Jeff R. Bridgman American Antiques More Furniture and Collectibles

EXCEPTIONAL GOLD RUSH POCKET SCALE WITH GREEN, ENAMELED TIN, GILT EAGLE & LETTERING THAT READS: “MADE EXPRESSLY FOR CALIFORNIA,” circa 1850 “Miners' Improved Gold Scale,” made circ...

Three-sheet, narrow, vertical broadside, made to advertise Hunt Brothers Circus and Wild West Show ca 1900-1910. With the bold headlines “Buffalo Ranch”...

48 star, crocheted, antique american flag of the wwii era (1941-1945), a beautiful, homemade example, with a red, white, & blue hoist and flower-like stars: Crocheted American flag of the WWII era (U.S. involvement 1941-1945), with some interesting and beautiful features. Made entirely of cotton, the flag’s most notable attribute is the red, white, and blue color of its hoist. This was carefully stitched to the canton and the striped field with white cotton floss or yarn. The 48 crocheted stars are appliquéd to a length of navy blue plain weave cotton. With pierced centers, note how these more closely resemble flowers than stars, tipped this way and that on their vertical axis. Large, with respect to the canton on which they are placed, note how these crowd their boundaries and overlap into the field. The elongated format of the flag is also of interest and contributes to the bold presentation, as do the strong colors. Most crocheted flags are smaller than this one, or date to a much later period (namely the 1976...

Extraordinarily early (1806) printed linen kerchief glorifying George Washington, Germantown print works, Germantown, Pennsylvania Printed in sepia ink on coarse, white linen, this patriotic kerchief shows a standing portrait of George Washington, above which is a swag valance and the words “The Effect of Principle, Behold the Man”. The portrait is based on a mezzotint after Gilbert Stuart’s very famous painting of Washington in his later years. Stuart painted it in oil on canvas for a wealthy merchant by the name of William Constable, who commissioned the work for Alexander Hamilton. The kerchief is interesting because it is both American-made and documented. This is exceptionally unusual for any printed textile of the 19th century or prior and the earlier the time period the more unlikely an object is to be identified. This kerchief and a companion piece entitled “The Love of Truth Mark the Boy” (also glorifying Washington through the fabled story of the cherry tree), were made ca 1806 by Germantown Print Works in Germantown, Pennsylvania. To the left of Washington's image is a portion of his infamous farewell address to his troops at the end of the Revolutionary War. To the right is a short excerpt from his eulogy. Below these are three images. In the center is a square-rigged tall ship with “Commercial Union” above it, flanked by the American eagle on the left and the British lion...

1840 campaign kerchief featuring an image of William Henry Harrison on horseback in military garb, one of the first known campaign textiles in e...

13 Star American parade flag in an extremely rare design, with “protection to home industries” slogan on a fanciful, scrolling streamer, made for the 1888 presidential campaign of Benjamin Harrison; formerly in the collection of Richard pierce. 1888 Benjamin Harrison campaign flag, printed on cotton, with 13 large stars in a 3-2-3-2-3 pattern, upon which a whimsical, scrolling streamer is superimposed that features the slogan: “Protection to Home Industries.” There are numerous styles of both documented and undocumented, red, white, and blue bandanas and handkerchiefs, made for Harrison’s campaign in this year, as well as from the subsequent one, in 1892. Most bear variations of text to support the “Protection for American Industries” platform of the Republican Party. America was in the midst of the industrial age and there was a great deal of public interest, both in protecting growth and discouraging both imported goods and immigration. The constant stream of immigrants posed great challenges for a working families, competing for scarce jobs, in work environments that were already often far from ideal. In post-Civil War America, many of the working men were Civil War veterans. Bandanas abound from Harrison’s Campaigns, but flags do not. This example, along with three others, were once part of an 1888 patriotic quilt that was disassembled by a dealer and sold piecemeal to collectors. I eventually acquired all four. Fifteen to twenty years ago, these were the only four known copies. A couple of others have since surfaced, but the total count known still stands closer to 5 than 10. The use of 13 stars is seen in the flags of various candidates in the 19th century. Among these are Abraham Lincoln (1860 campaign), Henry Clay (1844 campaign), John Fremont (1856), and Benjamin Harrison’s grandfather, William Henry Harrison...

