {effect|impact} {many|numerous|lots of|several} {changes|modifications|adjustments} to {bring about|produce|cause} {true|real} racial {equality|equal rights} in our {country|nation}, both as {a society|a culture} {and|and also} as {individuals|people}, {and|as well as|and also} I {think|believe|assume} {no longer|no more} {selling|offering|marketing} or {displaying|showing|presenting} the Darktown prints is something we can do to {help|assist|aid}, albeit in {a small|a little|a tiny} {way|method|means}. {On that|On that particular} basis, we are {donating|contributing|giving away} {all of|every one of} our {current|present|existing} {inventory|stock|supply} of Darktown prints to {scholarly|academic} {institutions|organizations|establishments}, taking the {images|pictures|photos} out of the {general public|public} {environment|atmosphere|setting} {and|as well as|and also} {relegating|delegating} them to the {vaults|safes} of {historic|historical} {institutions|organizations|establishments}. This is {surely|certainly|definitely|undoubtedly} {just|simply} {a small|a little|a tiny} {step|action} {toward|towards} racial {equality|equal rights}, {but|however|yet} {hopefully|ideally|with any luck} it {is one of|is among|is just one of} {many|numerous|lots of|several} such {small|little|tiny} {steps|actions} our {society|culture} {will|will certainly} {now|currently} be making.

Antique Map Making

Abraham Ortelius (1527-1598) is {often| frequently| typically| commonly| usually} called the '{father| dad| daddy| papa} of {modern| contemporary| modern-day} cartography,' {particularly| especially| specifically} {because| since| due to the fact that} in 1570, he {issued| provided| released} the {first| very first| initial} {edition| version} of his Theatrum Orbis Terrarum, which is {considered| thought about| taken into consideration} the '{first| very first| initial} {modern| contemporary| modern-day} atlas.' The {publication| magazine} of this atlas {marked| noted} an {epoch| date} in the {history| background} of cartography, for it is the {first| very first| initial} {uniform| attire} {and| as well as| and also} {systematic| methodical| organized} collection of maps of {the whole| the entire} {world| globe} based {only| just} on {contemporary| modern} {knowledge| understanding| expertise} {since| because| considering that| given that} the days of Ptolemy. Ortelius {began| started} his {career| profession| occupation| job} as an engraver {and| as well as| and also} "peintre des cartes," (map colorist), {eventually| ultimately| at some point} {becoming| ending up being| coming to be} a {dealer| dealership| supplier} in maps {and| as well as| and also} {books| publications}. {As such| Because of this| Therefore| Thus} he {met| satisfied| fulfilled} {and| as well as| and also} befriended the {great| fantastic| terrific| excellent| wonderful} Gerard Mercator {and| as well as| and also} {began| started} to {produce| create| generate} {as well as| in addition to| along with} sell maps in Antwerp in 1561, {starting| beginning} with an {eight| 8} sheet {world| globe} map. In the {sixteenth| 16th} century there was a {great| fantastic| terrific| excellent| wonderful} {increase| boost| rise} in {interest| rate of interest| passion} in maps {and| as well as| and also} {charts| graphes}, {and| as well as| and also} Ortelius, as a {businessman| entrepreneur| business person| business owner} with a {passion| enthusiasm| interest} for {history| background} {and| as well as| and also} cartography, {was at| went to} the {forefront| leading edge| center} in {meeting| conference} this {demand| need}. {Through| With| Via} his {collecting| gathering| accumulating} {and| as well as| and also} his {antiques| vintages} {business| company| service| organisation}, Ortelius {became| ended up being| came to be} {acquainted| familiarized| accustomed} with a {large| big| huge} network of the {preeminent| leading} cartographers in Europe {and| as well as| and also} {thus| therefore| hence} {was able to| had the ability to} {research| investigate| look into} {the best| the very best| the most effective} {contemporary| modern} maps, {becoming| ending up being| coming to be} {the greatest| the best} {expert| professional| specialist} of his day in the bibliography of maps. He {decided| chose| made a decision| determined} to {produce| create| generate} an atlas of the {entire| whole} {world| globe}, the Theatrum Orbis Terrarum, or '{Theater| Movie theater| Cinema} of the {World| Globe},' done on a {systematic| methodical| organized} basis in a {uniform| consistent} {style| design}, {beginning| starting} with a map of the {world| globe}, {then| after that} maps of the continents, {followed| complied with| adhered to} by {regional| local} maps. Ortelius based his {work on| deal with| service| work with} {the best| the very best| the most effective} maps {available| offered| readily available}, {drawing| attracting} all the maps himself with the {celebrated| well known| renowned| popular} Frans Hogenberg {cutting| reducing} {most of| the majority of| a lot of} {the plates| home plates}. Unlike {other| various other} atlas-makers, Ortelius {cited| mentioned| pointed out} the {authors| writers} of the {original| initial} maps {from which| where} he {compiled| assembled} his {work| job}. The {result| outcome} was that his maps were {some of| a few of| several of} {the most| one of the most} {attractive| appealing| eye-catching} {and| as well as| and also} {accurate| precise| exact} of the late {sixteenth| 16th} century. The Theatrum was {hugely| extremely| widely} {popular| prominent| preferred} {and| as well as| and also} {influential| prominent| significant}, {and| as well as| and also} Ortelius was made the {royal| imperial} geographer to Phillip II, {expanding| broadening| increasing} his atlas with {new| brand-new} maps, {and| as well as| and also} in 1579 to {include| consist of} the Parergon, a {historic| historical} atlas {intended| meant| planned} to supplement the Theatrum. When he {died| passed away} in 1598, the Theatrum {had| had actually} been {published| released} in 25 {editions| versions} in {five| 5} {editions| versions}, with {two| 2} {other| various other} languages {added| included} after his {death| fatality}. {Thus| Therefore| Hence} it is not {only| just} for his {unprecedented| unmatched| extraordinary} {achievement| accomplishment| success} in {issuing| providing| releasing} the {first| very first| initial} {modern| contemporary| modern-day} atlas, {but| however| yet} {also| likewise| additionally} for his thoughtful {and| as well as| and also} {rigorous| extensive| strenuous} {methodology| approach| method| technique}, that Ortelius belongs {amongst| among} the {first| very first| initial} {rank| ranking} of cartographers.
Abraham Ortelius

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