Commission pennants are the distinguishing mark of a commissioned U.S. Navy ship. Flown at the topmast, the typical American format is a long blue field, usually with a single row of white stars, although sometimes with their total divided into two rows, followed by two long stripes, red-over-white. A ship became commissioned when this pennant was hoisted. Flown during both times of peace and war, the only time the pennant is not flown is if a flag officer or civilian official was aboard and replaced it with their own flag. Sometimes the owners of private ships mimicked the use of Navy signals. Some seafaring men would have served in the Navy and become privy to various practices in that capacity. Others flew them purely for stylistic reasons, either on a regular basis or while the boat was dressed for special occasion. Hudson River steamers regularly flew pennants of this nature, as evidenced by period photography as well as the paintings of artists such as John and James Bard...

38 STAR ANTIQUE AMERICAN FLAG WITH A DOUBLE-WREATH CONFIGURATION THAT FEATURES AN ENORMOUS CENTER STAR, REFLECTS THE PERIOD OF COLORADO STATEHOOD, 1876-1889: 38 star American national flag, made entirely of plain weave cotton. The stars are arranged in a medallion configuration. This features an enormous center star, surrounded by two wreaths of much smaller stars, with a flanking star in each corner of the blue canton. The sort of disparity here, present in the scale of the large star, versus those around it, is both exceptionally unusual and graphically dynamic. Colorado became the 38th state on August 1st, 1876. This was the year of our nation’s centennial. Per the Third Flag Act of 1818, stars were not officially added until the 4th of July following a state's addition. For this reason, 37 remained the official star count for the American flag until part way through the following year. Flag-making was a competitive venture, however, and few flag-makers would have continued to produce 37 star flags when their competitors were making 38’s. Many flag-makers added a 38th star before Colorado entered the Union, in the early part of 1876, or possibly even prior. In fact, many makers of printed flags, called parade flags or hand-wavers, were actually producing flags in the 39 star count, in hopeful anticipation of the addition of two more Western Territories instead of one. It is for these reasons that 38, 39, and 13 stars, to representing the original 13 colonies, are most often seen on flags displayed at the Centennial International Exhibition. Hosted in Philadelphia, this enormous event was our nation’s first World’s Fair, lasted for a duration of six months, and served as the nucleus of celebrations held to honor America’s 100-year anniversary of independence. The 38 star flag became official on July 4th, 1877 and was generally used until the 39th state was added in November of 1889. This is probably a homemade flag, though sewn by a very skilled hand, or possibly, by two different individuals. The stripes are pieced and sewn entirely by hand, with remarkable care and precision. The canton is constructed of two lengths of blue fabric, that have been joined with treadle stitching. This was joined to the striped field by hand. The stars are double-appliquéd (applied to both sides) with treadle stitching. There is a treadle-sewn, cotton binding along the hoist, with five, hand-sewn grommets. It is extremely unusual to encounter this combination of sewing methods. Soon after the sewing machine was mass-marketed, in the mid-1850’s, flag-makers both public and private made good use of treadle machines, to join stripes, when constructing American flags. During the Civil War (1861-65), most stripes were treadle-sewn. Stars were another matter. Until the advent of electric machines...

COLORADO STATE FLAG OF EXCEPTIONAL QUALITY, MADE OF SILK, CIRCA 1911-1920’s, EXTRAORDINARILY RARE IN THIS PERIOD AND THE EARLIEST EXAMPLE THAT I HAVE EVER ENCOUNTERED Early state flags are few and far between. While I am asked for them constantly, most states did not actually have official flags until the 20th century. On May 6th, 1911, Colorado became among the last to adopt a design. The project of doing so was spearheaded by the Denver Chapter of the Daughters of the American Revolution. The bill was introduced by Senator W.H. Sharply and adopted by the Eighteenth General Assembly. The artwork was the product of A.C. [Andrew Carlisle] Carson, President of the Ohio Society of Colorado. The meanings behind the elements in the design are as follows: The large letter "C" stands for Colorado and simultaneously for the Centennial State (Colorado entered the Union in 1876, the year in which our nation celebrated its 100th anniversary of independence), as well as the Columbine State (reflecting the state flower). The red color is included due to the fact that the word Colorado translates to scarlet or red in Spanish. The circle represents the sun, while the gold color symbolizes all-the-year sunshine, Colorado’s status as the greatest gold state, and one Columbine color. It was also included so that the Colorado state flag would have one more color than the U.S. flag. The color white reflects Colorado’s status as the greatest silver state, its eternal mountain snow, and one Columbine color. Lastly, the shade of Yale blue symbolizes all-the-year blue sky and one Columbine Color. Members of the D.A.R. were proud to note that this was also their color. Made sometime between the initial year of the adoption of this design and the 1920’s, this particular flag is the earliest Colorado example that I have ever encountered. The blue and white bars, red “C,” and golden circle are a’’ made of silk taffeta. This was a costly fabric, reserved for the best material a flag-maker produced. The flag is constructed in the manner of a battle flag, to be carried on foot. Squarish in its overall profile, silk was the fabric of choice for flags employed in this function, due to the fact that it was light weight, and thus practical for hand-carrying, while simultaneously formal in appearance, appropriate for the sort of ceremonial use that military presentation often demands. The style of the hoist is also typical for field or parade use. Here the fabric was rolled over to form an open sleeve, through which a wooden staff could be inserted. The sleeve is lined on the interior with black cotton. Leather tabs, at the top and bottom, fit over metal posts on the staff, designed to accept them, to fix the flag in its proper position. The bars were pieced and joined with lineal machine stitching. The hoist and fly ends were finished and hemmed by the same method. The devices are double-appliquéd (applied to both sides) with a machine buttonhole / blanket stitch. Though machines that produced buttonholes were, remarkably, available alongside the earliest standard machines, in the 1850’s and 60’s, the use of this sort of stitch in a running format, for appliqué work, remained highly unusual, even as late as the first half of the twentieth century, probably because it used a ton of thread when compared to the zigzag or satin stitch. It could be expected to appear more often in the hands of a maker of very fine flags, that employed embroidery machines and commissioned custom, fancy work of all sorts. Though unsigned—in no way uncommon in early examples, which were seldom signed—that is precisely the sort of firm that produced the Colorado flag...

38 star antique American parade flag with scattered star orientation, made of silk, with generous scale and vivid colors, Colorado Statehood, 1876-1889 38 star American national p...

Elaborate sailor’s souvenir embroidery from the orient with a beautiful hand-painted image of Washington crossing the Delaware, surrounded by a large eagle, federal shield, crossed flags, a cannon, cannonballs, and anchor, circa 1885-1910: Between roughly 1880 and 1915, American sailors visiting the orient could obtain beautiful needlework embroideries on shore, with patriotic American themes. These extraordinary works of art were acquired as mementos of a long voyage, often with the hope that they might be presented as gifts for loved ones and friends. Using silk floss, elaborately embellished with both silver and gold metallic bullion thread...

34 Upside-down, Hand-sewn Stars In A Notched Configuration, On An Antique American Flag Of The Civil War Period, With A Beautiful And Highly Unusual Jacquard Weave Binding, And In A Tiny Scale Among Its Counterparts, Reflects The Addition Of Kansas As The 34th State, 1861-1863 34 star American national flag with a number of interesting and desirable features. Chief among these is the scale of the flag among counterparts of the period. At just three by four feet, its size is absolutely tiny among those with pieced-and-sewn construction. During the 19th century, sewn flags (as opposed to those that were printed on cloth) were typically eight feet long and larger. This is because they were important in their function as signals, meaning that they needed to be seen and recognized from great distance. A flag that was six feet in length was considered small and production of flags smaller than this was extremely limited. Even infantry battle flags, carried on foot, were approximately six by six and-one-half feet, about the size of an average quilt of the same period. It wasn't until the 1890’s that manufacturers began to produce smaller sewn flags in great quantity. The stars of the flag are arranged in justified lineal rows, the first of which contains one fewer star. This results in what I call a “notched” design, leaving one space open for the addition of another star. The blank space leaves little doubt that the maker of the flag assumed that another Western Territory would soon acquire statehood, or that West Virginia might soon break free from Virginia, which occurred in June of 1863. Note how the stars are oriented so that they are upside-down on their vertical axis, with two points up instead of one. No one knows if this positioning bore any particular meaning. Both modern notions of the correct orientation of a star, and the present official design of the American flag, dictate that the stars are supposed to have one point up. Since there was no official design for the flag until 1912, however, it may simply be that the maker of the flag did not consider any particular position to be right-side-up or upside-down. In the mid-19th century, it was not uncommon to see stars pointing any which way, varied throughout whatever arrangement was chosen. Whatever the case may be, the feature present on this particular flag is unusual to the eye and notable in terms of its presentation. Made of cotton, the stars are hand-sewn and double-appliquéd (applied to both sides). The canton and stripes of the flag are made of wool bunting. Because blue wool bunting generally came in a width of 18", the canton was pieced from two lengths of fabric, joined by hand-stitching. The canton is joined to the striped field by hand-stitching. The stripes are pieced and hemmed by treadle stitching. Made of heavy, polished, jacquard weave linen, the binding of the flag is both exceptional from a textile connoisseur’s perspective and highly unusual. This is joined to the flag by treadle stitching. There are two brass grommets, one each at the top and bottom of the hoist, which are likewise especially unusual, in that they are both heavier than normal and intentionally hammered flat. I have seen this on only one other occasion in a Civil War flag...

ENTIRELY HAND-SEWN, 32-FOOT, SHIP’S COMMISSION PENNANT OF THE 1845-1865 ERA, A HOMEMADE, COTTON EXAMPLE, WITH 13 STARS ON A CORNFLOWER BLUE CANTON, IN A BEAUTIFUL STATE OF PRESERVATION Commission pennants are the distinguishing mark of a commissioned U.S. Navy ship. A ship becomes commissioned when the pennant is hoisted. Flown during both times of peace and war, the only time it is not flown is if a flag officer or civilian official is aboard and replaces it with their own flag. Flown at the topmast, this would be the first thing one would see coming over the horizon and identified the vessel as a warship. Sometimes the owners of private ships mimicked the use of Navy signals. Some seafaring men would have served in the Navy and become privy to various practices in that capacity. Others flew them purely for stylistic reasons, either on a regular basis or while the boat was dressed for special occasion. Hudson River steamers regularly flew pennants of this nature, as evidenced by period photography as well as the paintings of artists such as John and James Bard...

48 crocheted stars on a very graphic, three-dimensional flag made from silk ribbon and crocheted rings, WWI Era (U.S. involvement 1917-18) Homemade, ha...

Native American beadwork gauntlets with Indian Chiefs in feathered headdresses, probably souix, Ca 1880-90 Native American beadwork gauntlet...

Rare & Beautiful American Parade Flag With Images Of Teddy Roosevelt And His Great White Fleet, 1907-1909, Ex-richard Pierce Collection: 46 star parade ...

Antique American Flag With 36 Stars On A Cornflower Blue Canton, Civil War Era, 1864-1867, Reflects The Addition Of Nevada As The 36th State; A Great Folk Exaple With Haphazard Rows Of Starfish-like Stars: 36 star American national flag of the Civil War era with outstanding collector traits. Haphazard rows of fat, starfish-shaped stars fill most of the confines of a brilliant, cornflower blue canton. Note the crude piecing of the thirteen, red and white stripes, joined in an ill-planned manner that results in great variation in width, as well as general irregularity. The 4th red stripe actually falls slightly below the canton, and the height of each does not line up with the corresponding stripe on the reverse. This can clearly be seen at the fly end, which is is turned back and bound to repair obvious extended use in an outdoor environment. Clearly the maker lacked experience in seam work. Lining up the necessary components, so that they could be viewed on both sides, presented a challenge they may have not previously faced. This is also evident in the sewing of the stars, which do not line up on the obverse and reverse sides, as they typically would in a flag sewn by an experienced flag-maker. That said, this is just this kind of homemade charm that fuels interest in early American flags...

Indiana State Flag With Square-like Proportions, An Offset Device, And Gold Fringe, Circa 1930-1955: Despite the fact that most of the United States joined the Union during the 18...

1862 Civil War playing cards with stars, flags, shields, & eagles, and face cards illustrating civil war officers and lady, Columbia, ca 1862, Benjamin Hitchcock, New York 1862 Civil War playing cards with suits represented by stars, flags, shields, & eagles, in lieu of the traditional French suits of hearts, diamonds, clubs, and spades. The face cards feature Union Army officers and Lady Columbia [a.k.a. Lady Liberty, Goddess of Liberty]. Entitled “Union Playing Cards,” two versions of this deck were produced in New York by Benjamin W. Hitchcock’s “American Card Company.” This is the earlier of the two. The other was released in 1863. There are 52 cards in total with the ace of spades doubling as the title card, as was often the case during the 19th century. The telescoping box...

32 STARS IN A VERY UNUSUAL NOTCHED VERSION OF THE “GREAT STAR” PATTERN, WITH TWO STARS ABSENT AT THE EXTREME POINTS OF EACH ARM, MADE IN THE PERIOD WHEN MINNESOTA JOINED THE UNION AS...

IRONSTONE PLATE WITH "VOTES FOR WOMEN" TEXT, MADE JOHN MADDOCK & SONS FOR SUFFRAGIST ALVA BELMONT FOR MARBLE HOUSE, HER FAMOUS ESTATE IN NEWPORT, RHODE ISLAND, CIRCA 1914: Porcelain objects related to the Suffrage movement are extremely scarce. The most celebrated of all American suffrage dinnerware consists of a service of white ironstone, commissioned by Alva Belmont,* prominent Newport, Rhode Island, socialite. Belmont was the founder of a pro-suffrage group called the Political Equality Association. According to Suffrage memorabilia expert Ken Folley, "There are at least eight different examples known in this design, including a cup and saucer, a lunch or dinner plate, a salad or bread plate, a berry bowl, a soup bowl, a celery dish...

Leather fireman's parade belt with the word "LIBERTY in white on a red ground, Bloomsburg, Pennsylvania, circa 1900 This fireman's parade belt is of the type produced during the latter part of the 19th century, between roughly 1870 and 1900. Made of leather, the body of the belt is black. In the center is a recessed window, with a fancifully scalloped edge, behind which a red leather panel, upon which the word "Liberty" appears in raised, white letters. There is a white binding, it's edge trimmed with pinking shears to create a decorative border. The metal buckle fits into an opposing leather strap, small in scale and riveted beneath the outer one. The words that appear on fireman's parade belts were customized, sometimes displaying the title of the wearer (i.e., "chief" or "clerk"), sometimes the name of the city or town, and sometimes the name of the station, as-is the case in this instance. Attributed to Bloomsburg, Pennsylvania (Columbia County), I acquired it about 25 miles southwest, in adjacent Union County. Bloomsburg's first fire house, Friendship Fire Company, was established in 1868, shortly following the Civil War. Like most volunteer departments of that time, it was staffed by returning Union soldiers who volunteered, enjoying the comradery. Three more would follow, including Rescue Hose & Ladder (1870), Winona (1881), and Liberty Fire Company (1900). In the early 1990's the process was begun to modernize and consolidate all four stations into one. Liberty's fire house still stands on the 100 block of Leonard Street. Probably made in the year the Liberty Fire Company was established, for related parades and festivities, the great thing about this belt is the combination of the wonderful, early, painted surface and the terrific verbiage. While words such as "Clerk," "Bloomsburg," or "Rescue" would have limited appeal, the word "Liberty" opens the playing field to a nation-wide audience. Fire memorabilia...

34 STARS IN A WHIMSICAL RENDITION OF THE GREAT STAR PATTERN, ON A CIVIL WAR PERIOD FLAG WITH A CORNFLOWER BLUE CANTON, UPDATED TO 39 STARS IN 1876 34 star American national flag with additional stars added and one of the most stunning graphic designs I have ever seen in early flag-making. The original pattern was comprised of a circle of 5 large stars, and triangular arms made of smaller stars. These are noticeable pointy and bent like the arms of a starfish. Made of cotton, the stars are hand-sewn and double-appliquéd to a fantastic, cornflower blue canton, a color common to Civil War uniforms...

EXTREMELY RARE U.S. WAR DEPARTMENT COMMISSIONING PENNANT WITH 13 STARS, A REVERSAL OF THE U.S. NAVY COLOR SCHEME, TWENTY-FOUR FEET ON THE FLY, SP...

EXTRAORDINARILY EARLY (1806) PRINTED LINEN KERCHIEF GLORIFYING GEORGE WASHINGTON, PRINT WORKS, GERMANTOWN, PENNSYLVANIA Printed in blue ink on coarse, white linen, this patriotic kerchief shows a standing portrait of George Washington, above which is a swag valance and the words “The Effect of Principle, Behold the Man”. The portrait is based on a mezzotint after Gilbert Stuart’s very famous painting of Washington in his later years, most often referred to as the Landsdowne portrait. Stuart painted three versions of it in oil on canvas, one of which was completed in 1796 for a wealthy merchant by the name of William Constable, who commissioned the work for Alexander Hamilton. The kerchief is interesting because it is both American-made and documented. This is exceptionally unusual for any printed textile of the 19th century or prior and the earlier the time period the more unlikely an object is to be identified. This kerchief and a companion piece entitled “The Love of Truth Mark the Boy” (also glorifying Washington, through the fabled story of the cherry tree), were made circa 1806 by Germantown Print Works in Germantown, Pennsylvania. To the left of Washington's image is a portion of his infamous farewell address to his troops at the end of the Revolutionary War. To the right is a short excerpt from his eulogy. Below these are three images. In the center is a square-rigged tall ship with “Commercial Union” above it, flanked by the American eagle on the left and the British lion on the right. It is reasonable to assume that the textile may have been produced in demonstration of the maker's desire, and/or that of others, to advance trade with England. Commercial printers were very influential in early America, as they possessed the means by which to disseminate information. This kerchief and its companion piece are documented in Threads of History, Americana Recorded on Cloth, 1775 - the Present, by Herbert Ridgeway Collins (1979, Smithsonian Press), p. 63, items 38 & 39.* The two pieces pictured are in the collection of Cornell University, but the Collins text also cites an uncut pair to be present in the collection of the Western Reserve Historical Society, Cleveland, OH. The name "Germantown Print Works" is printed on the Western Reserve examples. Another example of the textile in question is documented in "Running for President, The Candidates and Their Images, 1789-1896" by Schlesinger, Israel, and Frendt, (1994, Simon & Schuster), p. 15. I have seen three different color variations of this textile, including sepia, mulberry red, and blue. This particular example has a hand-sewn binding along the top, lower, and left edges. Mounting: The textile was mounted and framed within our own conservation department, which is led by expert staff. We take great care in the mounting and preservation of flags and have framed thousands of examples. The gilded molding has a rippled profile and dates to the period between 1825 and 1850.The background is 100% cotton twill, black in color. The glazing is U.V. protective plexiglass. Feel free to contact us for more details. Condition: There is an all-over golden oxidation of the white fabric and there is very minor staining. There are tiny tack holes in each corner and there are minor nicks around the perimeter. * Collins relates that Germantown Printworks was operated by the Hewsons. In doing so he cites one of Worthington Chauncey Ford's books on George Washington, but it isn't clear which one (there are many) and no page numbers are given. John Hewson was an Englishman who came to America and opened his printing business on the advice of Benjamin Franklin. He was one of the first “calico printers” and is the earliest documented to have advertised printed kerchiefs. His ads for bandanas appear as early as June 20th, 1774. He is suspected of having produced the very first American kerchief that pictured an American president, which is documented in Collins as item 1 on page 48. Linda Eaton, curator at Winterthur, in 2012, is currently doing in depth research on the three printers of fabrics that were operating in Germantown in early America. She discovered that the owner and/or operator of Germantown Print Works, while not currently known, was not John Hewson. This information is not yet published. She also noted that Winterthur possessed examples of the two George Washington textiles...

"EQUAL SUFFRAGE FOR MICHIGAN IN 1916," ADVERTISING FAN FOR THE BISSELL 'CYCO BALL BEARING CARPET SWEEPER,' COMMISSIONED BY ANNA BISSELL (1846-1934), AMERICA'S FIRST FEMALE CEO Oriental-made, twill-woven silk fan with gilt lettering that reads : "Bissell's 'Cyco Ball Bearing Carpet Sweeper' makes sweeping easy," set within an interesting, open, geometric design. A purposefully curved, paper label beneath was applied by the "Michigan Equal Suffrage Association, Kalamazoo, 405 So. Burdick St.," whose byline is along the bottom. On it, a terrific message reads: "OVER 100,000 WOMEN pay taxes in Michigan on property assessed at $177,596,938. In 1910 OVER 175,000 MICHIGAN WOMEN signed a petition sent to Congress asking for Equal Suffrage. 247,373 MICHIGAN MEN voted...

MASSIVE & COLORFUL CIVIL WAR RECRUITMENT BROADSIDE FOR THE "MANHATTAN RIFLES,” WHICH MUSTERED INTO 43RD AND THE 57TH NEW YORK INFANTRY DIVISIONS ...

“THE MAN WITH A HEART, THE PARTY WITH A SOUL”: FRANKLIN D. ROOSEVELT POSTER, MADE FOR HIS 1936 PRESIDENTIAL RUN, THE BEST OF ALL KNOWN EXAMPLES ACROS...

"ROOSEVELT & GARNER", AN EMBROIDERED ARMBAND SUPPORTING THE 1932 DEMOCRAT PRESIDENTIAL TICKET AND THE REPEAL OF PROHIBITION Made for the 1932 Democratic presidential Campaign ticke...

A TREMENDOUS CHILD'S WHEELBARROW FROM MAINE, CA 1840-1870: Ex scudder smith. Great iron work and excellent paint-decorated surface.

"RALLY FREEMEN! …COME ONE! COME ALL! AND SHOW YOUR LOVE FOR THE BEST COUNTRY ON THE FACE OF THE EARTH." A CIVIL WAR RECRUITMENT BROADSIDE FOR THE...

HAND-PAINTED PATRIOTIC BANNER WITH THE SEAL OF THE STATE OF ILLINOIS AND GREAT FOLK QUALITIES PROBABLY MADE FOR THE 1868 DEMOCRAT NATIONAL CONVENTION...

PENNSYLVANIA BACKGAMMON BOARD, SIGNED "WISE" WITH IMAGES OF A WAGON WHEEL AND A STAR OF DAVID, 1850-1880 Found near the town of Milford, in the northeast corner of Pennsylvania, is...

ENGLISH PORCELAIN SUFFRAGETTE PLATE WITH "DEEDS, NOT WORDS" AND "VOTES FOR WOMEN" SLOGANS, ONE-OF-A-KIND AMONG KNOWN EXAMPLES, CA 1905-1918 English porcelain plate, made for the Women's Suffrage movement in the U.K. One-of-a-kind among presently known examples, this wonderful Arts & Crafts design features a green, frog-like pattern around the border, surrounding violet and green or daisies, on a polka dot green background. Interspersed between the flowers are the words "Votes for Women" and, in Latin, the phrase "Facta non Verba...

OHIO STATE FLAG WITH CIVIL WAR VETERANS' OVERPRINT FROM THE GRAND ARMY OF THE REPUBLIC POST IN COLUMBUS, MADE IN MOURNING OF THE 1925 PASSING OF NATIONAL G.A.R. COMMANDER IN CHIEF DANIEL M. HALL, WHO ALSO SERVED AS COMMANDER OF THE OHIO DEPARTMENT OF THE G.A.R., AS WELL AS THE LOCAL CHAPTER Flag of the State of Ohio, printed on oilcloth-like cotton, affixed to its original wooden staff. Made for Civil War veteran's use, the flag bears a stamped overprint in the striped field that consists of an open wreath of laurel branches, inside which is the following text: “GAR [Grand Army of the Republic] Post, Dan Hall, Columbus, OH”. Born on October 20th, 1842, Daniel M. Hall enlisted with the Union Army as a Private at the age of 18 on August 25th, 1861. On October 8th of that year he mustered into the Co. H of the 2nd Ohio Cavalry. Discharged for disability on June 28th, 1862, he reenlisted approximately 17 months later, on November 11th, 1863, and mustered into Co. F of the 12th Ohio Cavalry at Camp Cleveland. He was at some point promoted to the rank of Sergeant, and, on February 21st, 1864, to the rank of Corporal. He mustered out at Nashville on November 14th, 1865. Hall mustered into the Hamlin Post of the Ohio G.A.R. on May 23rd, 1883. He would go on to serve not only as Commander of the Dept. of Ohio for the organization, but as National Commander of the entire Grand Army of the Republic. The Grand Army of the Republic was the primary veterans association for Union Civil War soldiers. Founded in 1866, its members dressed up in Civil War uniforms, attended parades and reunions, and the organization was somewhat more fraternal in nature than today’s VFW or American Foreign Legion. Flags overprinted for the purpose of advertising are a specialized form in American flag collecting. A flag with a basic G.A.R. overprint is the most common type. This might be accompanied by a post number and a date. More elaborate the overprints are more highly desired, such as this one, which is the only variation I know of that honors a particular person who was not the namesake of the chapter itself. It is of interest to note that a sister variety of 48 star parade flag is known, printed on the same fabric, that bears the same overprint, accompanied by the words: “We Mourn Our Comrade." From the additional text on the 48 star variety, one can extrapolate that the flags were made to mourn the passing of this important leader of Civil War veterans on October 19th, 1925, just one day before his 83rd birthday. The State Flag of Ohio was designed in 1901 by Cleveland architect John Eisenmann, who designed the Ohio building for the state's exhibition at the Pan American Exposition World's Fair in Buffalo, New York. It was officially adopted by the Ohio legislature on May 19th, 1902. It's elements are centered on a red disc, set against a circular white ground that forms a letter "O." This simultaneously represents a buckeye, the fruit of the state tree and an iconic Ohio symbol. The flag's 5 stripes are said to represent the state's waterways and roads, while the triangular shape of the union is said to illustrate hills and valleys. The presentation of 13 stars along the hoist end, arranged in a semi-circular medallion with two off-set stars above and below, reflects the original 13 colonies. The diamond of stars, towards the fly end. bring the overall count to 17 to reflect Ohio's admission. When the design was adopted by the state legislature, the position of these stars was changed slightly, moving them further around the circle to form a wreath. Flag expert Whitney Smith, who coined the term Vexillology in the late 1950's (the accepted term for the study of flags), pointed out that the format of the flag itself was reminiscent of Civil War cavalry guidons, carried by Ohio regiments throughout the state. These were of swallowtail form, though with 13 stripes, all horizontal and 90 degrees to the hoist. Most often these had circular star patterns around an open center, which makes them even more similar to the Ohio flag...

48 STARS ON ANTIQUE AMERICAN FLAG WITH HAND-WRITTEN INSCRIPTIONS AND AN EMBROIDERED DATE OF APRIL 12TH, 1945, MOURNING THE DEATH OF PRESIDENT FRANKLIN DELANO ROOSEVELT: American national parade flag with 48 stars, printed on cotton, embellished with hand-written inscriptions and an embroidered date to commemorate the death of FDR on April 12th, 1945. “On this day in 1945, President Franklin D. Roosevelt died of a massive cerebral hemorrhage at his Warm Springs, Georgia, retreat at the age of 63. Roosevelt’s death in the final months of World War II was met with shock and grief throughout the Western world. Many Americans had no inkling of his decline in health. [He] had been president for more than 12 years, longer than any other person. He led the country through some of its greatest domestic and foreign crises to the impending defeat of Nazi Germany and within sight of Japan’s surrender...

38 WHIMSICAL STARS, WITH 6-POINTED PROFILES, SIMILAR TO THE STAR OF DAVID, ON AN ANTIQUE AMERICAN FLAG OF THE CENTENNIAL ERA; A REMARKABLE SPECIMEN, ONE-OF-A-KIND AMONG KNOWN EXAMPLE...

34 STARS IN AN OUTSTANDING OVAL MEDALLION CONFIGURATION, ON A NARROW CANTON THAT RESTS ON THE 6TH STRIPE, ON A HOMEMADE, ANTIQUE AMERICAN FLAG OF THE CIVIL WAR PERIOD, ENTIRELY HAND-...

Franco-American textile with the image of an eagle supporting knotted and draped american and French flags beneath four war planes; embroidered silk floss and metallic bullion thread...

HAND-PAINTED 19TH CENTURY BANNER WITH AN 1867 VERSION OF THE SEAL OF THE STATE OF ILLINOIS, PROPOSED IN THAT YEAR BY THE SECRETARY OF STATE, BUT IN A VARIATION NEVER FORMALLY ADOPTED Banner with the Illinois State Seal, in a rare variation of the design, never adopted. In 1867 Illinois Secretary of State Sharon Tyndale proposed that the phrases in the state motto be reversed. In the wake of the Civil War, (which ended in 1865,) Tyndale suggested that the verbiage be changed from "State Sovereignty--National Union" to "National Union--State Sovereignty,” which made sense given the recent secession of the Southern States, which placed their own interests first. Illinois' own Abraham Lincoln had worked hard to preserve national interests, echoed here in the altering of the language. Though Tyndale’s suggestion was rejected, he was nonetheless charged with creating a new design, which he did and was soon adopted. This displayed the dates of "1818," when Illinois became a state, and "1868," when the seal was officially changed. Interestingly enough, Tyndale did manage to send a message in the new version by turning the word “sovereignty” upside-down , with the surmised explanation that this fit accordingly with the orientation / position of the streamer. The banner is beautifully hand-painted on muslin and retains its original staff. The shape is beautifully scalloped at the bottom edge, which is painted to look as if there is an applied fringe. Most of the elements are congruent with the 1868 version, but there are various differences. Set within a shield-shaped medallion—usually circular—is the expected eagle in a side view, spread wing pose with beak uplifted. The eagle is supposed to be perched upon a rock with one talon, while gripping a Federal shield in the other. Here there is no rock and both talons grip the shield, which displays 13 stars. Note the date of "1867" and Tyndale's preferred order of the wording on the billowing ribbon in the eagle's beak. The foreground of the official design is all grass. Here there are olive branches—a peacetime reference appropriate for a country recovering from war—on a grassy area, set upon a sandy shore before Lake Michigan, with a rising sun on the horizon. Mounting: The banner was mounted and framed within our own conservation department, which is led by masters degree trained staff. We take great care in the mounting and presentation of flags and have preserved thousands of examples; more than anyone worldwide. The background is 100% cotton twill, black in color. The mount was placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective plexiglass. Feel free to contact us for more details. Banner - 49" x 56.5" Frame - 67.75" x 59.25" About Jeff R. Bridgman Antiques, Inc.: As an advisor to top museums and collectors alike, Jeff Bridgman is the world's leading expert and source for antique American flags and political textiles...

HAND-PAINTED PATRIOTIC BANNER WITH THE SEAL OF THE STATE OF OREGON AND GREAT FOLK QUALITIES, 1861-1876: Swallowtail format, patriotic vertical banne...